Getting Your Act together In Ableton Live | A Beginners Guide

1. Introduction: My folks, welcome the course. And this one's all about getting organized and able and live. So I imagine if you're a beginner producer, you've just bought able and live. You haven't really got a structure in place to streamline your workflow and get creativity going. You might be an intermediate producer where you're finishing tracks are making music, but you're not utilizing the benefits of having a sample library there. Having your own sample library. And this course is built specifically speed up your workflow and get you well on your way to finding your own unique sound. So we start off by gathering our own sounds. We've got all our drum sounds, we've got melodic sounds. And just create our own library with the sounds that we like and the sounds that spark our creativity when it comes to writing music. Once we've gathered all our sounds, then go on to hear each sound in the individual tracks, and each sound gets marked individually in their own drum racks. We then show you how to create audio effect racks. We'll show you how to create media effect rocks, instrument rocks, and also save like default audio tracks with your own personal tool kit in the tracks. We then save default presets and audio effects. Then we also show you a cool way to save all your own sounds from finished pieces of music and puve them in your library. But then you can just drag and drop your own sounds to start a new tracks. So this workflow is super organized, it will just get you writing music faster and your creativity is going to flow much easier because you've got all your tools sitting there in the right place ready for when it comes to writing music. So if you're a beginner enabled live, don't worry, we've got you covered. It's a step by step process and super easy to follow. And it's going to set you up for success in your music production journey at a very early stage. Also, if you're an intermediate producer, if you were anything like me, you were finishing trucks, but you weren't saving your sounds, you weren't getting organized. This will also help you just give you a few little production nuggets just to integrate in your own workflow and get you more organized and finishing your trucks quicker and of course, improving your overall workflow. There's just under 2 hours of content Folks, this is a free course, so please enjoy. If you can't, as always if you can write me a review, I'll be much appreciated. And it helps me grow in the platform. So any questions, just jump in the discussions and I'll do my best to help you out. Okay folks, I'll seeing the videos take care. 2. Gathering Samples: In this video, we're going to focus on gathering our sounds like our drum sounds. We're going to go for kicks, hearts, claps, snares, et cetera. Just gathering up our sounds. Just a basic starting point for you for when it comes to writing your tracks. You always want to be organized. You always want to have everything at hand just to avoid surf a sample libraries going through spending endless hours trying to hunt for sounds, when you can have them already prepared, sitting in your own little production library inside of your live library here. So the first thing you're going to do is you're going to add a folder. Now you want to create a folder on your desktop, or you might have an external hard drive just wherever you feel comfortable storing your folder, you just hit Add folder. But for this one I'm going to go at my hard drive production. I'm just going to write a new folder and I'm going to create production sessions. Create. Hit open, you'll find now on the left hand side below in places you'll have production sessions. Now if you commit the folder, it's obviously going to be empty. The first thing you'd have to do here is we're going to write click, say, New folder and we're going to write drums. Then on the Drums we're going to write click new folder again. This time we're going to write kicks again. New folder collapse, right click new folder, right click new folder. Then we're going to click just for one final one, we'll just special. It's always good to have some different sounds in your library, just something that can spark something different in your sessions. We'll just put special special there. We've got claps, kicks per special. Obviously from there we've got our drum sounds folder organized. Now let's get one more folder in there. We're going to call it melodic, Melodic. We're going to put another new folder. We'll just put stabs new folder, let's loops, let's stabs, synth loops, blot. And one last one we'll do is bass. Just basic starting point for gathering your sounds. Now what you would do now is you would come into kicks. And what I would like you to do is just go through your sample library. If you type in kick at the top, come to all results. You've got all your kicks here now I've got kicks and sample parks and stuff. I've got sample parks that I could pick kicks from. Wherever you've got sounds in your library, just go through the sounds. What I want you to do is just pick ten kicks that you like. The sound of also you pick ten claps, pick ten hearts, and then ten percussion. And then for special, when you pick ten, just different types of percussive sounds that could be like folly sounds, found sounds. Just something different that you can keep in there just for sparking some inspiration for writing your own music. The same again with the melodic. If you just commit to bass and you just pick out bass sounds, pick out some loops that you like. There might be some bass loops, art loops, synth loops that you like. The sound of that you could actually use, you could chop up and use later on you could use the loops himself and use like different pitches of the loops. But it's just something there that you like the sound of and it's something quick and easy to grab when it comes to writing music. In the same with the stabs in the synth, I'll just quickly do the kicks. I'll just show you how to get the sounds into the folders. You just typing kicks at the top, Let's say that's a nice kick there. I would just grab, grab the kick, drag it over here. Highlight, hover over the production sessions and it'll show up here. And then just drop it in the kicks. There we go. That's just got one kick. Let's got all results again. Nice punchy kick drag products and sessions and drop in the kick. You get the idea. Just go through each element and just gather all your sounds. Just gather all your sounds and throw them in each folder. Just spend a good time doing this. You could spend an hour, maybe 2 hours. I've seen me spend a lot of hours just getting organized, getting things together, just to get a set up for success when it comes to writing my music. If you do that, folks get organized with that. We'll catch you in the next lesson. Cheers. 3. Gathering Instruments: Folks, I'm hoping that you've gathered all your sounds now, and we're ready to go to gather instruments and different instruments for our tracks. I'll just quickly go through my sounds that I've picked claps here now. These are all from the same sample part because I like the sample part and I like the sound because they're nice, clean samples. The types of claps that I like to use, and you can just do certain tweaks to them when it comes to dropping them like a simpler, et cetera. I'll just like the sound and overall feel of the claps again now, the hearts I've picked from Lotus Tunes Park. He does some really nice sounds across all elements. I've picked a lot of his stuff and I've got the hearts he are from his Tom Park and his Afro house Park kick. Same again. I get kicks from his to park percussion. Mix a low and high percussion and then the special is all from the Toulon Park. It's weird, all these weird sounds, really nice sounds, really inspirational. These types of sounds will inspire me when it comes to doing my sessions. And that's what you want in your parks. You just don't want any old kicks or random kicks from different parks. I like to pick a lot of sounds from the same park so they can a gel well together and they'll work well with my own processing if that makes sense. Lots of drums melodic. I've got the bass sounds, I've got this one from the MDT Park. It's really nice. So bass. They're all in the KRC, so they're easy to pitch up, pitch down when it comes to using them. I've got a lot of music loops here. I'll explain why more in a later video. When it comes to showing you how to write an idea out and then saving ideas. They're all quite clean sounding loops. We just like one or two sounds in them. Not much. If they've got two, most of them have just got one sound. But I also like the patterns and that's another reason for picking them is the patterns because we won't, I don't necessarily use the sounds, I'll be using the patterns as well. And then the starbs, I've got my own starves that have created through re, sampling just different star sounds that inspire my writing sessions. Then the synth, more nice melodic sounds from the tooling part. And then I've got this, some nice synth parts that are really nice to use inside a simpler sample. They've got a clean, sustained note there, so you can do plenty of that when it comes to writing music. That's my drums and melodic sounds gathered. So I've now got a little production production park ready to start building drums and bass lines and other like melodic elements and stuff. Next what I would do is I would gather some instruments in our production session park. We're going to put new folder, we're just going to rename it Instruments. Inside the instruments you want to put new folder. And we'll put base again. Right click new folder, we will put lead. Let's do one more. Let's do pod Sounds Bass, leading part, the main three for me. Anyway, when it comes to writing music, we'll go with that bass. What we do is go to instruments. Just type in bass at the top. Just pick out any sounds that you like, the sound of inside the different instruments enable. You've got analog bass, I like this basic log base. I love that sound. I've used that in a few my videos. We'll drop in production sessions to bap it in. We're just going to, I think we'll go for three for these. You don't want too many different tight base sounds. I mean you want to get the familiar, You just want to pick like a minimum amount so you're not overwhelmed by the choice of different sense to use. Just grab sense that you like the sound of and work with that and just tweak the taste. One oh six base is really nice, let's grab that. And then if we just put in sub, like a sub base, go all results go to instruments. Nice deep, pure sub production sessions. Put it there, let's switch that off. The serve at the base, that's the base. Sort it out so you get the idea. And then just go the same for the leads. Find lead sounds that you like, and then find pad sounds that you like. Like I said, try not to get too overwhelmed with the whole process or try to find the sounds over time you build on this. Yeah. You start to add stuff to it, take stuff out that you no longer use, et cetera. It's just giving you a starting point for when it comes to writing music. So if you go through your instruments folks, just pick out your bass or leading your pod sounds. Insert your folders, drop them into folders, and then we can move on to the next step. But I'll show you how to start building out your drum rocks and getting your template ready for starting your music. Okay, I'll see in the next lesson, folks. 4. Drum Racks/Mapping: Folks. We've got all our sounds gathered. We've got our instruments gathered. We've got our base, our lead, our pads, and we've got melodic elements, our base one shots, et cetera, stabs. And so we're pretty much ready to start making music because we've covered the sounds that we like. So what do we do now? How do we go about getting organized to start music? So I'm just going to share with you how it gets set up by creating your own template inside of Bible and live. Now the first thing I want to do is I want to get rid of these returns and signs here. We're not going to use them for now, not for the purpose of this video. Anyway, we've got a Dy truck. The first thing you're going to do is grab a drum rock, drop it on. Now if we commit our kicks, first thing you want to do in the kicks is if you go to the kicks, we're just going to pick one for now. And I'll show you why. If we just throw one into the one, put it into classic mode, warp it, then I'm going to turn it to complex mode. You want to keep that settings as it is. Some people like to work in one shot, whereas you can fade in and fade out. I like to use classic more because I want to have more control over the shape of the sound. That's the first thing I always go to. When it comes to when I start to use a sound, I want to manipulate the shape of the sound and I want to map these parameters to the rock. Now we could the macro controls here on the rock where you've got macro 123.4 You could map each one to the different parameters here on the drum rock. But to do that over for ten kicks would have to mark, map every kick, that same macros. Then sometimes you would like to use two kicks in a rock. Then you wouldn't have full control over the macros because there'd be control in both kicks. You want to have control over the one kick. There's a way around that if you click on the kick inside. The simpler just the kick highlights hold command groups it up at an instrument rock and if you open it up you've now got your new macro controls here next to the kick. You're just going to right click map the macro one in the attack, right click the decay map the macro two, right click the sustain map the macro three, and right click the release and map the macro four. Just give these a color, let's go for that there. Now they've all got their own colors, so now we can control the shape of the sound using these macros here. Now we're going to take this instrument rock. We've got ten kicks, so we're going to copy it out. So we've now got ten instrument rocks in the rock. If you click on the instrument rock, hold down the option key on a mark, drag and throw, Drop it across. Same again, drag it across. So you're copying it out across every part up to ten. That's 8910. Now we look at the different kicks. At the first one, you come to the second one, then you just grab the sample and make sure you drop it inside the wave form. Now it loads up that different kick, but we still keep the settings, we still get the marked buttons, that saves us having to do it all again. Having to do it all again by grouping it and also avoiding the drum rack macro controls. For each kick, you just drop it on each one. Make sure you highlight the instrument rock first, but the kick on it, drop the kick inside it. Click on the next one, drop the kick inside it. The next one, the click inside it. Next one, just keep dropping the kicks in. You got a different kicks lined up in their own instrument, rocks. Let's just now get ten kicks. We can now go into drum rock, rename my kicks. That's our rock set up now with all the different kicks inside of it. When it comes to using the macro controls, you can just use each one on each individual rock. We're coming to kicks. Now this here, you can just move up and down to try out all the different kicks we've got. Change it to blocks, change it to gray, that's a kicks, that's a kick set up. Now you're going to do that for each individual element. You're going to go for the carts park and the special as well. We're just going to create our own rocks. Do exactly what I've just done there by mapping the controls and then copying it out, then dropping in the samples in each instrument rock. And now we've got all our own different kicks. And we're just going to do it for each of the different elements as well. We can do it in the base, the stabs, the synth as well. Do that folks. Take a bit of time. Just get to know understor the different settings. You can always map other parameters, if you have a mess around, you can map other parameters. But we can do that in a later lesson where we can just map more stuff that we think is needed for when it comes to writing rocks. But that's a basic mapping controls and a basic set up of your kicks. Okay folks, I'll see in the next one. 5. Instrument Racks/Mapping: In the previous video, we talked about organizing our drum rocks. Get the sounds in there, and start mapping them out. We've done all that, I'm assuming you've done that as well. Next we're going to move on to the instrument rocks and just getting them in our template along with the sounds. But first, just to keep things organized, we'll group up these sounds. We're going to group the kicks, the perk claps, Hearts of the Specials. We're going to group all them together. Just click on the kick hold in the shift key. Click on the Specials. Just hit command G. You're going to rename the group drums. We'll just close keep the base cells. These are all instruments here. We'll just group the three of them up. Same again. Click the stab, hold down the shift key, click in the loops, highlight them all. Command G or right click group. Then we'll rename instruments. Let's go through what we've got for the instrument side of things. We've got the base leads. In part, we're going to create three Midi trucks, one then just duplicate it out three times. First one we'll drop in the 16 base. We'll color purple. Then we're going to drop in the arnolog base. We'll drop in the sab as well. Just now. Got all our base sounds Same again. We'll give them a purple color. Keep, keep it all tidy. Then again, we're just going to highlight them all. Hold down the first one. Hold down the shift key, make sure they're all highlighted. Right click group tracks. We're just going to rename Base. We'll grab this one shots as well. We'll drop it into the group. Make sure it's inside the group outside it. We've now got all our base sounds. We come in each one because we've got presets. A lot of the are both mapped here, but it's just the same idea. They've got their controls already mapped. So we don't really have to worry about that for these two sounds, but for the likes of this one, we may want to. We are going to add their own process and stuff to it. We're going to add different effects and stuff and tools that we need later on down the line. So you want to do is click on it, if you right click and just select group groups that instrument rock as you can see here. And we're just going to rename it. This's the same idea as the mapping we've done in the drums. You can map certain parameters to the different macros. Let's just right click in the frequency map, the macro one. Let's get the envelope from one, map it to micro five for the attack decay macro six, sustain macro seven, then release macro eight. We've now got all these mapped to their own macro controls. You can give them a color, they're perfect. If you've got any instruments on their own, just like I said, you just hit B, G and group it, then you can map your own parameters from there. Usually I like to mark the filter frequency because it's always hard that you have for just making it brighter, duller, or when it comes to arranging purposes as well, it's always handy you have there. So that's instrument mapping. Easy enough, straightforward, Just like the drum mapping. So we've now got all four of our bass sounds inside the bass rock. So we'll just close it. I'd like to have my bass over here after the drums, just an OCD thing. And then if we open up the instruments and what we're going to do is we're going to right click and same again, We're going to put in three medyracks. Let's drag them over at the start of the group and just hit command D or right click duplicate. We get three medytcks. Same again, same idea. Come in the lead. Drop the lead down. Drop the Metro, lead down. Now drop the brave lead. Let's just now get three sounds that we like, the sound of it. And they're ready to start punching in notes or Jama in, in your push, whatever. You've got your Midi controller. So's the instruments. Let's close it. We'll have to keep it open. So we're going to add the pods in here as well. Let's give the leads a different color. Let's go for a brighter color for the leads than these two. And then we'll just right click here. Insert Midi Track. Same again, come on D. Or you can right click and duplicate. So we've now got three. We've got these pard sounds. Let's drop them in that one. Let's highlight three. Give them a different color of green. Let's go for that one. That's our pard sounds as well. So they're already, so we've got one here. It isn't mapped. Let's just throw on a legato. Let's work here. Look at the frequency, you can map them. So you just come on group it or your right click and hit group instrument rock. Let's right click and the frequency map the macro one, right click and frequent frequency two map the micro two else. We've got the shimmer, we've got the shimmer amount. Let's write click in the amount for the unison map, the macro three oscillator two. Let's map the semitones macro four. There you go. You just get controls there to play around with when it comes to writing music Here in that oscillator two transpose. But if you come into oscillator two, we've the volume. Let's automate the volume number five. So now we just little, there's little primers that we can play around with, just add interest when it comes to writing tracks at one. Let's give it a brighter, blue, perfect. So we've got other instruments. We've got all our bass, we've got our drum sounds next. What I'd like to add to each, each individual track is like the essential effects that I'd like to use when writing music. So it's going to be like your EQ, your delay, reverb, et cetera. So we're going to do that in the next tutorial. We're going to gather the essentials and I'll show you how to group them up. And just place them in each individual truck. Okay folks, I'll see in the next one. 6. Gathering Essentials: Welcome back folks. As a beginner, you want to get organized. You want to have your tools handy, ready for when you're writing your music, in case you need something. You need an EQ or you need some saturation. You want it there, ready for you on the track, so you don't have to jump, jump into the library and try and search for what you're needing. It just waste time. You can kind of lose that momentum if you're in the flow. So it's always good to have the rock handy on the track ready just to grab and straight away. So we're going to do that in this video. And if we just come into the kicks, we'll just start in here because the rock is pretty much going to cover every sound. We're going to have it there. We're going to have the essentials in the rock. And we're just going to copy the rock into here. And I'll show you how to save it in your own library so you can use it for future use, for future projects. So first thing you're going to grab is if you go to audio effects, we'll get an EQA. Drop it on, so we've got an EQA. Then we're going to get a saturator. I like an over drive. This is all about test. This is all about your own style, your own unique style, what you like to use in your trucks. These are three tools I always use in my trucks. I want them to be there ready for use when I'm writing my music. I've got the QA, the overdrive saturator. One final thing I'll always do after using over driver saturator. I like to EQ things out then I'll put some saturation on and then I'll have to Q again. We'll put an EQ again at the end. I just now four effects. Then from there I would maybe use like a reverb on some sounds. You won't use it in all the sounds, but the idea here is to get the rock filled with the sounds that you'll need. For example, you'll use reverb and claps or hearts, it's good to have it there. You might not have a kick, just be switched off, but it's in the rock ready for use. We'll get that. We'll also get a delay as well. Delay delay and drop it on. That's essential tools for me, just click on the EQ, open down the shift key, click on the delay. So they're all highlighted. Right click. And you want to group, what this does is it groups it into an audio effect rock. We're just going to rename my essentials. If we close everything down, we're just going to switch them all off. Keep the EQ on. That's always there. Always ready. What I might do is just map the frequency, right click. Map the macro one. And we'll just real cup for cutting out any frequencies we don't need The same with the high. We'll click on the number eight. You'll come up with the frequency. Right click map, the macro two, we'll just rename up. We'll color like a dark color up, we'll give a brighter color. Now you've got control over the sound with the macros. Keep that as it is. It's my essentials. Now we've got all these here, obviously they're ready to use. You can go ahead and map in the different parameters. Sometimes you might just like to do it manually for certain sounds because you might want to mess around with the filter. I like to keep that map so I can just play with that itself. But I might want to map the drive and the tone as well. Keep the dynamics and dry as it is. I can. I use them individually as well, especially the filter. Filter is good for messing around in shaping to try to use two separate macro controls and get a bit rigid. But just by doing this, you can get a really nice sound. Let's go to the drive, give it a orange color tone. Let's give it a reddish color. Switch it off again. Come in the saturator again. If we open, if you come in the rock and press this plus pattern, gives you more macros, more control. Just hit it a few times. So we've got plenty of micros to play with the map, the micro five, let's rename that. We don't get mixed up with the overdrive saturation, Let's give it a red color. Then the output, I'll map that as well. We'll rename it Output Click. It's saturate the rest of the clips. I like to use them manually as well. Just go through different. You could map that if you want, but I don't usually map it. It's more just the drive in the output. So you're giving it the saturation and you're leveling it up with the output. We'll switch that off. Eight, that's going to be for surgical. I would write Click and rename it Surgical Q. Let's for cutting out, just for sweeping through and finding any unwanted frequencies or doing a further cut off the vardied saturation et cetera. So I would leave out as it is reverb, I would map the decay time. Let's go to macro eight, map the dry, wet. Let's go to macro nine, maybe the size as well. For the rest I'd just like to mess around in tweak to taste when it comes to, when it comes to messing around doing like sound design stuff. Let's give them a color decay time, wet room size, Not be it for the reverb, switch it off. Then the delay. Same again the filter. I like to keep the filter so it's free to mess around with the different just like the overdrive. Keep the delay time as it is feedback. I would map the feedback to macro 11. Dry, wet the macro 12, rename that wet the delayed, keep the same. You could always ping pong on or off. Then you get a different times, sometimes I'll mess around with the. You can unlink it and you'll have different times. There's a lot of buttons in here. I think it's best to mess around the times, et cetera manual rather than having a macro control Is for me personally you might think otherwise. But the freeze is quite a cool function to use. Map that the macro 14 way freezes like interesting layers and recording audio. Let's give them a color feedback. We pink pong, let's go for a green there that's mapped out. That's the essential would do from here is you could save this in your library. If you just press this little save icon here and it comes up in your presets here, you've got your essential, just hit Enter, and that's it, saved in your library. Now what I would do is take it in to the production session. So you've got it there, throw it in. Then you could click new folder, type rocks, then right click again new folder and this time put audio effect racks. Just drop it in there. And now you know you've always got it there. It's always a mapped out ready for you to use in your next session or for your next project. That's a handy thing to do. Then from there you've got it on the kicks, I would just copy it. Then the option key, drop on the perk. Then we'll drop it on the cops, in the in the specials and come in the base again. Just drop it on each individual track. You have it folks, as essential rock made up. Then the next lesson I want to create another audio effect rock. But this time we're going to do different types of effects like phaser erosion. Just create more creative effects that are used more on different sounds. They're not necessarily used on all the sounds. For me personally, I like to use different effects for different sounds. We're going to create an audio rock and just map different parameters, make up different rocks just for giving off creative effects inside each element. We'll see in the next one, folks. 7. Building Audio FX Racks: This video we're going to take a look at just gathering some more audio effects, but this time more for creative use and that are used in separate different elements for separate tracks. The first thing we'll just take a look at is we go to the drums now, the kick, I think everything's pretty much there. For the kick. We're not going to worry about that. I don't want to overwhelm you too much. But different, different stuff, the percussion and these four here are going to have pretty much the same, similar creative effects on them. So we'll just build a rack for these four. Per the claps, the hearts and the specials. Now what I like to do, sometimes I'll use like grain delay on percussive sounds and also maybe some erosion. We've got the likes of overdrive and saturation here as well. But I also like to use overdrive after grain delay alongside grain delay as well. Because you can shape shape the filter of the delay. I'll just quickly show you how to go about that first. But I think what we'll do is we'll get a vibe going, we'll get a kick, we'll get some percussion so you can hear the effect switch off. Let's go in the perk. We've got in the perk go just a little basic pattern. Now if we come into the percussion and first thing we're going to grab is we get audio effects, we get a grain delay. Drop it on, and we're going to hit come on e, open up a macro. What I'd like to do here is I'll map the dry wet. Map the dry wet tomoicroep, the feedback toboicro two. And we'll map the pitch demicro three. Let's also get the frequency as well and we'll map that tomicro four. We've got these four essentials. Let's rename Per, let's rename drum effects. Let's also map the time, the beat delay. Then we'll get an overdrive. Drop it on. Let's map the drive as well as six and the tone seven. I just now just got a basic little can delay over drive effect. One more thing I would maybe use is the erosion. Let's get the erosion on. Drop it on after the overdrive we're going now, let's keep it around. Let's map the frequency. Let's open up the controls again. Press a plus pattern that gives us more macro controls. Now if we map the frequency to eight, the amount to nine, and if we map the different modes, you get the amount. Let's also get the width in there as well. Macro 11 that's has got our controls, our effects mapped. We'll just quickly come in to park list, make a less busier sound. Cool. So this is a handy little tool to have for creating interest, interest in. Sounds. Delays in the parks throw different sounds further, throw effects of. That's the drum effects. What I would do then is if we would just drop it on each different sound, unless this may as well. Just for fun, we'll just throw it out to see how I would use it in different sounds. For example, it's going to collapse grain. The layoff, it's good to the hearts, just zook a really nice layer just using that the drum effects on the hearts. Then look at the specials. Let's go through and switch all the drum effects off, just so you can hear the difference. If you hit the key button up here, key in any button on your keyboard, I have to use the zero just to turn things on. And off come the hearts click on it, the claps click on it, the per click on it get in the kicks and just turn the key off it without the effects. Let's with the effects, as you can tell, you can just create some interest. Just adds a bit of interest for when it comes to writing, writing your music. And you've got the effects here. You've got the effects to add that bit of interest. You don't have to go searching for it and start mapping certain things out. What you'll find is over time that you'll come to make your own effects, You'll just build these up as well, let's just give them all a color. Then I will just hit the save button again. Effects come into the production sessions. The rocks, drop it in, the audio effect, rocks, and now you've got your effects there all ready for you. When it comes to writing the tracks. That was the drums. Let's go to the base now. The base, again, don't use much for the base. I like to use mid base layers, et cetera, and stuff. I think for the base I would add same again. I would have the delay for like a mid based layer just to bounce to the base. Then I would have a bit of overdrive. I would have the utility at the end for base. Just group it up. Command G, the macro, same again. I will just map the drive in, the tone and the feedback. The dry, wet ping pong as well. Do something with that. Have the filter away up here for the base. We'll just leave it sitting up there. You might tweak it to taste. It's up to you. Give them a color base. Let's turn it down, so that's what we have for the bass. I'd like to delay how you add just adds about a bounce to the sound. Again, just utility and then you just switch them off because it might not necessarily use them. We've got some delay in this rocky, but they're ready for you just in case it isn't marked in any other sounds that you have. For example, the sub, you wouldn't have a delay, you rarely have a delay in a sub or some over drive. It's quite clean. I usually keep that quite clean, but we have the utility just in case as well in, in the rock base Fx. One more thing we'll add to that would be if we go reverb, it's always good to have a slight reverb on it as well at the start. Then I would take a decay right down that could get tweaked. We had just map it to mark six. The dry we mark seven. I would just pull the filters in. Again, that can be tweaked the test, but it's just a starting point for you. You habits, base effects. Then save it, throw it in our production library. Rocks, drop it in, look at the base effects on the audio rocks. And then I would just drop it in each individual base, turn the reverb off on the sub, keep the utility on base effects. There you have it folks. That's audio effect rocks. Now, for the instruments, I wouldn't do too much creatively here with different effects because a lot of the effects and stuff on the rocks, I mean, you've got your reverb and delay here if you need to use it. I wouldn't really add anything more to that, to be honest. Final thing I think I would add that it would be to the base on the instrument groups itself. I would put a compressor, dynamics a compressor, drop it on. And I would open it up and create a side chain. We could just take it from the kick, we could just copy it across the instruments. Now you've got a side chain. Side chain effect for if you want to Side chain any sounds. I mean, the instruments. Okay, it's on there. Could switch it off if you want to use it in different sounds. Depends, you might want to use it on a lead Sound or a pod Sound. Say you just grab it, hold down the option key and drop it on your part and then you've got your side chain sitting there in the rock. In fact, let's put it in all the pads it's always had that you have. The next one, let's creating audio effects, rocks, just for your own creative use. Experiment with the different effects. You've got phasers, flangers, and stuff like that. They're always good in hearts. I don't really use them a lot, but it's worth experimenting with. If they can get some nice evolving heart layers, you can just get interested in different results using the different effects. Just have a rocket, have fun with it. And then just map them out like a demonstrated your library so you've got them for future projects. Okay folks, I'll see the next one. 8. Building MIDI FX Racks: Folks on this one, we're going to create a Midi effect rock. Now this is more for generating ideas. We're going to create a separate mid truck, and we're going to create the Midi effects inside it. And we're going to have it just stored there in our project. Just when it comes to the idea generation phase, when you're coming to writing your trucks, I'll show you how to set it up. We're just going to Wick Insidruck. We're going to rename it A Effects. If you go over here on the left hand side, you find media effects. Just click on it. Now you've got a number of different words. What I'd like to use is I like to use bounty notes. You've got expression control. A lot of these are quite advanced media effects. I want to keep it simple, especially for the beginner type of students who are in here. We're going to grab the, we're going to get a cord. We're going to get the scale, but we'll get the phrygian, we'll go for the minor pentatonic, it get the velocity as well. I want to pick the some random preset. Now the first thing you're going to do at the random is, is pull it down around 20. I find it works well around the 20 mark. Going to leave that there. You're just going to click on the first one. Hold down the shift key. Click on the last one, right click and group. Then we're going to open up the micro controls. We're going to just different parameters that we can use for when it comes to generating ideas. If you just right click on the style map, the macro one, right click on the gate, micro two, right macro three. Also the steps four and the distance macro five. Then from the D, if you want to add cord, you can just put in different nodes. We'll do something like 35 and say seven. But what we're going to do is we're going to switch the cord off, but we'll right click map the macro six, that's just for R. Then different chords, you can come up with different patterns. If you want to make a D pattern you can just switch it on. Of course you can tweak these to test, but I'd like to have it like that. Just set the device on off minor pentatonic scale. The right click on the key map, the macro seven. We've now got control over the key of the truck, the key of the sounds, finally. And we'll just leave that as it is. We'll just close them up. Close up the core. We'll keep the Rp open and I'll just give you a quick demonstration of how I use it. We'll just give these a co, then just click and we'll just call it Idea. This is a basic set up of the media effect rocks over time, in time. It's always worth experimenting, all the different media effects you get. Then you can actually add these to your rock where you can create your own other custom rocks using the different media effects. But this is just give you an idea on how to set it up and how I like to use them when it comes to writing trucks. Now that's in our template, we're ready to generate ideas, or how would you go about generating ideas For the media effects, I would write, click Insert a Di Truck and also Insert Audio truck. Let's keep them about the red color. In the first run, we'll rename Midi Record Audio. Rename resampled audio just for the audio that's getting recorded from the media effects. Then if you click on the media effects, click on the resampled audio. Hold down the shift key. Same again, as always, just group the tracks and we'll just rename it in your media effects you would just. Let's go to our own, since we've picked them very way, let's go to our own. Let's go to her own instruments. We'll grab, say, the analogue base, drop it on the media effects. So now we've got just double click in the box that creates a clip. Or you can write click, Insert, Midi clip, or just double click. Then let's just put it in a Basic. Let's put a C minor Rd. So now we've got this media effects here, now we've got the different things set up. So let's go quickly go through them. There are different styles or different directions of art. You can change the speed, the gate is like a decay, Tightens up the sound steps and then you've got your card, change a key. They're all easy to mess around with. Now when it comes to recording ideas, you get random. And once random other, all you do now is you just set up the records set the mid, mid effects. Now we're getting Midi information from the media effects that's coming in here. The armed by clicking this button down the bottom, if you just hit Record and it just records a media out. And of course you could create, you could mess around with the different effects by using the macros here just to create variations of the sound. And then go in and pick out the best parts of the mid. But I'm going to show you that in a later video we'll go into more detail about starting an idea and how to save media information, et cetera, in your library, so it's there for future use. What's media effects rock easy to follow. The same idea for mapping, It's always the same. You just write clicking a parameter and map the ones you want to map the macro just to give you more control for when it comes to generating ideas. I hope that makes sense folks, and I'll see in the next one. 9. Building ExperiMENTAL Racks: Folks of this one's all about creating experimental rucks. It's just another one for the idea generation part of your writing session. It's just another hard truck to have in there, especially in your project template where you want to generate ideas. You've got something there that's going to spark Spark some inspiration in your workflow. Set it up on a dirk on the audio truck, but we'll set it up the Midi truck first. If you write quick insert Med truck and we're just going to rename Synapamp't Audio Truck. Rename Audio Samp. We'll give them a color greens. What we're going to do here is in the Syn three sample, we'll just grab operator say instruments. Let's got operator on. Drop it on. Now we type in device randomizer. Device random, go to all results and you pick up the device randomizer. If you haven't got this, you can get it onmarkflive.com Just jump over there, you'll find it on there's a hard the tool. We'll just show you what it is. Now for the device randomizer, we're going to group up all the effects, but we're going to duplicate it out. Let's just do it three times, or sorry, twice. And then we've got three device randomizer. If we get some effects delay. Let's go to echo. Drop an echo on. Let's get the spectral resonator just for the crack. I'll drop it on there. You're going to click, hold down the one device, Hold down the shift key. And then click on the device thermizer. And group them up. So we've now got an all the effect rack the device them for this one, this is for the synth. If you hit the Map button, then click on the synth and just look at all the buttons, Everything just gets chaotic. Same with this one. Map to the echo, the feedback around 74. You can tweak the feedback to taste. We can actually map to marker one, map the dry wet to mark two, the ping pong charne mode to number three for the last one. Same again, if we drop into the rock, it's out the rock for some reason just click and dripping grains. Mark was marked as well. Same again. Let's don't need to map that, we'll just keep that marked as it is. Let's just rename it Random Effects. So we've got all these effects. If we come into the synth, let's just if you put a sustained note, you'll probably hear it better. Just hear the crazy effects that it gives off. So I've just done that. The operator, it doesn't have to be operator, I mean you can get a different instrument, grab analogue, drop it in. You can hear all that crazy sounds that gives off. That gets my inspiration going. That's just a basic starting point just for getting something experimental in there and just getting some interesting different sounds that you can re, record to audio and further manipulate. You could actually, if we group the analog hold it, hit command G. What we'll do is we'll map the macro one, the frequency, the resonant. Mark the micro two, the octave. Let's mark the macro three, then the semitones. Let's mark the macro four and also the shape. Let's mark the macro five. Let's rename it Random Analog. Now if we hit play, then you've got this random button here giving off some pretty crazy sounds. I think one last thing you might do, the end of it, I think your best is to get a limiter on there just to protect the ears in case it gets out of hand. And we drop it after the device randomizer and it's sitting there. That's the random effect set up because we've got this set here, you could always map this device randomizer to the nologu here round sounds Pretty cool. So there you go. So then what we do there is insert audio, and we'll rename it Cord. And you take the audio synth sample arm. And then you record the audio from the synth. Then you would duplicate that one out, renamed audio, sorry. This one will make record synth. So we want to record your sounds and this one here, the second one record audio. We'll take that from the audio resp one. So that's set up as well and I'll just quickly show you what I would do with that if that's record, let's set record here, cool. As you can see, it just records out the sounds. And remember in here, you could be jamming in notes. It's not necessarily a sustained note you're playing with. You could be playing different notes, just randomly, playing in your media keyboard. And come up with interesting rhyths and rhythms just by doing that. So let's you record, let's highlight both of them. Give them a color rot eclipse. Let's delete that for the audio one, if you go to the synth, let's save this first random effects. If we come into our sessions, come into the library, drop it into your racks. Audio effect racks. We now get random effects sitting in there. Let's just copy it. Drop it in the audio resample. Same idea for the audio resample, except this time you would use loops. Let's grab a loop from here. Let's just drop it in. So it out effects. The effects are the push, you get different loops in a. You get the idea that you record audio as well. Into this part here which is rooted to this one that's part set up that's pretty much experimental effects, doesn't have to be echo or resonator. You could take the device randomizers and just get like a phaser or a flanger or chorus. You get reverb, you get the hybrid reverb. You've got resonators, you've got lots of different things you could put in there. And also remember your third party plug ins. You could use your third party plug ins as well and just map the device randomizer to the third party plug in. Again, that would spit out some pretty interesting results. Last thing we'll do, just to tidy it up, is we'll just grab all these all for them, highlight them all. Click the first one, hold on the shift, and then just drop it in to the idea generation part. This is Ascot full group, ready just for generating ideas on top of the drums, et cetera, that we've got here. Hope that makes sense folks. Experiment with a different sound, different effects and I will see you in the next one, Che. 10. Saving Default Tracks: Folks, this is just a quick one. This is all about saving default trucks. We have all our sounds, et cetera, saved. Then sometimes when you're going through the process, you might want to add a new Midi truck or you might want to add like a new audio truck. I just want to show you how to save your preset, your default mid trucks and audio truck. So you've got your rocks and stuff just sitting there ready to go and you don't have to go hunting for it in your library. Just right click. Insert mid truck. If we come there one of these, we'll just grab our preset, our Yasentrals Rock. We'll copy it, drop it on the mid truck before saving it. Just to show you what happens when you right click and insert trucks in a truck. Then here if you click on the truck, you can see there's nothing on the rock itself, just a blank mid truck. If we commit mid truck where we've dropped a rock, if you right click, save this default mid truck. Yes. So now insert a mid track, this time that automatically loads up the rock as well. So we've got it there ready just to crack on that we're planning to doing our truck that's a midi track. It's just the exact same for the audio insert audio track. I'll delete that. Eq eight comes up automatically, and there it in the mid trucks. The audio track we write quick saves, default audio insert. An audio track automatically loads up all the rocks that we have saved. Just a handy little tip. Just be organized and speeding up your workflow. 11. Saving Various Templates: Folks. And this one is all about saving various templates. By that I mean we'll get to the point where you want to work on specific things. When it comes to production, you want to work on, say, bass lines, for example. You might want to work in drums, build grooves. You might want to work in melodies. Or you might want to work in sound design and doing different ideas and stuff. I'll just show you how to go about it. But first of all, we're going to save our full template. This one here, we've got everything we're needed, ready to start making music. So we'll just come up the top, Go to file, you want to save live set as template. What happens is it comes into your template section in the user library. Just come into templates. Then we've got a tier untitled. For me, it's going to be GPP productions. I'll put, sweet, that's all ready to go. Then let's say for example, you want to work on grooves, just delete the base. Delete the instruments. Delete the idea Gen, you're just left with the drums the same again. Go to File, Save Life set at template. We're going to rename it, we'll rename it Groove En. If you hit command Z again, I'll take everything back up. Now you may want to work on, let's say, instruments on melodies. Again, just delete the base. Delete drums, Delete the ideagen. Now you've got all your instruments in here and you can start Px and writing melodies. Again, go to a PR file, Save what you've set as template. I'm just going to put GPP Melody Sessions and command Z. Again, undo the delete. The only. This time I want to create like a sound design, a sound design templates. So we'll get rid of the instruments, we'll keep that idea generation. And we've got all the synth re, sampling stuffs in here, the media effects di record. What I might do here is insert Mi truck and put it to the start. I'll just grab operator, drop operator on. That's now got a synthet I like enjoy using. I'm ready to start doing like sound design stuff, resampling stuff, and recording audio. We'll keep that there and then I'll just close it. We'll keep the drums because it's good to have drums handy for getting a beat going if you're doing sound design stuff. When it comes to combining stuff with drums, same again. File, save love sets template. Just rename it GPP Sound Design. That's pretty much it. That's how it would save templates. Now of course the ones we've saved here, let's quote the groove. To open it up you would just double click, don't save, it just opens up your drums. Then you can just open it up and way you go start building grooves, saving different clips, different partns, et cetera. That's how you save templates. Think about in terms of what you like to work on. You might want to get to know certain effects you could build a template for, let's say reverb. You want to get to know reverb, You could just drop in third party reverbs and just play between each reverb, different reverbs. Try and get the feel for what they do to Sound, learn more about it. There's plenty of stuff online about reverbs, et cetera, but you can just make templates for each individual thing that you're wanting to work on. And then, of course, have your main production template ready to go for writing music, which should be a daily practice in my opinion as templates, folks, and I'll see in the next one. 12. Generating Ideas: Folks, this one's all at, we're just going to generate ideas. I just want to show you what we do to generate ideas because the following set of videos is all going to be about saving ideas that we get, how to put the sounds into our library, et cetera, different things like that. So we'll just generate some ideas. We'll spend 5 minutes just messing around, covering up with different ideas. And we'll just take it from there on to the next videos. So we've got our kick percussion, let's put the effects in the percussion. Okay, so what I might do here is I might write quick insert audio thro. I might rename it per sample. Let's give it a color. The audio from Perk. Yeah, then arm the thro. We're just going to hit record. Yeah, I like that. The second part, cool. Well, I had to mute that for now. Let's put the claps at the hearts that might come into the re sample here. Now we recorded sample loop. If I drag this down, we're just going to loop, say this part here, command L. Then we're going to right click on the clip and we're going to crop it. So this one, we've now got a little groove there, A percussive groove. Let's write quick in the percussive groove, let's extract the groove. And look at the perk that comes up over here. Per sample, let's drag it into the base. Let's open up the slightly, let's sow it with the percussion. Let's put it up. Cool Sounds Okay, let's try it in a different Sound. Sounds Okay, let's try in the sub. I like it in the sub. Let's keep it in the sub. Let's right click. Let's give it the same color sign. Throw a color, let's throw it in the base shot as well. Let's throw it across on the base one shot. Now we've got all these sounds here. Now if we sew this with the base, let's hold on the command key, play. Now we've got all these hits, the velocities up. I'm going to put them right up. So what I might do now is I might just shift them into different hits. Let's delete that second part, and let's highlight all these and duplicate it out across the 2 bars. Now we highlight the mall and hit, come on, I'll walk it into the 16th notes. Same with the base. Let's hit, come on one, let's clip across again. I quite like how it sounds in there. Let's assign thru colors to clips. If we rags. Let's just rename it. Rename it sub sub. Perfectly samples. Keep it there. Let's do one more thing with the ghost lead. Now let's take the sound, let's go to the scale. Let's go to hit the scale. All these sounds, let's put up the, let's try that. Start taking this down. Striking this sound. Y, it sounds okay. That sound. You can go ahead and further, like tweak it. Melody. Just coming up with quick ideas because I want to show you how to save. We're not here to change the world, we're just here to get some sounds together. So that will click on the part. Let's get a minor here, it's Duplicate it out, so you go. We've got some ideas going straight away. Just get some quick ideas. One more thing I think we'll do so we can do a bit of saving in the next video is we're going to re sample. We're going to resample some sounds, so let's get one of these loops. Let's take that sound drop on the audio resp one up here. Let's switch it on. We're going to switch the instruments off. Close it. The sound of, so now let's arm, now that we've armed the record. Audio, we're going to record some audio on here. Let's run the boy the side. So now we've got some audio in here that we've recorded in and a mess around with it and play with it and then save it. One final thing I think we'll do in fact. We'll record some Midi. We'll record some median. And I'll show you how to save some media as well. Play. Let's arm it, I'll record it. And I'scord the audiocord. The audio also from the media effects. So let's hold down the two of these. So we're recording both at the same time. She's recording the audio, recording the media, barking the media effects at random. So we've now recorded some, we've got plenty of de in here. We've got some sample sounds as well. So we're going to dive in and we're going to cut, pick out bits, and we're going to show you how to save it in your library. So you go, folks, it's just a quick idea generation. So we're prepped to go onto the next video. 13. Saving Ideas: Back folks. In the last video, we generated some ideas. And in this video I want to show you, let's just say you've created an idea. You've picked the idea to take forward arrangement, but you've got all these sounds sitting there that you might not want to use, you're not going to use going forward. You might want to save these sounds because they might fit into another track. So we've got our library set up our production sessions, we've got our drums instrument, Loic and Racks. So what I want to show you here is if you write, click in certain folder and we're just going to put resampled audio and then in the resampled audio you're just going to come into the different sounds. So if we coming into this one, for example it's solo whip, let's just say for example, you want to save that first 4 bars, you can just duplicate it down coming into the Sound the second one. Let's loop that first 4 bars. Let's crop it. You've got this P audio file just ready to use. You commit this part on the left hand side here, just above the follow auction play bat. And you'll see this resample the. You click on that and it highlights in your library. And all you do is rename then if you drag and drop it in your production sessions, resampled audio, you've got that ready to use. So now we just keep going through the sound until we find parts that you want to keep. For example, I like this part here three quick, like that two bar pattern loop. Duplicate it down, come inside, crop it three, and then same again. Come in here. And P 2 bars, I mean, you could rename them, you could get like a key, figure out the key, the actual sound, Rename it to G minor. We can pitch it down and then crop it and consolidated and rename it to a different pitch. You can actually start, It's almost like you're building your own sample library again. Come through the sounds. Let's go this one. Cool. I like that one, so let's just drop that one. Let's go inside the clip name, key change and drag it. Drop it in to your production session. We sampled audio, So what's up when done? What else we got here? We've recorded this part of audio here, sometimes I like to if we saw one let's weird sound So same again, coming the clip. Let's rename it. We resampled, get in your production sessions in resampled audio. What else we got here? I think we're recording some percussion as well that we're going to drums. Look at this percussion groove here, click on it, rename per Effects and drop it in. And of course the the recorded drug in the Ron bit production sessions Resort Audio. In your resort audio, you could put a new folder and we'll just put drums per. We could also get another folder. Just type in melodic. Just keeps it tidy, pick all these, drop them in the melodic and that you get your sounds in your own library, your own sounds that you like. Ready to take another track. Which will show you another video, how to start new trucks and taking in these sounds and just changing them some more to start another track. In the drums you can actually write another folder. We could put in loops, write click again new folder. We put one shots because over time you'll save drum sounds, you might re sample kicks from a synther. Might find other kicks that you've processed and you want to keep them. You can keep loops on. You can keep one shots perk groove into the loops. Inside the loops new folder, let's put perk loops, drop it in, there you go. And then you just build in your library that way. For example, for loops you can have kick loops, clap loops, heart loops. You might want to record this hearts here to audio. Then just save that audio file and drop it in your library. That's how you save sounds. Folks go through the sounds that you've recorded. If you've got any projects with sounds in it, it's always working through spending a good 20, 30 minutes, go through the sounds that you've recorded, things that you've saved, any processing that you've done. And you can save it and just drop it in your library. Okay folks. I'll see in the next one. 14. Saving MIDI: Back folks. So this one's all about saving medi, I'll just show you how you can save median in your own library. So you can quickly grab the media information. For example, for hearts, for kicks, for anything, anything you've set up, just ready for use straightaway. Just to speed up your workflow once again. Because at the end of the day, that's what it's all about, just speeding things up just to keep up creativity going and keep it running over. I'll just quickly show you how to do that. If we come in, let's go to the base. Let's take the sub, it's got all the velocity settings and it's got all the note placement settings, et cetera. All you do is you write click Export Midi clip. Now you want to save it. In your production sessions folder, we've got Ms instruments for actually sample audio. I'm going to add the new folder. I'm just going to write Mid Create. We're just going to rename it G Minor Saw. If we open up our production sessions, we've now got the Midi here. And it's to save the mid, the left side, just drag it on wherever you're going. That set up in the mid information is they're all set up again in the mid, you can write folder, let's write bass, and just drag it in at the mid of once again. You can have a new folder, you can have melody, you could have drums inside the drums, you could have a heart pattern or a shaker pattern. If you write click in the hearts, it's going to be the heartbeat. Let's go us. Save it in there. Save. Now if you click out your folder and go back in, Should be there. Drums offbeat. Drag it on. There you go. That's how you export me folks award that you have. You might have a nice melody parton for example, or like core progressions and stuff and you can just export med clip. And remember just to save it in your library. Okay folks. I'll see in the next one. 15. Saving Grooves: Another quick one for you folks. This one's about saving grooves, just saving your own grooves. For example, we extracted the groove from this one here to create our baseline. And it came up over here, percre sample. What you want to do is if you right click new folder really in grooves. If you drag it and then just drop it in to the groove file. If we rename it Percussion, just drag, You can put it anywhere you like. Let's put it on the cops, it comes up. The groove information here, drop in the hearts. That's all you do for saving grooves. Sometimes you'll maybe find like a pro truck like the groove of you can extract the groove from the prot, it comes in here. The same again, all you do is you've got your own grooves here and your own production library and you just drag and drop it in your Go file. You can build like different grooves for different types of elements, et cetera. That was just a quick one. Really easy to set up. Really easy to do it quick, just extract groove and then you've got a pile of grooves sitting here. Just drag them and drop them in the grooves. It just saves you can through the groove library and try to find all these different ones you've got there for example. I'd like to use this one here as well. So I would just drop it in and it's there ready for me to use just to save me hunting through the library. Okay, folks. I'll see in the next one. 16. Saving Default Units: Folks, just another quick one. This is for saving default presets on units like your audio units and audio effects like your Q compressors, et cetera. I'll just give you a quick example using the QA. Drop it on here. Just drop it on any truck. Now this is the default set up and it opens up. Now for me personally, I like to use a lot of these bells for creating, to use for surgical EQ, for taking out different frequencies, et cetera. Sometimes you'll get an EQ open up, for example, this one might be on a hard curve or it might be on one of these settings. And it opens up like this. You get into the setting you want and you can save it as a preset. So I always have number eight set the high cut, right click. If you click over sample, you can see it's got a longer curve. If you click click that just to give a sharper cut, then that takes out all the higher frequencies that aren't needed automatically. And saves you doing it when you open up the EQ eight, also keeping the low cutting. And then I've got these bells to mess around to sweep through, sounds, et cetera. That's how I like to have my Q Again, it saves time when you load that up. You don't have to do all these little stupid things just to get to the point of where you want it. It's there, it's ready to use. If you right click Save as default preset, say yes now every time you load the EQ, it comes up the default settings. Let's say for example, saturation. You've got a saturator, you always like to push the drive maybe around say seven DB and you get the output, you've got to march it up, put minus seven in the output. Let's just say you like the sin fold drive 100% That's the settings you like the automatic settings. Same again, just save as default preset. If you delete next time we low that up, it's going to automatically be set at that settings with the way format you like. It was just a quick, quick one, like I said, easy to do as you build your library, as you get producing, you'll find that you like particular settings on certain, all the effects. Just do that. Save them, right click, Save as default, presetting. It'll save you a lot of time in the long run when it comes to writing your 17. Saving Instruments & Processing: Folks are just another quick on E. So this one's all about saving instruments. Like you've added processing that you may have added to the sounds. Because if you remember, we gathered our instruments here, then we've got our essentials rocks, but then sometimes you'll make tweaks to the sound here, added over drive, then a couple of Q bits and pieces rolled off of those. And I've got a delay on there. I like the sound of it. What did you do then? How did you save the preset? Well, you would just drag the rock into the synth, then you've got the whole rock there with the processing on. And then we'll just rename it My Ghost Lead. Let's make it 001. So you might use it again and do different tweaks and do different variations. For example, you could do this part here where you open up, you get macro variations, cool. Then you just hit New and then you just save different variations. You just say variations. Then you might have like three or four different variations that you really like so that you would then save that rock as it is with the processing, with the different variations on it. You just hit this button here, my ghost Lead 001. And it's automatically saved inside of your leads, your production session sessions rather than the user library. It's automatically saved in your instrument library. So easy enough to do. It's always worth doing this, it's always worth just saving any sound that you like. Just once again just move forward with your next productions and using the sounds that already help spark that creativity. 18. Workflow For Finished Tracks: Folks, let's say you've finished a full truck, you've got all these sounds here, You've got them all. But I'd like to do is get most of my sounds into stems, into audio stems. Have some middy here, but most of them are all in audio, you think right now. Okay, What can I do with these sounds? You could save the full stems. There's no harm in that. They can just drop them straight into another truck to start building a drum, grieving a truck. Or you can save one shots. You can also saves the truck like a two bar loop or a four bar loop, et cetera. I'll just show you how to go about doing that. Remember that these sounds have had, they've got saturation on them. They have been processed. I don't want to be processing them again with more saturation, more Q. You're just going to lose the full clarity of the sound. What we do then is right click, insert a new folder and just type in processed sounds in the folder. Again, we just other folder, let's just say base base, then right click in the base new folder. One shots, let's say new folder loops. So the sounds well, as you can see here, I've got more effects on this one. Let's right click on the base, and then you freeze truck. Then you right click again and you flatten the truck. What this does is it flattens all the processing to the audio, so you don't need to process it again. Then I'm just going to, let's say, let's go for 8 bars loop 8 bars. Hit command J and then you come inside the clip, Click on here, let's rename it Base. This truck was called Nature's Over. And then get into production sessions in your bass loops. You've now got the bass sounds there. And then one more thing, I'll show you how to do the one shots. A good way to do that is if you come in each sound, they're all pretty much the same sounds but would get one. Just take that one there. Highlighted it, command J. To consolidate it, let's pull the start marker in to the transient. And then again hit command J. Not just locks up base in find a bit is if you have it on like a certain part of the grid and when you come in the loop, if you scroll in there at the start marker comes to the point in the grid. But if you drag it to the start, 33 at the start of a bar, hit command J, try to scroll in and out. It doesn't scroll bark and you get it starting at the 0.1. Just keeps it tidy. It keeps it OCD friendly. Then you would say again, come in, rename base one shot nature. And over there you go. Now we can use them. Again, coming into effect. We've got stuff here like effects, effects like I like the space effects. Now you could use them again inside. We hit command. Let's save this one as well. Why not? I'll get across on the 33 at the start of the bar we just hit come on J, consolidate it. Think I'll put that under melodic. Coming to Process. Sounds new folder. Melodic New folder Again, let's put one shots. Just what's the clicking here? Rename Bell, Synth nature Over the Rog it in your sessions so you get the idea folks. The end of every track that you do, sounds that you like, sounds that you want to keep, Heart loops, Clark loops, base loops. Just anything you can think could be re, used in another truck to keep your sound, to keep your own signature sound. Just by doing this can not only speed up your workflow, but what you'll find is over time you'll be other more sounds and it'll becoming more like your own unique sound. I'll see in the next one, folks. 19. Starting New Ideas: Finished a truck. You've opened up your project. It's now time to start another truck. And you've got all these sounds that were gathered in the previous videos. In the previous sessions, you started gathering sounds. You're thinking, right, okay, How can I re use these sounds? What can we do with these now To carry things forward to start new trucks. For me I would just get a kick going. If we come in to the base, let's right click are an audio truck. We've got this base loop here. We say from the last video, let's drop it in, let's change it to complex mode. You would just start messing around with it doing different things. Let's pitch it down a couple of semitones. Let's loop it over 5 bars. Let's, let's duplicate it out. Pitch it up to 12, 70 tones. Let's open another audio track. Throw it in there. Let's see what we can do with it. Now let's stretch it. Let's command the L loop, that first part. Let's go to complex Pro. Let's go to the drum, let's go to the hearts, let's get over Drive. It's got a reverb. Now let's come into the production sessions again, you get the idea, you're just grabbing your sounds that you've got and just trying to come up with new ideas. We've got this melodic sound, Lets come in here, let's right click other audio track of the instruments. Get the bell synth, drop it in. Now we pitched it down two semitones. Let's go complex. Let's see how that sounds of the truck help with a turned on the instruments. Now we're looped over at an odd amount of bars, so let's go to loop. Let's loop over 8 bars. Let's, could you almost like an impact hit? Let's turn a volume down. Let's put a send return on it. An instrument, let's come down two semitones to a sharp. Let's change a scale to a sharp. I'm going to go to Fran. I like Fg. Let's go to the scale. Change it over here. Do you get the idea? You just start messing around with the sounds. Drop them in. Just doing different variations over them. Pick them up, pitch them down, Just do whatever comes to your mind creatively. And you would just repeat the whole process over again. Once you get to the end of the track, you're saving the sounds. The new sounds, the new version of that sounds and dropping them in your library. So that's the last lesson in getting your art together and Ableton Live. I really hope you've enjoyed the series. If any comments, any questions, please please let me know. I'm always here to answer your questions and just to help out help you out in any way. So don't hesitate to give us a shout. Okay, folks, take care and I'll speak soon.