Learn To Dj In Ableton Live - Dj Mixtape & Radio Show in Ableton Tutorial

1. Introduction: Hey, guys, welcome to this course. In this course, I'm going to show you how to create deejay mixtapes and radio shows with ableto live. This is perfect for you who want to create DJ mixtapes or ah, podcast with easy mixtape. And this is also great for you who want to create a pre made d A set within able tone. So first we're gonna cover how able to on life works. I'm going to give you a brief overview off the Able tone lives interface. I'm also going to show you how to find good quality MP three files and then we're going to cover different warping modes. We're going to cover clip envelopes, enable tone e que and filtering. We're also going to take a look at the different dynamic and re verbs plug ins as well to create very nice and precise transitions from one song to another song. You will have all of these songs perfectly beat, matched, and you can do that by just some clicks. Enable town. It's a very, very easy and nice way to create a beat match between two different songs. In this course, I'm going to show you how to create a full digit mixtape, which is in the electronic dance music, Johner. But you can use all of different kinds off music with the same concept. So if you creating a hip hop mixtape, let's say, or if you create electronic dance music or some other kind off loop based music that has one beat or different beats in it, this is a perfect way to create a DJ mix tape as well. We're also going to cover how to choose. Different MP three files were to get different voiceovers from. So let's say that you have a microphone and you want to speak with your audience. I will show you how you do that. You can also outsource different voiceovers. So if you want to have some kind of voice that is talking instead of you talking, or if you want some voiceover that is backing you up with different sound effects or presenting your deejay name, for instance, I will show you where you can get people that actually works with voiceover that will create that kind of effects for you for very a little money. After that, we're going to create a full mix tape So I'm going to take you through the process from choosing MP three files to laying them out in Mableton. Warping them up, choosing different BPM tempos. We're going to slow down a temple with the within the mixtape. We're also going to speed it up as well. And then we're going to export the whole mixtape to one audio file and re going Teoh uploaded as well, really hope to see you in the course. 2. How to Get Ableton Live For Free: Okay, so in this section, I'm going to show you where to get ableto alive. And a Milton has a free trial version that you can download and use for this course before you actually buy ableto life. And that is really nice, because it you can use the same thing as in the full version. But it is a time limited version, and you can't save your your projects or your life sets, as I called enable tone so you can download ableto ableto on that com. As you see here is their website. Unless I told before, try life free. Here is where you can get the live 10 suit free for 30 days so you can just choose if you have Mac OS or Windows, since it works on both platforms and then just said download, and that will actually take you to the download side off ableto so you can use able tone for free with this course without purchasing anti software or anything like that. And we also going to use Onley ableto on stock plug ins as well. So you don't need to worry about different third party plug ins or third party applications so other stuff like that. And Abel Tone, I think, has the best suits when it comes to built in plug ins and built in effects, it's very, very good. Um, they have the best plug ins, I think best quality sounding as well. And you have a lot of different creative elements enables alive. And I'm going to show the difference between the different live versions. So live comes in different versions so we can compare the additions. Here you can see so life and comes in three editions, intro standard and suits. They share common futures, but standard ensued. Have additional features in instruments, effects impacts. You have the intra one here standard and suits. So here you can see the differences between all of those three. So a big difference here is the sounds. For instance, you have only five gigabytes off sounds that comes with intro and with a suit. You have a lot more. All the effects as well media effects And this is I think the the introversion is pretty good. It works, but if you're going to create a lot of big productions and you're only going to work with a Beltone, I think that the suit is the way to go here and you can see her. You can do almost all of the things with all of the versions. As of here on the inputs, this is a big difference here from 4 to 256. So if you're doing your mix towns, for instance, this is from morning only. But still, if you doing big mixed house and you want to be serious about able Tom, I think at least you should get the standard Russian. Same thing goes here. Ah, sampler operator Electric. All of those plug ins doesn't can't come with intra or the standard rations. And all of these planets are really, really nice. I mean, I wouldn't be using able then, I think if it wasn't for the sampler, let's say so and same thing with the analog instrument as well. It's really, really nice to have their and as you can see, it is a lot of different sounds and effects that comes with it. Different all your effect as well. This eco plug in a new plugging in life. 10. It's really, really nice. It was a really cool and creative method to get echo sounds. Enable Tana Yeah, you can see there's, ah, lots off stuff coming with ableto I'm just scrawling a scrolling through different features here. So yeah, then it says compatible media controllers with auto mapping So you can have all of these. If you own one of these here, you can set the knobs to be although controlled or automat toe ableto and you can take a media controller and put a knob there and it will be automat immediately to ableto. But you can also do that if your immediate keyboardists and listed here you can do that manually enable tone as well. And here are the system requirements. So if you have a Mac, you need to have a least inter court to do a processor which is way below the standards nowadays. So ableto works pretty good with a decent computer. Same thing goes with PC. You just have to have Windows 78 or 10 and you have to have a 64 bit until Cory M. D processor. So, yeah, the system requirements are pretty low, but still, if you have a lot of different tracks, your computer is going to get crackling sounds if you have the lowest, I mean a really low end processor, for instance, or shortage off ram or something like that. So I recommend you to have a to least these settings, but I think you should have, like, intel core I five processor faster, recommended. And I think this is a minimum for able to, actually, and this is same thing with PC. Okay, so I will see you in the next lecture. 3. Session View - Part 1: All right, So let's take a look at the session view in ableto life. So the session view is mainly built for playing out live with different sounds. And this is to create different music and different tracks on the fly. And since I'm going to cover how to create music in this course with Able Tom as well as creating mash ups on different stuff like that, therefore I'm going to use the arrangement view in this course almost all the time. I'm going to use the session view, ask my mixer view and this is because I have my channel strips, as I call them, and every track here I can see what kind of levels I have here. I got a pan my track. I also said difference sense here as well. I can just order from argue to, and I will cover this in a while here, I can do the same thing in the arrangement. You so I actually have the same same stuff, same settings here. So the volume here so I can pan it here as well. I can choose my different externally now puts, but I really like the different views. So here. I can be creative and just drop in different audio files for different media, great media and just see my track in length here and here is a very nice way to just mix and being in that mixing stage in. Oh, and one more thing that I really like with this session view is that you can try out different audio loops together, different combinations of all your loops as well. So I'm going to show you, show you this. I'm going to take some different random drum loops with different speeds off the loops themselves. So let's say this dub step collapse here that I found in the samples this 17 BPM Michigan see, and that is the original one. But I've set my project to 1 20 PM, and it should match with a temper offer project. But let's take a listen to it. Let's click it and let's click Ticks headphones. I can hear to listen to the look, so that is the original speed off this loop here. We're going to drag it into our first audio track, just like that, and now it's imported to this order track. It's renamed by this audio file. We could also rename the track if you want to. But let's have it like that for now. And this plate, I'm going to lower the master volume here a bit. And this is the master Travis against. And I can see ableto changed our temple to 70 bpm. Since this is the first track that we imported to this project, and I'm going to put it back to 1 20 year, And as you can hear, it sounds a bit funny since this loop here is doubled in speed now. But I'm going to choose one more loop. Let's take a listen to this. Dubs that beautiful 1 28 ppm. All right, so let's important this to the next order track here. That's taken a sensitive. Okay. All right, so now we have two different drum loops. I'm going to stop the project here as well, so you can see I'm playing this audio files by clicking on the different order files here by the play button. I'm stopping this audio file or this track by clicking on this track stop buttons. One of those or this Stop on that. We're going to stop every single modified having this audio track, but the project will still play. So let's get gone. Stop for the project that's gonna come plague and difficult stop on a project. It will immediately stop. But now I can play these two loops together if I press both of them. So let's take a listen to this so that it's actually sink. So as you could see before, this one is in, originally in 70 BPM, and this one is in 1 28 ppm. But they are still sink and being play in our projects. Temple hears that it's set on 1 20 and I'm going to show you how this could be a useful way to try out different drum oops or different loops together and different combinations off them as well. So I'm going to let's say I'm going to take one more of these drum loops here, so let's take one that IHS 1 70 bpm here, let's take a listen to it. All right, so I'm going to take this one, and I'm going to drag it here to where it says drop fights and devices here just like that . And now we're able to a nice created one more. All your track for us. And this order file is coming in this audio track here. So now I can play all of this tree together, and I can do that with just one play bottom. So if I go to the master here, you can see Master number one. This will play this row here the first row, and I can actually stop all of them by going to the stop button on the Master Channel. Now I'm going to Dublin, Kate, the these fires here. So I'm going to take this one first. Public eight. You can do that by Commander your Mac and would complicate this as well. And this as well. So now I'm going to take and drink this one here and dry this one here. So all of these loops are now in solo. So the first rope or seen as they call it enabled Tom is all of those three together? A cigarette is only this one 3rd 1 is only this one. 4th 1 is only this one fifth. I wanted to be this one. And this one six. I want it to be this one and this one together. and seventh. I wanted to be this one on this one. So now I have all of the different combinations of drum loops, and I can just play them by playing the different scenes here in the master just like that . So that's a really nice way to work with the session. We're just trying out different loops together, different combinations off them and just get inspired by that. Then we also have this section here off the all of the tracks that we have here, and you can see it says audio from or media from, depending on, if we're have it as an audio file or as a media file. So I'm going to cover the audio file or all your track first so they can see audio from it says external in. And that s put because, um, this track is on Lee 4. Session View - Part 2: a kiss on Lee playing external sounds right now, and we have audio files and that is external. All your files. And since they are from an external source, let's say from are hard drive. So that is why it is externally in. But we can choose this for Let's say, waves rewire here. I don't know if you have this on your computer, but waves. It's a plugging suite where you can actually have. Yeah, you have different third party plug ins. But this rewire here is basically just and then you can rewire different impotent outputs together with the program. But I'm not using this one, but you can use that one. Or you can use different. If you have different third party plug ins, you can choose. Let's say you only want the send reverb son, so whatever is coming to descend will actually have this track played. So if you have a lot of different reverb effects coming into this sent here, that will actually make this track to get its source from, so it's not going to play there audiophile Syria. It's going to only take the signal that this one up it's if you said it to that. But I will actually set us to just external in here. And if you press this external input, that will also make you choose a different input device, so you can see I have no device here. But if I want to record with, let's see my microphone here. So I'm recording this course with the road and two USB microphone. So let's choose that one. That's close this and let's choose this external in here. So now let's say that I'm putting this to record unable on. You can see my sound coming in from the microphone. So if I talk or if I speak anything here, this will actually get the sound from my microphone. So if I will record this track now, it will actually record my voice. Let's put this record enable off here. So now you won't see my microphone sound at all. Then you also have this one here. So as you can see, you can you can see the signal of my microphone. Still, since yeah, we chose the microphone to be are doing, and now you can choose a different channels off the ordering. So my microphone has to line inputs, which is basically Ah, left signal and right signal. You can choose to combine these two with stereo here, or you can choose number one for, Let's say, the left one or number two for the right one. You can also configure them as well here, but this is the case for my microphone. So let's say if you have a sound in the face with a sound card and it's a the have that Suncor has 16 line inputs, then you will have a list off 16 line inputs. So let's say that you want to record a microphone with this track here, and you have that microphone lined up to this. Let's say it signal inputs Number four. On the some interface, they can choose number four here and that will have your microphone to be played or recorded to this track to be the guitar input record track. So let's say that you have a guitar and you have that guitar lined up to, let's say, input number 14 on your sound interface. Then you will have to chill, change this track to order from externally and and then number 14 and that will get the signal from line input number 14 on your sound in her face. So that is basically what these two are monitor is if you want to hear this, um, the single that is coming from what you have chosen here and if you want to hear that in real time, so if he said is to in, then you will hear the microphone. So for now, if I would just in here you will actually hear my voice being played from my computer's speakers in real time. And I won't really do that because then you will have a horrible feedback sound to this at this Lecturers, I'm not going to do that. We can also set us to also. So if you do this, choose auto here, then you will only hear if I speak something to Mark from. Then you will hear that voice or my voice from my sound card. And if I'm quiet, then it won't up with anything from a microphone here. They would have next thing here. So he says all you to master and master is because if you play something here, let's say we played us to drum up. Did you notice that the same one comes in this mixer here as well as the Master Channel. It also output sounds here, and this is because the signal comes from here. So if you play something, it will actually play the track all the way through this one here. So it's going to go through the sense first. So if you have any sense that will send the channel to one of those sensor, but we'll cover these different settings with sends and all of the mixer settings here in the mixer section of this course. But I'm going to briefly just cover how this works. So the single is coming through the sense, then, through the different pan settings that you hear have here than the volume as well. So the levels here then it's going to go to the audio to, and as we have this set to master, all of our signal is going to be routed like this to the master. So now it's will be going through the Master Channel here, and then it will output to the master out, and here we have 12 and that it's actually are different line outputs on or sound in face. So right now I'm using my computer's own sound in the face, which is one and two. And this is just the left speaker and the right speaker, or one and two combined, which will be both the left and right speaker. So if I have everything here set to the master, then it will actually go to the master and then output to whatever you choose here. All right, so then we have the media channels or media tracks here, and this is the same concept. But instead of getting audio from different external interface or external sources, suggests microphone or audio files here you can set your computer keyboard to get the media data from. So if we play something, let's say that we have some plug in in this meaty track. Then you can choose wherever you want the signal, the media single to come from, or the media data to come from. So you can set this to a computer keyboard. Or you can set this to your own media keyboard if you have a mini keyboard connected to your computer, so I don't have that right now so as you can see, you can't see a meaty keyboard here in the list. But if you have a meeting keyboard connected to your computer, you will see that they can choose that you can choose media from and just select your meaty keyboard here in the list. And then, if you have a media plug in on this media track, then you can play the track and the plug in with your meaty keyboard. So that is how it works. You can also set different channels off your media keyboard. If you have any recon, just use all channels as well. And then same thing here, meaty to against you different difference settings if you want the meaty data to go somewhere else. And since we don't have any plug in said here. So let's just choose some instruments here. Let's take a sampler. Just drag it in here and now you can see that it changed to all u two and master. So whatever we're we're playing here in the sampler will have the audio to going to the Master Channel. All right, so that is the session view and let's see you in the next lecture 5. Controls: All right, so let's take a look at the controls here in the upper section off able tone. So first, I'm going to go to the temple here. As you can see, this is the Project Temple. All warped clips will play at this tempo, so whatever we said here will be played by able tone in time with the different loops we have in the in the section here. So let's play this seen here and you will hear when I put the different Temple that we will play in the same tempo as I have it on set here. So it again here it's changing the temple without messing around with the pitch off the audio samples, which is very, very, very nice thing. To have an able tone is pretty unique with that, and this is what they're calling war appear. So if we disabled the warp, then it's not going to match the tempo up in this section here or in the overall tempo section. All right, so next thing here that we have is face nudged down face notch up, so as you can see it temporarily decrease song Temple to sink rice to external music or temporarily increase sign Temple to synchronized external music so that it's just ah, different options you can have. If you want to temporarily increase or decrease the tempo, then we have the time signature. Here you can sets its for a four now. Then we have the Metrodome. So if we recording something, we can have the Metrodome, Um, so you can see it's says enable only water recording. So we're not recording anything. But that's disabled that for now, and just play something so you can hear the Metro. No, you can also choose whatever written you want to have on the Metrodome. So let's say we want a quicker Metrodome. Yeah, but although it's the best thing to do to have it on here, and you can choose whatever sum you want on the metronomic counting, So with accounting, let's say you want a one more counting. Then if we record something, the Metrodome will be playing one bar first. Or it will actually start Teoh playback one board before, and then it's going to record. Then we're gonna disabled veteran, often out. Then we have the quant ization menu, which says one bar here for Now I'm going to put it to none, and I will show you what this does. So let's say that we play this clip here and then they slip and you will hear that it's not going to be in the same temple. So let's play this for now. Thes e. They're all playing whenever I pressed the play button immediately. So if I put it on Mom Bar, then that's a We're stopping everything here. Then it's going to be played when the next beat starts off this loop that I played first. So So let's play the first scene here or first clip, and then we're going to go to the next clip next clip, and you will see that they're waiting for the next Beats be played on in this first. Ah, here, you see that? So let's try it again, waiting a bar one bar until it's playing. So there are both in sync with each other. So then we have the follow button here, and it says If activated, the display will scroll during playback to keep the current song position visible. So this will be in the arrangement view, which we're going to cover later on. Then we have the arrangement position. Same thing here. Play. We have Stop button, We have record button and we have different controls that we're going to cover in the later sections here. Then we have loop start paint punching points these fields to, say, display the start off the arrangement loop or punch recording regions as Boris beat 60 notes. Same thing goes here arrangement view for these controls as well. And this is just whatever we want our cycle here or loops which, as they call it, enable tone. So you're just choosing wherever you want to repeat that section in the arrangement so you can put the recites it like this you can enable like that. And now it's going to play like this to the end, and it's going to loop. So this is very useful to use if you're arranging stuff and we're gonna use this Ah, lots. When we're creating our track and I'm going, I'm going to show you what? Why? This is very important to use. Same thing grocery can put wherever you want this to start and you can find adjust it and you can put how big you want it like this. So these are the controls for for this cycling year or the loops, which All right, so this is all for this lecture and let's see you in the next one. 6. The Browser: All right, so let's take a look at the browser here. There's again. See, have the browser enable tone on this side, and the first thing you got to get here is browse sounds. So these are the sounds that comes with a Bolton, and it's different. Repacked sounds different. Perfect samples. You can use them as you want. You just double click them to get to, Ah, new track here in Hamilton. And then we have drums, which is different drum kits so you can put Let's say you want eight await cork it. You can just double click it on, and that will import a drum kit to a new turn your track. Here, too. You can just play with the's difference samples here. Then we have instruments, and these are able tons building instruments so they're creating or generating sounds. Then we have all the effects, and these are the e que sore asses reverb. Zor delays every type of all your effects you can that comes with a built in will be in this section. Now I have media effects and media effects is useful for Let's say that we want to be one meaty plug in will be played. Let's say we have a piano and that we want it to be played in Onley c major. So whatever key were playing on our media keyboard will be played in C major. So it was sound good and you will have velocity. Let's say you want maximum velocity on every key oppressing, then velocity is very good. So you have different stuff here. Arpeggio here, for instance, is very good as well, Max, for live. This is, um, only for you that but the full able to suit these are different or defects and instruments that comes with a built in as well Don't have plug ins. And these are the third party plug ins you install on your computer. Then we have clips. So this is if you have any installed like lips, which I don't have here they have samples. So these are all of the able 10 samples that come comes with Able Tom but separated in different audio files. Then we have packs, and these are different packs with sounds or packs with devices or packs with plug ins. So if you have a drum sound here and import this one this will be imported with the different effects. So you will get audio samples, you will get a plug in which placed these samples. And it will also get plug ins like effect plug ins, compressors, rive herbs and affect other effects that's able to, um, put together for you as a pack. Then we have user library. And this is if you're saving different clips, the false groups, presets or samples, you can save them to here. And this will be in your user library. Current projects ISS, where you find all of the samples that are for this project. This current project. So all of the all your samples will be put in here if you record something or imported externally on says these are all ableto live audio samples. This will not show up here right now. Then we have custom folders. As you can see, I have imported my sample packs folder and I have also imported my Vengeance folder. And this are the revenge of sample packs here. Since I used them a lot, I just import them in here, and I could just browse around them and I can resize this as well. So Now I can just easily pick up something from the sample packs and just get him like this . And you can also add folders of your pressing. Here you will get the Explorer window or the final window. If you have Mac and then you can choose whatever folders you want to be in here and they will show up as well. All right and ah yeah, we have also one more new thing here. It's called Collection of Favorites, So you can if you go to edit here, you can, let's say, wants these four. We can also rename them. So let's say drums on this will be our favorites. See favorite plug ins. And now I can Let's say that use, um, say that I used in excess a lot. I can just put it so favorite clients and yeah, let's go to a bass drum here That said, I use this base room a lot, Then I can put it in there, and now I would find my favorite bloggers here and a favorite drum without going to, like growling, all browsing all of the samples every time you want that particular favorite sample that your use study you're always using. All right, so that is the browser in ableto life. So see you in the next lecture. 7. Arrangement View: Okay, So in this lecture, I'm gonna cover how the arrangement view looks in ableto life. So as you can see, we have the same tracks here in the arrangement view as we had in the session view. So there's Armenia tracked, and there's our audio tracks as well. And there is our 808 cork. It's I'm gonna get rid of those here just so we have some space to work in here. And as you can see, where have our outputs here to confuse master? Or if you want to, uh, put somewhere else have the volume here or a track at activator. So if you press on and off, this will be activated or deactivated. Have the volume here, track volume, then we have solo an arm arrangement recording. So we can, um, your record. Let's say you want to record this track. Just put in like that press recording. It will create a clip in the arrangement you and then we have some different. We have the sense here as well. You can see. So this is the same thing as in session view, and thes sends not knobs here, and he would have the sense and have the master as well. So I'm going to let's say he wants, um, plug in here or I'm gonna go with instruments so you can do the same thing here. Let's create, let's say, one of a sea bass. So I'm going to put this on our media track here, so I'm just dragging it into our many tracks. So you have to select the media track. They will get the plug in area here so I can just drag the presets or the plug in itself to the plug in area. And now we can play this instrument here. Oh, I see that I don't have the arm recording on. So we have to enable this. And now we can hear this plug in here. You, You you. So I'm gonna set this temple to, let's say 1 28 and now I'm going t o. This is said to arm recording. So let's record this. I'm going to have it cycle on here and yeah, let's just record it. And I also want this metre known to be on, and I want it to be counted in one bar. So it's going Teoh, start one bar, and then we're going to actually record this. So now we have, ah, track here. As you can see, they're this and he would have are piano rolls. So I can just said it. You can Qantas it. We're gonna cover this piano in a later lecture. But just to show you, um, Howard is accorded. So now if we put it like this, if you can't see or if you can't hear this region here or this clip here Ah, you have to put this play button on. And this will activate thes session tracks in the arrangements view. And as I said before, this can get a bit confusing if you're producing music and if you're doing that, only enable tone. So I will recommend you to not putting anything in the session view and just start out in the arrangement view and creating instruments from here. That way you won't get this play buttons and other things, so you can immediately start to record and have everything enabled and working. All right, so yeah, yes, you can see I have this, um, the sound here. I'm going to Qantas it. Someone select all of nose and just having on Qantas like this, right? So now we can just get some different drum loops, so I'm going to go with samples, search for a loop. All right, so we have something here so we can try out different stuff. So let's play this That's played in this section. Going Teoh, copy this region so it can just carpet like this so it can import that audio to the audio track. Or you can just drag it into drop files in the license here and that will create a new audio. Um, you all your track. All right. So let's go with some difference. Drum loops here. Let's say we had a dub step here. Let's see. Same thing here, just and it sounds pretty horrible right now. I'm just putting in different sounds here, just so you can see how this is done in the arrangement of you see here. All right. Yes. So that is so you can do with arrangement of you hear it can also copy, can select different stuff. And you can, uh, you can also select different parts and say that we want to select That's a, um half off the party here. You just go to the upper section anyway. Get that hand on your cursor and then you can move that part where you can just copy that part by holding in Ault on your keyboard and same thing goes this one like that. So now we have and make a cut off our audio samples. So let's say like this, and now we can copy it back. So there's a lot of different stuff you can do in the arrangement view you can copy, you can split, you can cut, and you can public eight different clips as well. So that is very easy to do in the arrangement view. And it can create arrangement really easy with this. These wastes that I showed you here. Then you can also zoom in the arrangement views. So, as you can see, you can zoom it by going to this section. Here you will have a magnifying glass, and they can just drag it to zoom it. I particularly like this or horizontally, then can go to this section and it's against you. Can Reese ice all of the different instruments like this? You can also select some regions wherever Regency want and press Z on your keyboard like this. And as you can see, I had the computer media keyboard activated. So when you have this activated, you can't use the Z key. So now I can just select more and more here, have it on Z, and then you can go to shift Z to just zoom out like that. That is a really quick and easy way to zoom in. Enable Tom. All right, so we're gonna take a more deeper look in the arrangement. We when we're creating the track, So see you in the next picture. 8. Warping & Warping Modes: All right, let's take a look at warping and able tongue. So let's say that we have a drum dupe like this. So I'm gonna drag this loop this drum loop in here to on audio track, and it's take a look at it like this. All right? I'm zooming in a bit here like this. Now I'm gonna cycle this drama, Pierce, I'm going to choose the cycle on here, and you can see that the temple here is 100 bpm. And I think this drum loop is its original Temple is sat around yet 1 24 BPM. So let's take this to 1 24 Like this way can choose whatever temple we want here. We can go crazy and do it. They're very so it would start to sound a little bit strange, but this is not the regular temper you want in your music. So let's go for around one. Yeah, let's say 200. And as you can see, it's matching the tempo all the time. And it sounds pretty good there. So I'm gonna go with 1 24 here. And as you can see, if you double click the drum loop there. They're going to see this all the editor here. So as a guest here, you have some different markers set on all of your transients here. So wherever able turned, it detects. Ah, transient here. Then it's gonna put ah suggestion for you if you want to create that transit and move it, for instance. So if you want to be said, we can zoom here. And if I double click here, it's gonna go back to its original suggestion so you can see able to suggest that this beat starts around around there or even there because the transient starts there. And you can tell that the transience is more off in this section here, some around here But for deep house, for instance, You want some kind off bit off, A very, very short swing here. So that is why transient starts here. You can see it's a little sound before the actual big hit around here, but it's so small in time, so you wouldn't even notice it. But you can do it like this and move the transient to around here. Let's see, can get rid of that and move the transients so you can do that for? Yeah, for every single transient in your drum loop, and I just like that you can hear it. Sounds a bit strange here now, So I'm gonna double quick all the adjustments I did here and just get rid of them like this . But that is basically the warping in a Bolton. You can do some different stuff with warping, but this is the most basic stuff to do. Warping. And this is the the best way to do bar warping, enable tone. And let's say that we want to move. Let's say that you might want to move this here, So if we move this one, you can see that all of our loop is changing their transience as well. So if you move this one now, it's not gonna make sense at all. This drama pier. Yeah. And now, if we old command or on Mac, you can get these. Can you say that three different markers around that. So I'm holding command and just pressing this one here and now I can move just this transient and those two around that will be adjusted in time, as you can see. So let's say that I'm gonna move this transient to here so I can choose. I can basically move the whole groove here. Let's say that I'm put this transient on here. Let's listen to this. Now keep it up and say that I want to do with the same thing here, very, is its dude. Enable town and you can play around with the warping of lots here. And one more thing you need to know about warping is the different work modes. So as you can see, there is beats, tones, texture, re pitch complex and complex pro. So what are all of these support modes? While they meaning the 1st 1 is beats mode? And as you can see, it's for rhythmic audio. So do you have. If you have a drum loop, for instance, the beats mode will be the best one here. Then you have tone smolder, which is for clearly pitched audio. So if you have, let's say something that you can really hear the melodic in it like sale piano sound, then you would have to have the tone smote on. They have texture mode, and that is for polyphonic or noises sounds. Re pitch mode stretches by adjusting pitch as with a record and complex, complex pro moan for whole songs and complex audio. So if you don't see really good results with all of those with all of these here, from beats to re pitch, they can try complex and complex pro. And the main difference between this one's here is that ah, complex pro will use more CPU power. So it would be a lot better than just regular complex here met. These different workman's are there for, for instance. Sometimes if you're doing a lot of different warping here and have a lot of different markers in this section here, then the only would start to lose their quality. So if you have ah, very complex already when you're doing a lot off warping work here, then let's say that you have tones on. Then it would not sound really good, but if you choose complex pro, that will sound a lot better, so you can try those out. And, yeah, it's just a matter of experimenting with the different modes. But if you're doing drum loops, you definitely want to have it on beats 9. Clip Envelopes: all right, so in this video, I'm going to show you a clip. Envelopes, and what clipped envelopes is is basically just automation inside a clip. You can do that by clicking this little icon here, and this will bring up the envelopes so from you can choose volume. Or it can chews other different settings that you can have automated. So let's say that you want the volume in this clip here to be automated. We can just create a curve like this, I'd say like this, but let's say something like that, and now this clip is automated in volume. But this is only for the clip. So if we would have other clips here in the arrangement, let's see them copying here then. Sure, this clip is not now going to automate as well, since we copied this clip that we had automated in the clip envelope. But if I would have to let's say that I import other sounds. I'm going to go to the same sample back here and let's say that this clip is now not automated, since it's only for the clip, and this is important because if you're doing automation in this track, then it's going to be affected to all of the clips. So let's say that I'm going to do automation. Let's say for the volume track William here and I do automation here. This will affect all of the tracks or all of the clips in this track, but I'm going to cover the automation in a later lecture, so this is clip envelopes in able time. 10. The Mixer: Let's take a look at the mixer in Mableton. So as you can see, I have ah track here, and this is the mixer section off this track. First, I have two knobs, which is the sense. So it's 1st 1 is send a which is this end, so I can send signal from this track to this scent. Same thing goes with the be, so be has a delay with a plug in it. Same thing goes with this one, and I covered that in ah, the previous lectures here with the sense we can also create more sense. So you don't you don't necessarily have to have two cents. You can either delete them or you can create new ones and you create, nuanced with by going to recreate here and go to insert return track. So now I will have a new return track, which I can put on Let's say, Ah, all the effect here and let's say that won a ping Pong delay, which is a bit more but longer here. So now I have a delay and a ping Pong delay as my third sen. And as you can see, Able Tone created a new knob here in the mixer for all of the tracks. So if I want to create 1/4 I can do that. And now I will have 1/4 knob as well. It can also rename the tracks by just go to the menu here, right click menu, rename or commander and same thing goes with the sense as well. All right, so next thing we're having a mixer is the volume meter here, so you can choose how much of the value me wants. Then we have the panning knob to here. We can pan the sound right or left. Then I have this button here you can turn on the track itself. Oregon, turn off and we have a solo button so I can solo this track. So now we can hear only this track, and all of the other tracks will be muted. And then we have the record arm, but in here. So if you want to record something, let's say that you want to record in this mini track here. Then you have to have this recording button on. And now you can record on this track. Same thing goes with all the attracts If you want to record, let's say a line input or microphone. Then you have to have the record armed button on when you're recording. All right, so that is a brief overview off the mixing able Tom, Let's see you in the next lecture. 11. MIDI Editing & Warping: All right, So in this video, I'm going to show you how to edit Median Mableton. So I have two different instruments here. I am a grand piano, and I have on FM piano as well. Yeah, Yeah. First, I'm going to create a mini clip so I can write something right in notes and yes, sounds and media into our piano roll. So I do that by selecting how long I want that media clip to be. So let's say that I wanted to hear, I mean, just selected in the arrangement for this track and just go to insert movie clip. Or you can use this keyboard shortcut here and now we have a piano roll here so I can just do it like this. And now I have this full screen so I can just switch between arrangement here and go back to the piano for this track. All right, so if you want to write in, notes were just double clicking and dragging out the notes. So it's very simple to do that. And by the way, as you can see here, it's a piano. So all of these notes here are different notes on the piano if I want to see note, I just writing notes in this row here, and you can have the sounds to be playing when you're writing the notes, and you can also disable them by going here. So now if I right in notes, I won't hear them anymore. But it's good to have it on so you can hear what you're doing here. So let's say that we want to create some different chords here, so I'm going to zoom a bit. Let's see here, right? So I'm going to go back to the funeral and notice play. Did you see? You can copy notes by dragging them out on holding Ault. - So you see, it's very easy to work with the piano roll enable Tom, and you can just copy notes over, and you can resize them as well. We can select them like I did here. You can resize them by going like this. If you consider multiple notes like I did there, you can move them, of course like that. So that is very easy to create notes enabled on in media clips. You can also warp the notes so as we did with the warping for audio. You can do the same thing with meeting. Don't. Let's say that we want Teoh warp these notes here. You can see that we have warp markers here. So now we can time stretch these notes like this. Let's undo that. You can also time Stretch it like this. You can also time stretch the whole clip or you can select them all like this on time. Stretch it. This is really cool to experiment with this thing Siri can do with a piano and I'm going to show you one more thing you can do with the piano as well. That is really cool. And that I use a lot off the times here. All right, so I'm taking this medically. Pierre, I'm going to copy this over to the second track. So now we have the same notes here, and I'm going to change it a bit. We're going to say I'm going to move it to hear someone knocked it down. So now if I play them together and I'm going to color code this region so you can do that by go to the media clip here and just select a collar by right taking the meeting clip. So let's say that I want this in green and this in red. So now if I have the grand piano notes here, it can Reese ice this piano in this way. Then you can select multiple media clips. So now, as you can see, we have the red notes here, which is this minute clip, and they can choose the green one. And now you can see only these notes from this track. So it's very easy to now see and say I do it like this and now I have the piano notes here , and I have the second FM Vienna notes here. So now if I want to edit this piano here, I can just see whatever notes I have in the other media clip without having to switch between them all the time. That is a very handy to use if you're using with. If you're like, let's say you're layering different instruments and you want them to be sounding the same, then is very nice to see the notes off the different mini clips as you work with with another minute clip, for instance. All right, so that is meanie editing in a Bolton. So see you in the next lecture 12. Automation: All right. So let's take a look at automation in Ebel's alive so you can automate all of the different parameters. Enable tone for each track. And to enable it, you need to put this button enabled here so you can see this one is now on, and now we have these lanes here for automation. So if you have it off, it will just be like this. And now we can't controlled automation with this one, known or by pressing letter. A. You will also activate this automation moan here and now. You can see that all of these tracks here has lists off different parameters, and this is for whatever we want to automate. So for now, let's say it says makes her speaker on. Let's say that we want to automate the track volume of this track. Now I can choose track volume. I can right in different automation like this, right? Create some break points here, zoom in a bit. Let's say I want to automated like like this, and like that now I can also hold Ault and I can create some automation curves to make the automation sound of it smoother. Maybe something like that. And now if I listen, if I sold this track here, this mixer volume or the track volume of this track here will be automated, as you can hear. And you don't need to go to this list every time you want to automate nothing, since this would take a lot of time to find the right parameter that you want to automate. So let's say that we want a delay here. I'm going. Teoh, take away the information. You can double collect the different break points to get rid of them. They can also double click or right click here in this little area for the track and typed or clear all envelopes here. So now let's say that we want to delay. We want to automate that delay. So I'm going to go with Ping Pong. Delay here. That's just double click with this track selected. So now we have a ping pong, the lay on here, and I had the dry, wet knob here. So as soon as I move this dry wet, you see that this is now the parameter for the automation. So now I can control this automation here. Um, let's make it like this and I'm going to put on Ah, bit of a curve here that's moving a bit higher. You can see this not moving here, and it cannot to see the real red dot just right beside this Nam. And this is telling that this Nam is being automated here. So let's clear all envelopes there and now we don't have any automation here anymore. Let's take that to zero. You can also record different automation, so you can let's say that way, Put on an out of also filter here, going to delete this. Pinpoint the lay, and now we have another filter on and I'm going to make ah, low pass filter here. So let's record this frequency knob here where we can actually drag the whole here. So we're going to create some resonance automation as well. So now you need to make sure to have the record arm enabled on here and also have the automation arm enabled here as well. Let's say that we want to automate this out of filter here. Then we can just go and lets you need to have this on here. This automation and record enable on and let's just record that. So we're going to hit their court button, and then we're going to make our adjustment. And as soon as I we had made it adjustment here for the automation, then just press stop. So we're gonna do that. And as you can see, it already did some break points here. So now let's play the track. Theocracy. Automation has been done here when? Where we did it like this. So you need to make sure Teoh have to record and have this on and as well. You don't need to have the record enable on on the tracks here. So the only thing you need to think about is toe this on and just record, and that will record automation on that track. And you need to have this medically selected that you want to automate on as well. All right, so that s it for automation in able to see you in the next lecture. 13. Automation Parameters: All right, so one more tape here with the automation. Let's say that you have two or several different automation parameters on your track. So let's say that we have our delay automation here. Or, let's say, the reverb automation going to create automation like that. So now we have the river beer, and I also want to automate the volume here. So now I have the volume perimeter on there, and now we want to switch between them and shuriken. Go to the lace than find volume or reverb here if it's in the same plug in or the same instrument. But let's say that add on out of filter here and now I want to automate this one as well, so that saved want to automate if we consider, and now I can't find the other automation, so I have to go to the list and search for it. But there is a nicer way to see all of your automation parameters in one list for that track, and you do that by rightly came this area here and choose add lane for each automated envelope. So now I can see all of the different because they're all of the different automation parameters, and I can automate them separately as well. I can also select automation. I can doublet Kate that So let's say a press command d here. I will get automation public. It'd like that I can also the lead automation by selecting it. And just like that, I can also copy automation. So that's I'm copying that selecting here and now I have the same automation and this parameter as well. And I can also delete so I can clear envelope the information where I can just clear all envelopes. And now we have don't have any automation. I can also delete that automation primary like that. So that is a really cool nice trick to organized automation in a Bolton. See you in the next lecture. 14. Capture MIDI: All right, so let's take a look at capture in a Bolton. There's a really cool feature to have and to use when you're using able tone. So let's say that I'm here by the piano. I'm just creating difference, trying to create different chords here, right? That didn't sound too good. And let's just try out something else here. Let's just play along and let's see what happens. All right, so maybe I like that kind off a corporation idea there, and I didn't record it, and now we have to record it and do that again. But there is a function called capture. So if you're just pressing this button here, you will get the media that off for that thing you played just before. So now we have media data off this idea that I played without even recording it on Anderson . The whole one. Bacon. Just drag it out like this, and you will get all of the notes that you're that you just played and without even recording it. And it's now in this media clips, and now I can just tell it and let's say that I want to delete all off these here No, I can have these here so I can just edit them now. And yeah, without even recording it. I just played something there and then captured it, and now I have it here. So let's say that you're playing on your piano. When you get up, you get something really, really cool. A really nice cooperation or in a nice melodies or something. And you didn't record it. Then just press this button here, and you will have everything in a media clip, so that is really cool to have been able to. All right, So see you in the next picture. 15. Grouping Tracks: Okay, let's take a look at grouping tracks in ableto life. So we grouping tracks. You can group different tracks together and sound and treat them as one sound. So let's say that I have two pianos here that I have, so I can select them both by doing this just holding shift and selecting them both and then right click on one of them and chose group tracks or command G. If you're on a Mac, there you go. They will have the group for pianos, and I can rename this and call it piano or pianos, and now we have those two pianos inside it. It can collapse it by click on this button here. You can also automate both of this piano's now and also have different plug ins in this group, so they will affect both off those instruments here. And let's say that you would have five instruments in this piano's group that will affect all of those five, for instance. So let's say that we want an echo here. I can just drag it Teoh this group here with this group selected you can see that by looking here in the corner here, you can see that pianos is selected. So now we know that the play against will be incited to the piano's group. So now I can automate this. I can just let's say, I want to automate the dry wet here and now we have the dry weight on here, and this will automates dry, wet signal for both of these tracks. That is really cool tab. It can also makes this so we could go to the session view. Here you can mix the pianos and treat them as one sound as well with the volumes for and by soloing. So you can solo just the piano's, and you can also drag in different tracks to the group. So now you can see this audio track is in the same group, since I just dragged it into the piano's. You can also drag it out from the group, and now you can see it's not in a group anymore. You can also delete the group so it can on group tracks, and now we're back to how it was before. You can also put different groups inside off other groups, so it's group them again. That's rename it back to pianos. And now I'm going to create one more on your track. Here. I'm going, Teoh, insert audio track and these two other tracks will be grouped as a separate group. And I'm gonna call these. I'm gonna call this on your tracks like that. So now we have two groups here. 1st 1 is pianos, and the next one is all the tracks. So I can take this group and move it inside to this group. So now you can see by the lanes here. This 1st 1 is the pianos which contains the group of attracts which contains that to all your tracks. And then, of course, the grand pianos as well. You can also drag it out like this and go to the lower section here to the bottom. And now it's on group from that groups. And now it's two separate groups again, in collapsed on like this, as I said before, and it's really easy and really nice to organize these different instruments inside group, since you can now treat them as one sound, and therefore you can put in like like a compressor, for instance. So let's say that you have drums. You have different drum loops. It can group all of these drum loops together and put in a compressor and compress all of the Drew drums together and glue them together. You know. So So it sounds more like like one loop and one drum sound in your track. Instead of having a lot of different sounds going on with the drum loops. Same thing goes with pianos or base. Let's say base that you want to get rid off different frequencies than you don't have to put in Ah e que on all of the different based sounds or based instruments. You can just put it all of the basis inside a group and then put one compressing on and have that setting for all of the basis, for instance, so that is grouping tracks in ableto life and let's see you in the next lecture. 16. EQ & Filtering: So now we're gonna take a look at E Q and A filter in able tone. So there are two different accuse you can use enable tone, which is 1st 1 is CQ eight. The 2nd 1 is CQ three, and we're also using the oil filter A lot enable tone and that's the best filter, I think, for filtering stuff besides just using e que. All right, so we're gonna put ah sound or, you know, two samples here going Teoh, search for a loop. Great. Let's have that on here. I'm going to cycle it's cycle there. All right, so let's go to the audio effects. I'm going to show first audio filter so this audio filter is realized are very can choose how much off the frequency wanted to be filtered. Let's take a listen to it. Whoa. You can also choose the different auto filters mode here, So let's take a listen toe. So now it sounds more like a DJM filter on the pioneer D J mixer devices that is out there , and that is because you have some resonance on here as well. That is really cool to have their all right. I'm going to show you the beacuse 1st 1 is the EQ you ate which has eight different bands here. You can choose and you can enable and disable them. Going like this, you can also e que like that they can see and have kind of adaptive e que So as soon as I put it to a higher value, it's going to be not aware. Same thing goes with the lower volume of this e Cuban here, so that's a really cool thing to have as well. You can also double click this frequency spectrum area here to have it on a big size e que here. So now if you play this, you can also choose different knobs here and do the same thing. You can enable and disable different Cubans here as well. I z q eight. And as you can see, it's a very powerful EQ You. You can also see where we are, where we have our cursor and how many or what frequency Warren And even what notes that would represent and how much off gain in this? So this a curator is really, really impressive. It's the best e que I think of all of the digital audio workstations have seen so and it's it comes with a built in as well. And it's not 1/3 party plugging that you have to buy or something on that. So e Q. Eight really coolly Q. And really nice toe have there are going to delayed it for now. I'm going to take a look at Iko three. So he killed three is basically three different e que Bantz. And this is to get rid off the heist, get rid of the mids or putting on some extra there and same thing goes with low. So this is a really simply killed to just get rid of different frequencies quickly, and there are some different kill switches here. So let's say that we want to get rid of all of the heist. Just click there and now all of the high ciganer. So I use this a lot for my deejay mixtapes. So in creating deejay mixtapes, it's just very easy to just get rid off the low end when you're doing switches between one song toe another song. And of course, if you're using, if you're creating a track, our creating a song same thing goes there, it's very easy to just put it in here and just get rid off the Lohans. If you have ah, section in your track that doesn't they don't want to have any low enough instead of going to take you eight and adjusting it from here. Sure, it's not that that hard and to do it it can just drag it like this. But the Q eight, if you have a lot of them that can take up some CPU and a Q three, is a lot more CPU or less CPU intensive eso Ah yeah, it's better to use more Eakin three Danny Kuwait's. But that is, if you're using a lot of them a lot plug ins and you have, let's say you have a very slow computer and or old computer, for instance. Then you want to maybe consider using it three more than a Q weights on your tracks. All right, so that is CQ and filters in ableto life. Let's see you in the next lecture 17. Delay & Reverb: Let's take a look at DeLay and reverb in able tone, So the 1st 1 we're going to use is reverb. I'm going to get rid of this week. You here, the reverb. Let's put it on here. And as you can see here we have the dry, wet signal off this reverb on thin. This reverb is sounding very good. It's a bit underestimated, I think. But it's it sounds really good, and you can set this global quality here too high, and that will make the reverb sounding even better. But this could be the same thing in your CPU can be affected a bit when you're putting the quality too high here, then we have some local and hikers off the reverb sound itself. So no, it is not going to locate or high cut the sound. But it's going to low and high. Cut the reverb coming out from this plug in, and that is really important, since you don't want a lot off low end here in in your reverb. And yeah, it's it's good to have both local, and I call on on your re verbs as well. They have pre delay shape. You can do some different earlier reflections. They can experiment with this one, and you can also freeze your reverb. So let's say that we have a reverb sound and then we stop playing. So if you put freeze on, that will create an endless reverb until we get this freeze bottom else here. So that is what that does, and you can choose. Density can just scale all of these knobs. Sierra are basically for experimenting and ah, yeah, you're just putting some different different stuff here. You can choose. Let's say we want a lot of reflect here that will create the reverb more of like an echo. But that's covered different delay, plug ins as well. So I'm going to get rid of the river beer and I'm going to put the echo plugging in here first so that Copenhagen is a new plug in for a Burton life 10. And it's very advanced. You can use a lot of different stuff here. Um, you can choose the timing here. You can also see how the echo will will look like more visually here. And you also have a reverb on this eco plugging as well and create ping pong me inside. You can choose it to be in stereo or not, and this reverb as well they can choose if you want it to be before their co. Or after that gorge like feedback. Here is the dry, wet knob as well you can to take these eco different learn left and right signals to not be sink, so that will make their co sounds a little bit different. There is a lot of different stuff you can do with the echo Plug in here. All right, next one is the filter delayed and this delay plug in here ISS that you can. You can have different delay depending on the different frequencies here they can see. I can put one delay on, let's say, 200 hertz. Next one is on 900 herds. And let's say I want the next one to be, um, five dot three key lords, for instance. I can also set the different volumes off the difference delays, and I can put different timing on them as well. Way Same thing goes, Syria can experiment with this plug in in, ah like a whole day, just creating different delays so that is really cool as well. Then we have, um we have our ping pong delay as well, and that's the same thing. But just with this the same thing as filter labor, just one kind off delay effect that you can you can create for one part off the frequency spectrum instead off the filter day that had three of them. We're going to take that away as well. And now we have the last one, which is a simple delay, and this is what I use all the time. It's very simple as the name is here and this is just too different, the lace one coming from left and one coming from the rights. You can choose the timing of them. You can choose if you want him to be sink or not. How much of the feedback and dry and wet single. - All right, So that is the delay effects echoes and river beds in ableto life. So see you in the next lecture 18. Preferences: All right. So in this section, I'm going to cover the preferences in a really quick way here just so you can see what you can do here. So in the preferences, you access it from live and preferences and then you have different language. You can choose language. Here you have different colors. You can set You have different view options. Here, you can choose colors for the whole interface here. Brightness as well. Like that can choose color intensity. Even there is a lot of different things you can customize with a built in here. So you have the audio device here on the output device. This ISS what device you want sound to come from. So I'm using this one for now. This some card here, Then you can choose late and see which is buffer size. And it is very good. If you here so different scratches or different weird sounds when you're playing your track , then you can try to decrease this buffer size here to ah bigger value here that will make the CPU to work less than then. You can also see overall agency 10.7 m s right now from my computer here. And this means that if I play something of our media keyboard or if I record something on my microphone, that's going to be, ah, leaders off 10 milliseconds, which we just a very small amount. So you won't really hear that, So that is good. But if you have, ah, large amount here, that will mean that you will have a lot of late and see. And then you can try to ah, actually increase or decrease the buffer size here to a smaller value. Then you have test stone. You can try a different tone Ciric and see how much the CPU use its simulators so it can simulates how much off the Cebu you want, Teoh. Now, as you can see, the CPU meter asset is here in this section you can see that the CPU is using 80% as a simulation. So now if you play something and the CPU is using 80% you will see how much off that the audio files and the project will take up in Cebu. So this is just for testing purposes. Then you have different meaning. Here you can see your meeting keyboards, for instance, you will see where you set. They can set different folders here where you want the audio to be saved on. You can see plugging sources you can choose if you want to use all the units. If you want to use PST plug ins, you can re scan the plug ins as well. Same thing here, location of user library and packs against that where you want that to be recorded and so on and so forth. So the preferences are really good to go through. Once you set up a belt on and just to get your own look and feel off able to engage women zoom, you can make it smaller like that. This is very useful if you have a small display as well, and you can just have a quick to get the default value here. So this is the preferences enable tone and I see you in the next lecture 19. Choosing Audio Files: all right, So it's time to choose our MP three files that you want to have in our mix tape here. There are different methods for importing different audio tracks into ableto. It can either go to add folder here, name Milton and add your folder where you have your MP three files on. It can also go to Finder, and they just find the files and dragged them inside to able tone as well. So if you have them as an three fires or wave files, they can just drag them in table time and dropped them on one of those audio tracks here. Or you can also drop this here to the drop files on devices here, and that will create a new audio track for you. What I do when I find different of the 35 is that I buy them with iTunes and from the library can just take whatever track you wants and just drag it in and are making seeds be getting analyzed here the way for him and that is it. So now we can play the truck here. That was very fast. Let's slow it down a bit like that. You can go back here and let's say that I want Let's try to dry this in as well. And you can see I can't try this in here because we haven't downloaded it. So you'd need to download the track to your computer before you can imported table Tom. So you need to press the little cloud here. And when you purchase songs with iTunes and I to a store, then you always download the track to your computer. And if you can't drag it in table Tom, then you need to push the cloud about in here to have it downloaded locally to a computer, and then you can drag it in table talk. So if you're doing it with iTunes, you need to know that you have to buy or purchase the individual tracks to being able to import it to ableto so you can't just go to Apple Music and purchase a monthly subscription and then take whatever track you want there, since that wouldn't work. But you can do it. If you're purchasing the track from iTunes store, you have to go to the store here and from here. It purchased the track that you want So let's say that I want this truck here and I can purchase it here and as soon as it's purchased, then you can drive that song into a Beltone. You can go to library here and then you will find all of your purchase tracks here. So now, as we have downloaded it again, see, you could just drag it in table. Tom. It will analyze to file. I know we can play. All right. So that is how you import audio files into Able ton. Let's say you in the next lecture. 20. Create Voice Over & How To Get Voice Overs: in this video, I'm going to show you how to create voice over in your mix tape. So it's nice to just talk like this into your mix tape and, you know, tell the audience, for instance, what songs were going to present in this mix tape or yeah, just just talk with your audience, you know, and you can do that with your own voice. Or you can do that as I do. Sometimes I I hire a voiceover guy on dumb. He's doing his very professional with voiceovers, so you can also combine them so you can have your own voice talking with your audience. And then you can have voiceover effects. Ah, that has your let's say you have a deejay name or producer name and you want have, like a female voice that representing your DJ name, they can have that as well, and you can hire a person who does that. But I'm going to create my own voice over here, so I'm gonna go with live preferences just to make sure that we have our input device, set or microphone. So have ah road and two USB microphone that I use. That's choose that here, and I'm going to create a new audio track. And from here, I'm gonna set this to record arm. And now we can see my voice here. So all input is going through this track right now, and I'm going to stop the strike here and just record my own voice. Hey, guys, welcome to my podcast. And in this podcast, I'm going to have a nice mix tape for you. And now we have our our track here with our my voice here, going to goto arrangement. Let's stop here for now. Let's see if we have something here. No. Okay, so I'm going to take this track that I recorded and put it on this little icon here. So now we're in the arrangement section here. Arrangement view. Now we have our little clip here, and I have to play it here just to any, Will it? I actually have to do that with all over tracks that we create in the session view. So I'm not going to confuse you anymore in this course Says session view and arrangement. You are two different ways to work within a built on, but I'm always going to work in the arrangement view. I'm only going to work from here now, and I'm going to drag this store separate channels. I'm going to rename it this to voice. And now we have a little clip here, so let's take a listen to it. Hey, guys, Welcome to my podcast. Hey, guys, Welcome to my podcast. And in this podcast, I'm going to have a nice mix tape for you. So I'm going t o go to a website where you can find a nice voice over people. We are fiver dot com. This is a very nice website you can find a different were a lot of different freelance services. And this is people who just different freelance stuff for you so you can search for voice over here now, as you can see, there are a lot of different voiceovers. So you can it could just scroll around here, also search for even voiceover deejay, and this will give you a lot of different voiceovers who thus even DJ mix tapes as well and see this girl here. Hi there. My name is Wilkie, and I will record any voiceover and deejay drop for you today exclusively on Fiverr, please be sure to read the information below as well as my gig. Extras. Here are some samples of my work. I hope you will like them and that we will get to work together. You're in the mix with D J a B from the clock killers crew D J NASA Dick Dastardly in the mix live on fresh sounds radio dot com Um, and this is just an example. And as you can see, there's you can get it for even $10 here, and this will be after 50 words recording one way filed clean and with eco. And yet this is very nice as well. Just let her know what you want her to say And, um yeah, and just purchase it for $10 from them will have a nice voice over that can't complete your voice over, or you can just tell her to say everything it wants. So you don't need to necessarily purchase a microphone and tell it yourself and yeah, this is you can do it as you want. You know, they're a different DJs that talks with their audiences and different DJs does not talk and and just have effects with different voiceovers. So this is just up to you. And this is how I do it when I create mixtapes. All right, So see you in the next lecture. 21. How to Transition from One Track To Another: Okay, so let's take two tracks here, and I'm going to show you how to warp and warp the different tracks so they will be in time . And also, we're going to cross faith from one track to another track, and we're going to beat match them, so they are in time as well. So I'm going to delete my own voice over here, and I'm going to take these two tracks. So we had them in session view. But just so you won't get confused here. As I said before, we're going to work in this view. So I'm going to be imported once again here, going to take this track and just important like that. You know, you can see this is the whole track here. I'm going to zoom out a bit and take the 2nd 1 here and put it to the next track, the second audio track here, and just put it some around at down here. So first, I'm going to take this from the beginning here and just played, and I'm going to have the volume a bit lower here. Let's say around minus three db. So let's play it going to spare up a bit and consider all your quality. Ihsaa bit bad here. I think so. What I'm going to do here? I'm going to take this one here and said it too. Complex, pro. So now let's take a listen when we have the complex pro on here and that sounds better. I'm going to go back to the audio track here. And as you can see, the war of markers here I guess it here. These should line up with the beach here so we can do yes. Do we can select this work market here? So this is the transience of this truck. As you can see, this is the beginning off. Let's say a kick drum here. I'm going to double click where the kick drum is beginning like that going to drag its here . So now, as you can see, this is aligned with the beat. And this is a line with a beat. But this is still not the line. So I'm going to do here. I'm going to right click this world market as soon as we have created one that we feel are right. So now it's actually on the grid. So we can do it is to warp from here, and they can just start at 1 29 ppm. Since this is what we chosen there like that and I we can see all of this kick drums here are aligned for us. And this should be the case. The track, the whole track. Here, let's see you in the ending here. If that's still the case. Yeah, I think it is. Looks like that every single transmitter you can see visually here is basically on the grid with the beat here. So now it's really easy to beat. Match the second track. If you do the same thing with the second track here, then you can align them together in ending here. And then you can just e que and for different effects on. So I'm going to do here. I'm going to create this or resize distract, actually a bit. Let's take a listen to it first. So that is the drop section there. So I think a listener some around here, So that's the break. And now we have some kind of a bridge section here. Theo won't distract to be at least two drops long, so we want to hear that second drop as well. So that's resize it, Theo. So now it has being played the first section of the second Rob. So in the second section, off the second drop, so starting from here. So I think it should be some around here. Yeah, you could really see the next break section there. So I'm going to make the transition from 109 to 1 17 there somewhere around there. So let's take a listen to this and see how we actually come up here with, Ah, with the transition, you can also be safe and just take the last bit off the song. So I think it should be actually somewhere around here, since you can see that the track ISS losing elements here. So you say it's a lot of things going on here, and then you can see that it's going to be, um, less musical elements in this section here, and then you're going to have a lot easier to mix them, and you can see the same thing with the next track here. So the beginning is starting out with just kick drums and basic elements. And then Casillas sooner this song and the ends here, I think you see, there's a lot of things going on and this will be a perfect, um, perfect be transition or song transition. So, actually, let's go for that for now, just to make it easy. So let's take a listen to it now. Immunity. You can hear that this song is not really in time with this song. So we need to do the same thing as we did with this track going to double click here. And I'm going t o take a look at the beginning here. Just a man. All right, so this is another example off how to make this work. As you can see, the one here, this is the first beats, as you can see here. But it's not where this song actually starts, because you can see this song starts here and somewhere around there. So you need to make this one this kick drum here and you need to tell a bit on that. This is where the track starts. We're gonna do that. You can either create award marker by just double clicking wherever you feel that the truck tracks, starts or wherever you can feel that transient this most prominent there and you can just drag it to the beginning like this. But you can see that this work market is still there. You can take it off like that and can them drag it to their beginning There? You can also do it another way. You can right click this work market and go to set 111 here. So now, able to knows that this work marker will be the beginning off the whole track, so lets him out. Now we can see that all of the kick drums are aligned. Yes, I think they are. Let's go to the and the section here just to make sure and you can see that most of them are actually aligned. And when I want to see a line, you can see that because he won 48 here is the line 1 $48 1 The three is aligned, so you can see this is like a pattern over the whole track, just a line like that. So now let's try Teoh. Let's just listen to the tracks and see if they are beat. Matched. - Yeah , that was actually perfect. Um, really good beat, matching. And as you can hear, you can couldn't really tell the difference between those two tracks. And that is what we want with Yeah, by transitioning from one song to another song. So a rule that you need to have here when you're doing this is that every track that reimport you wanted to be complex, pro or complex if you have a slower computer. But I still recommend complex process that that is better, and these are just work mode. So, as I explained in the previous videos, all of these thus different stuff. But if you're doing complex or complex pro that will give you the best results, Then you will have to set one on one so you can have the first beat here, being one of one. If able, don't detected that, or if it doesn't detect it, then you can creature on warp marker, drag it there or just right click and set 11 here also, if you can't find the different kick drums being aligned with a pattern. As I explained before, then go to the same work marker and press warmth work from here. Start at and whatever BPM you have set in your project. So we need to do the same thing with this track. I have it set on beats on going to go with Complex pro. Then when we also want to have is to go to the master here. So if you selected here, then we want to go to plug ins or actually all defects and we want the overall sound or whole mixtape here to have a bit of compression. So I'm going to take compressor here and just leave it like this. Then we want some kind of limiting here as well. So I want to set the limiter and then just leave it like this as well. And what this is going to do is that a compressor is going to take the peaks off the mixtape and lower it as well as taking the lowest points off the sound and make it louder. And it's not going to do a lot here, since we're just living likeness and same thing goes with a limiter. So what limiter is going to do is to limit the overall volume to the ceiling here, which is zero that three minor 03 db and can set this to toe what it is here by the photon . That was sound great. So we want we don't want the audio or the mixtape. The clip we want don't want it to be positive in the DB meter here. So that is way you have the limited here. So let's take a listen to the track now. And there is one more thing here as well. So when you're doing this, transitions between tracks you don't want to base is going on at the same time because that will sound ah, bit too much. So I always take off the base from either the track that is playing and it's going to end or the track that IHS going to start here. So the new track there were introducing. So from here, I think I'm going to take away the base from this track. So what I do, I always take the e Q three plug in. Put it in to distract so isolated, go to all the effects eq you three and just drag it in. So from here, I'm going Teoh, you go to automation here and just set this game low here. And then we have the equal three gain low in the automation for this track. So for him from here, I'm going to great markers, Automation, markers. I'm going to take away the base immediately here as soon as we introduced this track so you can see here like that. So now let's take a listen to it. I'm also going to put some reverb on this track just to make it fade away a bit better instead of just having a abrupt ending here in this This point here. So I'm going to take a reverb and let's say that this is selected here. Go to the reverb and this dry, wet knob. You wanted to be on zero all the time and then you want to automate it a bit up here. So I'm going to do that. I'm going to create on automation market there and as well as here and then just make it like that. I'm going to hold all to make it a bit off, curve there and just play and listen to it. - There's great. So you can do that the same with this track if you want to or any other tracks. It can also put in different filters like a filter delay. Or you can go with its a Q eight, if you want that. So let's go to this track here and now. You can even automate a filter like this, for instance, and this is exactly how I showed you with with the enables time, where we talked about able tone and able to plug ins. Same thing there. You can just automate it. But you do. It's here, like yet when you create, when you're switching between songs here. So that is how why it creates transitional elements when I'm transition from one song to another song, All right, so see you in the next lecture. 22. Creating The Mixtape - Part 1: All right. So it's time to create one Phil mixtape from scratch. So now I have, Ah, new live set. So you go to a new life, sit there and you will get a new project without any appliance in there were any sounds at all. So first, we're starting with the such of you, but I'm going to go with arrangement view. So we're here. I'm going to delete those these two minute tracks here. So just elites like that So we only have to all your tracks here. I'm going to go to my iTunes here, and I have some tracks that I want to use with this mixtape. So I'm going to have the first track, and the first track is going to be distracted. I'm going to pressed a little cloud here to download it to my iTunes or to my computer locally. And now, as soon as it's it doesn't have this cloud, I can hear. It's good to go, and I'm going to also download this track, so I'm going to have it on my computer. Same thing goes with all of the trucks that I'm going to use in which you start tracked that track. Ah, see this one? All of those tracks I think I'm going to use so just it like that. And now you can see all of the downloads here as well. So I'm going to drag in this first truck here. Teoh Able tone. It's going to analyze it, and now it's done there. So sometimes you can see this track here doesn't contain an audio information. You can see the way form here. So if you have it like that, you just go and right click that track and activate clip, and now you can see it's there. So there is some cases that when able Tony can't detect the track for some reason, so you just go to activate clip and I could see it says Deactivate Clip. So it's already in there. That's why. Okay, so we're also going to go with the master here. Just click the master and put some different affects is as we did in the previous videos. I'm going to choose a compressor first. Just leave it like that as well as a limiter and living like that as well. I'm also going to lower these for these tracks toe around, Let's say, minus four years, I'm going to do it. Same thing with the 2nd 1 year and let's just played and take a listen to it. All right? So it's too slow. I'm going to use 1 26 for the whole mixtape just like that. Now we're gonna double click. This going to use complex broke, and I'm going to see if the work markers are there, and it looks like that it looks like the kick drum is on the great here to get C looks like Able Town did a great job. That's the if it's actually good here. I think it is. Since, let's see, somewhere on here, maybe you can say it's a bit off. You can see you just have to look at the loudest point going, Teoh. Take it somewhere around in the middle here and just take a look at the way form a bit. You could say it's pretty hard to see where the kick drum miss hitting here. I'm going to play the track, some around here. There's a kick drum, for instance, so I'm going to take this here, create a point by double clicking. It's and dragging it to there. And from here I'm going to right click and warped from here. Started 1 26 ppm. Now it should warp the track here as well, but it isn't. It's still a bit off great areas you can say, for instance, this one should be there. You can do it like I did here, and it should be should sound good. And the most important place where the track where you should have the track warped and angry in great here. That should be at the end of the track because there is we're going to beat matched the tracks. So it's not really as important, like tohave, the track being on grade here in the middle as it is in at the end of the track and also at the beginning of the track. When you're doing, um, when you're doing transitions from attract to another track, get back to the arrangement here and I'm going to play this track here. I'm actually looking for the end part where we're going to create our beat match with the other track. You should look for a part where you feel that the track ISS getting to an end, so it's start to losing elements. So let's say that some drum loops are dropped or ah, main synth is going away. Then you know that the track is starting to ending. Um, so here is still a drop. So here is actually the ending point of this track. So you can really hear it if you take a listen, Teoh. Where where? I'm going to start the track and just take a listen to when it hits toe. Want one into bar 1 28 here or 1 21 here. So here is in a perfect place where you can start the next track. So let's go back to iTunes. I'm going to use this track here just important like that. It's going to analyze it just like that. All right, so I'm going to double click it and as against a button, created a lot of different work markets here, and it does that for some tracks where it can't really to take the kick drums properly. So I said, I said before, the only important place we want the track to be on great here is actually in the beginning , at and at the end. That's I said before. So this one, I think, able tone, did, Ah, very poor job here, since it thinks that this cake escape the kick drum and this one is kicked from. But I think it's this one, actually. Let's take a listen to it and see. All right, I'm going to solo it, and it's because start, it's starting with a slow beat here. 23. Creating The Mixtape - Part 2: I think I'm going to start this track here instead of starting in here because this track starts with a very slow beat. So that is why able Tony's really confused here. Um, it actually starts that. I think it starts at around 1 12 bpm. Efficacy of everything. The track. It's actually in one tone, eight ppm. So for this case, I'm going t o take it wherever it starts or whatever I wanted to start. So there. I'm gonna use this one going to set 111 here and now we can see it starts from this point instead. And I'm also going to right Click this and work from here started 1 26 ppm. So let's see if this actually sounds good or not. All right, That way you can hear it's not beat match at all. So let's go back here and choose war from here straight. Instead, I could see all of the warp markers are gone here. Let's take a listen to it now. Is that all right? So it's a mess. It sounds like it's too much there. So I'm going to move it. Teoh the next place in this first track where we start to lose a lot of different elements here. There's almost just a kick drum in the trumpet sounds, so I'm going to move it to here instead. Still not really, um, beat matched here. I think so. I'm going to take the first kick drum that I confined here. Let's see if this is a kick drum. So let's solo the strike again. So this is actually Ah, very hard to track to mix here. And I chose this because this is not just, ah track where it starts with a kick drum and ends with a kick drum. Basically, this starts with different elements that is slower and other stuff like that. So that is why I'm showing this. Ah, really hard track it is against this one is a kick drum. So let's move it a bit like that. Let's see here as well. I think this the kick drums Let's move. That's and also we want this to be complex, pro, very important Now. It would sound good even if we mess around a lot with the different world markers. I'm going to take this one and war premier straight again. So all of the other transients here should move a bit. I think this one didn't move it a bit and one more time. One premier straits that see No, they're not going to start the other track just suddenly like that. We want some kind of fade in here, since it's not starting with a basic kick drum in a basic base or beat. Um, so we want to have some filter or something that just fades this track in a bit and make it full when this track drops. So I'm going to use the order filter for that. So make sure that you have this track on out of Hilter, and now we can filter the track like that jealousy just like that. So I'm going to put automation on, and as soon as I move this knob, it should be here. So now we just do it like that and like that, I wanted to be full of fully opened. Ah, when this track drops also going to to a bit of a curve there, and I'm also going to take this track here and create some kind of reverb. So this is just not stop suddenly as well here. I just want this to fade a bit when its end as well. We're going to put a river, been automate that dry, wet signal as well. I'm going to make a bigger curve here and let's take a listen to this. Now. One more thing. I also want to have an eq you here just to take off the base, since it's going to have double basis. Ah, when this filter is opening up here and around this area. So I'm going to take, um, that's CNN Q three and just gain low here and just drop it like that. - Let's take a look at the way form here at the end. And let's just detect some end point where we can take the next track and blend it in here . So this one is a tough one as well at the end point here, since it just it doesn't drop any elements and just suddenly stops like that. So I'm going to take the let's see four bar Sierra. Yeah, let's see. Four bars. Should be that four last boss, um, or eight bar status. Good measure toe have there. I'm going to go back to ideals, and I'm going to take my 24. Creating The Mixtape - Part 3: third track. Put it on this audio track. Let's see here. And we can visually see where this track has a start and when When it drops some elements there. So you can see it's something is going on here, and this is ending here as well. By 1 95 now, we have the equal three gain low, so low in is dropped because we dropped it with this track here to get, say, it's dropped and I want the base to be dropped and it can go up around zero when this track drops like that. Yeah, and we also have something else going on here. So I have the reverb dry, wet, it's on full. So we can't really hear that track. So let's lower the reverb 20 when the starts and you can hear that the kick drum is not exactly there. You sink. So same thing goes here, complex pro. And just take a look at the kick drum here and this looks very tight air. You can see that all of the kick drums are really, um, aligned with the great here, so I'm not going to do anything with this one. I think it's still this track here, So let's go to the end part. You can see it's still a little bit off grade, so we just want to move it like that. And what from here straight, you can hear. It's very in sync here, but it's going out of sync there. So was still have to work with the work markers with this track here. So let's try. Let's try something else here. Let's take this one and warp from your start at 1 26 instead, let's see if the kick drums are aligning here. All right, let's get back here and that track sounded it just like it's suddenly stopped on. We got a lot off quiet elements here. I I like when it's full on when this track is ending, so I'm going to move this track here. I'm also also have to move the reverb as well. Reverb automation. It's not going Teoh. Let's say we have it here, so we want to move it for bars like that. But I think that will actually be too much, can see. It's a lot of things starting here, and this track is ending there, so it's Let's see him. Maybe somewhere around there, because it starts a lot here. This Just take a listen to it. It's better to hear with with the years that was perfect. Get off the movie to this part here, but I think this will be too much. Um, but let's try that. So to there, I'm gonna take this part on Drop it here and I think it's too much, a bit too much here. So I'm going to go to the u three. I'm going to take the gain low and move it to their so we don't want any low end appearing in this track. But we want to have it the low end to kick in when this track ends. We also want to take off the high end as well, or at least a bit of it. So now, as soon as I move this now, But you can see this automation lane here and just take it up to around zero when this track kicks in. - That sounds a lot better, in my opinion at least, and I want to resize this because I think the kick drum from this track is coming into earlier waken Move it to this drop section in this track 25. Creating The Mixtape - Part 4: actually, we can move it to this. Drop ends. Very good. All right, let's take the next track here. Going toe, I twos. We can also play them in items as well. The's track sounds very similar, and this is because I'm doing a mixtape. Um, that has the same style, you know? All right, so I'm going to use complex pro. Let's see if this track is aligned with the grid on this fix. Good. And as you can see, they are very This transience here are very you can really, really see them. So ableto iss Yeah, it doesn't have any problem to detect the right warp markers here as well. So I think that's pretty much good to go. And you can also see in this track here when the second or the last drop is kicking in and which starts to lose element as well. Yeah, that is what I'm going to do. I'm going to have the track here and I'm going Teoh Teik, Let's see, I'm going to put on e que here three on this track. Take away the game low and I'm creating a that's here. I don't want the base to be dropped in this track. So I want to create a marker here around zero and then drop it to distract here and distract starts. So now we don't have any base in this track. E can hear the beat matching our this. It's pretty good, but I think it's not that tight. So yes says we looked at this track and it looked very tight with the kick drum here and the transients. I think the ending of this track Issa bit off here, so let's take a look at it and you can see it's very subtle. So I'm going to take this one here and just move it like that and war, Premier Straits we go. We're going to have to do it at 1 2189 bars there. So that's he want or why 19. Actually, this looks very, very tight, so I think may want to any difference here. Let's see. Sounds very nice. I'm going to take the base back this track, and if we take the base back on this track, we want to drop the base from this track, so gain low here, do the same thing and just drop it like that. I'm going to put some delay on this track here just to have it some some movement in them in the transitional element here. So in this part, when we transition from one track to another, we want something, some movements, something else here. I think I'm going. Teoh, I have Ah, delay. I'm going to take the pink point away, have it on this track here that take the dry, wet signal to zero. And then I'm going to make it like that curve. Let's take a listen to it can sound strange. You can sound too much as well. So we're going to see what we come up with, Theo. Just when this, um because the drop drops here. But this voice in this parts and we wanted to be we only want this to to be heard there. So I want to drop the delay here as well like that. So here is going to be silence and just the voice hitting here. You can hear that when I played Theo just like that, that sounded really great. In my opinion, I'm going to move on to the next track, So let's go to iTunes and I'm going to take something else. I'm going to take the deejay snake. You know you like it and it's slower. So let's see if this is going Teoh. Sound good. So it's analyzing the track. Clip the activated. So I'm going to do the same thing, actually Clip. And now we have the way form here. So there's double click. It's and see how this looks here. All right, so I'm going to move it a bit and just take a listen to it. Some people won't be Teoh be head. So downs saying away, showing again another day. I should be happy in this scale. Yeah, and we also have the low end dropped here. So I'm going to take it back 00 but won't be Teoh. I think this track sounds too fast because I think that distract is originally in 100 bpm or something. That and we're at 1 26 here. So I'm going to automate the temple overall tempo of the projects or show automation. And I can see here in the Master 26. Creating The Mixtape - Part 5: Esther, you have automation for the project tempo. We're going to use that as soon as we detect the, um yet where we can transition from this track to the next one here. I think it can be too. Yeah, too boring if we listen to the whole ending section of this track and then we drop this, you know, you like a track. I think we can drop it somewhere else. Maybe a kid in this part. And I'm just doing this by taking a look at the way form here. So as soon as you can see something drops here, then you know that you can take another track and put it there to transition its e. I think that could be great, actually. So I'm going to take the temple an automated temple from 1 26 year to maybe 94 way Don't want this track to just end like that. So I'm going to take a reverb with this track, but automate the dry wet here and automated a lot. So we almost want distracted disappear when she starts singing in this part here. Some people won't be Teoh be head, so I think it's too slow now, so it's back in the bit. And I think we're going to use delay here as well. So I'm going to use an echo here and you can use different delay plug ins. I mean echo and ping pong DeLay or simple delays, actually pretty good as well. And just for the simplicity Here, I'm going to use a simple instead of the echo plug in since the eco PLA Guinness a premium plug it in a belt on somebody was a simple the late and just have the dry would signal here . And um, let's take a look here. All right In this track, I actually put it in the Master tracks, is where that selected. So let's delete that. Let's go back to diss track, but a simple today and back off with a dry, wet signal. Something like that. Let's try it out. All right, so the delay is having a little bit of a tale there, So let's take this one and just take it back. So it's now off when she starts to sing there. We also want to do the same thing with the reverb like that and what we want to do as well is to take off the low end here. Like that Theo way. Sure. That sounds okay. I think I'm gonna live it like that. And we want to double click here and press complex pro. And that will make this track. Sounds a bit theme. People will be Teoh way tip in the scales. I just won't play in my life, Theo. I'm looking for a point where I want to switch toe something else. I think mixtapes should have a bit off. Let's say a part of the mix tape where you want to. Ah, break it with something else. So we was using progressive House with this four tracks and they sounded pretty similar. But then I want something else to drop in here, but just in a bit, just like a minute or something. That and then we want to go back to without attracts or something else if you want to. That's the nice part about creating mixed tapes. You can do whatever you want here basically, but I'm going to dio I'm going to take this to your snake parts and just make a short part of it. So the first drop, and then we're going to go back to the Progressive House. So to that part, I think so. Let's just resize this like that. And now we want to have ah, drop from another progressive House track. So I'm going to do something else. Let's say this one. This track is very cool, and this is very much progressive House. Let's see. And I mean, I'm doing press of house right now, but you can do hip hop or you can do whatever, Uh, music style. It's the same thing here is basically just beat matching and creating different effects to blend that tracks together. So just double click this and the drop starts here. So I'm going to take a look at this part here against its A bit off the grid, Someone to move it like that and work from here. Start at one, um, 106 or straight like that instead, because we're going to change the temple back to a quicker temple. So just they get back like that, and now he wants the drop to be. They're basically it may be that this would sound better if you want. If you have something that prepares the audience for this track. So I think we're going Teoh, this the low end is backed off there. Just put it to not to Max member to C zero. All right, so that is not the drop section, so that's Yeah, I think drop section is there like that? Let's take the low end to there as well. Yeah, and here I'm going to automate the tempo. So, um yep, let's go to the temporary short automation. And now I want to create a little bit of a curve with a temple. So let's go back to 1 26 So now it's going to gradually be faster, faster. 27. Creating The Mixtape - Part 6: the faster, faster, faster until this track drops. Theo. All right, so this has some beginning with the voice here. So I'm going to take where that voice starts instead. Yeah, - I think that was a pretty nice transition. Let's take a look. - I'm also going to take a auto filter here because it's just come up from nowhere, this track. So just to make the audience prepare that we have something, it's coming up here. So let's take a listen. So you wanted to start a bit here. We want to hear that something is starting. Nice. That is what he wants. And I don't know what this part is there, but I'm going to delete it. All right? So I'm going to use one more track, and I think we're done with the mixtape after that. So let's see what we have here. I'm going to choose maybe something else. Ah, let's end it with this track. Let's just take a listen to it. I think this is almost like deep house. So to be clip and take it to some around here and let's just see where we can put this track. Yes. So I'm going to have the track starting at 5 33 and let's hear Yeah, the gain low is dropped as well. So let's see how this sounds. - So I'm going to drop this track when this sound had seen here. Let's take a listen where it actually appears. Great. So that is exactly what I wanted here. So I'm going to take the low and back as soon as the track ends. And then we also want some kind of reverb to just wash it out. You know the sound. Just wash out. Like to know where you know. So let's take a listen. So double ticket complex, pro and back to track. - Awesome . So I think we're done with this mix. Tape is pretty short, and you can see the minutes here. The minute marks enabled on Is there a against C? It's around 20 minutes or something. That but it's the same concept all of the time you beat match it. You can experiment a lot here says this is your doing it on beforehand, you know, so you're not doing it live as you would do with a D J like a D J mixer, so you can actually experiment a lot here and not be afraid, you know, off screwing up the whole mix. So I'm going to just play the different transitional elements here just to get so you can see what we have done with this mix tape. So you see, there's the first mistake. Um, and this is the gain high that we did here, and it's lowered there. So I'm going to make it back to zero here, and we Onley want effect to appear on that particular track so you can take a look at the different automation is that you have done and see if that, um appears for the selected track. But the best thing here is to just play back, though mixtape and see where we did something, something wrong. 28. Creating The Mixtape - Part 7: - way we can actually do in order filter there, since it actually hits from nowhere here in the beginning. That could be too much, I think. Um, so let's put on auto filter here. We don't have that at this track. So let's move. They snob frequency here and just back it off. Bates here. Some people won't be Teoh be head so down, I say no way. Try again Another day. I should. Okay, I think that sounds really nice. All of the different transitional parts we did hear. It sounds great. I think it sounds really good. So I think you got a bit off. Look at how you actually create a mix A from scratch, you know, And this was the whole purpose off this course as well. So before we end this course, I'm going to export this mix tape. So we go to file export all the video, and now we want to render track Master. We also set render starts. So you always want to start it? That one on one. If you set the first track at the beginning here and the render length will be 669 bars, which is somewhere around, then here, But you can actually take a look at it. So if it cancel its, you can just go to their section. Wait ends and you can see it actually answered 669 there. But if you want some kind off, let's say there is some reverb here. Something going on you can actually just to be safe here can. And it ended at 671 instead. So file export out a video and then, let's say six, 71 like that can also set it to 11 there as well. All right, so now we don't want to normalize current Mona or interest loop. We can create on an analysis file if you want to. It's not necessary. So I'm going to put it off and then you can choose Wave or a F F as well. I'm going to choose wave. You can also in court MP three. So that put that to on and now just exploit it. So now let's say but mixtape. And this actually May 27 2018 now. All right, so let's save it now it's going to export it, and I'm going to show you the audio file when it's exported. All right, so I'm at my desktop here, as you see. Mixtape. May 2018 MP three and way file. Let's take a listen to them for three. So I think it got everything there. So I am very happy with this banks tape. And I hope you learned a lot with doing this. What I did here in just by watching. And as you can see, we have the, um the little box in the bottom section off the window here, we can see all of the keys that impressing as well as well, I'm clicking my mouse. You can see a little red circle around it. So just so you can see how I work on, I think that's the best thing for you. If you want to learn, it's to just watch another guy doing something that he knows, what it what's he's doing, you know? So, yeah, I think we're done with the course here, and I really hope to see you in my next courses. I have lunch a lot of different courses here, So not just see you in the next course.