Making Beats! 3 Producers Share Their Best Tips & Strategies | Jason Allen | Skillshare

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Making Beats! 3 Producers Share Their Best Tips & Strategies

teacher avatar Jason Allen, Music Producer, Composer, PhD, Professor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1 Intro


    • 2.

      2 WelcomeCollaborativeClass


    • 3.

      3 IntroducingOurTeachers


    • 4.

      4 OverviewOfNick


    • 5.

      5 DrumRacksOverview


    • 6.

      6 MakingYourOwnDrumRack


    • 7.

      7 PlayingInDrumSounds


    • 8.

      8 monitoringTheKick


    • 9.

      9 TripletGrid


    • 10.

      10 Controllers Overview


    • 11.

      11 ConnectingControllers


    • 12.

      12 MIDIMapping


    • 13.

      13 PushInterface


    • 14.

      14 NickIntro


    • 15.

      15 BJELO part1


    • 16.

      16 WhatAreEffectRacks


    • 17.

      17 SettingUpAudioEffectRack


    • 18.

      18 OperatorInterface


    • 19.

      19 OperatorPresetExploring


    • 20.

      20 VelocityandGhostNotes


    • 21.

      21 NickVideo2Intro


    • 22.

      22 BJELO part2


    • 23.

      23 GroovePool


    • 24.

      24 BJELO part3


    • 25.

      25 NickVideo4Intro


    • 26.

      26 AutomatitingEffects


    • 27.

      27 BJELO part4


    • 28.

      28 Overview CoraVideo1


    • 29.

      29 MetronomeSettings


    • 30.

      30 EditingMIDIand Quanitizing


    • 31.

      31 QuantizingPercentages


    • 32.

      32 CoraVideo1Intro


    • 33.

      33 DavidW 1


    • 34.

      34 DavidW 2


    • 35.

      35 DavidW 3


    • 36.

      36 AutomationandEffectsReview


    • 37.

      37 DavidW 4


    • 38.

      38 DavidW 5


    • 39.

      39 DavidW 6


    • 40.

      40 ThanksBye


    • 41.



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About This Class

Welcome to Making Beats - 3 Producers Share Their Best Secrets!

This class is unlike any class I've done before: It is a fully collaborative class. That means you are not just going to be hearing about how I make beats, and my production tips and secrets. You will hear those, but you will also hear from two other well-known producers to show you some of their tricks as well. This is an art, and the best way to develop your own style is to hear the perspectives of several teachers - not just one.

For years I've been teaching Ableton Live in the college classroom. These classes I'm making for Skillshare use the same syllabus I've used in my college classes for years, at a fraction of the cost. I believe anyone can learn Ableton - and cost shouldn't be a barrier.

Recently I was named as a semi-finalist for the Grammy Foundation's Music Educator of the Year award because of my in-person university classes. Now I'm taking those classes to Skillshare in an online format in order to reach more students and give them the joy of Music Theory.

In this class, we will cover:

  • Drum Racks
  • Recording Drum Racks
  • Making Your Own Drum Racks
  • Monitoring the Kick in Alternative Channels
  • Working on the Triplet Grid for Better Grooves
  • Playing Beats with Controllers
  • Setting up Controllers
  • MIDI Mapping
  • The Push Interface
  • Effect Racks
  • Building Audio Effect Racks
  • The Operator Synthesizer
  • Creating Ghost Notes
  • Velocity Adjustment Tricks
  • The Groove Pool
  • Quantizing Tricks
  • Effect Automation
  • ...and much, much more!

And of course, once you sign up for Making Beats - 3 Producers Share Their Best Secrets, you automatically get huge discounts to all the upcoming parts of this class.

You will not have another opportunity to learn Beat Making in a more comprehensive way than this. Start here.

Dr. Jason Allen is an Ableton Certified Trainer and a Ph.D. in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater. His 2015 album, Aniscorcia, reaching the CMJ Top200 Charts and radio broadcasts nationwide. In 2014 he was named a semi-finalist for the Grammy Music Educator Award.

He currently is a professor at Augsburg University and the CEO of Slam Academy in Minneapolis.

Praise for classes by Dr. Jason Allen:

  • "Without a doubt the best explanation and east of use that one can get. It leaves you enough room to go explore. The classes go by quickly, so you can be on your way to being proficient. What are you waiting for!"

  • "Amazing - Seriously Loved It! I took all his courses and have to say I'm so happy! Learned loads! Jason is an awesome teacher!"

  • "I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me."

  • "I like these courses because you can get up and running quickly without having to spend hours of time wading through TMI (too much information!). Jason hits the high points but shows you what you need to know. Thanks!"

  • "I've watched many other videos on scales and chords before, however, this one has been the best. I now understand minor scales and chords and even how to analyze songs. It really gave me the confidence to start producing music because I feel like I have some structure and guidelines to follow. AWESOME!"

  • "Clear and Informative - Jason has a clear uncluttered style (with the important dashes of humor) of presentation that is focused on the important key aspects of this course. Recommended for those starting out!"

  • "Dr. Allen does it again with his music theory series. This course really opened up everything I learned from the 1st section, and now I understand more about the composition side of things for music. I highly highly recommend this course to anyone!!! Really opened my eyes to many things I wasn't aware of."

  • "The Best Teacher Ever, who makes you understand the ins & outs of Music Theory by all means without giving what you don't want to know."

Meet Your Teacher

Teacher Profile Image

Jason Allen

Music Producer, Composer, PhD, Professor


J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of "glove" controllers, which he has designed, built, and programmed by himself. When he's not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation's Music Educator of the Year.

J. Anthony Allen teaches... See full profile

Level: All Levels

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1. 1 Intro: - way to kick only the kid over here and leave everything else here and he'll talk to you about why he does that. But let me just walk me through. How you we're gonna do is in this audio track audio from see everybody cool doing it, Everybody. That doesn't sound cool. Totally serious. It sounds harsh, but so check it out. So here's prove that I just made open high hat normally extend the last one last much like Go Another one is an operator that's programmed to kind of be like an eight away kick is tunable Third moon is sort of growly based thing that might remind you of dubstep like this in a lot of what I was doing last video, Same concept. Hello? Hello, everyone. Welcome, Teoh, This making class is gonna be quite the class. I just finished putting it altogether, and now I'm making the first video. What I've done in this class is I've invited some friends in because making beats and making music at all, but especially making beats right now is an art. And to put together a class right to show you how I do something is a little one sided. I really wanted to show you how other people do it and give you a sense of different styles , different techniques, mostly techniques and different tricks you could do to make the coolest sounds. So, uh, this class is going to talk about three people kind of four. There's three, and then there's a guest appearance of one. I'm gonna be walking you through this whole thing. I'm gonna be kind of guiding you through. I'll be sort of the yoga class, and then we'll have all these video segments from a couple of really fantastic producers that I've asked to contribute to this class where they're gonna walk through making a complete track from beginning to end, and they're also gonna walk through one of their finished tracks that's out mastered, available on We'll just walk you through it, show how they made it, using all these different techniques along the way. I'm gonna show you how I do stuff and point out some of the technical aspects of what they're doing. They're going to say I do this technique and I'm gonna show you how to do it, so it's gonna be a lot of fun I think you'll enjoy it. Um, please join me on the inside right away will be introducing our collaborators and then we'll get started. 2. 2 WelcomeCollaborativeClass: all right. First things first, let's dive in and talk about what a collaborative class means, because that's what this is. This is gonna be a collaborative class. What I've done here is it when we talk about the art of making beats, the reason that it's taken me a long time to put this class together is because it's Ah, it's a matter of opinion and style, mostly style. So I thought I didn't want to make a classic, just showed you how to make beats like me or beats like someone famous. But I wanted to do is give you kind of a well rounded approach to different techniques you can use to make beats. And then the idea is that you'll absorb a couple different ways to do things and then generate your own way to do things that works, you know, ideally for you and the style of music that you want to make. So I'm going to show you a couple different ways to do things I've pulled in some other people to show how they do things, and all of us together are are basically putting together this class. I mean, I'm putting together the class, and I kind of hired these other people to contribute to the class. But these are people that I hugely respect. We're gonna talk about them in a minute, but, um, basically going through the class is how it's gonna work. Um, I've taken their demo that they did. Um, I asked them. I asked each of the DJs to do two things. Ah, one is to make a long video, just walking us through their entire process, like from beginning to end making something. So I took that and I chopped it up into about three, um, videos. So what I'm gonna do is I'm gonna put a bunch of videos of me explaining key techniques that you're gonna need to understand. Ah, in order to get the most out of those videos. So you'll see, um, like, 45 videos from me explaining how to do you know how to use drum racks, how to monitor the kick, how to get access to the triplet grid and things like that. And then you'll see that first video from that producer. So all the videos that I'm going to make for you are basically going to be kind of warm up videos explaining all the technical stuff that they're going to talk about so that when they talk about it, you'll be like, Yep, I know how to get access to the trip liquored right, So you'll see a couple videos for me and then a video from them, and then a couple more videos for me and then a video from them. That's how it's gonna be for the first, um, producer, that we have for Nick, the 2nd 1 for Cora. Ah, we're going to get a couple of his videos in a row because, ah, there's nothing that he explains that I need to especially cover in, ah, separate video that we haven't already a lot of it. We've covered in Nick's stuff, so I will jump in in Cora's stuff from time to time in his video and say, Here's something that we need to know, um, and give you a little heads up on how to do it Now. The second thing I asked these producers to do so the first thing was to just walk us through the whole process, and then I chopped that up. The second thing I asked him to do was open up a finish track and walk us through. It should show us what you did. Um, so you'll get that at the end of each kind of big segment. So when we're done with looking at all of Nick's stuff Nikas, Biello, um, looking at his stuff, you'll get one video that's just Nick walking through one of his completed tracks that's like Out, you know, published on iTunes. Reporter deejaying with it. Let's look at that session. I've done this before in some of my classes, if you follow my other classes. You've seen this collaborative technique before. I did it in my deejay in class, which is another, you know, style class. So I brought in another D J. James Patrick. In that case, who you're actually gonna see make an appearance in this video are in this class as well. He's going to show up talking about the push when we get there. The push controller. Um, so he'll make a nice little appearance later. Um, yeah, that's how the class is gonna work. That's how collaborative class works. I think it is the ideal situation for learning this stuff, which is why I like to do these classes this way again because it's about art. It's about style. It's about, ah having a personality in your music. So you don't want to just watch some videos that show you how to do a certain thing you want. Teoh absorb different styles and generate your own. That's the idea here. So I want you to see how I do things about you. See how Nick Yellow does things want, issue how Cora does things. Ah, and how James Patrick does things. And then in the end, I want you to start to find the things in each of those that resonated with you the most. You're like, Oh, I like how this person did this, this other person to this other thing and this other person. That's another thing. I'm gonna incorporate all three of those things into my style. Um, that's how you develop a style. A sound, a technique. So with that, let's move on. Let me dio in the next video, I'm going to do just a short little introduction to our two main guests here who have already mentioned. But I'm just gonna walk through a little bit of my history with them, just kind of for fun. Real brief. In the next video 3. 3 IntroducingOurTeachers: okay, are two main guest speakers that we're gonna have with us in this class. Guest producers, I should say, um, the 1st 1 is Nick Bella Petrovich. Uh, he goes by yellow. Um, that's B J e o. Nick is a really interesting guy. He's really into this kind of, like, new soul sound. Um, the music you're hearing underneath us here is some music of his. Actually, it recently had Nick do some remixes for me, Uh, which have done really well, um, and Nick is a student of mine, former student of ours. So as many of you know, if you followed some my other classes, I have this place that we teach classes called Slam Academy here in Minneapolis. And Nick was one of our first students. Is that incredibly? Well, we eventually hired him to teach for us, and then he took off, went out into the world. His career is doing great. And now he's based in Chicago. Um, and he's making music all over the place. So check out some of his music. You get chance. It's really cool stuff. Really Well spoken guy. He's great. Teacher. You'll probably see some online classes from him in a short amount of time, I'm sure. And then our second presenter is David Weiss. John going by the name. Of course. David is another former Slam student who is currently teaching Force. Lamb Way. Haven't teach private lessons for us. We haven't classes for us. Uh, he's a great teacher, really interesting artist, and he does a lot of really cruel techniques that I thought would be great for you to see. His style is, I don't even know how to describe it. Really. It's a It's a bit more harmonic. I think I would put it that way. Um, you'll see what I mean. We're hearing some of his music now right underneath us, and I'll let that breathe for just a second after this. After I stopped talking on the side of play for two seconds to get a feel for it. Um, Nick is his background is as a drummer, so you might see the way he programs beats a a little bit influenced by that, and that's something interesting to take note of. But he is also a was a student of our that slam academy who is now, uh, doing great things all on his own. His career is going wild. And we're lucky to have him teaching for us both at Siam Academy and here in this class. So please virtually welcome. This is where if I was in a real class you would applaud for are two guest presenters you could apply to feel like, uh, welcome are two guest teachers. Okay with that, let's dive right in. And, um, going to our first big section making drums with Nick Bella Petrovich, otherwise known as yellow. 4. 4 OverviewOfNick: Okay, So what we're gonna get out of, uh, Nick here is once we get to the video with Nick ah, he's gonna walk us through making a house track, and in this first section, he's gonna talk about making drums. So we've got a lot of kind of makeup stuff to do first before we get to that video, just so that we really understand all the terms he's using all the techniques that he's using. So ah, he does work a lot with drum racks. So I've got three videos for you coming up next. Ah, that walk us through using drum racks in, able to live. Then he does this cool trick of monitoring the kick while he's working that I made us Ah, special video, Just walking you through how he does that, because he kind of goes through a quick and he's like, Oh, yeah, I monitor the kick this way, and then he keeps going. I just wanted to be sure that you really understood that, um, that I'm gonna talk about the triplet grid, something I mentioned earlier. This is something that he uses that is not immediately transparent. So I wanted to show you how to get to that. Um, he works a lot with controllers, many mapping and the push interface. So, um, I've got four videos on those couple topics for you, so we're gonna have kind of a bunch of videos of me, and then, um, we'll get to next video and I'll chime in one more time. Um, just kind of reintroducing Nick before we do that. Look, now, every time we're not gonna have this many videos, it is only because it's the first time. I want to be sure all these terms air in your head once we dio When we get to the next part , there will be less videos that we need to do in order to get all the concepts that he's using. But basically, in a nutshell, here's what's happening. Nick is gonna walk us through how he makes beats, and he's gonna talk about a whole bunch of different techniques he uses. Before we see that video of him doing it. I'm gonna walk us through how to do all of those techniques in detail. Then you'll see Nick do it and you'll say, Oh, yeah, that's like the application of all those techniques that I just learned. Cool. So first up, we're gonna talk about drum racks for a little bit, and then we're gonna go down the list of all of things that Nick talks about that I really want you to know about before you watch that video. Cool. All right, so let's dive into drum racks. 5. 5 DrumRacksOverview: So this is what's called a drum rack. Now, if you go to your instruments panel up here and let's close everything here, you will find three different kinds of racks. Drum rack is right here, and it's got a bunch of presets that will look at shortly. Instrument rack is right here. That's a rack of instruments. We have a rack of drums here. We can have an instrument rack, and the 3rd 1 is over in effects. Audio effects will have audio effect. Rack those your three different kinds of rack and thes rack. This rack concept is like there's there's so much to it. It's like super crazy deep, um, that you can do with racks. Drum racks are kind of this simple list of them, Um, but let me show you just basically how they work, um, with drum racks. So what we have here is basically all these different pads, right? And in this case, what we have is a sampler or actually, a simpler um, which is an instrument over here. The simpler on each one of these racks, all playing the same file. But here's what's crazy about this. You can put anything you want on each of these keys, right? Each one of these are a key on your keyboard, right? I could play these, like, now I'm playing my midi keyboard, right? And the different sounds air happening cause I'm triggering them with this. This is basically a keyboard. Um, I can also que him this way. Or I could kill him by writing Midi like this, But I can put whatever I want in here, so check this out. Let's say, um, let's put this acoustic bass sound on sliced 13. Boom. I just dropped an entire synthesizer on this pitch on this pit. Yeah, On this note, this midi note Let's put this rez ascent on nine. Now, this is tricky to do because I don't have a lot of control. I don't have any control over what pitch it plays. It's probably playing. Ah, hi. See, or middle C thats by default. There is some things I can do to give myself pitch control, but for now, um, I can't, um, until we look at the next thing, Um, so you can throw individual samples on here. I could throw a whole loop. Here's a loop. An audio file of a loop. I could throw that whole loop onto one of these if I wanted. Right, Um, this has an individual sample from before this has a pitch. It's wild, right? You can literally throw anything on these. Any of these slices can have Ah, whole synthesizer in it, or sampler or a simpler or an audio file. Or you could throw a whole bloody track into one of these if you want to do, um, so you throw each one of those in there, You've got all the settings of the sampler of the simpler in there. If you want them, we can do whatever we want in terms of adjusting the sound. And we Can we have some of these Mac rose on the outside. And let me tell you what those do. Let's go back to one of our e slices from before, say, all these green dots is green dots. They're kind of like the automation dots, right, But they're a little different. Is green ones say that something outside of this particular simpler is controlling this parameter. What that is is these. So if I go to sample offset or start offset, I change that it's changing this one. It's not only changing that one, it's changing all of these. Right? Um, all of these air controlled by one parameter. And this is called a macro, right? So, um, the same thing loop length I can control change the loop length here, and it's gonna change him for all of these. And that's just because that's the way this is. This one is set up. Doesn't have to. And it's in fact, not going to control these ones, cause there's no loop length to be had here or this one. There is a loop length, but it's not going to control it because I didn't manually set it up. Um, I can I can manually set up macros to do these eight macros to do all kinds of different stuff. But I don't wanna go down that road quite yet. We're gonna talk about Rack soon. Um, in the next class, I think when we talk about audio effects and instruments will spend a good amount of time on racks. In fact, when I was putting together this whole big Siris of able to in classes, I was considering devoting one whole class to rack. I decided not to do that and instead talk about drum racks here, instrument racks when we're talking about the synthesizers and stuff from the instruments enabled in and effects rack when we talk about audio effects. But it is a big topic, so this is just kind of our first taste under what drum racks can do. If I go to this map button here, I get more parameters, and this is where I could change the pitch. I believe for those synthesizers if I went way down to find one. This is a really complicated one, but there's a lot of different stuff here that I can work with. So let's leave that as it is for now. Ah, for this less and in the next class are in the next video. I'm gonna open up some of these drum rack presets and have a look at them. So we're still stuck with all this complicated stuff because we did that sliced committee. So let's start fresh with a new one and see what comes up When we do that 6. 6 MakingYourOwnDrumRack: Okay, so I'm gonna delete this midi file. I'm actually gonna delete this drum rack as well. Just get rid of everything on that track. Now, let's throw a drum rack in there. So here is an empty drum rack, right? All I have is the individual pads. They have note names on them, which is what? No, I could use on the midi he ward to trigger those notes. Um, here I have this grid is kind of like the piano roll editor, but designed for drum pads. So I have each one of these. I can look at the macro section. If I click this button here, this is gonna show me those macro is that aren't doing anything right now. And this is going to show me the device in the chain. I don't quite want to talk about chains yet. Trust me. Chains are awesome. And we're gonna talk about them. When we get into instrument racks, we're gonna blow your mind. For now, we don't have anything, so let's create something. Ah, ourself. So, actually, let's go Teoh, um, samples to find some individual sounds. So let's see, There's a conga slap, so I'm gonna drag that right onto a note. It's gonna load up a simpler and I can play it. I can adjust thestreet time. Ah, the loop length. There's a loop amount. Yeah, the loop length. Ah, the loop length. Whether or not it doesn't fade. Um, and then some envelope stuff. We'll talk about more of these parameters when we look at how the simpler works, which will be shortly. But let's just load in a couple other things. Here's a low conga. Just make a little Congo jam here. Gonna load in a whole bunch of Congress. Sounds okay. No, I have five Congress sounds. Let's hear him. Cool. Okay, so let's make something with this. Um, let's go to our Midi editors. Remember, in these tabs down here, here were in the instrument and a fax window for go down here groups. So we if we go down here, we're gonna see nothing because we haven't made a MIDI clip yet, so I could do two things. I couldn't sit record and then hits a midi notes and records a midi clip. Or I could go to I could select the chunk of stuff and go to create insert Midi clip or shift command em. So I've got to make a mid eclipse somehow. So I've got one There. Now let's pull this open. Let's look at what we've got here. So here are the notes. The samples I put put in. I can if I click on the little headphone thing right here, little headphone icon. I can hear them as I move stuff around. So let's just try to make a little jam here. I'm just gonna move these notes, I put, but I could also just draw in new notes by just double clicking somewhere. I'm just gonna make us crazy. Bongo jam e. That's the same sound. Do one whole bar. Okay. Okay, now I got a whole bar. I've got that track soloed. Let's hear it. All right. That is a crazy you bongo player. Loop it on that. Stretch it out. Okay. Someone wrongs my loop. Right. Check that out. Um, I've got this empty space here. Why don't have that empty space here? Because my loop is going for more than a bar. It's going a bar and two beats or something like that. Because remember, we made this clip by recording and it's kind of randomly hits start and stop record. So I got to fix that. Easiest way I can just drag this loop race in to make it exactly Ah, full bar. And now that fix the whole problem. So now I've got my bongo player rocking out right is gonna keep going. Awesome. So that's just using MIDI. That would be really tedious to do with all those audio samples, right? Much easier to do with the drum rack here. Um, let's see if we could do something little more interesting with this. Let's select this whole thing and let's do this halftime double time thing. So let's double time that out right now. I've got a pretty cool group. So what I did is I just told it to play half speed, which, with MIT media is even easier than it is with audio. Things gonna happen if we pull in our drum groove up here? It's kind of fun to do it. So basically what we've done here is we created our own drum rack by just dragging sounds onto an empty drum rack, and if we click on one, we can see the instrument inside It's just a sampler are simpler and what's got each of our sounds way could control more parameters of our sound. But in this case, we don't really need to. And then I just created a mini track, our media clip playing a groove to the whole thing. I could make this twice as long way made a little group out of it, right? Way Could still double time. The person Oh, my quarter timed it less interesting there. Ah, crazy, frantic. Halftime. Right. Nice. Okay. So making your own loose from scratch using the drum, Rick. 7. 7 PlayingInDrumSounds: The last thing I want to do here with drum racks is talk about recording them in by, like, playing yourself. Um, so I'm gonna delete this group I made, and I'm gonna go over to my keyboard and just play it in. So let me get to my drum racks. I'm gonna go down here to this tab down here that shows me my actual drum rack. And remember, I can also get to that tab by going shift tab on the keyboard. We'll alternate between those two windows, the clip view in the instrument view. So here I am. Now, I gotta find these notes on my keyboard. So if you look right here, I'm gonna play middle C on my keyboard, and it's showing up there, so I need to play higher. Keep going. There it is. There's my first note. And now I played Chromatic Lee those notes. So I located the notes using this. I could also look at my pitches and figure out what's what, but that gets me where I want. So now let's set up a Metrodome, and I'm just gonna record into this clip. So I'm gonna hit record and and it's gonna play a couple notes and then I'll Kwan ties it after. So not brilliant. I mostly stayed with the beat, but remember, we can always Kwan ties. So here's my segment. So let's get rid of this random floating note and then command a and then command you for Kwan ties. And now let's let's pull it all the way over to the beginning. And then we'll just bad this last bar is going to command D to duplicate that. And then I'm gonna nudge it over to be right on the beat just to finish out the clip. Let's see what we've got now. Oops. Back to the beginning. Turn off the Metrodome. Okay, Not bad. Try the double time groups. Okay, so that's cool. But those little, like, kind of top Elias Griff's I did hear didn't quite work, so I'm gonna undo that now. We're back at our original tempo, but check this out. What I could do is select, you know, maybe this much. Well, let's do it by bar. So let's do this much. Just this first bar that I could say double that on Lee. Right? Then since I've still got this highlighted command d duplicate that, and that's nudge it over, said. This is right on the beat, right? So I can I don't have to duplicate or double time or halftime everything. I can do it just by ah segment and then, you know, duplicated to fill out the space. Um, let's try this. Also duplicate that. That looks good. I got a little crazy Got away from me there. Let's undo those two things, All right, So it's it's getting cool so I can select stuff and then do the halftime or double time stuff, depending on what's highlighted, which is a handy trick to know. Okay, so we made a drum rack. We recorded some stuff in, so ah, I think we're getting pretty comfortable with Drum Rex. There's still a lot to do with drum racks. You can have a lot of fun. The Keeter withdraw Maxis. Just remember, you can pretty much drag anything onto a drum rack so you can put a synthesizer. Ah, loop individual hit a sample. Anything you want can go on one of these pads, so racks are going to become a very important part of your life and not all that much longer if you stick with this class. So, um, just wait till you see effects racks. It's gonna blow your mind like you won't even believe what's happening. Um, I can't wait to show you that stuff, but, ah, I gotta stick to my plan. I got to stay in order. So let's move on. And the next big chunk of stuff we're gonna start talking about synthesizers laying some sense down. Um, not necessarily programming synthesizers in this section, but, um, recording working with synthesizers and editing the midi to get the best ah, stuff down. 8. 8 monitoringTheKick: okay, up next. Let's talk about monitoring the kick. Now, this is something that we're going to see. Ah, Nick do in the video shortly that he made for us, and what I want to do here is just kind of show you this trick that he does kind of in detail. So that, um you know how to set it up? Um, he does walk through how to set it up, but he doesn't kind of quick. And I wanted Teoh, and it's a really cool trick. It's something that I don't do. Um, but I really like the way he does it. Actually, you know, kind of learned this tricks by watching him do it. Um, So here's gonna do. I'm gonna make a drum rack. We know how to do that. Now, since go throw an empty drum rack. Undo, attract. I'm gonna put a sound down. I'm gonna just search my library here for a kick. That's cool to something short and punchy. Okay, there's my kick now, while I'm here. Let's add Ah, hi. Hat to it. Sure. Put it somewhere. Okay. So now I have a kick and a hat, and you know what Let's let's just go all out here and let's put a snare drum on it. Little kind of rim clicky one. Okay, Cook. I have three sounds on this drum rack, so I'm gonna rename this Trump's. So here's my drugs. Um, now, here's what Nick does. I'm gonna smooth this over here. So I have an audio track here, and I'm gonna rename this one kick. Now, why would I want tohave happen here? And this is next trick, as I want all the kicks to come here and not here, but I still want to be able to play them in like this. Right. So here's let's just make a little groove here. Uh, here's the snare. Okay, Nothing fancy, but that's OK. Ok, so right now everything's coming out of this track, right? Because this is my drum track. This is where my drum rack is, and all my audio is going out here. But what Nick likes to dio is send the kick on Lee the kick over here and leave everything else here, and he'll talk to you about why he does that. But let me just walk you through how you would do that What we're gonna do is in this audio track we're going to say audio from when you say drums. Okay, so that's this track. Now we're going to say in here we have all of our stuff, so we're going to say kick post effects. So that's changed. Monitoring to end. And now we'll get the kick coming through here and here, so we're gonna get to kick both places. This is gonna be kind of a mess. So here's my kick coming through both places. Don't forget about this. Monitoring step. You gotta turn that in. Ah, in order to get it coming through this track, what I need to do now is make it not come through this track. So I'm gonna dio is go back into my drum rack. I'm gonna mute it here and now. It should still be sending over here, and we should be good. Oops, area. It wasn't because I had selected post effects instead of pre effects. So I want a pre effects. So now all my drums air coming here except my kick. So if I pull this out, no kick and there's my kick. So I'm monitoring the kick over here, but all the rest of my drums were over here even. And that lets me keep working with the drum pattern in the clip exactly the same. Also, they as though they were all in here. But they're actually the kick is the sound of it's coming out over here, so there's no clip here, and that's just fine, because this one is getting audio from the drum track and specifically thedc IQ pre effects monitor mode in, and that gets us the ability to monitor the kick. Now, remember this. Don't forget it, because we're going to you. When we see that video with Nick, he's going to show us ah, how he does that, but also always gonna talk about why he does that and how that's useful to us. Moving on. Let's talk about the triplet grid 9. 9 TripletGrid: Or if there's one thing that is like the super secret weapon of making cool sounding beats , it would probably be this jumping over to the triplet grid thing. I see everybody that sounds cool doing it and everybody that doesn't sound cool. Not doing it. I'm, like, totally serious. That sounds harsh, but it's gonna true. Um, so check it out. So here's my, um, grooves that I just made right. It's good and boring. So let's try to jazz up that I had a little bit by just adding Cem a couple extra ones here . I'll lower the velocity a little bit. Um, maybe maybe here to lower the velocity on that. Okay, Now, let's hear that e one there too. Okay, that's okay, but it's so square, you know, and boring. So what we're gonna do is we're gonna go over to the triplet. Great, and we'll see Nick do. There's a whole bunch. So you can do this with command three if you want. Um, that will get you there, but I'm just going Teoh control, click right on the editor here, the piano roll editor here, and show you that it's also right here. Triplet grid. So what this is going to do? I'm not gonna turn it on quite yet. So notice that what we're looking at here is pretty much eighth notes. So the number of squares we have here there are four, right? One, 234 When we go into triplets, we get we'll get six basically, because there are two groups of three and that is going to give it essentially a little bit of swing. So let's do it. Triplet grid, Okay, you'll see now that this one is not on one of the lines, right? It's off because it's on 1/4 note if we put it on a triplet and you don't have to shorten it up like that but I'm gonna it's gonna have a little bit of a fun swing to a little shuffle to it. Let's hear it. Let's do it. This one, too. So it doesn't affect any of these other ones. They're locked where they were there just fine, But this one Now if I go back to not triplet grid, if I go back to normal grade, thes ones are not on a line anymore, right, because they're off the grid but they are on the triplet grid. So here's triple it again. They are on, and that gives me that little bit of shuffle. And I will see Nick do this in a way that gets him that really cool, that kind of new soul sound. Um, so check that out, which is, Remember, it's just command three to go back and forth between the triplet grid and the 16th note or eighth note grid. Cool. You can also control click in there and get to the triplet grid. That way, that just adds that cool kind of shuffle. Remember, though, that shifting between grids doesn't actually change anything. It just changes the view. So when we go to the triplet grid, we would have to manually move stuff around to make it have that triplet feel. We go back out of it and this stay is on the triplet grid. It's just not on our current grid, which is actually 1/16 note, because that's what's written down here. Cool. So if you go to the triplicate, you've got to move stuff around and get it on that grid. You're kind of just changing focus. You're not changing. What? You did it all off. Okay, let's move on and talk about controllers 10. 10 Controllers Overview: All right, We need to talk about controllers for a minute. So controllers are the physical things that we're gonna touch and interact with that will keep us away from our software a little bit. Right. So, um, the basic idea here is that we're always using a controller whenever we're sitting at a computer. Were using a control or two of them. Actually, one is our, ah, keyboard, like our typing keyboard. Like they'll with the letters and stuff. And the other is our mouse, right? These are what things we can touch and get our hands on that interact with the computer. There's a whole science to this called physical computing. Um, which is just computing with our hands, you know, like using our hands to do stuff and sometimes even using other ah sensory devices like, um, you know, our eyes to control stuff and things like that is very sci fi stuff from I'm not gonna go into it. Um, it's pretty interesting, though, Um, so let's stick with talking about our hands. So how can we interact with ah able to live without using the mouse? The mouse is cool on. The mouse is very innovative. Um, but as a musical instrument, the mouse kind of sucks. There's not a ton we can do with it. Even if you're using, like, a fancy track pad. Um, it's still a little bit problematic to be jumping around because we were only only have one thing we can do at a time, right? Like we can move this little arrow thing. And no matter how good you are at that, I can't do I can't hit these two buttons at the same time, right? Well, in this case, I could cause I could launch it from over here, but ah, let's say I wanted to turn this volume down in this one down independently at the same time . All right. Like, I can't do that with a mouse. I need a controller, something I can put my hands on and interact with and play with and make it feel like a musical instrument. Right? That's what controllers are. So there are tons of different kinds of controllers Obviously not gonna go through all of them. Um, the kind of too big categories of them, though, are the kind that looked like keyboards and the kind that don't look like keyboards. That's kind of the way I think about it. So And by keyboard, In this case, I mean piano like things that look like a piano and things that don't look like a piano. Um, so I think what I'm gonna do next, just as a quick overview is, I'm gonna jump out of my screen capture software for just a second and show you around my little studio at the different controllers that I have here just really quickly too, So I can show you a couple examples of the keyboard type and the non keyboard type. So here we go. Okay. So outside of my computer, this is what I'm looking at when I'm recording all of those. So I basically have two little desk set up here, so let's jump right around my laptop set up here. This is a very popular A PC 40th made by akai. Um, this is designed to work with a built in super Well, so these sets these two sets of eight knobs are you know, these line up perfectly with the macro section of our racks. Right? So it's really familiar. This is basically your clip slot grid where you can hit buttons and launch stuff. Then you got a little mixer, right? There's more to it than that. But just as a quick overview Over here I have two keyboards. I have this little oxygen eight, which is handy when you just need, you know, like two octaves or so and then right underneath it. I have this oxygen 49 which is much more keys. Still not a full size keyboard, though this is usually what I'm using when I'm sitting at my laptop just to play notes, nothing fancy. It does have a number of cider on it in there and knobs. I don't use it very much, though, because when I'm sitting at my my laptop here, I'm usually Ah, doing one of these videos now over in my main desk. This is where I'm actually writing music most of the time. And here I have this new ish Novation Launch Key 61 um, which is really nice keyboard. It's also not a full size keyboard. 61 keys. It's got some pads, some failures and some knobs. Almost all the key ward type stuff you see these days will have some extra non keyboard stuff on it. Some knobs, invaders above that, I have a Novation remote zero s l. This is like I used this for a performance for a while, and now I have it here just for some extra. I don't know when I'm mixing it. Sometimes funds to grab these and work with them. This is a standalone little thing. They make a version of this that's got a keyboard attached to it. But I like this one. Actually, it was really fun then, to the right of that, I haven't able to push. We'll talk more about this later, but this is kind of Ah, the newest funnest thing toe work with. And lastly, I wanted to show you over here. I have a full size waited key keyboard so important to know that this actually I have for what I feel like playing piano. These keyboards are not designed to feel like you're playing piano there basically plastic , you know, and like, they're not weighted keys. They don't feel I like the action of a piano. They're just basically triggers tow launch notes. There's nothing fancy about this one over here, however, does have weighted keys and feels a little bit more like a real piano. Um, not completely by any stretch of the imagination. But if I feel like interacting with the sound as though it was I was playing a piano. This is where I would go to this keyboard. Otherwise, I'm gonna be using one of these other kinds of controllers to interact with the sound. So there you go. Couple keyboard types, couple of non keyboard types. Um, yeah, that's what I have laying around here. 11. 11 ConnectingControllers: so I want to make sure that ah, you remember how to set up a many controller and basically a few quick little functions. So when you plug in a midi controller or any kind of controller to your computer, it's gonna be USB. Almost always. Um, you got to take a quick trip to the preferences, so let's go to live preferences. And then we want to go to this midi tab Midi Sync tab here. So, um, here's what we need to find here. These three buttons here, track, sink and remote are really important. So we're gonna find our device vice. So I have this oxygen 49 set up, right? I have an input in an output. I don't really care about the output. This is what I'm going to send back to the oxygen. Um, some devices, you do want to send stuff back to it in this particular one, it doesn't really accept anything. It really only outputs. So I don't really care about this output so I can leave all three of those off, but on the input. Ah, I need to decide what I'm gonna turn on. So track track means can I record Midi notes. Can I can I can live except Midi notes. Ah, and messages. Ah, to record. You know, the keyboard. So almost always you're gonna want track on right sink sink. Ah, By default, you might want to leave sink off. You probably don't need it. This is pretty much like, um, look, if you have another think of it like this, if you have another device outside of your computer that has a timeline on it, like another sequence, er and you want to sink that to a Bolton and let the other one control the timeline of a Bolton. So like like some looper pedals might output something so that they can control when able to in starts and stops stuff like that. Um, that would be sink. So you want to turn that on to make sure that that device can can do that, if that's what you want to do. Um and then remote remote, you probably want on Also, remote is going to be like, Can we map one of the parameters to another parameter in a built in? So that would be like like I showed you on some of my keyboards here I have extra little knobs and feeders. Can I use those knobs and feeders to control knobs and feeders Enable turn right most of the time. It's probably what you want to do, so you can leave that on Returned that on. So those are your three setting. So right when you plug in a controller out of the box, it's not really gonna work until you come here and do anything with maybe the exception of the push because it's designed by a bilton, it might just like magically work. Um, but get in the habit of coming here, making sure that track and remote are turned on. Sync is on if you want it to be on. But if you don't know anything about what you're doing and you plug in a new MIDI controller, I would go in here, look for input, your device, turn track and remote on leave, sink off and then you'll be up and running. And then once you do that, hit some stuff on your keyboard and look at this little dot all the way up here in the top right corner, and you should see it lighting up as you press, um, stuff, even turning a knob or a switch or anything. Any kind of touching of a button, whether it's a key or anything else, should trigger that little yellow light to go off and then you know you're working, so don't forget about those many settings. 12. 12 MIDIMapping: Okay, now that we have ah, controller and a controller hooked up, Um, let's do a quick refresher on midi mapping. You've seen this before, but let's do it again. So I'm gonna throw in one of my audio effects racks here. Let's do, um let's do Let's do that. Fade to Grey. What the heck, you know. Ah, And then let's throw an audio track on here. So I have an audio track on here. I have my fade to grey. So all I really need to do is control this knob. I need to find a way to do it. So let's map of this to a knob on my control. So all I have to do this is super wildly simple. All I have to do is either hit this midi button right here. So I get out of the blue stuff or I can command em. And then you have to do to quick little things. Click. Just click Once clicking, let go. So I just touched it and I got this little black You know what kind of frame around it? This So you're just going to click really quickly the parameter that you want Teoh map. And then while it's click, don't click anything else and then just wiggle the thing you want a map it to. So I just turned in a tiny bit and it's done now. Ah, I can click another thing I could say, Let's also map I volume while we're here. So now I'm gonna click that Here's my volume in this whole blue area And now I'm gonna move Ah, Fader on my controller So now I have a fader. It's telling me right there, it's got a little notation for it. Um, let's do something else. Let's say, um, let's say this track to even though I'm not using it, but it'll be a good example. Um, let's click the track activator button and let's set that to the pitch F. So now when I press the note F I'm gonna toggle that on enough. Okay, let's get out of media mapping mode. Command em and then let's see what we got. So here's me pressing the F key on my ah music keyboard, right? Here's my fade to Grey Na and here's my volume. So now I can like I really wanted to, I could control fade to Grey and that volume at the exact same time. But I can't do with the mouse. Right? So check this out. Right. I've got two hands, and now I can actually use them. Let's do one more mapping. What if I want to launch this clip? Now, if I was hooked up to an A P C 40 what I would see as a box around all this all you know, an area. We'll see this on the push in just a minute, and then it would map to all the buttons there. But I don't have that on Ah, this oxygen 49 keyboard. So I'm gonna go back into mini mapping mode. I'm gonna say I'm gonna launch this clip using, and now I'm just gonna look through my keyboard for unavailable button and say what I want to use here. Um, let's use Well, I've used the key f the pitch f to mute track, too. So let's use f sharp tow. Launch that clip. Let's get out of many mapping mode now. I press f sharp and we're rolling. My volume is all the way down. So it's used my fader to turn that up. All right, now let's turn up my fade to Grey. Okay? It's pretty cool. So I get all of that without touching the keyboard. Now there's a couple other hitting. I'm gonna press f sharp again. Oh, well, see, I didn't map a stop button, so I shouldn't have a stop button to that. There are a couple other like, hidden key map ings that will be especially important if you're trying. Teoh set up a performance, for example. What if I had a bunch of clips here and imagine these are all different clips? What if I wanted to launch this whole scene and then I wanted to launch the next scene and then the next scene and the next scene right and go down. There's a convenient way to do that. So check this out when you go back into Midi mapping mode. Now there's some extra stuff that pop up Onley when you're in Midi mapping mode. This is, like, top secret kind of stuff, right? So see this giant play button down here? That means play the selected ah, clip. So watch this. I'm gonna go into my first clip here. I'm gonna click on it again. I'm gonna delete this mapping, right. So I'll have to do is click on it once. Press the delete key that mapping is now gone. Now, instead, I'm gonna map that f sharp to this play selected clip line. Now stay with me for a second. While I'm also here, I'm gonna go down here. See these? Up and down. Arrows. These are awesome. I'm gonna map the down arrow to the pitch or let's map. Yeah, let's met the down arrow to the pitch G. Okay, And we'll map the up arrow to the key. Ah Di. Okay, now let's get out of many mapping mode. Now check this out. Those down in up arrows. That's what it's doing, right? So I press d m going up, gm going down. So now I can talk. I can select through my scenes, and then my f sharp trigger is gonna launch the clip on this track. That is whatever is selected, right? So if I go Teoh here f sharp, I'm gonna launch that one. Go down to the next one, launching that one. Right? So this is especially useful. I use this the most when I'm working with foot pedals, which I do often where I have a foot pedal to basically bank up and down through scenes. Right. So it basically lets me do this. Um, And then I have a foot battle to just launch everything which you could also do. If we go back to many mapping this play right here is gonna launch the scene. The selected scene, right? So with just three foot pedals, you could launch everything if you plan accordingly, which we'll talk about soon. Bye. Ta. Going up and down that's two foot pedals. And then launching the scene. The selective scene. That's another foot pedal. So don't forget about those special kind of top secret map ings that are really important when you do performance stuff could be really valuable. Okay with that, let's move on. 13. 13 PushInterface: okay up next. I want to walk you guys through the push just so you can see the way the push works. It's a bit complicated, to be honest. Now, let me tell you about the push. Really quick. The push is Ah, controller, that able 10 the company able to input out Um, probably about 2000 13 12 or 13. 13. I think it came out. It's kind of the granddaddy of controllers. When it comes to versatility, most controllers are designed to be buttons that you can hit, and it will launch stuff. The push is designed to be more of an instrument. It's much more complicated. Ah, then your average device. So I I don't want to go into, like, a wild amount of detail with it. So I thought what I do is take the opportunity to introduce my friend JP. Um, James Patrick is his performance name. He's a deejay who has played all over the world and for years and years and years. Um, his fantastic person is a fantastic deejay. So, um, he's gonna help me when we start working on ah, talking about more of the deejay stuff. So let me introduce him here. He made ah this great push demo video for us for ah, Sam Academy. And I thought I would just play you that really quick. And this is basically just him jamming. So if you want to learn more about push Ah, I may actually make a push class at some point, but, um, the best way to learn pushes to experiment with it. Now, let me tell you one quick thing about push before we jump into this video, and that is that one of the benefits of push is that it's really designed so that you can write Ah, whole track without interacting with your computer at all like you have to plug it into your computer because it needs the sounds. But you, ah, don't have to look at your computer at all. So in this video, um, he's not gonna be looking at his computer. We're just gonna be looking right at the push, and ah, you'll be able to see all the sounds that are happening Now, remember that able to live is controlling the push. So Able team is under the hood here. But, um, the idea here is that you don't have to look at your computer screen at all to do this. So let's check out this video and then we'll come back, everyone. James Patrick here figured I'd take a moment to scratch out a quick, rough track with the able to push so I can choose through my tracks up top. I have chromatic instruments or drum machines. Here's a drum machine and I could just get started by hitting record. And once I do, I can then start punching in my notes up here on top, right into my sequence. As you can see, right now, I have different patterns. I can vary through, and there's only the 1st 1 playing. That's why it's only playing through this first sequence. Let's go ahead and add a snare drum. I can hold select, and I can choose my snare. We'll put snares on the to maybe put some high ads in here, too. Let's record these in real time. I can adjust my swing settings up here. This is a nice start. Let's move on to our percussion, so I choose my percussion instrument. I'm still in record so I can quantas those notes in my quantities field or I could just leave them in and move on to my baseline. Let's try demo ing a baseline. All these notes that are blue are showing me my keep my key, that I'm in for my song. It's not recording this. There's my baseline. Let's move on to our piano track So I'm into that. Lets us hit record on that riff real quick. Wait till the one. Here we go. I got my piano track in there. It's now have piano baseline percussion drums. Let's revisit our drum track here. Now we can add other patterns here. We'll select the pattern around, and we're going to double its now. We have a second variation of it. Here. We can add other accents, maybe other notes. Change it up a little bit. Let's go to our snare drum, maybe at some other snare drums. Maybe a ghost note. Here. I can hold this note down that I decided I can nudge it late and change of velocity. Give a little more of a ghost note field. That's pretty funky. So now let's let's go ahead and play through both of these patterns together, and then we'll double them both. It's now. As you can see, I have a single pattern. That's four phrases long. Let's just edit this one. In this case, let's add some high hats, but I want to do like a close high hat but not tried in repeat mode. If I put it in repeat mode and choose 16 now I can hold. This is dynamically velocity sensitive. So the harder I pushed to get more attention out of the high House. So now I can improvise through my patterns. Slick, huh? So let's do one last thing. Let's add some effects to these drums right away. I'm just gonna say add effect over here on the right. I'm gonna go. Maybe I'll choose, not a filter. It's gonna go with stock one for now, digging through my presets. And now I can sit device up top and I have my filter for my drums. So see how easy that is? I go back to my tracks. I can choose my piano. Let's put some delay on their ad effect. May be here. Will say Greenaway are filter delay. Maybe let's do the filter delay and in this case, will go with the preset about moving 35 Now I got piano. I go to my volume. I can set up my mix and go back to device. I can choose my auto filter. I got my hands. In addition to this, with my drum machine programming, I have solo on mutes. Let's meet our kicked around. The light is indicating this muted. I could get my snares waken Take them all of a mute together. Pretty beautiful, huh? So that's the able to push. That's pretty much how it works. You can access the entire program via the controller. You never need to look at your laptop and layout is incredibly elegant and really fun to use. I can't put the thing down and we'll have the same problem. So if you're interested in learning more about this, please feel free to look me up. James Patrick Music Just go James patrick music dot com on the Internet. Or you can dig me up on Facebook under the same name. All right, thanks. Everyone have a good one. 14. 14 NickIntro: Okay, We are done with our kind of prep work to get us to Ah, working directly with Nick here. So I'm gonna pass it over to Nick for this next video, and he's gonna walk us through how he makes drums. We're just gonna focus on drums for the moment. Um, after he does that, uh, i'll be back, and then we'll go into the next big section on effects on with that, we only have a couple of videos that we want to do to walk through how to do some of his techniques before we actually get back to Nick continuing to work on the same track that he starts in this video. So without further ado, here's Nick. 15. 15 BJELO part1: Hey there. My name's Nicholas Petrovic. I go by Biello or insole appeals. More of my techno stuff in Seoul is more of my house off. And today I'm going to go over how I make beats and how a start a song. Essentially. And then I'm gonna show you a completed song. Kind of how I did something and how we went about going about completing the track. So I'm able to guy your preference doesn't really matter for making music. Uh, but Mableton, for me is a little bit more geared towards your idea creation and making your ideas go onto the software quicker that I found. So I'm gonna be using a built in for this example, and I'm gonna start by making some house music today. So I have a blank able to in session loaded up, and I'm gonna bring it the temple up to about 1 24 And normally I start with kind of like a kick drum just to kind of get the vibe going. Really? Doesn't matter what you start with, but you could start with really anything. But I'm gonna load up a sample. Uh, I have a samples folder down here. My places and I have all these different samples that I've accumulated over the past couple of years. That was a good one. So first, I'm gonna load up a drum rack on this first meeting track. Then pull this sample down onto C one. Then I'm going to start a clip in place. The kick drum on the quarter note. No. Boom. Let's bring this down a little bit. Rename this to drums. So one thing I always do right away as well. I like to monitor my kick drum over on another track so I can kind of have this own separate channel for the kick. And I do this kind of for, uh, testing out the idea that I am creating without a kick drum, so kind of seeing how the breakdown would sound essentially. So I'm going, Teoh, create an audio track. I'll show that again, create an audio track. I'm gonna pull it over to my drums and audio from I'm gonna go to drums. Then the kick drum, post effects hit, input, monitoring And then I'm gonna come over here in mute that the actual sample itself. Now I have the kick drum coming through this on your channel. It's now over on this track. I can throw in some, like high hats or something. I'm just going to use Ah, basic 909 open at Let's just do a close one. Come over here. So how he got that, that I had to kind of give it that little stutter step is I use the triplet grid. You can access it by right clicking in the step sequencer and accessing it there. Or you can use command three if you're on a Mac and it'll turn it into a triplet grid. So they gave it that kind of swing, and then I turned the velocity sensitivity down a little bit toe add a little bit more depth to how it is translating with the groove. So like that. Now, when I had open high at normally, I'm gonna extend my loop out to, like, maybe four bars, and I'm just gonna select all in here and then just duplicate command D then command a command e, move it over. Then on the last one on the last quarter note of the clip itself. I'm gonna put the open hat there it's another thing to that I would like to do is, for instance, if I ever want to build stuff up, I can duplicate this clip down. Now, I have this first clip up here and I'm gonna rename it as What's command Z? I'm gonna rename this clip up here is simple because it's ah, simple group And then down here, I'm going to add Ah, snare drum. That sounds fine. It really doesn't matter where you're putting everything on the drum rack. As far as your samples go, I kind of try to follow. Um, the traditional way an MPC is laid out as faras how you're supposed to play it in kind of presets that you might have used before. Ah, on a real MPC. Uh, but again, it really doesn't matter. Just all personal preference. So now I'm gonna add the snare drum to this next clip below. Simple. I'm just gonna go basic for right now. Sounds good. Now that's amore attenuation in there. I like that. So I'm going to do There is. I'm just gonna copy this. Come over two for two and hit command V. No, I have the same thing. I'm actually gonna add some more kick drum stuff going on over here to make it a little bit more fun. Eyes to what happened there. So over here didn't happen the way I wanted it to. So I'm going to delete that. Believe that. Move this over. Sometimes when you copy and paste things, it doesn't fully move over. You just gotta make a note, not a note, but just be conscience of where everything is adults. It's not gonna fully move over. See, now it's It's good. I'm actually gonna do this over here with the to kick drum moving forward whose Ted it's gonna give it. This kind of swing didn't really work, so let's move it back. So I'll try on air when you're making drums and whatnot. So now since we have, like, a simple groove, obviously I'll add more stuff to it. I'm going to do snare. That's another name that let's add some chords. Why not? Ah, it really doesn't matter. I like using this. Ah, if you have a V s t from arterial, my favorite one is the Wehrli. It sounds really good for electric kind of sounding. Piano pianos get world sirs, any sort of roads on any of anything else that you have out there. I'm gonna be using a push toe program. My actual notes inside of a bilton. You could use a MIDI controller as, like a m p k or oxygen. Anything. Or you can even use your court e midi keyboard that you have in your computer. So let's just see how this sounds. Oh, okay. Uh, I'm gonna change up the type. Let's go hunky rape. Let's try FM vocal change my key. I'm gonna try a minor key with this and see how well it'll work. Oh, let's try different preset. I like that. Kind of like that last chord there. So what I was doing is just jamming finding something that works. I just recorded it all into the clip. Uh, normally, like when I find an idea that I like, I'm gonna keep the original recording. I'm just gonna pull it down to the bottom, and then I'm going to option click and drag and bring another clip of that up and then I'm going. Teoh, make the clip. Shorter cropped is a clip. And let's see how it came out way You want it. Okay, 16. 16 WhatAreEffectRacks: All right. Up next is audio effect rack. And this is the only thing in our list that we haven't looked at yet. Right. Is this guy up here? So, um, let's talk about effects racks. What are they? So we've looked at instrument racks, right? We've looked at many effect racks, and we've looked at drum racks. So our fourth and final type of rack is an audio effect rack. And I have to say, these are my favorite, maybe instrument rack, Um, is similarly as powerful. Um, but audio effects racks are where things can just get really wild really fast. So we know what racks are, right. I can make one, and we see an empty shell here. I can also use one these presets. We're gonna look at some of these presets later, but, um, just to point out here, these are great for mixing and mastering. They're also great for performance and deejaying, which we're gonna look at Ah, in the next chunk after this chunk, we're gonna look at some deejay techniques and things soon, so hold on to that for a minute. But remember that with an effect rack, just like everything else Here's what we can do it that we can say we can put stuff in it and we can control it in different ways. So let's put something really obvious. Let's do a simple delay. Ah, and an overdrive and a green delay. Can I have three effects back to back now, If these were not in Iraq, they would sound exactly the same. Ah, as they would right now, Right, Because I'm just running it in there. But remember, I have control over here with these chains settings, so this works just the same. So there's my three things I could make another chain. I'm gonna go through how to do this in more detail in just a minute. So now I'm gonna move that grain delay onto a separate chain. So now this first chain has a simple delay in overdrive. Second chain has grain delay, and I can say which chain do we want to hear? So in the next video, going to go into how to set all this up, so I'm just kind of blazing through it right now. The main and most important thing about effects racks is a thing called parallel processing . We've seen this before and some of the other kinds of racks. But I haven't pointed it out as explicitly because it's way more, not more important, but it's more valuable to us in the effect rack thing. So I'm going to devote a whole video just explaining parallel processing because it can be a little confusing. So remember that with racks, we have combined effects. Weaken, build, Ah, big effects by hooking a lot of things together and then controlling how it gets turned on and off and to end all of the settings. Um, and we have this thing called parallel processing. So let's jump in and talk about building an effect rack, and then we'll go through those other elements as they come up. So here we go. 17. 17 SettingUpAudioEffectRack: Okay, so let's build ourselves in effect, rack. So I have one of my tracks on here, okay? And actually, now that I think about it, I'm gonna move our loop back to here because this is just a piano thing. So I want to hear this piano thing. Eso that Aiken really more clearly Hear what Iraq is doing so well. Okay, so that's a riff. So we've got no effects on it. Now, let's make ourselves in effect rack. Now, remember, just like the other kinds of racks, there are two ways we can make Iraq. We can either make Iraq from the audio effect, Rak Ah, effect here. And then we can put stuff in it by just dragging it down. Um, we can make another chain and then add stuff to it, or if we have an effect that we like and this is, in my case, more common. So for me, let's say I made Iraq or I made an effect that I liked by saying overdrive ping pong, delay and some river. Okay, um, I'm gonna let seem like that for now. So now we have three effects were not in in effect, rack right now. Okay, so let's just dial is in okay. It's pretty cool. I'm happy with that. So let's say that's Myra. My effect. Now let's say I like this. This is cool. But I wish I was hearing, um, Mawr of the loath, right? Like, let's try to get more low end back there. And so I need an e que But I really only want to do stuff to the low end. Um, what I could do in that case is turned this into Iraq. So I'm gonna select all three of these. That was just a shift click maneuver I just did there. So I click the 1st 1 shift click the last one not selected all three of them just by clicking on that top bar command G. Okay, now they're in Iraq now, the sound is the same. But what I've added is the ability to add chains of stuff. So all three of those things went into this first chain. Now, what I could do here is I could just add another chain. So, control, click in this drop audio effects here thing and say another chain. Now I have a chain with my overdrive, ping pong, delay and reverb. And I have a chain that's empty. Right? So that could be enough. Almost right, because now I basically have dry wet between the two, and I can control that Here. This'll has nothing. So if I turn the volume of this one up in this one down, my effect is much more subtle. So that could be all I need. But let's get a little fancier with it. Right. Um, now, remember, in the other things, we have different ways of selecting which chain we were going to be working with, right and in effect, racks. We really only have one. And it's this chain button and it's gonna be the chain selector. So we have to map this knob to something. This this Ah, orange bar to something. So what we can do? Yes, we can pull this out. Remember, this is the range of the effect, so we can pull this out, and then we can grab the tiny bar on top. Remember, each of these bars has two bars, the big one and then the teeny tiny one on top. If I mouse over that and grab it and do this. Pull that back to the opposite with this one. Now I'm gonna be cross fading between those effects, right? So when I'm on the top, let's rename these. Let's say this is big effect. Command are big effect. And let's call this one dry. Now I'm gonna be cross fading between them based on where this orange bar is. So I'm all the way big effect here. If I want less of it, I just cross fade to the way. Right. So, um, that's a good start. Now let's go back to this dry and let's look at what's here. Let's add something to our dry. Let's maybe add, um, and e Q. Eight to the dry. Now, if I just double clicked on the EQ, you ate while this track was selected, put it outside of the rack. So let's just drag it in there, and I just drug it onto the dry chain because I was the one selected. Sounds dry. Now Let's just boost are low and a little bit here. It's actually I'm gonna turn off all bands except the bottom one and give myself ah, good low pass filter here because I want just low stuff in this bottom one. Okay, Now let's see what we've got Way just low stuff to stay with me here. We're gonna make this interesting in just a minute. Um, let's had another effect. Let's add another chain. Right. Um, Control click. Oops. Create Jane. We can have three change. We have as many chances we want. Um, let's add Let's add a beat. Repeat to this chain. So this chain down here is gonna be Let's call this glitch and let's make this the upper end on Lee and we'll have it fade in also. So when my chain selector is up here, I'm gonna be hearing just low stuff And I'm also going to be hearing, Ah, it's going to start glitch ing out. So let's set our beat Repeat to something like this. Like that. Let's crank that all the way up. Um, did you do Let's do 16th note and let's just audition that. So I'm gonna solo that chain, make sure my chain selectors upto where it's gonna be fully on. Let's just hear that stick a very much way. Oh, okay. So I've got that beat Repeat tuned in to do a little bit. Good to think. Now I'm going to do one more thing to this, and it requires the use of macros. So now I'm just building a kind of random effect here that I think is going to sound kind of interesting. So let's go back to our dry signal, which is no longer dry. So let's rename that and call that a que, um What I want to happen is, as I move this up, I want this filter to follow me up. Right. So I want this filter to move up the same time that I move this up. Okay, so for that, I'm going to use a macro, so I'm gonna expose my macro is here with this button over here. So here's I Makris. So first thing I need to do is map my chain selector to a macro. So let's go, Macro one. Okay, now, this is going to control that. So I moved this and we see the chance Electra moving. Okay. Nice and easy. Now let's set my frequency also to the chain selector knob. What? Right. Watch this. Now, when I move the chain selector, the frequency also moves. So let's walk through what's gonna happen now when this is down when the chain selector is down? When this one knob this knob, it's gonna basically be my total effect knob. When it's down, we're just gonna hear this big washy piano sound right When it's as it gets higher, we're going to start to hear more and more of this eq u. But the e que is going to be pushing up. It's gonna be like opening and washing forward at the same time. That sound is going to start glitch in out, Right. So let's just see what we've got. Um and I'm going to do I'm gonna turn my loop off of my eq you Because what I want to dio is I want to use this effect to build right into here where the beat comes in. Let's try it. Oops. I still have my glitch soloed kids from that off, and it turned my main effects. Now, Booth, that was great. Except I didn't have one thing in there. What I really wanted was to be able to slam that thing down and have everything be off, right. So here's what I'm gonna do. I'm going to nudge these forward by just one. Right? So I just none of these forward. So that there, over by one now I'm going to make one more chain and this one I'm gonna again called dry. And it is just right there. That's it. So this way were totally dry when this is at zero. So that way, when I crank it all the way up, then Aiken slam it down and we're dry again when the beat comes in. So now that I've got a dry chain, let's try that again. So I need to set this at not dry way. Okay, not bad. I missed the bottom when I did it cause I'm using my mouse. If I wasn't using my mouse and I was using an actual knob, that would have been a lot better. Um, and we're gonna talk about mapping this to a knob shortly so that I can actually have a dial to control it with on my keyboard. But I have a pretty cool effect here. So let's say I'm happy with this effect and let's save it. And so I hit the save button. It shows up here in our audio effects presets. And what do we call it? Let's call it, um, glitchy filter sweep. So there it is. Now, if I go to my audio effects audio effects racks, Gucci filter, sweet. There it is. So now, no matter what I'm doing, I can throw Gucci filter sweep on something, cause I've saved it as a preset. So there we go. Our main stuff to building an audio effects rack. Right. You can build insane effects this way, and you can do all this stuff. You know, we've got eight knobs to work with here. Um, and what I did was I mapped to important parameters to the same one which let me do this thing. And so what I can do here is I can rename this macro and call it effect if I want. So this is all my effect. I don't have to worry about anything else. I can hide everything else. So I'm only looking at this and just say, like, this is my awesome knob, and it's gonna make everything awesome. We're gonna look at another one of those shortly. So there you go. Um, the basics of setting up an effect wreck an audio effect rack 18. 18 OperatorInterface: okay, it's time to talk about Operator Operator is probably one of the most powerful sense in a Bolton. Um, this synth is going to get us back to our oscillators. Filters on envelopes model um, it's cause it's more of a traditional synthesizer in a way, ah, than the physical modeling stuff that we've been seeing in the last couple. But it's also a bit untraditional in ways. So it's a traditional synth in that we've got oscillators and filters and envelopes. Ah, and those familiar things. But it's untraditional, and then it's a bit on steroids. So let's walk through it. Let's have Ah, let's have a look. So when we first opened up, this is what we see. Now let's just first identify are four areas, right, So here we have an oscillator, Right, So we have tuning. I'll talk about this fixed in a second. We have a level, and we have this big contextual menu in the middle. So when I when I'm here, I can set a couple different things, such as my way form here on my way form options. So let's set us saw. And there we have a saw. Um, I have. Ah, square square. There's a nice square. I can also draw custom wave forms by doing, you know, something just gnarly and crazy if I want. Right. Second draw, custom wave forms. Um, and a couple more settings will come back to these in just a minute. Well, actually, while we're here, look at what we've got right here. An envelope, a tactic, a sustained and release s so we can set our envelope to be how we want. So oscillator settings here. And then we go here, and then we see the actual wave forms, and then we can go into the envelope and set that, um so those are our 1st 2 elements. We have a filter over here and nothing too surprising here with contextual menu updates. So we're seeing Ah, the filter setting. Actually, what we're looking at right now is the envelope. Let's go look at the filter so we can, you know, design the filter just how we want, or we can use the settings down here, and then we can go to the envelope and we have an envelope for the filter, right? Separate from our amplitude envelope that we were looking at before or however we want to apply this particular envelope. So that's our filter. And then here we have frequency in residence, which we can get out right here. We can adjust with the dials over here from a residence. Gives the filter a little boost at the cut off. It's a nice, handy way to see what it's doing right there. That's residence. That's no residence, right? Cool. Um, and down here is our volume. So our main amplifier here now there's some more stuff over here that we're gonna talk about right now. Um, well, it's simple back over here first. So here we have an oscillator, right? It's got it's labeled a right. We can turn it off by clicking on that A. Now, why would they label this oscillator a because and make it yellow? And the reason is we have four oscillators here, right? Therefore oscillators weaken Set him totally different. So here's an oscillator can click on here. I can change that one to be like that. I'm just changing one setting that's like, really visible to us to do that. And let's leave that one there. So we go back, we see are four different settings. So all of the stuff in this contextual window here are dependent on which oscillator we're looking at. Right? So four oscillators, they can have different wave forms. They can have different envelopes. They're gonna have different all kinds of different settings. Right? But these four oscillators go through this area. Imagine the signal flow. It's not exactly this way with this kind of what it's doing. So we're gonna go over here to this LFO and this LFO is going to affect everything depending on how he said it, we could set it to effect some of those oscillators and not all of them if we wanted to, Then down to this filter which is going to affect the output of everything. And then here we have a couple other stuff, we can do a pitch envelope and then again we can set it to which oscillators we wanted to effect. Ah, we can transpose do a spread setting if we want, and then we get down here Ah, where we can adjust the volume and a couple other things. Now here's the important thing. This business up here This is how these oscillators are going to behave together. That's the key point here. So let's do Let's look at this one. This is the easiest, right? So we're all in a line. You see the tiny little ticket, the bottom of each box. That means that each oscillator is going out. It's making it sound. And it's sending to the output, right? So if I say let's turn so all four off Slater's air on now, So let's just a different way for him. So let's look at my oscillator. Let's set this one too. A sign. Let's set this one, Teoh A triangle. This one, Teoh. Ah, Sawtooth. And this one, too is something goofy that I'm just gonna drop. Um, Now what I'm gonna hear when I do this is all four of them. Assuming I have a level, Let's just turn them all all the way up. I got to give them volume. I wanna hear him all equally. Right now, I left my LFO on my filter on and my pitching below Bon. Let's turn all that stuff off on. And that's what we hear now. I could adjust the level of each one to, and that will change the Tambor quite a bit, right? Let's turn these two down. Right now, I'm hearing those a little bit less. Okay, so that's cool. So let's go back to our are the way are oscillators are behaving. So that's all for going out. Let's go to the other extreme now and look it over here. Now. What's happening is the orange one oscillator d is controlling hoops is controlling oscillator. See which is then controlling oscillator B which is then controlling oscillator A which is then going to the output on Lee oscillator A is going to the output, but we have synthesis happening between all four oscillators. They're controlling each other going down the line. This is FM synthesis. Over here. This is additive synthesis. We're just adding them all together. This is FM where they're modulating each other, right? The frequencies air modulating each other frequency motto, modulation. So what? That sounds like I'm getting this kind of big some P attack, and then things changed. Let's turn them all up. Let's do this same experiment again, where all of them are at full volume. We still hear that big attack, right? Um let's try d tuning some of them. Okay, So when I play in this setting, all the volumes are all the way up on Lee. One is coming out even though we have different pitches even set up right way only here one because oscillator A is the only thing coming out. Right? So they're all controlling oscillator A which is influencing the tamper. So let's look at one of the other configurations. Now, let's go to this one. So what we have here is oscillator. See, I'm just looking at the colors here. Oscillator see, is controlling us later. Be and oscillator D is controlling oscillator. A as is oscillator be so oscillator B and D are controlling A and C is controlling be right , So a little bit more complicated configuration. Let's hear that. Oh, right. Let me go back to the 1st 1 right? You can hear how the configuration of oscillators radically changes the timber. That is very different. Ah, a groups much more mellow Here. Here we have much more complex Get another one the right now. We just went totally crazy. The only thing I changed was the configuration of oscillators here. And this one oscillator D is controlling both B and C, which is then controlling a. And it makes this crazy sound. So that's the most powerful thing in operator to me. Um, it's very, very powerful. Actually, there's a ton you can do with it. Let's check out this one just because it's a little bit different in this one. Oscillator B is controlling a and oscillator D is controlling. See, so the output is from a and to cease. We have two outputs now, right? Which means if I have them tuned to different if I have A and C both tuned different, let's do that. We're going to hear, Ah, harmony. Let's make it a little bit better harmony there now we're going here to pitch is, uh, wait. We have that the initial pitch and in the higher pitch that comes later. That's probably helping. Ah, right, Let's make it even closer. Right? So there's those two pitches because there's two outputs here. This one has three on three pitches in there, contributing to the sound right, so that is the basic layout of oscillator Now there's a lot more control in here that we can get into, but the main thing I want you to, uh, understand about operator is thes different configurations of the four oscillators. Oh, I didn't talk about this fixed thing. Ah, this fixes if you want to basically throw out the pitch and manually set it. So let's turn these oscillators off. So we're just hearing us later. A Oops. I should probably make sure all Slater is on output like that. Oh, I haven't set really low. Okay? I was like, Why don't I hear that? The reason is this is really low. Let's turn that pitch will wake up. There we go. So what we're doing here is when I say fixed, I'm saying Ignore the key that I play in terms of the pitch, I could map that key to other things. I went over here and said, The key can control some other elements. But in this case, when I say fixed the key, no matter what key I play on the keyboard, I'm playing all kinds of different keys. Right now, the same pitch comes out and the pitch that comes out is whatever is dialed in here. So here's a really low note. No matter what key I play that low know this makes it great for making percussion sounds right. We could say could make it a pretty low note. We could put a filter on it, put it way down here. So I just my envelope here, get it fairly tight. And I've got a pretty good kick sound right? I could maybe pull it down a little bit lower. I'm not gonna be able to hear it very well on my little speakers. Here, you get the point. That's the basic idea behind the fixed Ah parameter weaken. Use it for percussion. We can use it for a lot of different stuff, and then we can use the key. Actually, what key we play, we can map to other things. Like we've seen in a lot of difference in the scissors. So that's our lightning quick overview of operator. Let's do another video where we explore some of the sounds in operator 19. 19 OperatorPresetExploring: okay again with operator. Let's look at some of the presets and just kind of walk through them to try to get a good understanding of what's happening here. Now I say this with all humility, because operator is as a huge synth, and I know that Look down it slam Academy. We've taught entire classes on Lee on Operator, so this is a very, very, very quick overview. Let's look at um, look at something standard like a like piano keys type thing. I'm not sure they'll have a ah Stevie Wonder style thing, but let's say Ah, plucked piano. OK, it's pretty nice sound. Let's have a look at how it's set up so all four of our oscillators air on. Well, let's just hear it first. E k. Kind of a nice sound kind of electric, very nice. Now remember, this is a plucked sound, so it's a string kind of. It's what it's intended to be. But this is not a physical modeling synthesizer. So a little different. Ah, then that this is using oscillators, not physical modelling. Looks like we've got we've got all four oscillators on. However, C and D have a volume of zero. It doesn't necessarily mean that they're not doing anything, but ah, probably they're not doing anything. B is up just a little bit. So be is being used somehow. Now, the next big thing I want to look at is how I'm configured just cause I'm curious about that, So I'm configured in the FM pattern, right? So everything's controlling everything out. So in this case, Ah, B is controlling A and D is controlling C, which is controlling B. But D and C are not They don't have any volume, so they're not really contributing. So be has a slower attack on the envelope. Right? Um, our oscillator a square wave. Okay, so that's gonna be a little bit of a brighter sound. And then oscillator A is using a sign way, which could be really smooth, and it hasn't even slower attack. So we're gonna hear that square. We're gonna feel that square wave through oscillator a first, right? Because that is a quicker attack than what Ascender a has now. It's not that we're gonna hear a square wave. It's that that square wave is gonna be modulating the oscillator a right, and that's going to contribute to that? Um, kind of buzzy sound that we're hearing. Okay, let's go look at some of our other parameters. Here are LFO is off. Our filter is set. So our filter is giving us a nice bit of residence right up here. Right up around Ah, 2.1 kilohertz. Ah, and the residence is pretty high, right? We've got a nice big boost right there. Um and there's an envelope on it. But the envelope has a sharp attacks. Pretty normal. And then it pulls down pretty quick so we can see that something is happening there. Teoh, give us a nice amount of shape to the sound via the filter, right? So just think about this shape that you're seeing while you're hearing that sound sharp attack comes down. This is not an amplitude envelope, right? This is a filter envelope, so it's a little bit different, but that felt that is contributing to that filter opening and closing. Cool. So that's the basic overview. Ah, we have this tone setting here, which is a kind of a filter. Ah, that's contributing to also let's adjust. That was crank that all the way up. So a little bit brighter, a little bit more muted. Okay, critical. Let's look at, um, that's one of these pads. Pads tend to be much more complicated when it comes to synthesis. All right, what is happening? They're okay now, once again, we've got this in an instrument rack. So, actually, let's see if, um, let's do one without an instrument rack. Um, So here's this one Sounds like Right, so that's something really high. Comes in kind of late, right? That, like, high ring, anything it takes Ah, little while for it comes in. So I expect to find an envelope somewhere. Okay, so here's our four oscillators. Ah, a, B, C and D are all on. They all have volume. A is the loudest. We have some d tuning happening up in D. A little bit of d tuning happening and see right here and here. And no d tuning on B or a Let's look at our configuration. It's the square we can see right here. So that's this one. Now what we're hearing here is oscillator a yellow one and see right, and they are being controlled by the one above them. So be is controlling a and D is controlling. See, So it's a cool we've got. Let's look at DNC. First see is a sine wave, but it is being controlled by D, which is also a sine wave, but a little bit of a weird or sine wave. See, These are both signed waves. This one has an extra partial in it, and it's de tune by kind of a lot. So, um, let's actually just here that I can turn off A and B and there's are really high frequency right and are really slow envelope. So let's look at the envelope of C. And there it is, right, really slow. Let's look at this one oscillator d Also really slow envelope, right? So it's ah, that slow high frequency. Okay, let's do the same thing, but with a and B, let's just hear that. All right, so this one we have lasted d tuning happening be a slow attack sine wave. Let's look at it. Another goofy sine wave. So it's a sine wave with some extra partials in there, and then a is just another sign wave, so that's gonna make a really smooth sound. But with a little bit of grit from those extra partials. And then you hear that pulse that's happening. That 111111 was pretty fast. Okay, so it's turned all four of them back on. Let's go and look at what we've got over here. So we've got an LFO happening. Ah, on B and D only. So the two modulators of that are modulating. See in a right. So they have this LFO happening. Let's also look at this filter. So this filters on Ah, the filter envelope, right kind of similar to the last one. And let's look at the actual filter. It's pretty opened up, not much resonance. And it's kind of all the way open, right? So there's not a lot happening in that and then our tone setting our volumes down pretty low. Now the value is probably down pretty low because we have to oscillators happening. If we turned up too high, it's gonna clip really fast, right like that. So that can be a danger of having multiple oscillators going. Great. So a couple of quick looks Ah, what you should do in your free time is dig through mawr of these. No, look at look at some of these files and experiment around with them and make some cool stuff. There's a lot to find, an oscillator or in operator, so dig around and explore a lot. I don't have time to go through the entire operator class, but I hope to someday make one. 20. 20 VelocityandGhostNotes: okay, Last thing before we dive into the next video with Nick, Um, he's going to walk through doing some velocity adjustments to create ghost notes. And when he says that this is what he means. So I have here, Um, he was just a little high hat. So if I Let's put this on just the down beats here. A ghost note is like a note that comes before another note, and it's almost always quieter. So remember, I can adjust the velocity here and do that. So there's like a little quiet note that happens here and then allowed note. Um, it's kind of like a backwards echo in away. Another thing that you'll see him doing is if I hold down command key while I'm clicking on a note. And then I dragged my mouth up and down. I can adjust the velocity that way. So as you're creating notes, I can adjust the velocity really fast by holding command, clicking and dragging to adjust the velocity. So let me let me just create a couple of ghosts notes here, stealing here too quiet. Let's just hear this. This was maybe a little too loud. Bullies down to still hear the main pulse of 1234 But there's thes extra little notes in there that are just like a lot quieter, and those are called ghost notes. So we do that with velocity adjustments to get those cool rhythms. Okay, that's it for ghost notes. 21. 21 NickVideo2Intro: All right, now we're gonna get back Teoh Nick's second clip. So this one picks up where we left off after the 1st 1 So we've made drums, and now he's gonna be continuing on and working with some effects. So he's gonna be adding in the operator, doing some work with effects racks, both audio and midi, I believe. Ah. And then adding in some of those ghosts notes that we just talked about, So handing it back over to Nick Here we go. 22. 22 BJELO part2: now I'm going, Teoh, uh, add some kind of effects to the keys themselves just on the track. Because, you see, over here you have your global return tracks, and he's worked really well for kind of Ah, just global effects. I normally use them for transitioning stuff in Ah ah completed song, which I'll show you in a little bit. Uh, but for now, I'm gonna show you kind of like my process and how I go about making effects specific to attract. So I'm gonna load up a blank audio effect track. And this is one of my favorite things to do. You see, here, this is your macros. Where if you have, like, a PC or if you have another push or any sort of, uh, controls that you can use by a knob, you can map those two here. Then there's this list down here. It kind of looks like a little notebook pad. If you open it up, this is your chain, Lis, and we're gonna create two chains I'm gonna name the 1st 1 dry. Then the next one. I'm gonna add some course to this. So essentially, what's happening when I do this is the signal. I'm playing the notes and the notes are going through the world, sir. Five from Art Iria and it's We're getting an output of sound here. Then, when it gets to the audio effect rackets splitting that signal into two different signals, one's going through the dry channel and one's gonna go through the course that at the end they just come back into one signal. So now this is where I could turn the dry, wet mix up all the way. Now I can have some fun, like a filter delay on another channel thes air. All little volume controls. You can control the amount of signal that's going on, the output of it. Let's that a baseline. One thing I always recommend doing to is saving your files. You never know what could happen. So I have ah Projects folder over here, and I normally if I if I already have an idea of what I want this song to be named, I'll name it that or I'll name it a mood or I'll just date it. So I'm just gonna date it today. I don't know. Still, March 27 2016 now I'm going to add a baseline over here. Surprisingly enough, I just really I enjoy the operator for simple bases, especially with sine wave. It sounds really good. It's still down a bit. Maybe put a little bit of filter envelope on their toe, make it snap a little bit. Little bit of attack. And the envelope. There we go. Now it's played out and see what we can get. I need to add some Ah, glide to this. So how it would add glide in the operator is I go to this tab down here. Ah, the pitch tap and a activate the glide feature. So now, instead of when I'm slurring, notes, slurring is when you depressed one note and you press another note while you're kind of still holding down the next one. And it creates like this really nice transition glides between the pitch. Let me turn up the time, probably work better and model to let's put that No see how it's gliding up. - We just got a quick little eight bar loop. I'm probably gonna choose something like right here. Just do a two bar loop, do the same thing as well. Pull this down Have my original recording in case I ever need to fix something. Or if I would use a different part when a crop this clip. Cool. Now, another thing that I like to add early on eyes, some groove pool action to my drums. But I'm actually going to add, like, some more drum sounds. Let's add open high hat on some or, ah, attenuated hats that air closed to make it a little bit more groovy that I'm also gonna add a ride as well so you can kind of hear what's going on. Networks, Let's go back to here. Learn on G one. This one. I'm gonna add hats. This one's gonna be very quiet. So what I'm gonna do to all these hats essentially is I'm going toe, put them in a very low velocity. They're kind of going to be ghost notes. You're still gonna be able to hear them, but it's gonna add kind of this swing toe all the other notes around them. Uh, to do that, you could either come down here and pull up your velocity range and select the note, and it will be a darker shade of red and That's the velocity velocity for that one note or the way I like to do it is when I'm doing it this way you can hold command if you're on a Mac and you can do it by just hovering over the note and you get a finer grid instead of going this way so I'm gonna bring it down pretty low. See how this works out. It works. Duplicate this over. Make sure you change out this hat, actually, on the feeling that either. So what I did is, um if I'm never not feeling a hat, I could just come back in here to my samples. And if you have you ever change anything in the simpler or the samplers, faras parameters go and you want to keep those same parameters, there is actually a trick to keep them there. Ah, so right now say I'm overhearing controls and I mess with all of the Volume two velocity and I want to come over here and I wanna go back. Let's go to classic really quick strainer filter, too. Mess with decades stuff to say. I make all these changes to the actual sample. If I click and drag and drop it right on the sample. It keeps all of my parameters have seen. But if you just double click it, it will completely load up a new, uh, simpler with back to the original how it's loaded up kind of the default. So that's kind of something that I really enjoy doing, so I don't have to go back and fix everything. I just drag and drop, or you can hot swap things out. I like doing that to when I'm doing, ah, samples or listening to different things that I've created for sense or bases. I have my own little folder over here on my instruments section, where I go to instrument rack and I can listen all these different things that I had. So let's see other sons way. I like that one. Let's see how it works may not work with the track. It's one thing I'm gonna do right away. They're really so another thing. If you ever want toe affect more than one note. If you click on the lane here, you see how it's highlighting everything in that specific lane. Now I can bring both of those notes up to a proper velocity level that I enjoy. So I'm going to duplicate this out, put it throughout the whole clip. One thing I really enjoy doing with my collapses All zoom in and I'll turn my grid off, which you can do by right clicking and hit off. Or you could do command for And then I'm going to slightly pushed them ahead of the kick drum. So it kind of creates like this this flaming thing, this flaming noise. But it actually helps with the groove a lot more. 23. 23 GroovePool: Okay. So as we go through all of the different interfaces Ah, things in live. There's one that we haven't looked at yet at all. Ah, and I would be an utter failure if we didn't. Ah, at least have a look at it. One whole little window that we haven't even approached yet. And that's the one hiding right here. It's got this little wave form. It's not a wave for him. It's like a wave. Right? Um, this is called the Groove Pool. So clicking on it opens up this other little box, right? And we haven't looked at this box yet, so let's take a look at it. Um, so the groove pool, right? So, like, it's like a little like waves. Like in like a pool, right? Like they're pretty. They're pretty clever guys with their graphics over there at at a Bolton H Q. Okay, So what can we do with the groove pool? This is a relatively new edition. Um, can remember what version of live we We saw the groove pool for the first time, maybe eight. Um, but ah, what this does is it lets us apply grooves to stuff, which is very kind of ethereal sounding thing, So let's take a look at it. So I've got two clips here, these air, both drum loops. So I'm gonna actually, like, pull them out just so I can hear the loot for a little bit longer. And let's hear them. This 1st 1 is this, like tabla riff. So I've got that soloed and let's hear it for a second. Okay, so it's got this. It's got a little bit of, ah, back like a back beat, kind of feel to it. I mean, not a back feet, but of behind the beat kind of feel to it. Now let's hear this other drumbeat. Okay, like this one's pretty straight right? Like just like right on top of the beat all the time. So here's the really straight drumbeat, and we can see that, you know, it's really right on the beat with all its transients, which is another word for just like the attack. The attacks are right on the beats, um, or right on divisions of the beat, right on 16th notes. If you look at the tabla, it's also pretty much right on the beat. But there's some like this one and this one that are not right on the grid. You know, they're a little freer. They're a little off. So what we wonder is, what could we do to the 2nd 1 to make it feel a little more like the 1st 1 right? Like, let's say we wanted to do that. Another example of this would be like, Let's say, like the classic groove pool example is to swing like Let's say you wanted to beat to swing . So what you could do is take a beat that had swing, or in this case, let's take the tablet feel and let's throw in the groove pool. So actually, there are grooves that come with a built in. If you dig through your library, you can find a whole bunch of grooves that you can apply into different stuff on. There are some different swing grooves in there, so you can just take a groove and apply it. But let's go one step back and make our own group, so I'm gonna take this clip. I'm gonna drag it right into the groove pool, and now it's saying, extracting groove so it's analyzing it and figuring out how it's working with the beat. Is it a little head little behind? You know how it's kind of treating the the beat, Really? So now we have this groove, this tableau groove. So now if I wanted to, I could go to my beat my straight beat and drag my tabla groove right on top of it, right? So now this will have that beat. There's one kind of more step to it. So now when I'm looking at it and I go down here, I see groove and the tabla groove is applied to it. I'm kind of auditioning it, so let's hear it right? So it gave us a little like it does feel a little bit behind the beat, but it also gave us a little bit of a hiccup feel. So we may or may not like that. We can change it. We have some more parameters over here. If we pull this open, we have a random ization and the timing. We can adjust how much of everything gets used, the base division of the Beat and once we like it, we can hit, commit, and then it's gonna rewrite the audio file toe have our groove in it. All right, so let's undo that. Okay, now, this is without it. So in this case is a bit subtle, but you can imagine how this could be really useful. Really powerful. Um, that's the groove pool. We use it. Teoh. Just apply different fields to stuff. It works on audio and midi the same way so you can drag Midian and midi out and apply grooves to midi tracks and extract him from MIDI clips in the same way. And that's the group pool. 24. 24 BJELO part3: So now I want to add some groove. Uh, the way I add groove is I'll go to my live eight library, depending on where you're grooves live. Um, they're here, and I'm going to go to the MPC. These don't have any sound in them at all. Ah, they're just analysis files. You have to load them into the groove, pull down here. And since I'm mainly using 1/16 note grid, I'm going to use 1/16 note analysis file gonna drop it down there and then for all three of these, I'm just gonna highlight all of them. Then down here in the groove, I'm just gonna apply it to all of those Have a global groove amount, which controls a little bit of how much is affecting the overall club. So that's kind of how I get started with the track. Just very bare bones. Some days it might be with an idea where I have a chord progression my head or it's a baseline that I can't put out of my head either, or it could just be drums. You know, it just all depends what you're feeling. Normally I like starting with drums because I The drums have to be tight for me. And once the drums were sitting well than everything else kind of personally falls into place more so for me, everyone works differently. So now I'm gonna show you a completed track. 25. 25 NickVideo4Intro: all right. So far, we've seen Nick build this cool track using drums, effects, grooves on some racks and some other cool tricks that he has showed us in his other videos . And what we're going to see in this next video is this is where I've asked him to walk through a full track. So this is going to be a completed track of his. He's gonna jump in and just say this is how I built it. So pick up some of some more of his trick. See, if you confined what he's already talked about in terms of some of those tricks that he uses, See if you can see those in the track that he's about to show us, Uh and then anything else you can find in there. There's a lot of really good information in here, Um, as he walks us through this track. So here we enjoy 26. 26 AutomatitingEffects: Okay, So what if we wanted this amount to change over time? We want to automate it. Now, remember, the secret automating enable Tin is we gotta use this line and we got a draw on this line, but we got to make sure we're drawing on the right parameter. Right. So we got to find in this list so we can say, you know, here are available things devices we can automate. So we say filter. Now I got to find that amount from this list of a ton of stuff, right? It's probably LFO amount. Yeah, it's probably that, but there's an easier way we could do it. Let's just click into something else. Okay? So now we're looking at the volume. If I want to quickly find a parameter to automate, all I got to do is click on it. So I go down here and I say, That's what I want to automate. Click Now it automatically found it for me. That's what it's showing. So let's say over time I'm gonna have this turn up the amount. Actually, let's have it go up and then back down. So now we're going to see this so Now we just got this red dot right? Meaning there's automated parameter here. So let's hear adjusting. Go up. So I like it. It's a little extreme. Son was gonna nudge it a little bit. So now we've got automation there. Now we can automate any parameter almost, you know. So let's say the rate, Maybe I want to change the speed I click that I go over here. We're looking at rate and I draw in my automation that way. So now I can say it's ramping up down this way. So let's make it go crazy fast by doing that, that's kind of cool. Sounds like a spaceship taking off. But let's get rid of that. So I click it again. That parameter is now gone. Okay, so automating effects works the same as everything else. I could click here and now we're looking at volume, and I could automate that. I can click down here and now we're looking at our LFO amount on the auto filter, and now we're automating that. So just remember, click on the thing you want to automate. That's what the line is showing. That's what your automating 27. 27 BJELO part4: this one will begin, so I'll show you one. Um, once it's done loading up here that's completed. It's fine. I don't use fat filter anymore. All right, this works close my browser so we can kind of get a bigger view of what we're looking at. This is a track that's gonna be released pretty soon on one of my buddies labels. Original Azi can see my track out. Really? Isn't that large? Ah, lot of people like to have larger try accounts, but I kind of just like to keep it simple. So I started out the track by creating stuff over here in my session view with some ideas. I started off with the groove and then added some perks, leads base and let's take a listen to this really quick says you can tell down here. My, uh, global effects are more so for transitioning aspects. - Theo . That's the main idea for the songs. That kind of house he'd groove. I started off with the drums on this one, and as you can tell, I did the same thing with the groove. I have everything. It's a 707 kit. I don't even have a kick drum on this at all. I have the kick drum coming through Over here. It's a six of six K because it just works better. So I have all my drums here and I started off with, uh, the groove, the kick drum, the perk. And then I added this baseline over here, which could be seen in this Clipper here. This is what sounds like simple two notes. Then the next thing I used was a stab. And so the electric. It's just a preset that you can get within. Ah, tables and sweet. Just the electric piano sounds really good in Oregon. Um, I just felt it worked really well and I just played a simple cord f a c. And it just worked in the position that I had it laid out in the sequence. And then, um, I use the analog to add my lead sound over here a Z comptel. It's being filtered up with an auto filter. What? I also filtered up in certain aspects with the analog filter because it has a little bit different attenuation to it. So you hear how it's building up there on opening. Now we're gonna listen to here. It's getting way more open there, as you can see here to all of my drums, that kind of fit the same pattern. When I create some drum loops, I have my simple drum and then I have my full drums and I can take stuff out, obviously based on what's going on in the track. But it's still going to be a simple loop, as opposed to the full loop. Like what? The full loop you can see. Everything is here. It's a full loop of drums. Well, when I go to simple, there might be the ride gun or there might be a lot more stuff gun. It just depends on what's going on. Um, then for some transition stuff, I have some samples that I like that are kind of rise effects and descending effects. But you can make them with an operator with enable tin with the noise filter and filter them up yourself and create some pretty interesting buildups. I've done it before in the past. It's really simple to do. It works extremely well, and it's could be a very good ally to you. I also added this pad down here soft world strings, another preset with unable to like. A lot of people say that you have toe make your own initial like start your own sense from initialized. Yeah, that's awesome. But hey, most of the time, the greatest ideas air, just people loading a presets and tweaking them to the song like this preset did not sound the way it did before I loaded it in. Here's the Pats on just so I have a couple different transitioning effects is far. Those rises go based on what's happening in the song. I have different descending effects in different rises for what's happening. Um, and I also have this perk loop over here that doesn't come in too often just some Congo's to add some more flavor to the track that I have reverse kick drums. Teoh. You can see how zoom in All I did was record the audio from the six of six up here and reverse them essentially. So what we get is this kind of, uh is kind of that suction, you know, it adds a lot of depth to the group. And speaking of grooves, Oh, I don't even have anything on here, do I have it on the full. See? Yeah. On the full drunk the fold. Uh, groove in Luke that I have has the SP 1200. Ah, grew file attached to it. Probably have it over here on these ones. No, not at all. That's interesting. Well, looks like I got to go back and save it again. Well, uh, there you have it. That's Ah, full track. That's how I kind of go about making music. It's really simple. Everyone has different ways of making music where they start, Uh, really all comes down to your idea and getting your ideas down onto the software's as quickly as you can, because the more you think about one aspect of the song too long that one idea that could really stick and make the not song complete. But add another element to it that's going toe compliment everything else. It could be gone in the blink of an eye. So I'm always about workflow. Uh, the faster you can get your ideas down. Uh, the faster you can complete the main idea and then start arranging the song because arranging is a whole different beast of its own. Um, if you have any other questions. Feel free to shoot me an email or visit. Slam academy dot com. You can find me on there or take some classes with those amazing guys. They have some really good classes and some good specials going on right now. Eso with that? I'm going to head out. This is Nick Bell Petrovich again and go by Biello. And in Seoul, thanks again. 28. 28 Overview CoraVideo1: all right. Up next, we're moving on to making drums with David Weiss, John, otherwise known as Cora. So in this first video, just like with Nick, he's going to walk us through his process of making drums. And it's worth noting that I didn't I asked these guys either of them to do things in any specific order, but both of them started with drums on this kind of thing, Which is quite interesting to me. Um, I don't always start with drums. I actually don't usually start with drums. I usually start with either harmony like chords or sometimes melody, but usually harmony. Anyway, um, So David here is gonna walk us through making drums in this section. So before we get to that, I want to walk through, Ah, couple things that he does that I want you to know about. Ah, couple things involving the Metrodome. Just kind of just kind of a quick thing that he does that I wanted to point out. And then his quantifies settings are really interesting the way he deals with quanta izing . Ah, and then another refresh on velocity adjustments. So let's jump into the kind of warm up stuff to the Koran making drums video. So here we go 29. 29 MetronomeSettings: Okay, first up, a super quick little a word about the Metrodome. We're going to see David go back and forth between, uh, using the Metrodome while he's working on beats, which is really valuable, I think. Actually, uh, let me turn it off for a second. Remember, this little pattern out is doing Before when we were talking about ghost notes earlier, Here it is like it sounds kind of interesting, but if we turn the Metrodome on just to give us a little bit of perspective on where the beat actually is, it sounds a little more interesting, right? So don't forget, your Metrodome is up here. We can just click on it to turn it on and off. We've got a couple setting in here in here. Um, I usually leave this countin on None, but you can change it. Toe one bar, two boars, four bars. This is for if you're recording, if you have a set to one bar and you're recording, it's gonna count for and then start recording, just like it just did. There would do that one more time, so I'm gonna hit record. It's going to give us four Metrodome hits and then it's gonna start recording boom and then starts recording. That's what the one bar counting does. Um, normally, when you're just working on a track, unless you're recording something, you would leave that to none. But that's your Metrodome setting. So don't be afraid to turn that on and off while you're working on a track. It's super valuable. Um, obviously, you're gonna want to turn it off. Eventually, don't forget to turn off. Although I was just at a show the other night and someone there was the deejay turned on his Metrodome during his set. And then he liked manipulated sound of it was actually really funny. Um, all the able to nerds in the crowd were like rolling over laughing because he was messing with the Metrodome anyway, So that's it. I just wanted to be sure to point that out. The value of doing that in your track. Um, next, let's talk about quantities ing 30. 30 EditingMIDIand Quanitizing: All right, let's talk about how we manipulate audio are sorry. Midi tracks. So I'm gonna make a new MIDI track in here, so I've got a blank session a blank set. Um, I'm gonna record a new ah, many tracks, so I still have my oxygen 49 plugged in. Um, first thing I'm gonna do is if I go. So this is a midi track, right? I'm gonna rename it. Let's call it oxygen. Sure. And then even my keyboard. It's not a great way to name it, but it'll do. And let's on this one to record. So now Midi information is going into this track, which we can see right here. We have the dots, so we know it's midi and not audio. That works great, but we're not going to get very far until we put an instrument on its Let's go over to our browser. It's go to instruments and let's put like the default default analog on it. Nice warm sound kind of love that sound. So now I've got an instrument on it. The default analog instrument. I could have also opened up this triangle and gotten some of my presets in there. Let's just fine. And I can program this however I want, which we will do in a later session. But for analysis, use the default. Okay, so let's add some stuff. So I'm just gonna hit record and I'm gonna play a few. Done little things. Great. My beautiful magnum opus. So, as you can see, have recorded MIDI information here into a new clip. Weaken Very clearly. Tell that it's maybe because we have these lines. Definitely does not look like a wave form. Right way form would be audio. So that's double click on it. That takes us down to our clip, Inspector. Here. Don't remember we have these two tabs down here. This one's gonna show me my instrument and then any effects this one is gonna show me my midi notes when we're looking at a media track and audio way for when we're looking at an audio track. And remember, the magic key command shift tab goes between those two tabs of the clip view down there. Okay, so let's go to look at my midi notes. Now, here's the notes I played. Let's expand this a little bit, so I'm just gonna click on this area right here and move it up. And I can scroll with just the I'm using the two finger scroll thing here and I can see the notes I played. I can click on him on here if you can't hear them when you click on him. Hit this little blue audition button up here so that you can hear them. Okay. Make sure fooled is not selected. Um, let's talk about fold really quick. What fold will do is hide all the notes you're not using. So this is handy for drums, right? For drums. We're gonna have a drum sound on every key that we have. But we might only be using, like, four different drum sounds so we can hit fold, and we can say hide all the notes I'm not using. Right. So now we only see the notes that I'm using, and you might have kick snare Hi. Hat like that, you know, seemingly only have three things you don't need to navigate the entire you range of the piano, But because I'm playing pitches, I'm gonna leave that off because I want to see what? No time playing cool. Now. Um, in terms of the clip. Everything works the same here. So I've got my loop area here that I can set, and I've got my start point in my endpoint, right? So we can just loop this first court if we wanted all of that stuff. So that works the same as it does for audio. That's opening all the way back up. Let's just take it to their find. Um, we could move the clip around. Everything works the same right now. What we can do that's different in the media trackers. We can obviously we can move around the notes. So if I click on a note, I can you I can click and drag Teoh, do whatever I want, right, Aiken, just drag it up, down, left, right. I can also use the arrow keys to move it around and the arrow keys to go left and right down here I have the velocity so I could make that note quieter or louder. And it's also reflected in the ah kind of color of the midi note. Um, a couple key commands will be handy is shift arrow to the right, extends the note and then left makes a note smaller, so right and left are gonna move the note, but shift makes it longer or shorter, and then shift up and down will make that note jump by an active. This is actually really time saving. So that's shift up. Will go up in active and shift down. We'll go down and active and buy up and down. I mean, the arrow keys on your keyboard. Cool. Okay, so, um well, is gonna do one really obvious thing. That would be nice. Would be to Kwan ties this. I didn't play this to any tempo. Um, but quanta izing is a very popular thing. Quanta izing basically just means snap this thing to the grid. You can see my sloppy playing all over the place here. Like like, right here. Like, I kind of wanted to play that right on. You know, beat four there, but I didn't. So, um, here's how I can quantities it quickly. Command A is gonna be select all. So that's command A. And then there's a key command for Kwan ties, and it is not command. Q. Do not hit command. Que, um, if you're trying to move really fast and you don't have your key commands memorized. You might think command Q is the obvious one for quantities, but no command. Que was quit. Um, and that's gonna cause you some problems. If you hit that in a hurry, eso quantities is command you second letter and you can see what just happened there. Um, let me undo it right now. Let's look really close at my MIDI notes here. Let's keep our eye right on that one. Command you right? It just nudged everything over onto what it thought was the best grid. Now, I've got a lot of settings with quantities I can change. How it Kwan ties is, um, what kind of note it goes to by going to this quantities settings quantifies the current grid or ah, the A division of the beat that I want to use. Current Greer basically just means are zoom level. Right. Um okay, so now it's quanta ized, so that might be more useful. I could also move all the notes. I'm gonna select all these. This is gonna make a horrible sound. There we go. That's kind of nice sound. I can select everything and then just move it to get it on the grid a little bit better. Maybe. Put that one there. That one there. It's gonna get these on better beats. Uh, let's do that. I mean, I'll extend these out. I'm just kind of eyeballing. Okay, Good enough. Um well, that one out to there, Sure. Now I'm gonna turn on the Metrodome up here, and it's where at court equals 1 20 And let's just hear this with the Metrodome. So now I'm in time, right? Even though I didn't play it anywhere close to time, Quanta izing will get me into time. So everything else with clips works the same. Aiken, select chunks of a clip and paste it into another MIDI track. Although you have to be a little careful about thes starting an ending of notes. Um, Midi works differently than audio. And if it doesn't get the attack of the notes, sometimes you have problems in that way. So m ah, just be careful about that, Um, about making sure you get the full ah note able to It is a pretty good job at compensating for that, but like you can see right here. Oh, well, I don't have an instrument on here. Let's put So I'm talking fast. Let me just explain what just happened here When I hit play, we didn't hear any sound. Why? The reason is I didn't put an instrument on this track. So instead of audio, look, we have on the first track, we still have midi. So let's throw this up to the first tracks. We can hear it. Okay. Done up there. Um but watch out for selecting chunks of midi. If you don't hear notes that you think you should hear, just be sure and nudge things inside the clip. If they're starting outside of the clip, you could have problems. Although, like I was saying before I interrupted myself a Wilton does a pretty good job at compensating for that, so you probably don't have to worry about it. So if you didn't understand what I just said, then ah, ignore it until you have problems and then go back and re listen to what I just said. Okay, great eso We've talked about looping setting our loops, um, a tiny, tiny bit about warping, and we'll talk more about warping soon. And also we've talked about editing and arranging mid eclipse and quanta izing up. Next. Let's talk about automation both in clips and in your session 31. 31 QuantizingPercentages: Okay, so now we know our basic quality izing overview. But I want to show one thing that David does in his video that's coming up next. If you're in a clip and you select something that's just to select all and then you do command you for quantifies, it's just gonna Kwan ties it to your current settings and that's OK, That could be cool. Um, but what David's gonna be doing is let me unq wanted that. There we go. What David's gonna be doing is shift command. You, whenever he qualifies, is he seems to hit, shift command. You always and not command you. That shift is always in there. What that does is good. Excuse Kwan ties settings. So the thing that he's most concerned about here is this amount. If it's 100% that means these notes are going to go right exactly on the grid. And he never seems to Kwan ties at 100%. He's always somewhere between like 70 and 90. So if I said like 77 see how these air off the grid? So I say Okay, now let's zoom in on those. They're still off the grid right, but they're close, and I think that's where you get that little bit of human feel to it. It's not perfectly perfectly on the grid. If it was, it would be very robotic. But by adjusting that quantities amount, um, shift command, you setting, you get a little bit more natural, feel to it. So that's what he's gonna be doing. So you're going to see him? Just say OK, here we go now quantities, and he's gonna pop up this window shift, command you and that gets you to that window where you can adjust the amount settings Super super cool tip, um, that we'll see in just a second. 32. 32 CoraVideo1Intro: Okay. My son up work here for these core of videos is now done. So up next, you're going to get the first core video where he's talking about making beats. And then I don't even need to interrupt again. Um, after that, we're gonna have another video from him where he focuses on bass lines and grooves. And then after that, we're gonna have another one from memory, focuses on keys, and then you'll have another chime in from me before his fourth video. So the next three videos or just going straight up him and I think you have all the tools you need to get the most out of these videos. So let's dive in right now. Please welcome David West, a k a core. 33. 33 DavidW 1: Hi friends, says David Wyss, John representing Slam Academy. And I'm gonna walk you through my work flow for making beats. Um, before I start, I just want to mention that, really, there's no, there's no one correct path. There's there's no one way to be like, Oh, I start with the drums and it works every time I start with the cords and it works every time. Um, so you have to do some experimenting, Um, with how your mind works and how your creative flow works. Um and often times for me. I find that when I'm working, like doing a sound design session or really to make it less formal when I'm just playing around with sounds, playing around with effects and and seeing what happens, um, I will often get triggered. I'll just start hearing like crime finding sound will just start hearing a beat that could go with it or, you know, a baseliner or whatnot. Um, and honestly, that's usually in the best for me in particular. But a lot of times also, if I start really simple with just drums and kind of build a baseline from there, um, that's worked really well too. So I'm gonna walk you through that process just in the interest of time. And, um yeah, so here we go. Hope you enjoy this. So I've got an empty drum rack here, and sometimes I do use drum rack presets, but I have a folder of drum sounds that I really like, but I usually end up using, and this is part of what I think makes my sound distinctive. Um, I really like that sound drums. It's, ah, company that makes really nice drum samples on their coming out with new stuff all the time . So it's gonna grab some kicks and collapse and stuff here. Gonna listen through and dishing auditions, some sounds. Hey, that's cool, you know? And of course, you can always go back and change these later, but going to grab a couple collapse couple sneers that, like, grab a kick. Sweet. Cool. Okay, we got some sounds here. Alright, so I've got my push one set up. That's what I'm gonna be using to, uh, trigger some drum. Sounds sweet on. And I like to play. Um, I like to play my grooves in, um, so I'm just gonna hit record here. tweet that. Sure, my click is going awesome. And I'm making kind of like a mid mid tempo good shop thing or hip hop thing. I don't know what you're going to call it, but it's about 90 bpm. Uh, let's go. Okay, so just played a little a bar phrase there. Um, and it definitely wasn't perfect, but it was a cool starting point. I like that. Um I didn't pencil in all of these notes, because if I did, I would probably just end up making, like, a two bar loop and then repeating it or whatever. That's usually my habit. So to kind of get out of that, I just played a drum pattern. You know, you don't have to be an amazing drummer to do this. Just kind of have that rhythm in my head and went with it. And I'm gonna quantities this now, because, yeah, the timing wasn't perfect. But maybe I'll go 85%. You know what? No, for this For kickings there. I'm gonna keep it at 100%. And if I played some hats in, um, maybe I won't quantities that perfectly. Okay, cool. Let's listen back to that you at first kick was way off. So I'm just gonna drag someone. Maybe, You know, I didn't have exactly what I wanted played in. So as I'm listening to it, I'll have some other ideas as to how this groove pattern could work better. Yeah, I like that sneer hitting on one there just cause it kind of you weren't expecting it. So it's kind of a cool thing to have in the middle of your middle of your phrase. Okay, So one thing that I'm noticing that is annoying the crap out of me is that on my kick sample here have warping turned on, which is kind of when you drag in a sample into the drum rack and it makes a simpler or by default it's on. I've tried to figure out how to turn it off. I don't think you can. Anybody knows how to do that, email me, I'm gonna turn off work. And also, you can hear that click at the end of the sample here where snap is on. And basically it's truncating the internet way for him, which creates a little clique super annoying. So actually, something I've this is just kind of part of what I have to do now with the new, simpler device. This snap is always on, and warp is always on. So I turned. I have to go through and turn all those off. And you've probably experienced that too. So I'm gonna do that. Okay, So the thing I'm noticing is that a little extra note here? I'm noticing that my velocity curve or the velocity values for these drum heads are not consistent. Um, which can be really cool. But I know for this part of the group just my base groove pattern, which is the kick in the snare. That's what really makes the group. I want it to be consistent, especially for this type of beat. So I'm going to click on the note lane here, which is gonna highlight every note in that kick lane, and then I can use my command drag. You can see that there's these different velocity values 85 to 1 27 That's the lowest velocity value to the highest velocity value. So I'm gonna drag all the way up, which makes all of the velocity values the same. And then I can just bring it down to 100. That's where I want that. And then later, when I'm getting a little bit more nuanced with what the drumhead we're gonna be doing, I can definitely and probably will end up editing some of those velocity values, but just getting the base structure of the groove down. I just want everything to be consistent and solid. I know a lot of people like to use if they're using a push, they like to use the repeat mode to get, like, straight 16 thousands, and you can lean in for to get different velocity values. But think I'm just gonna tap in, um, these hats here. So just gonna be something really simple. Okay, so I think I'm gonna do that again. I really liked what was happening here at the beginning of the eight bar freeze. I liked how that open or closer to open high at was hitting on the end of, um, one or two on. I want to keep that going. So I'm gonna the wheat, this guy just kind of go from there, so I'll start beginning again and start recording. Okay. Cool. So made a little mistake there. I went in the open. I had to play on the end of one. Bring that down. Okay, so I actually do think this is working, and so I'm gonna grab all of these high it notes and hit command shift you to open up my quantities dialogue. And I don't want them to be fully quantities to the grid. So let's say 80% sweet. And I like this acoustic hat hitting wherever. Did in this phrase. I'm are four, and I want to repeat that. So I'm going to highlight this five measures section I can see here. This bar is telling me how much is going to be duplicated or what amount of time is going to be duplicated so I can see that's at exactly four bars. Cool. Someone had command E. And it appears, at the end of my phrase to sweet. Yeah, so I like that repeating elements. It kind of brings structure to the phrasing. Um, okay, Something I'm noticing right now, which is a huge deal. But I am clipping my output, so we'll have to deal with that in a little bit. But let's not focus on that right now and just keep on trucking with getting some sounds in 34. 34 DavidW 2: Okay, So I was doing a little playing around before I started the video, and just to save time and stuff. So I made a little baseline. Um, you know, it's nothing super genius or whatever. It's just kind of repeating, repeating little riff here, but I'm gonna use zebra Let, which is an awesome free wave table synth by you. He and you can go to you he dot com and download the zebra two and Stoller, which includes zebra. Let, which is kind of the freebie version of zebra, too. And it is really great. So not going into too much detail about how to use it. Basically, you can control the wave shaped by the slow wave, not here and you basically controlling the overtone constants of your sound. So if you want to learn more about that kind of thing, check out the Slam Academy sound design program where we go into lots of really cool synthesis languages, including wave table synthesis. Using this Sieber, let tool. Okay, so let's hear this Some baseline quick. Okay, so this is really to me. It feels really simple. And my initial reaction, especially when I'm starting making a beat from scratch is it doesn't feel complex enough for me or doesn't feel interesting to me. So I start adding a bunch of stuff almost mindlessly just to try and make it feel more complex or feel more professional. Ah, and hopefully growing out of that and moving Mawr into accepting the simplicity and knowing that further down the line in the process of making the track the complexity and and the intricate, cool details that make all the music that we love, Tom, that makes it cool. That stuff's gonna come along as we start moving into the arrangement phase or start adding it's of our own custom sound design elements. But so for right now, I'm choosing to be content with how simple this this group is and this baseline is. And in the second we're gonna add some modulation to this baseline that could bring a little bit more interest. But what I'm gonna do now is grab all of my drums. Someone opened up my drum rack, Um, track here and open to reveal all of the different chains so I can turn them down relative to each other. So I'm gonna highlight all of the different chains by hitting shift click. So basically, just selecting all those and then clicking on my db um, value here and going down six. I'll do the same with the Seabra. Let Okay, so now I've got an idea about the groove. Um and this is usually what happens. I'll start making different sounds and I'll get sort of triggered for ideas of Oh, this could happen in the groove. And that would feel really cool. So, um, in turn this near up a little bit. But when idea had its layering in a clap, unlike count four of the second bar Cool place for it. Cool. So as unkind of listening through. And this is really I do this a lot Azzam listening through I'll have you know, I'm familiar with the 16th note grid in the subdivision and how where the sounds are gonna be placed on a click and note in So being familiar with that is really helpful. But I'm just kind of going through and like, oh, man a clapped you would be cool. And then another clap Maybe here on the e r the of for that sounded pretty cool. Okay, sweet. So and we're gonna be doing mawr layering things like that in just a minute. But 35. 35 DavidW 3: I've got an idea for some chords. A lot of my music does employees, um, cords and roads type sounds. So I've got some ideas of some chords that could fit with this really well. So I've got my roads, my electric loaded up, and I like the default preset that I have is mellow piano. It's like a classic road sound that's not too harsh and doesn't have a ton of overtones. So it's really smooth and signing soil. I like that sound. Of what? So I said it as my default for electric. Okay, so I got my mini keyboard here, Yo, seven chords. So I'm not a theory genius. I know just a little bit. And it basically yeah, So I know how to do seventh chords kind of in a block formation e. I also know how to do a little bit of voice leading, but can't really get by and much on that. So basically, what I'm gonna do here is just play some blocked seven chords and then maybe later in some melodic stuff on top of it. So let's just hit record here and see what happens. - All right, cool. So there's I think there's some really usable stuff in there. Um, you know, I'm not a concert piano player, but I can do enough to get around and get those notes in, and then I can go through this little performance here in select it, basically delete what wasn't working and keep it was working and maybe records and more layers over that and just make it feel more professional. Basically, these first four bars probably are not going to work. So let's start here. - Okay . Sweet. So from what I heard there, I think this a burr hole section from 9 to 17 it's gonna work. Um, I'm gonna drag these notes 21 here, and I'm gonna crop this. So basically, make sure your loop race is, um, around the section that you want and then control, click and hit. Grab clip. Okay. I've got a more manageable section of notes. I'm definitely want to do some quanta izing. You go up to 90. Some of the beauty of in my opinion of flight doing roads, cords is having those notes kind of offset and hit slightly different times. It kind of creates that cool, flaming effect, but, um, now Let's see what this does. Okay? Yeah, that's not bad. Um, police. So as I'm listening, I'm just doing some quick edits to note length and note start position. And I liked that last chord. No, it's where I'm kind of flam and dragging some of these notes out, so we have some more interesting. Herman is coming from Seoul. Melody line here. Way. Go. Let's have the baseline in. Okay, so that's working pretty well. Um, as we go through the arrangement, I might add some extra sort of fill bass notes, which we may or may not get to. But what I do want to do pretty much right away. And this is actually something that I like to do is once I have a based structure, you know? All right, drum groove based part. Maybe some chords or melodies or whatever. I like to put it in the arrangement really as quickly as possible, because I want the interesting details to start happening. Um, more, uh, sooner. And that's for me. That's where that happens. So I'm gonna record this to the arrangement view, and then we'll start putting in some more interesting details to this. Okay? sweet. Um, yeah, I'm really liking how that that drum groove? Because it's eight bars long. It's just it's really adding some interest because this is are you gonna arguably going to be feel like, really looped? You know, a pretty static baseline, pretty static chords, even though there are some differences. But having your drum drum pattern through composed or having different elements throughout that eight bar phrases really bringing some interest, Um, as it goes along, rather than feeling like just a one bar loop that's repeating and repeating so 36. 36 AutomationandEffectsReview: all right. It's me again. Um, one thing I wanted to chime in here on before we get to the next video is automation and effects Automation Review. I know we've already looked at this once in this class, but I wanted to look at it one more quick time because we're about to see a lot of it. So remember that. So here I have an arrangement view. I have an audio clip, and this works with mid eclipse to I have three effects on it. Um, first thing to remember is whatever. If you want to automate something, just go down here and click on it if I wanna do the drive. This line is now looking at Dr so I just make some points and adjust it right If I want to do the bias, this is now by us, right? It changes the line, changes to whatever you've last clicked on. Okay, so let's do, like, spray on this other effects. This is now spray. And I could change that. Right? So just go and click on it. Now, if you want to completely turn effect on or off, which is a lot of what we're gonna be seeing next time. It's this up here, this little yellow button so I could click on that and then go up here and it only lets me do one thing right. It's either on or off so I could turn that effect on right there and then whoops and then off right there. Now, another thing you can do is if you get this little plus down here, you can see the different effects you've done in different lanes. So if I look at things that I've automated because they have this little pink square next to him, I can say Show me that in a different lane, right? So we can see multiple things at once, and we can keep adding stuff to make it more and more complicated if we want to. But let's say I wanted to turn this one on and off here, conciliation without a different lanes so I can see when it's on and off. This one I wanted to turn on here and off as soon as it's over, can do that right, and I can send that down to another lane to so I can see all of this different stuff. All of my automation says erosion dynamic tube device on is the parameter. So it's turning on and off. So don't forget about those we're going to see. Um, in the next video, David's gonna be turning on and off effects per individual sample sometimes. So, um, that's a lot of automation work, but it pays off. I think you'll see and hear how it pays off in his stuff. So now you know how to do it. Check it out. Here we go. 37. 37 DavidW 4: Okay, so now we've got around the arrangement view, and this is one of my favorite parts, because, um, this is where I can start to bring in some of my own custom sound design elements and really fit them into the structure of this group are the speeds or whatever you wanna call it. Okay, so I made sure and hit my back to arrangement button, which tells live to reference the clips that are playing on the arrangement. And I'm gonna go in my browser to DW samples. That's my own folder full of all of my own samples that I've recorded and made. And I go to this really often, so maybe I'll just grab some sounds here. You know what? I'm gonna build like a bank of sounds. So call this audio track sound bank now, we'll call it Custom Sound Bank. Yeah, okay. Custom sound Bank and audition some of these sounds and listen through, maybe even play. Now, just listen to the sounds, OK? And that could be cool. Um, it doesn't really matter how long the samples are, because we're gonna be doing some really micro style editing in the arrangement view. So we're just looking for What are the ticket articulations? What? What's the texture? What's the frequency? That sort of thing. Cool. All right, Definitely that. Okay, cool. So we've got some sounds here. Um all right. So this is where I maybe start to insert some layers. So I'm gonna create for new audio tracks. I'm the group. Them hitting command g, highlighting all of them. So shift clicking all of those four audio tracks and then hitting command G, which groups them or basis, basically buses them to this group track. I'm gonna call this layers group and called us, but you're one. So this is a really common practice for me. Um, basically, I like to work with audio clips on audio tracks because the amount of detail in my fine editing that you can do on the arrangement view with audio clips, eyes really sweet. I'm gonna show you a little bit of how that works and hopefully get some cool results here . Scrap something. And, you know, you might try a bunch of things and it doesn't really work, and that's all right. This is all about exploration and trial and error. Um, so some of these samples might not fit totally. But if they do or don't, that's okay. I'll just keep keep grabbing for other samples and to fill in this this arrangement. Okay. Okay, so this is too long and it's too abrupt. Um, when you're doing this kind of editing fades are your best friend. So the bill 10 fades inside of audio clips are really great. And you can access those either by going to your automation lanes here and fades or just by hitting, highlighting the quip and heading command option f cool. So I want this. This is a cool, like a liest Cymbal sound. And I wanted to kind of rides up and stop right at Count four where that backbeat is gonna hit. So let's hear that. How that sounds, it's still little to him. Okay, So maybe I'll just loop a five bar section and start, um, putting some sounds in and see if they'll fit. That's one way too long. Good. Um, one thing I want to mention is probably want to stay away from worked, um, audio clips, which I should have done this right at the beginning. Basically, if the sample is warped it's gonna lose its sonic integrity unless you want that sort of thing. But I know for this I've already got the sounds the way I want them. So I'm going to unwrap them. And then I can still freely with great detail, fit them into the arrangements and have them starting stopping and fade whenever I want them to. Okay, Okay, that's cool. How that happened once and maybe pitch that up just a little bit. So I'm kind of looking for what I would call stress points or symmetrical points in the phrasing. I think that's where some of I mean this is such an abstract concepts like, where is this supposed to go? Well, there's no like rules, necessarily. But if you follow the phrasing so this is going to be the end of our four. That's gonna be halfway through our eight bar phrase cycle. So this would be a cool point, A cool place to put a sample and especially, like leading into or layering on top of some of the drum hits. That's usually going to be a good bet, too. So see how this sounds. Oh, yeah. Okay, so this isn't a warped sample, and I'm just kind of controlling the length and going to see if I can get a cool texture here. Maybe we'll have this hit on three or four. Let's see how it sounds. Yeah, like cools. I'm having I'm hearing some stuff. Let's see if I can get it to sound like I'm hearing it. Yeah, and the more you do this, the more you will have sort of ideas. Or like, Oh, man, that should be like people, people right there in between those drum heads or whatever. And you're gonna get better at utilizing things like audio clips or even, you know, different drum samples or whatever to really make that stuff happen. Which is cool. Kissing a split this. Yeah, I like that. What's a little bit fade? Whoops. Okay, so this would be a cool time. I'm really wanting some reverb to hit on that one in particular. So this would be a good time to load up our returns with some delay in some reverb. This point, I'm kind of sick of the able to reverb, although it is awesome, but it's there's a couple of the river herbs that I like. Um it is true verb. Um, it's got interesting sound. It's I've got a couple emulation Rive herbs and then this trooper is cool. It kind of creates more of a grainy sound, which can be neat. So it's turned off direct, which is basically turning off the dry signal and maybe turn up. So the decay time and we'll see how this sounds. Okay, Sweet. So just gonna do some automation here. So my reverb excuse me is on. Send a Simonaire click on Sunday here for layer three and just automate this up. Make sure and make a really neat, um, automation curve here because we don't want it to be up for the next sound line May be put in this layer three. I don't want to necessarily have rebirth unless I choose that to happen. So automating different effects on your layers If you're putting in different sounds on elements just making really concise automation curves that only affect the specific point in time that you wanted to, it's going to save the A lot of headaches and help you be more specific about how your sounds um, are gonna be Here we go Nice. I like that I grabbed true verb and turned out the decay time. Just a little bit, just to give us bigger sense of spaciousness bra. Okay, so I've got another idea right now. We've got a really long reverb tail on our return track. What if I use, um, more automation and created an interesting tremolo effect using auto pan, which I'm going to be really specific about when it turns on when it turns off? So this tends to start happening. Um, you know, when you want certain effects on certain sounds for only specific amounts of time just build and an effects wreck for that one hit. So, for example, if I wanted this to have delay on it, I would either use a send track where I would just grab a excuse me, your return track, where I'd grab a simple delay and automated to turn on just when I wanted to. This takes a little bit of practice to get fast at it, but it's not that many moves to get sound that you want the feedback there This quarter notes? Yes, ST. I want to filter behind that. So decreasing my filter frequency as the tell a tale is going brought. There are delays, I think, like filter delay would do that, obviously, but I just kind of did it manually. Okay, Back to my initial idea about the revote tail there. So I'm gonna go to true verb. I've got my auto pan, which I'm going to basically turn into a trim a later where a tremolo effect sink. It se a thoughts and we'll do that. Cool side chain pumping effects. - All right, um, so the next thing you have to ask yourself is okay, when do I want this effect to turn off and be ready? Basically, for my next reverb sound that I don't want to have tremolo on it. I'd say it's a safe bet for that is gonna be here at the end of bar four. Okay, cool. So I've put some sounds in here that I think are really adding interest to this particular section of the groove. And I haven't really started the arrangements necessarily. I'm just getting sound elements into this particular chunk. This might be part A, and I might also have part B in part C, which will have maybe a different baseline and different chord progression and maybe some different pads or whatever. Um, this is just an example of my work flow of how we start with drums and start with some days and some chords and then start adding some more interesting layers using my own custom samples directory. 38. 38 DavidW 5: All right, let's take a look back at that baseline on that base instrument zebra let and what I want to do is just add a little bit of motion. Um, using an LFO to basically modulate this wave work, and I don't think it will need much, but, um, just a little rhythmic motion could be cool. So we've got lfo one selected and see? It's only quarter notes, sweets. I'm gonna turn up this ma depth a little bit, and let's hear it change the rain now. It's cool. I think in the context of the rest of the sounds, it's gonna be really neat. Let's hear it. Okay, so I'm feeling like those higher overtones air peeking out a little too much. Somebody turned down the mother depth, and I think I liked the quarter note rhythm. Better needs. All right, Um, the last thing that I want to do right now, Actually, there's one more thing I wanna do with the baseline. Probably just add some side chain compression. See how this feels. It might, um it might squash the base a little too much, but I just want to make sure that kick is going through. I mean, this is kind of a mixing decision, but still, I think this sort of thing is really good to decide in the production phase. So let's see how this sounds. And if it it's killing the base too much will just take it off. No. Okay. I like that. Um, it's adding a little bit more rhythmic motion to the baseline, which is really neat. One trick that I have to offer is we could make this really specifically rhythmic using the attack and, well, really, the release time of that compressor. So I know my tempo is at 90 bpm, so I'm gonna open up my little calculator and type in 60,000 divided by 90. You cross 66. So that's gonna be quarter notes in milliseconds. And I didn't want that. I don't want court notes. Probably want a Things were 16 through its to be the release time, so we'll divide that by two. And that'll give me a through its 333 milliseconds and divided by 21 more time. What's not 22 slash two. Okay, so it's gonna be 1 66 Let's try that. Just type in 1 66 here. Okay, I think that could be even shorter, but I still want to keep it in a rhythmic subdivision. So I'm gonna go 1 66 about it by 2 83 Probably should have done that in my head, but whatever. Okay, 83 milliseconds for the release time. See how that feels? It really feels really okay. Three show elsewhere keeping it for And I know what instrument I'm gonna grab. Sort of my favorites. Um, basically, I have a bunch of, ah, custom instrument racks that I have created. And, um, this one is a sample of a gamma Labelle run through a bunch of reverb and then re sampled, so the reverb is in is cooked in the sample. Mm. I've got some distortion back here. Yeah, Okay. Um, so I'm just gonna pluck some notes and see what feels good, and I'm gonna hit record right away, because usually maybe not when I'm recording a video, but I found this to be true. 90% of the time that when you first are laying down a milk melodic idea, records or whatever. Oftentimes the first thing that comes out probably cause I'm not overthinking it. The first thing that comes out of my hands is that's what's gonna work the best. And then when I you start repeating it or changing it or whatever, then it kind of gets diluted. So have it I've been trying to get into is just hitting record and trusting that something cool is gonna happen. So I'm gonna hit record on this session clip, and I can record really as long as I want and then edit out what I don't want. And, um, yeah, so if it will figure it out afterwards, that's cool. And the quantities that quick All right? Yeah. So basically, while I was playing, I was adding some value modulation on 16th notes, and I really feel like that helps it fit into the context of the group. I might wanna mess around with this offset, which will basically tell the LFO when to begin its phase, which might have let fit in better rhythmically. Let's see. Yeah, I like that. Okay. So I really wouldn't add much more to this. Um, what I would do is drank this melody line into the arrangement. Okay, so now I've got everything laid on the arrangement. And I am ready to continue adding more sounds or start structuring it out and maybe make a part B in apart, See with different baseline, different chords, maybe some different drum sounds. Uh, and that would be sort of the basis of my track. Um, so let's leave this for now. And I'm gonna open up one of my sessions that I have a track that I have finished. And I'm gonna walk you through some of the different components of how that's working. Okay, Thanks a lot. 39. 39 DavidW 6: you guys welcome back. So I've got this track here that is pretty much done, and I'm pretty happy with it. So, uh, there are a lot of elements in this song, and I'm gonna focus on just a couple to talk through, But before that, let's just take a listen. So, uh, get a feel for it. - All right? So you get the idea. So as you can see, there's a lot of tracks and some of these tracks. Um, nothing is really even playing. So this is really disorganized because I'm just getting out of Theseus for Messi. Um, throw ideas, just get the melodies and the cords and all the sounds in. And I'm pretty much ready for to start the mixed down phase, which, before that, I would just clean up, delete all the tracks that I don't need. Definitely it save a new version when you're about to mix a track, save a new version and call it like mixed prep or whatever and just delete all the tracks you don't need. And if you bounce stuffed audio before you mix it definitely do that. But something I do. Um, Anyways, this is organizationally it's kind of a mess, so don't judge me. Okay, let's look a drum rack. Um, one thing I wanted to point out is this clap. This is, ah, the main clapper backbeat for the drum Group. And so basically haven't instrument rack here That is layering a clap sound with a loop. And I love using loops, sometimes just in really boring ways, by sticking them on the arrangement view and letting them do exactly what they do. But I also think drum loops are really cool for re contextualizing were, ah, scrambling up or in this instance, I'm using it to create sort of random articulations. So here in the simpler device, I have a drum loop and here's my start and end points. So just focusing in on these three transients think this one's a clap, and this one's like in a to eight cow bell and high out or something. Um, and I have this max for live LFO that is targeting the sample start. So when I start the transport, you'll be able to see that basically, the sample is starting at a different place based on the LFO. So it's layering in this cow bell or this clap sound and it in an off tempo way. So it's not perfectly sync. And I think it's panning as Simpanan modulation to switches, creating some some interest. Some, like kind of grabbing your ear because it's not necessarily on time. And it's kind of random, which I love. Um, some of soul is just so we can hear that. And once I hit the transport, you can see the LFO start so neat. Okay, um, moving on. Ah, here's something cool that I think is happening with the sampler device. So this is just a single high. It sound no layers or anything. Um, trigger this a couple times, so you'll notice. Sometimes it's just a really tight clique, and sometimes it's actually following through into the loop race where, um, the end of the high out repeats of much times. Um, how that's happening is I'm modulating using LFO three the global time and what that means is basically, the LFO is controlling the attack, decay and release time of all of the envelopes in the entire sampler. So basically it's exponentially or not, so I exponential, but it's multiplying or dividing the time values of the decay release an attack time based on their current value. So with how it's set up now, the decay isn't really ever going to be 100 23 milliseconds. That's the starting point. But as the LFO goes up, the decay time might go into a couple seconds. And as it comes down, it might be just a couple milliseconds, which is giving me that envelope movements, which creates that sometimes tight click sound. And sometimes it's looping. So, um, neat. Let's move on to some of the base sounds here. Um, I'm using three different bass sounds for this track. One is this. 808 That is really deep. That's pretty much as low as I could go. Uhm, And another one is an operator that's programmed to kind of be like a NATO weight kick that is tunable. And then the 3rd 1 is sort of a growly, mid based thing that might remind you of Dub step or something. Um, so I really like this and a lot of what I was doing in the last video. Same concept applies. So what I did was I took an instance of zeal and which is a great sent by you. He Although it doesn't really matter what sin through using, um, the concept is get a patch going that you like that there's some cool movement in cool talents happening and just hit record and start recording it. Maybe record yourself changing the LFO or or whatever you're going to do to make some different changes over time. Then you once you have that recording, um, then you're able to really get needy, greedy with where those different sounds are going to be placed in the arrangement. And that's how I feel. Like I was able to get this sound to fit really well with the other parts. So here's just that role recording of that base patch. What's he only so with this. Okay, done. Cool. So once I had that recording, I was able to sort of select from all these different articulations that are changing over this recording and use them in the track above it, which is what you're actually hearing in this song on. This is so I was able to use my fades and use my ears and place them right where I wanted them to be. So now that You know what you're listening for. Um, let's just hear that coming. So that's how that's working. Um, 11 effect in here I wanted to talk about. Okay, here it is. Excuse me. So this is the green freeze. Now, that's Ah, Max for live audio effect by Robert Henke, the guy who made Granulated. And it was Just listen to this real quick, so we know what we're listening for. Okay? So as you can see, this is just audio. These air, just audio clips. There's no actual green freeze. Um, because brain freeze can be really hard to work with, as far as like, using it as an insert effect or using it as a return effect. Um, and just letting that run live and you're set, it's really difficult to work with. So same concept. I ransom drums through it and messed around with the settings and was really liking where I was getting. So then I was like, OK, record this thing. And then once I have that recording, I'm able to fit that in the arrangement. How when? Where I want it. And I'm also adding some more effects, you know, doing some filtering and some gating, um, some side chain gating and alcoholic. I am also automating some tremolo effect. So, um yeah, that's really the theme I think of this entire video if you're gonna take away anything, is this technique of getting some sounds that you like, maybe in an obscure way, like grain freeze or some weird synth patch recording that sound and making it usable because of the way that you're placing the audio clips into the arrangement. So this is something that I do a lot, and it's really changed my production style in the way. But I use sound design elements. So, um yeah, I think that's all I've got, but thank you so much for watching. And I hope you got a lot out of this piece. 40. 40 ThanksBye: All right, That is it for now. I hope to be adding more to this class as we go. I might even add another contributor to this class and a whole Another batch of videos from that other person wants some come in. But for now, we reached the end. I think we've done a really nice job in this class of covering multiple styles. Different angles on how to make beats. It's all over. You hope you've enjoyed it. If you have, uh, leave some good feedback, check out some of my other classes. Um, all the usual stuff. I appreciate you taking this class. I know your time is very valuable. And I appreciate you deciding to invest your valuable time in my work. Stick around for one more little blurb. After this, there'll be some special offers and things for other classes of mine. Um and yeah. Takes a my other stuff. Hope you had fun, and we'll see you in the next class. Cheers. 41. SkillshareFinalLectureV2: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.