Ultimate Ableton Live 10, Part 3: Editing & Producing | J. Anthony Allen | Skillshare

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Ultimate Ableton Live 10, Part 3: Editing & Producing

teacher avatar J. Anthony 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.



    • 2.

      Intro To Arrangement View Editing


    • 3.

      Looping And Locators


    • 4.

      Clips: Moving Copying Reversing


    • 5.

      Clip Fades


    • 6.

      Drag And Drop


    • 7.

      Time Signature Changes


    • 8.

      Downloading And Uploading Sessions


    • 9.

      Intro To Session View Editing


    • 10.

      Setting Up Loops


    • 11.

      Editing Clips


    • 12.

      Tempo Changes in Session View


    • 13.

      Meter Changes In Session View


    • 14.

      Adding Harmony


    • 15.

      Back To Arrangement Button


    • 16.

      Recording To Arrangement


    • 17.



    • 18.

      Working With Loops


    • 19.

      Chopping Up Loops


    • 20.



    • 21.

      Slice To New MIDI Track


    • 22.

      Working With Drum Racks


    • 23.

      Creating Your Own Drum Racks


    • 24.

      Writing Drum Tracks


    • 25.

      Intro To The Live Synths


    • 26.

      Layering Synths


    • 27.

      Freezing And Flattening


    • 28.

      Applying Audio Effects


    • 29.

      Basic Audio Effects


    • 30.

      Automating Effects


    • 31.

      Intro To Advanced Production Techniques


    • 32.



    • 33.

      Routing And Bussing


    • 34.



    • 35.

      Coming Up Next


    • 36.

      Wrap Up!


    • 37.

      SkillshareFinalLectureV2 (2)


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About This Class

** This is the new version of my Ableton Live 9 class that is a top-selling online course with thousands of 4+ reviews, and tens of thousands of students!

This class uses Ableton Live 10.

For years I've been teaching Ableton Live in the college classroom. As a University Professor, my classes are sought after, and, frankly, expensive. I believe Ableton Live can be learned by anyone, and cost shouldn't be a barrier. This class uses the same outline and syllabus I've used in my college classes for years, at a fraction of the cost.

This is Part 3: Producing & Editing

This is a really deep class - tons of content, tricks, and tips. I'm giving you a bunch of sessions to play around with. We are going to be covering how to produce using Ableton Live, starting from working with clips and going all the way up to some advanced production techniques. 

Topics include:

  • Looping
  • Locators
  • Key Mapping
  • Reversing Clips
  • Time Signatures Changes (session and arrangement)
  • Meter Changes (session and arrangement)
  • Adding harmony
  • Working with vocal samples
  • Creating beats
  • Working with one-shots
  • Slice to MIDI for beat production
  • Drum racks (!)
  • Consolidating
  • Recording/Writing Drum grooves
  • Layering Synths
  • Freezing & Flattening
  • Audio Effects
  • Automating Effects
  • Side-Chaining
  • Routing & Bussing
  • Resampling
  • ...and much more!

I will be making 6 (six!) complete classes in order to bring you the most comprehensive manual on Ableton Live production techniques ever created. Each class has Sets, sessions, and experiments for you to try on your own and follow along with.

And of course, once you sign up any part, you automatically get huge discounts to all the upcoming parts (the next 5!) of this class.

You will not have another opportunity to learn Ableton Live in a more comprehensive way that this. Start here.

J. Anthony 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.

He currently is a professor Augsburg University and the CEO and co-founder 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

J. Anthony Allen

Music Producer, Composer, PhD, Professor


Dr. 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 tea... See full profile

Level: Intermediate

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1. Introduction: made for you. Here is the most comprehensive, able to live program we could imagine. It's designed to take you from novice to pro. It'll have project files, instrument downloads, special guests in a lot more. I've divided this class into six different sections so that you can focus on what you want to learn right away. However, to really take full advantage of the program, start at the beginning and go to the end. Or at least make sure you take all the sections. At some point. This is Class three. Editing in Producing in this class will be focusing on building whole tracts with live in both the session view and arrange. Maybe we'll spend a lot of time on automation editing, moving and arranging clips, putting in time signature and meter changes. Creating, modifying and editing loose and making beats will focus on a couple of different ways that you can make beats unable to live with its many instruments or just chopping up audio or a couple other ways as well. Then we'll start to look at able tunes built in since that you can use. There's a lot of really powerful instruments in here, so we're gonna dive in on how to use some of those to create really good sounds for your beats. And then we'll wrap up this section of the class with some advanced techniques, including side chaining, busing and routing. And recently and again, once you're selected, even if you just have a part of it, you can copy. I'm gonna add a little corporate. So something really simple and I'm gonna do it by adding a new track I'm gonna go to. So why do you care? Why? Why not just move this or this instead of putting it out of macro? Well, here's there's two main reasons that come to mind right away. The first is because of I might want to do this. Okay, so here's our compressor. Get to the side chaining settings. I hit this little arrow right here. 2. Intro To Arrangement View Editing: All right, everyone, let's dive in to arrangement. View editing. So, uh, first of all, welcome to able to in live 10 part three, um, coming to you from a very, very, very cold. Um, Minneapolis, Minnesota. It is the dead of winter right now. And it is, I don't know, negative 13 or something crazy outside right now. So no better time than to be indoors in the warmth of the studio, working on some able to live tracks and, um, films and videos about live 10. So let's dive in now in this section. And I think probably throughout this whole class, the able to life three thing that I'm doing here, I'm gonna be using a couple of tracks that are not mine. Um, these tracks are by one of my colleagues at slam Academy. James. Patrick. Um, and when we get started, we're just going to use this one that I have up here. Now, this is called capsule Pressure is a new track of his that I think he said, is going to be released soon, probably on his label, which is called the Great Magnet. So keep an eye out for that, um, and uh, So we're gonna pick apart some of these sessions of his and see what he's done and make some changes to them. Focus on how we can make some edits and also what he was doing while I was producing it. So we're gonna learn, uh, editing and producing in live 10 using these tracks. So let's dive up diet dive off. Let's dive in by just hearing this. This track, it's pretty short about four minutes. Um, this is an arrangement he made of his track. So here, all the pieces over here in session view. But let's just focus on the arrangement view. This is what he sent me, and, uh, let's hear it. And then we'll dive into learning live using this session. But it's 3. Looping And Locators: Okay, so now that we know what this thing sounds like, let's dive in. I want to start with, um, a couple timeline commands focused on some kind of big picture stuff. Uh, looping and locators is what we're going to focus on in this video. Okay, so these are things that while you're working on a track while you're producing, you're going to be doing over and over and over. So, um, we want to learn how to do those things. And we also want to learn a couple of quick key commands that will let us get in and out of those things really fast. Let's start with looping So looping, super easy. All we need to dio select what we want. Toe loop, which we can do a number of ways we can click on a clip or we can drag a box whatever you want to do. And it doesn't matter. In this case, what track you do it on an arrangement view anyway doesn't matter. So if I do it here and loop this, it's the same as doing it here and looping this cause I'm looping the entire sequence. Okay, so let's just say right here. Actually, no, Let's go right here. Um, so I'm gonna do is click here. And then what I want to do is hit this button. This turns on the loop, but the loop is over here right now. Right? That's my loop brace. So that's what's gonna loop. So if I actually want a loop this select it. Don't worry about that button command. L command l is going to do two things that want it's gonna set the loop. Brace on what you have highlighted, and it's gonna turn loop on me. Okay, So the way I adjusted it right there is I just grabbed the corner of it here and drug it out. Okay, so check this out. If I move my loop race over somewhere else. If I select this command l it's gonna set my loop to that. If I select let's see. How can I select the same thing that command l It's gonna set my look to that. Doesn't matter what track I do it on because it's gonna look the whole sequence right here . Um so, command l is gonna turn on your loop brace and set your loop to wear set the loop. Brace to whatever you have highlighted. Hey, if you want a loop, the entire track command a and then command. L commit a for select all and then command l That's gonna take us all the way from beginning to end. That might be a little silly, so let's not do that. Command l again just turned off looping, but leaves my loop brace where it waas If I want toe tighten it up, I can select something else in command. L again and that will get me back to it. Okay, so loop race Very important. Um, looping settings in your sequence. Let's talk about ah locators locators. Are these little guys around here? Those things that he has labeled bleeps cords break 144 build drop one break dropped to etcetera. Okay, we can add these by just going up here. Ah, control, click. Add locator. It's gonna add a new one. It's gonna default to name it a number, but you can type whatever you want, So let's leave that one there. You can get rid of one by just clicking on it and pressing the delete key. And what's also cool about thes. You notice that? Well, first of all, let me just explain what these things are. Uh, what they are is a little note to yourself about what you're doing. So when you're working on a track, you can say, you know, in this section I'm trying to build this cord, right? And in this section, I'm trying to do Ah, little break here, something it out. What I like to do with these, especially is well, I'm working on a track. Let's say let's say this isn't the end of my track. This is just where I'm stopping for the day because I'm tired and I've been working on this all day so I might throw a locator here and say Next, Um, build two key change. I don't know. Just to give myself a reminder of where I've left off for the day so that when I sit down here tomorrow I can say, Oh, yeah, that's what I was thinking about doing that I could get rid of that and then keep going. Um, but they're also a really great way to just structure your son. There's another use for them as well. This was This is what I was about to say a second ago. Notice how each of these little flags here They kind of look like a little play button, don't they? Because they are double click on and launch from there. And just like everything in life, they're going to stay, uh, in time. So they're not gonna launch until the next downbeat. Right? So no matter when I double click on the locator, it's gonna wait tow launch until the next available downbeat. Now, I've seen people do whole remixes this way where they load a track in and then they just make locators and they bounce between the locators really fast and just remix a song that way. Um, it's kind of cool, actually. In order to do that, you're gonna need to launch locators really fast. So let's look at a quick way to do that. Uh, the best way to do that would be to map these locators Teoh either a midi key or a key on your numeric keypad. And here's how we would do that. So Oops. So first we would go into let's do it to a number on the keypad case. So let's map this toe. 12 and three. These three. Okay, So, by mapping, what this means is that when I press the number one button, it's gonna launch it from right here. Number two, it's gonna launch it from right here. Okay, So I'm going to key mapping mode, which I could do with Command K, or I can click this button up here. That's a key. Okay, No. Anything that just turned orange, I can map to a key, so I'm gonna click on bleeps. Just gonna click on it once. Then I'm gonna press the number one that I'm gonna click on cords, press the number two that I'm going to click on Break Press the number three. Now I'm gonna get out of key mapping mode, which again I could do with command K or I compress the key button up here right now. Five pressed number one. We're going number two there, three. So I'm moving around really quickly within their If I want to move a lot faster, I could change my launch quant ization up here to be like 16th note. Check it out, get messy. So I might have given myself too much freedom. Let's try an eighth note. It's tricky. I should take some practice on that, because what we basically done here is created a little instrument that we can bounce around using. And that's kind of tricky. Okay, so we're gonna talk more about mapping in the future. That was just a quick little key mapping experiment to show how you can use locators to do some really interesting stuff. Okay, let's go on to, uh, working with clips, moving, editing, cutting all that good stuff. 4. Clips: Moving Copying Reversing: Okay, let's talk about General just moving stuff around here. Um, so to move a clip, we're gonna just hover are mouse over the clip on the top half? So imagine there's a line going through the middle here. In fact, let's look at one an audio clip where we do kind of see a line going through it. So anything above the middle point, you can click and drag and just drop it wherever you wanted to go. Um, command Z toe, undo toe. Go back to where we were before hand. And whenever I've got something highlighted, I can do all my predictable stuff like I compress the delete key. Um, I compress. Copy command. See, put somewhere else command V to paste all the stuff you can do in, like a word processor. Um, now, if you grab underneath the midpoint, you're gonna grab a section of the clip, OK? So you can click and drag underneath to grab a section, or you can click above the midpoint to grab the whole thing. It's important to note this is different and live nine and live 10. So if you're in live 10 it works Exactly how I just said, if you're in live nine, um, there's a little more finesse, I think Imagine this mid mid point is all the way up to this bar. So anywhere under this top bar ah would select a section of it, and just grabbing the bar will grab the whole thing. But if you're in love 10. Don't worry about that. Um, live 10. Top half grabbed the whole thing. Bottom half. Grab a part of it, basically. And again, once you're selected, even if you just have a part of it, you can copy paste paste. Um, the wheat, all your predictable stuff. Well, let me show you one other trick here. Um, if I do this, if I highlight something like that and then now that it's highlighted, I grab it using the top half and move it. I'm just moving that chunk and I'm pulling it out. Actually, the way you just did we show you that one more time. So if I highlights something like that, not the whole clip, just a section of it. And then I moved to the top half of the clip and I click and drag. I'm now pulling that section out of the clip. Okay? That's what I just did there. I grabbed that and I moved it somewhere else. Okay, Exactly the same as if I highlighted something impressed. Delete. Except now we have it still over there. But once you highlight something and then you move it all the same functions apply, basically. But check this out. If I hold down option. So option. Click and drag on just about anything in live means. Leave it where it waas and take a copy of it outside. So now what I have is the thing I just pulled out and it's still in there. Let me show you that with a clip. Let's go down to this little a vocal sample he has here. Okay, So I could move this around right? Just by grabbing the top half sliding it around, Or if I wanted to duplicate it, I could copy, command, see? Click somewhere else. Command V to paste it right. Or I could cook on it to highlight the whole thing. Option, hold down, option and then click and drag. And now what we've done has made a duplicate of it. We've left the original alone and pulled a new one out. This is a really, really important, um, sequence of of clicks here because this will save you a ton of time, hold down option, then click, then drag to make a duplicate of something right. You could do this all day. I'm just holding down option clicking and dragging. Okay, let's get rid of all of that stuff is and like ruining. Let's track. But that's OK. It's my copy of it. One other thing I want to point out is reversing stuff. Um, just cause it's something that we do in electronic music all the time. It's super duper easy to do. You can click on a clip or a piece of a clip. If you want. Click on it. You can go down here and play press rev. Okay, there's a way Faster way. Uh, you can just click on the clip. Impressed the letter R The letter R will just flip it backwards. Hard to tell their Let's do it here. Okay, are I had to think for a second there, but it got it really quick, right? So it's the same as pressing this rev key down here so you can do it for just a section of a larger clip. When you do, it's going to split that clip into multiple clips. But that's okay. You won't hear. You won't hear that seem unless you hear it because of the reverse. I reverse it again. No, that's how it's supposed to go. You won't hear this separation here. I kind of felt like you heard it there because you heard a clap that happened there. Heard that, I think. Okay, so a couple of just general, uh, moving around stuff. Just remember that the stuff you do in any word processor a copy paste, uh, cut. Undo all those things work here, right? It's just a matter of are you glad grabbing a clip or a section of a clip? Right? Groovy or multiple clips. I should point out you can do this and copy and paste into future tracks if you want. Well, let's let's do it. Let me just get outside somewhere. Let's grab these for copy. Put my cursor here. Shift click to select all four of those paste right now. I've got all those there again. Undo. Cool. All right, let's move on 5. Clip Fades: Okay, let's talk about. Clip fades. Now, Before we talk about this, I want to specify something here. Two kinds of fades that we're talking about. There's automation, and then there's Clip fades. So automation is this. That's these big lines going up and down. And we're gonna talk about automation shortly if we haven't already. I think we did a little bit already before, but we'll talk about that again soon. Um, this is like where we were pulling down the volume and back up of the track. Right? And I get to that despite pressing the the letter A on my keep had. But what I want to talk about first is just doing a quick little fade on a clip, right? Not for the whole track. Just for the clip. Okay. So probably set. I launched back to one bar. Okay, so let's zoom in. Let's go back down to that little audio clip. Let's get my little Yeah, is back. There's one right there. Okay, So what we have here is when we hover over a clip, we just put our mouths. You don't have to click anything or anything like that. Just put your mouse over the clip. See this? Four little boxes that show up in each corner of that clip. Those are your fade controls for that clip. Okay? We don't need to press a to get into automation. In fact, we definitely don't want to do that if we just want to do a little tiny fade. Okay, So what I'm gonna do is I'm gonna go over one of those boxes, click and drag and pull it in right now. This is a volume fade. This is gonna fade this clip in. I can do a quick fade out just like that. Now, what that did is essentially the exact same thing as what automation would do if I wanted Teoh control the volume of the whole track to go in and out on this same arc. I could do that. This is just a really quick way to do it on, um, kind of a clip level, meaning just to clip, uh, quickly. Um, and we could craft these a little bit more if we want. We can adjust. You know where they start? Kind of the the parabolic shape of them. If we want to use a $2 word, Um, like so and really kind of finally adjust them. So this is gonna fade it in and then faded out. This is great for short samples. That might have ah, little clique in the beginning of them or at the end of them. And you just want him to, like, pop in and pop out. You dio a essentially inaudible fade something so fast that you can't hear it. But we'll get rid of any popping that you've encountered from not hitting a zero crossing on your edit. Ah, let's look at another example of this. Could do it on a larger scale right here. You know, we could do a long, long fade in here if we want. This is you know, over the course of 30 seconds, this is gonna fade in. Let's solo this and just hear that. Okay, here's the track. Here comes creeping in. Okay, you guys point right. Very long, slow feeding. Now, if you do a bunch of fades on a clip and this is a cross fade. This is gonna help us fade into the next clip. Decided right there. That's because they were overlapping and I pulled this end so it's gonna cross fade us. So let's say you do a bunch of fades and you've got a bunch of complicated stuff going. One thing you can also do is control. Click on that clip to get to that contextual menu. This thing and once you've put fades on it, you'll see this reset fades Here, you can just get rid of all those fades you put on and start over from scratch if you want to do that. Okay, so, uh, that is clip fades. And this is again just worth noting really quick that this is something that works quite a bit different. Uh, in live nine versus lifetime, so live 10 much easier to deal with. In live nine, you had to go in here first and turn it on. Ah, and then there was a couple other steps also. Ah, but in live 10 it's always on. If you just mouse over a clip at least an audio clip, you will get these fades doesn't work in mid eclipse. Um, because the way Midi Info works is a little bit different, but in audio clips, you can always get that fade 6. Drag And Drop: Okay, One more thing. We kind of talked about this in the last class when we were talking about getting content into live. But I just want to reiterate it one more time. The quickest, most efficient way to get a clip into session view arrangement view is to drag it in from the browser. So let's just go to my samples. Let's do favorite speeds. Okay? Drag and plop it in right there. Now, remember that I'm gonna about to drop this where there's no track, Right? See, there's no track here, so I'm gonna drop it right there, and it's gonna figure out what to do with it. And it knows Macon audio track. Okay, so can drag and drop sumit on it a little bit. Put it right where I wanted Teoh do a little fade in maybe. And then let's pull it out. Let's actually use this as this 44 build up to this drop. So it's maybe do a long fade. It's only gonna let me fade up until the loop. But that's OK. Let's hear what that does. Oops. I'm so load up here yet. Oh, my loop is still on up here Let's turn that off. So I never quite hit that drop. Let's try one more time. That's kind of cool. I like this little group here. I just randomly grab that. And, uh, I like the way it turned out. Um, remember that when I dropped it on this track, if there were any effects or anything on this track, this clip is applied to all of those effects. I can get to those effects down here by hitting this little tiny tab under here, which has nothing in it, cause this is a new track, or I can get to that tab also, by using the shift tab key on the keyboard that will alternate me between this clip view and my effects or instruments if you're on a midi clip. So just quick, little refresher. Don't forget dragging stuff in from the browser is the way to be. Now, while I was saying that I just grabbed an audio clip and I'm about to drop under a minute clip. So what's going to happen? Ah, and he guesses we've seen this before. We saw this quickly. Um, I have let go yet, so it hasn't had to think about it yet. So I'm gonna let go right now, and you're gonna tell me what's gonna happen, and it's going to be converted to a MIDI clip. Um, that's what live 10 nose to dio. It's This is a mini. I think this is a drum rack. Yeah, this is a drum rack, so it's already got sounds loaded up. So what live did is it said OK, I can convert that to a drum loop and use the same sounds that I used here and see how it turns out. Let's hear it solo it. Okay, not bad. Let's hear what it actually sounded like The audio. That's pretty good, actually. So what it did is just converted those sounds into the sounds of my drum rack. That's pretty impressive. And they're using the same sound. That's why I'm here. The same drum rackets chosen different sounds. I could adjust it to get these same sounds, see what he's using, the clap and the snare and the lowest kick. I'm using that kick. Oh, I'm not gonna want to do that. That's gonna be a lot of clapping. It sounds like, ah, high school pep rally. Anyway, you get the point. Let's move on 7. Time Signature Changes: Okay, let's talk quick about inserting a time signature change since we just talked about locators and this is right next order locators. Um, Now, this works a little bit different in session view, an arrangement view. One thing I want to point out is that this that he has written in here is not a time signature change. This is just a locator that he's called for four build. Uh, apparently, he's trying to tell himself like, this is where I really wanted to pump, you know, like, far on the floor. Kind of a feel A time signature change looks pretty similar to this, though. What we're gonna do is up here in the locator area. We're going Teoh Control Click and you insert time signature change. It's gonna be slightly higher. And then to change the time, we would just type in what we want. So number slash number. So let's say three slash four when I hit return. That's gonna rebar everything into 34 for the rest of the track. Okay, If I wanted to change again at this for four, I could do insert time signature change for four here. So now when we're playing up here. This is our time signature of our session. You hit that before way. This 44 back for. For So what's important here is to remember that doing this does not change the time signature of your clip. It's for the session the way we're doing it right now. And you can see here the little dot telling us that the time signature is now automated. Okay, that's what that little orange dot or pink daughter? Whatever you wanna call it, uh, means it means we've automated the time signature. And we do this in the timeline, Which means when we get Teoh session view, we have to find another way to do it. And there is another way to do it in session view. But this is how we do an arrangement. You cool? All right, so let's get rid of those. So I'm going to click on that time signature change and press delete, and then I'm gonna delete this one, too, even though this one doesn't matter anymore, because we're already and for for staying and four for this isn't gonna do anything, but just to alleviate confusion. Let's delete it. So I just clicked on the little flag by it and pressed the delete key. So it's time signature changes 8. Downloading And Uploading Sessions: okay. Ah, One thing I want to point out here before we go on is downloading and uploading a session. Remember that There's a lot of stuff in your session that's a linked to from other places. And when I say linked, what I mean is that this audio file, for example, is in my sample library and what live nose is too. When this session launches, go to my sample library and get it. If you open this session, uh, it's gonna try to go to my sample library and get it. And that's not gonna work right, because you don't have my sample library. So what we need to do is tell alive before we send something from one computer to another, we need to tell alive Hey, just copy everything that's linked to from somewhere else from someone else's library or whatever copy it all into the session. Just save it all together. Okay, here's how we do that. We go to file right by where we say save live set, but we're going to say collect all and save that means any of those things that are floating around from somewhere else. Copy them all into this session and bundle it altogether. Someone say collect all and save. Let's just say yes to everything You can leave yet No on for factory packs most of the time , But let's just say yes to everything. And we say, okay. And this could take a second, depending on how big your session is is gonna make a copy of everything, but, uh, this is a pretty small session, so that's really all it took. Um, now, when we go into this session, which is right here, it's, uh, this one, I think. Yes, there it is. Now we have samples. Okay. Imported process recorded. So here are all those audio files that we've been messing around with and hear that 04 a 1 25 BPM is right there. Okay, so we've copied everything in. So now when we send this to someone, we're gonna send the whole project folder and they're gonna be able to open it without getting into those missed audiophile issues. If we hadn't done that, this clip would show up as a big gray bar, and it would say, uh, I'm missing an audiophile. Meaning I can't find Jay's library to import it right. Uh, so that's how we avoid those things. Now, um, in the next video, I'm going to or the night It's not a video. Actually. It's just gonna be some text, but I'm gonna give you this session. Now. I have to check with James Patrick to see if he's gonna let me give away this session. Probably not. So what I'm gonna do instead is trim it down a little bit and I'll give you this clip and some other stuff that you can use to play around with some of these concepts with. 9. Intro To Session View Editing: Okay, let's dive into doing some editing in the session view. So this is gonna work a little bit different than the arrangement view, because remember, we don't have a timeline, really have a timeline. And we've got kind of all these little spinning records, right? That's what each of these clips is in a way, right? Ah. So what we're going to find is that not every record is the same length. And is that OK? Well, answer that in just a second. We're also going to see at what we can do over here and some tricks that we can do that kind of take the place of the timeline. Ah, and how we get around without having a timeline, all will make sense in just seconds. We'll also look at in this section, making some new clips in session view to add to our track that we have going here and again . I've still got this James Patrick track. This is the same one. If I flip over to arrangement view, we have this concession view. Looks like this. So what I think was happening here is this is kind of his palette. This is He was making all of these. And then he recorded an arrangement. Over here, we'll talk about how to record to the arrangement view in this section as well. So let's dive in and let's just talk about general setting up loops and we'll go from there . 10. Setting Up Loops: Okay, let's look at loops in session view. Now, this is something that might have you scratching your head just a little bit when you first see it. But it will make sense by the end of this video. Trust me. So check it out. Let's launch this clip clips. Go was gonna go through it. Stop. I've also got this track. So load, that's so lovestruck. Actually, I need to stop this. I don't need to solo this at all, because this is the only one play, right? Cool. So let's look at what we've got here. So you've got a MIDI clip. Let's do it. A little drumbeat, right? Let's go over to our instruments and devices tab here or with ship click, and we can see what's actually here. So we've got a drum rack and we're gonna talk about drum racks shortly and a couple of different sounds cute up here. Okay, so nothing amazing. Let's go back over to our Midi clip like looking here or again, Shift tab. And it's pretty clear what's happening. Right. So let's look at this loop. This is a four bar loop. Here's the first bar. 1121314 Here's the second bar 2 to 2 to 3 to 4. Here's 1/3 bar. 3323334 Here's the fourth bar for 4 to 4344 And that's the end. It's a four bar loop. OK, school. Nothing fancy. Okay, let's look at this clip. Hey, In this clip, we have similar things happening. Kick clap in a snare. Kids clapping a snare. This is only a one bar loop, right? We see more numbers here, but we're just zoomed in farther. See if I consume I can't zoom out anymore. But one, 12 1314 That's it. This is the one Barloon. So can I play a four bar loops and a one bar loop at same time? I certainly can. So how does that work? It works easily. Actually. This one bar loop just cycles through four times. For every one time that the four bar move does, we'll get right here. This is kind of telling us what those little spinning records are doing. Remember this spinning record? Things just analogy. That just means that each one of these is You can think of has its own little spinning. So here you can see this pie go around, start over at the top. Okay, for every one of those that's just showing you the group. So for every one of those for these Okay, What if I wanted to just have thumping kick right? Do that. Could be in one bar loop. Let me. I gotta reset. ICS. I just did something weird, right? But solo that now we have a one beat loop and that could go throughout your whole track. In fact, that's something that I do all the time. Just set one of these up just to run, depending on the style of music I'm doing or to use it for something else. Like side chaining, which we're gonna talk about shortly So I could have this going with this other clip with this other stuff. Here's another clip that was very interesting. Let's grab. Here's another one. This is a one bar clip. Morocco's. This is an audio clip. So audio clips, mid eclipse mixing and sometimes different Lou planks. I have three different Lou planks going right now. Have that kick that's a one beat loop. Have this drumbeat, which is a four bar loops, have this Baraka's, which is a one bar so moral of the story is the length of the clip doesn't matter as long as it lines up. Right. So if you did like a three bar ah, three beat Loop, for example, let's do that here. Okay, here's three beats. Okay, let's hear it. Stop everything else right? It's jerky and weird. It's not gonna line up against this. Everything is just going to get weird. So as long as they're divisible by each other, is what I'm saying. So a three be loop is not gonna work against ah four beat loop or a one bar loop or a four bar loop. It's just gonna like the records are not gonna line up at the top at the same time. So that's kind of what's happening here. So some of these are long. Some are short. Let's look at like, here's one. This one is 32 bars along little bleep. He sounds we're hearing right, and this just goes on for 32 bars. Why does this one go on for 32 bars? Probably, I think. And I'm guessing a little bit. I'm guessing because I know this guy that he was goofing around with some analog equipment and recorded this in as one long track from another thing from another instrument, right? Like analog outside. That's probably what he was doing here. Um, yeah, that would be my guess. So that gave us one long audio file. But that's cool. You can do that. Okay, so, um, that's kind of the basics of how we set up loops here in session view. So let's go to a new video. An island. Let's start talking about how we edit some of these things. Ah, and work with them. 11. Editing Clips: Okay, we have three things I want to talk about editing in this video. One is the arrangement of clips like where clips are. The second is midi content inside the clip, and the third is audio content inside the clip. So first, let's talk about the arrangement of clips. This works exactly the same as it worked in a range with you. We can click and drag a clip to another quick slot or undo another track in another clip slot as long as you're sticking between Midi tracks and audio tracks. If you switch it to an audio track you're going to, it's going to do that conversion for you that we saw in the last section. I can option click and drag a clip to make a duplicate of it. That's kind of my favorite key command that I was showing you last time. So option Hold down. Option. Click and drag makes a duplicate in the new spot. OK, get rid of those. I could copy Paste Command C Command V. Clan V Command V come in V. I could do that all over the place, can hold down shift to select multiple clips, impressed the delete key All your standard stuff that we saw an arrangement. You works to move clips around. Cool. Now let's talk about editing inside a clip. So inside of Midi clip, we're gonna double click on it to get the clip editor stuff down here. And this is a mid eclipse. So we see the MIDI information, and with this, we edit it the exact same way we edited it in a range of you. I hate that word, by the way. Edited, edited It's, like kind of a fun rhythm on your tongue, but edited guy just sounds weird anyway, um, so we can edit this the same way we edited. There it is again, the, um, mid eclipse in a range of you. Okay, I can, uh, option click and drag to duplicate stuff. I could move up and down, can use the number or the arrow keys to move things forward and back. Here's a couple of things I don't think I showed before. So arrow keys forward and back Up and down. Maybe I talked about this in the second class, I think, but shift in arrow key is going to extend, uh, note or arrow back to shorten it. Shift up and down is an active switch. I think I talked about that one. So that's it. That's a handy one. Uh, let's get rid of that with the delete key. And now let's talk about audio editing. This is a little trickier, Um, in an audio clip. There's not a lot of editing weaken do here, um, to the actual clip. Like if I wanted to cut out this section of the clip, it's very tricky to do that in our recession view. I can't just highlights something impressed the delete key. And that doesn't work. Uh, here in this window. And remember this the way this window works as the exact same way that this window worked over in the arrangement view, If we wanted to cut out something from the clip, we would have done it in the arrangement view up here. Not down here, right? So this is behaving the same way. What we can do down here is weaken dio some envelopes. So here's our envelope section. We'll look at this in more detail later, but let's say I wanted to take the track volume and have it dropped out you know, from here to here could do this. And now this track is going to be silent in this little chunk. Let's try it. Bleeps went away so I can do stuff like that. Here, get rid of that. I can change the length of the loop here. Um, I can set the start of the loop here. So where it's gonna start is different than the loop start point. The loop start is here where it starts here. That means is that when we launched this loop, it's going to start right here. It's gonna play all the way to here, and then it's gonna jump back to here and loop from here to here, there every other time, it's gonna start here on Lee on the 1st 1 That's useful. If you have. Let's say you have a drum. Ah, form are drumbeat here, and you've got a little Philip the end of it, and you want to launch right on that, Phil, watch it here. You hear the fill, and then it does the whole loop. It's good for that kind of stuff. Most of the time that you're probably gonna want that to be the same spot as your loop start. Okay, so if we wanted to actually cut out something from the middle of this, the easiest and most efficient way to do it is to take it bump over the session view, drop it in somewhere, and then make the edit do that at it that you wanted to do. Tighten it up. Rejoin it together. Command J. It's called Consolidate Takes Quick. Second, This is a big audio file and then hold on to it. Press tab. Drop it back in as a new clip. Now we have it like that. That's the quickest way to do it of It's a little cumbersome, but you'll find that you won't be doing that a lot in session view. Um, those kinds of edits are better. An arrangement view. Cool. Okay, let's get rid of that. Okay, Now, let's go back and talk about some of the things around, um, the timelines stuff. So two of the timeline things that we talked about before tempo changes and meter changes. Remember, we did Those in session view are sorry. An arrangement view by putting a little flag in the timeline up here, right? But we don't have the time line anymore. Eso How do we deal with those? There's a special little trick for it in a range reviews. Let's go to a new video and do that. 12. Tempo Changes in Session View: Okay. In order to talk about tempo changes in session view, we need to talk about scenes. OK, so these are the scenes over here. Okay, Now, remember when I launch one of these by hitting this play button here, it's gonna launch everything in that row. Okay, so this clip this clip in this clip are all going to get launched When I hit Seen three launch a launch at the same time. We Oh, good. A scene for four. 11 to 1. Okay. Super useful for launching multiple quips at once. But the scene launch area has a couple other hidden surprises in it, and one of them is tempo changes. So here's how we're gonna do it. It's not like a control click thing. Don't try to do that. In fact, if I control click here, it's like those thoughts you're recording on launch. There's a couple things you can do here, but, oh, it is here now. They did put it into Ah, live 10. I don't think this was here before, but let's not even use that. There's an easier way we're going to do here. Is command are that's just to rename it. Okay, We're just gonna rename the track the sorry, the seen. So instead of one, we're gonna call this. Ah, actually, that's call it intro. Let's call this verse. Let's call this chorus. Build drop. Sure. Okay. I'm just randomly calling these stuff, but this is what I would do in one of my trucks is to name them, uh, somewhat usefully like that. Now, let's say I want to change the tempo in the chorus. Okay, Let's see. There's only one thing that launches here That's not a great example. Let's head of birth. Let's read the verse. So when the verse comes, I want to change the tempo. So I'm gonna dio command are rename again I'm gonna leave it as a verse but I'm gonna say space and then just tell it what's tempo is really easy. So my default temple right now is 1 21.4 So let's change it to something kind of drastic. Let's go 1 40 something Type 1 40 then the letters B p m beats per minute. Then when I return, I'm gonna get a little blue carrot there. That means something's been automated. OK? So just by typing 1 40 bpm. What I'm telling live is that I wanted to launch this scene at that tempo. Okay, so I'm long, so I'm not Intro 1 21.4 When I launched the first up here, we jumped 1 40 But now I've got a little bit of a problem because now when I go back to the intel, still 40. So if you're going to do this, you should get in the habit of doing it on all scenes. So let's go back to intro Rename Intro Space 1 21.4 D DPM no space. Okay, now I can go back and forth, right? This is gonna launch at 21.4 this one 40 we go backward and it goes back to 1 20 What happens if I go to chorus? Well, it depends on what I did before it, because chorus does not have a tempo change in it. So if I'm at 1 45 Metaverse and then I go to chorus, of course is going to be at 1 40 If I met the intro and then I jumped to the chorus, of course, it could be at 1 21 right? Because chorus has no tempo change. So all it knows to do is use the tempo that were already at. So if you want to make sure your choruses at the right tempo, let's say 1 21.40 bpm. So now I can go from 1 20 to 1 40 to 1 20 Okay. Um, so let's go up here. 1 21.4 What's the verse 40 proven back to the chorus. 1 20 Everything worked the way it was supposed to. So watch out for that. Um, that is a really slick and efficient way and something that a lot of people overlook on how to change the tempo in session You 13. Meter Changes In Session View: okay, meter changes in session view work almost identically. Okay, If you want to insert a meter change for some reason, you can do it. Let's do it on this build. So rename, go to the end space. Actually, you could do it at the beginning to it doesn't matter where you put it, as long as you put it somewhere in the same way that with the tempo change, we could write a number and then bpm to tell it It was a tempo change for a meter change. We could just write a number, slash another number, and it's gonna interpret that as a meter change. So I get return and you can see it turned blue here, knowing that it's got some some extra information on it that's telling us to do something. So now if I'm here is a very quiet 50 thing. We're at 1 21.4 bpm. We're in for four, that's all. Fine. I go here to the build and I get to the O. So we've adjusted our meter here now all of the same stuff I just talked about applies. So if I want the drop to then be in 44 I need to tell it otherwise it's going to stay in 34 So if you're gonna get in the habit of doing this, just do it on everything. Um, you can totally do both. Check it out. 1 48 p of space, 34 alone. Drop space. 21 p. M. Space. Okay, so, no. When this launches, it's gonna goto 1 40 bpm, 34 launches. When I go back and launch one of these, I don't have a time change. So I should put one in If I'm going to do a time change. And you might be saying to yourself, If I've written this to go vertically down, why would I need to go back up here and put my time change in changes from 34244 here? I'm never going to go from build to verse right backwards like that, and you're probably right. Um so it might be fine. However, in my experience, especially when I've been playing with a band doing live stuff with a band, You know, there are times when we rehearse and we might get to hear, stop and say, Okay, cool. Let's go back to the verse and start here and all the sudden I'm in the wrong Ah, meter, Right, Because I went, I jumped back. So I like to put him in tow. All of them. If you're gonna put any in at all, it's Ah, good trick tohave if you're not, if you're never gonna go backwards or forwards and you don't have to worry about going putting them in everywhere. And if you're not gonna use these, if you're not going to change tempo and you're not going Teoh changing meter, then don't put him in it all. That's totally fine. But remember, the formula is, uh, you need If you want to change the tempo, you need to give it a number. No space BPM. If you want to change the time, are the meter you say number slash number with the space on either side of it. And if you want to name it, you can just type whatever you want S O. I can name it chorus 1 21 bpm and then for four if I wanted to And that's how those work 14. Adding Harmony: Okay, So what I want to talk about here is how to add some stuff to the track that we have. So what I'm gonna do is I'm gonna launch this drumbeat. Okay? Cool. And I'm gonna add a little court progression. So something really simple and I'm gonna do it by adding a new track. So I'm gonna go to right and certainly track. Okay. There is. I'm gonna move it over that it's right next to my drum track because that's why I feel like doing not a great reason for that. Let's go to instruments and find some kind of simple instrument analog. I really want a pad to some kind of strings that tone it down. So I'm gonna put that instrument on this track. No, I can play my keyboard. And here it's OK. I'm just playing my keyboard. That's like, Okay, so let's record in just maybe, like, one or two chords. Okay? So I'm gonna try to find something here. Okay. I like that. That I just did going to try to use this capture here, threw it in. OK, so here's everything I just played. Uh, I want to go back to that part that I actually liked think was right here. Let's get right on the downbeat and what I wanted Waas all of this to be right on that downbeat. So that's noted to there, you know, See, drag that over to fit on. Then I think we got it. Oh, I recorded it in 340 drafts. That's okay. So I recorded this in 34 because in the previous lesson, I was messing around my time, and I left it in 34 Does the exact thing I said you should not do so I'm just gonna manually changes to 3 to 44 Then I'll change my clip to 44 That's not really going to change anything about what I played. It's just going to change the, um, way the grid is lining up. So let's go. Let's put this on a downbeat 39 let's see how it lines up. Okay, then I wanted to end right there and repeat back. Okay, so I made a little f minor kind of deal. Um, just by planting it in, it's not perfect. There's I could tighten all of this up, but, you know, I'm trying to kind of get used to not making my playing perfect. Just exactly what I'm doing. As I'm talking right now, anyone got Stop doing that? Um, it's there is kind of a side note, but ah, there's a lot of argument to be made about things sounding just much better when they're played in and not, um, finesse to be perfect. So I'm gonna leave. It's for him. Okay, so now I've got this the left minor thing. Now, what do I want? Let's say I want to add a part to it. Okay, So I want to add ah, harmony or something to it. So I'm gonna duplicate this is command. Click and drag. Okay. And then let's see if I can find something else. That's interesting. It was kind of noodling around in F minor. So let's do something higher to do that. And then let's just Well, that's kind of a big chord change there. Do you hear a flat in e flat? So and I'm just kind of goofing around here, and then that okay. And let's get rid of the other thing that I made a second ago. Maybe you take that there So I've got two notes all over it. Okay, so now I've made a second part, right? So I'm gonna here the first part I made and the second part I made. I'm going somewhere with this. Trust me. - Okay . Not extremely interesting. So here's what I'm gonna do. My point that I'm trying to make here is that we can harmonize these and a quick trick to do it. And what I mean by harmonized is take this clip and add something to it. What I have now is I can play one of these, but not them together. Right? So if I wanted a harmonized this 1st 1 with some extra material, um, I have the extra material here, but I can't play these two at the same time. Right? So here's one thing I could dio just duplicate that. Okay, Now I can do it. Get rid of that. Here is my 2nd 1 case, and I have one in two. And put that one up there. Now I have my main thing here. My second thing here So I can play this. That would have been a few Throw this. Okay. Cool. So, um what I did there is. I started with the drumbeat I made a little I mean, a core progression, some notes, and then I wanted to add some notes to it. And what I did is I made a new clip by pulling it down and duplicating that 1st 1 and then getting rid of the original stuff. So I just had new material and then put it in a new track with the same settings by duplicating this one, and that lets me play them both at the same time. Okay, so this is the reason I'm pointing this out is to show you kind of how you need to be thinking about music if you're going to be working in session view. These two couldn't play at the same time. So if I wanted to expand on it, I would have had to ah, either add this new material to this clip or duplicate the track, and at it that way, right? It's just kind of a little thought experiment. Okay, let's talk about the dreaded back to arrange button in the next video. 15. Back To Arrangement Button: okay. One of the problems that we face every now and then in session view is knowing exactly what we're hearing. And here's what I mean by that. What I mean is, we've got a bunch of clips on the screen. However, are we hearing what's here, or are we hearing arrangement view, right? We don't really know. Sometimes sometimes it's quite big. Um, this has always been an issue in life because of this two sides thing. There's always had to be a way to deal with this. This, like, which side is playing issue, and this is the way we deal with it. Um, see this little orange button here. Now, this is kind of a new location for it. It was up here Ah, in previous versions. But now it's down here. So this is called the back to arrangement button. So when this is orange, which it is now, what that means is that Ah, imagine live is saying you have information, and by information, I mean music. You have music in session view and arrangement view, and I don't know what you want me to do. So I'm gonna play session view and turn on this little light so that you know that I'm playing session, you get That's what that saying, It's saying I don't really know what to do. So I'm gonna play session view. That's what that saying, um, if I go over to arrangement view you see, it's all great out like everything's great out. And the reason is great out is because here's that same button again is saying I don't really know what to do here. You've got information on both sides. So I'm gonna play session view, and I'm gonna gray all of this out. If I hit this button, it's your you're telling it. Okay? You want me to play a range of you? Cool. I'll play a range of you. I go back here. That button is not let up, which means we're playing a range of U s. So now we're hearing arrangement. No clips. Air launched. E cannot like this thing is like an on off, uh, lives gonna tell you when it wants you. Teoh, Turn that on or off. So I'm hearing arrangement. If I go back to session view and I launched a clip, sudden light comes on. This track gets great out. I only played one track sofa. Likely more tracks. Okay, Now let's go back over. More are getting great out. Okay, the more I play so all it wants me to do is hit this button to say, Okay, go back to session. That's what We're sorry. Our age with you. That's why we call it the back to arrangement button. It means I've done some stuff. Just take me back to the range of you. Um, the longest short of it is when you go into arrangement view and see some stuff that's all great out like that like that. What that means is that you must have done something in session view at same time. It's fine. It's no big deal. Hit this button and you're back. Okay, um, that's how we know if we're listening to session view, arrangement, you it can be confusing. Sometimes it's one of the more confusing things in life. I think is this back to arrange with button? But there's a good reason for it to exist because sometimes we want to record to the arrangement view, which is literally using both sides at once. So let's talk about how to do that and why we would want to do that in the next video 16. Recording To Arrangement: Okay, so I'm working in session view, and let's say I've made something awesome. I'm really happy with it. I want to, uh, record my performance of it, right? I want to get it down on tape, so to speak. Or let's say I've set up my whole night of four hour set that I'm playing at some club in session view and I'm gonna launch clips. I'm gonna launch scenes. I'm gonna do some filter stuff, um, live, but I want to record all of that so I can throw up online later or whatever. So here's how we would do that. Let's go over to session view and let's go way out here because he's already done it here. So let's just ah, set up to record out. Okay, So I'm gonna go way out here and put the cursor there. I think that'll get me to start recording there. Now. What I'm gonna do is in the session view. I'm gonna hit this big record button. Now, this is not going to record on a clip, uh, anywhere. Okay, here we go. So now we're recording now start launching stuff. One layer of this added start taking system. - Just great. Okay, Now let's go over to session view and see what we got. Here's what we recorded. So what we recorded And remember I have to click this back to a range of you cause I was just doing some stuff in a range of you. So what we recorded is my exact performance that I just did not just the sound from it, but every clip when it was launched so I can play it from here. And this is my exact performance. I remember much these launch this on. If you remember. I then started messing with the volume of those bleeps. Let's press a and go to our automation. And there's that volume that I was goofing around with, Right? So everything is recorded decision view. Not just when you launch clips, but every dial you turn. Everything is being documented in session view for you, so you can then bounce this out and send it off to a friend or posted online, or do whatever you want to do. So, um, that is recording to the arrangement view. All we did was take a performance that we did here and record it over to this side, and now we can bounce it down. We can call it a track. It's great, right? Um, it's basically just taking your your all your ideas from session view and putting them into a song. Right? And we can still edit this, right? Like we can say, Oh, maybe I didn't want that to come. There are, you know, I came in early. Whoops. Let's fix that. Come in there you can. You can change it and tidy it up as much as you want. Even though I said, you know, it's kind of fun to have flaws and things. Um, I still tidy things up too much. Okay, Uh, with that said, let me give you a chunk of stuff to play around with. I'll give you another session here if you want. Now you can download it after this. Ah, and it'll be probably I will make a session. That's just these couple clips. In fact, let's just do it. Here we go this way so you can goof around with that and record your own arrangement of what we just made here. Okay, so that will be for you to download in the next section, and then we'll get onto making beats 17. Beats: Okay, let's talk about making beats in this section. Um, what we're gonna do is make beats. Um, I guess exactly what I said we were gonna do in this section. So for this one, I'm not going to use that track of James Patrick. We're gonna start fresh, so we're gonna do something. Ah, without any template, because we're gonna be pulling in some loops, chopping them up, making some of our own, and, ah, it just would be easier to do it all ourselves. So, um, I guess without further ado, let's dive in first, we're gonna talk about, um Well, let me just say one thing really quick in this section. What we're gonna do is first, we're going to talk about taking some loops and making them our own by chopping him up. And then we're gonna talk about using drum racks to make our own from scratch. So let's dive into working with Loops and Chaplain 18. Working With Loops: Okay, I'm gonna do this. An arrangement view. But you could do most of this in session view as well. For starters, I'm just gonna grab a loop and pull it into an audio track. And this is an audio loop. And where did you go? There you are. I'm just gonna grab an audio loop and just drop it somewhere. Zoom in a little bit, and then I want a double click on it because I want to look at it down here. So the first thing I want to look at in loop is the length. So I want to make sure that it's a perfect loop. Basically, Um, so we're starting on 11 And are we going for a full two bars or four bars or eight bars or one bar? Whatever your loop happens to be, just be sure that it's, um, a complete bar. Or if it's just like what we were talking about before, where it's just like a kick. It's a complete single sample. That's fine, too. But for most bars like this, especially when you're working with beets for most samples, you're gonna want them to be a full bar or two bars or four bars. You don't want one. That's three bars. So one bar, two bars, four bars for eight bars is typically what we would expect for doing normal stuff. You want to do weird stuff you do with Rebar Loop, and it'll be fun. And where? Okay, so this one is a full two bars. I can tell because we're going 1 to 2. There's two. So there's a full bar and this is exactly half way so to just 33 would be right here if it existed. 2.4 dot three is the end of the bar one dot ford up three is the end of the first bar. To doubt for about three is the end of the second bar. We can also see our quarter notes 1.2 is the is the second quarter note 1.31 dot for okay to dot to do that, three to doubt four. So I can see 4/4 notes in each of these bars. This is a full two bar loop. Okay, so now let's look at some of our properties down here, so I usually start with right here. So this is telling us, um, our loop start position, which usually we want to be 111 that's here and our length. Okay, So how long is it? This tells me to bars zero beats 0/16 which is what we want. Um, we could determine the same thing that we just determined by if it's a full two bars by looking here saying that it's two bars and no 16th or extra beats. So you want basically this to be a number 00 If it's gonna be a perfect beat, unless this is not starting on 111 and then this could be something different. So if this is 111 you want this to be either 200 or 400 or 800 or one there, there or somebody. Um, so that tells me it's a full two bars. So this is our start point an endpoint. That's this thing that we talked about before. If I move this, you can see what my loop is doing above. It's starting at a different spot as it continues forward. Typically, you don't wanna mess with that, But maybe you do like maybe I want this loop to start right here and then continue on. Let's just hear this loop. Before I do anything else, you should probably here what we're talking about. Okay? It's a weird loop. I grabbed a weird one on purpose because we're going to try to make something interesting out of this. Um, so maybe I wanted to start, you know, here and then continue on from there. I could do that, right? You can play around with that and have some fun with it. But I'm gonna set this to start back here. So this flag I'm carrying is the loop start point, which is also you can set here. I don't have a loop endpoint. Although I could make one if we really wanted to. Okay, warping is on. We talked about working in the last class. Um, we want a kind of spot check are warping. Make sure that it's right. Make sure that you're down beats feel good. Remember the more warp markers you put into something, the more you degrade the audio. So if you don't need to mess with any of these markers, you're gonna have a slightly cleaner sound. So, um Let's turn on our Metrodome and just hear this and see if it's lining up correctly. It sounds pretty good to me, so I'm gonna leave it. If something wasn't spot on, you know, I might make an anchor by double clicking there and, you know, nudging it around doing what I needed to do to get it to line up just right. But I think it's pretty good. So I'm gonna leave it. How it iss this master saved thing is really interesting. 99% of the time we're gonna wanna leave this off. But what's happening here is that, um when were warping. What we're doing is figuring out what the tempo of this clip is, which is 1 25.68 and then adjusting it to play inside of our set. So let's change this to, like, 100 bpm. Okay, so we're gonna play this at 100 bpm. But if we said Master, what we're gonna say is everything else warp to this. That's kind of a weird idea, right? That means is we're gonna make everything go at 1 25 bpm. So it's it's ah, risky proposition. So I would leave that off, but you might want to do something with it. Okay? This is our warp parameters. We've looked at this for this kind of thing. We want to leave it out, beats we could transpose it. We can give it a little more volume if we want all that. We don't in this case, take that back to default. Quick trick you can do is if you would just something and want to just get it back to the default. After having quit that thing, press the delete key and you'll go back to its default. Okay, Um, so those are just are quick parameters of, uh, loop that we might want to look at. Another thing we might do is if it's got a little click at the end. And this is not extremely common for a drum loop like this. You might want to give it a tiny little fade in, like, almost microscopic. Um, probably won't need to do that, but if you're doing, like, an acoustic loop or something like that, you might encounter wanting to do that. Okay, uh, up next, let's chop this sucker up and see if we could make something a lot more interesting with it . 19. Chopping Up Loops: okay. There's a couple of different ways we can chop up a loop to make it do something different and really kind of make it our own. Um, there's kind of an easy way in a hard way. Let's put it that way. What I'm gonna show you first is the hard way. Um, this is the way that's a little bit tedious, but can be can be useful and honestly, like, I probably do it the hard way more than I have to. I kind of like working in this way. That about show you. Um but if you don't like it, just hang on. We're gonna get to the easy way in two videos from now. So the hard way is Teoh cut out each of the pieces that we want. Okay, So what I'm gonna do is I'm gonna split this clip into a bunch of little clips and zoom in a little bit more and let's go right about there. And command e split that into two. So what command E does wherever you put the cursor, it's going to split it right there and make a new clip. OK, so you don't need to do this for every single sound. I'm not worried about getting, like dead on the sound. Just getting kind of close to it. Skip, That one is a look. That one looks kind of weird. That one looks weird. Weird in a good way. Okay, so I've made a couple different clips now, so I'm gonna drag this dent. Groups take this clip. Put it down there. Now, I'm just going to try to arrange what? I just grabbed into something. Shorten that up. So I just get this sound. I like to actually make a new audio track here to meet a new mini track. So new audio track is command T. So I might put my like, kind of kicks here, and then let's see what other kinds of sounds I got. Whatever this is, it's probably listen to what these are. Well, I'm doing it, but oops. Let's put that there. This looks like a kind of a soft or us relatively small sound. And you know one cool trick you could dio Let's grab just one bar. Loop it. Command. L mute this track that I want to hear that. Okay, that's what I got so far I like this. I want to study that there. My turn. The metro home on to help here. See what else I could hear. Cool. It's option there. I'm just doodling around. Really? Obviously, as you can probably hear e kind of like that first bit of it. Okay, that's pretty cool. I'm pretty happy with that. I'm gonna get rid of this stuff up here. Um, and now I've got this cool corky loop. However, I have all these little tiny samples, and they're a little bit hard to deal with. So let's go to a new video, and we're gonna talk about how to deal with those, um, a little bit better way. 20. Consolidating: Okay, so let's say I wanted to loop this pattern that I made right. Zoom out. I can't just grab the corner of it and stretch it out like I could over here or anything like that, right? I can't select the whole thing and then say loop it because it's gonna loop each individual piece or something. It's not gonna work because it's not one clip. It's a bunch of clips. Here's what I can do. There's an easy solution to this, and it's one we've seen before. Um, if you remember or have ah, hunch as to what I'm gonna dio, then say it out loud right now and, uh, give yourself a pat on the back. If you said consolidate, that's what we're going after right now. That's command J. So gonna highlight a full bar, including the space in between and the space at the end. This stuff because I need to have exactly a full bar here, Command J consolidate, that turns it into a full bar. Now I can go down here and turn on loop and I can pull this out toe loop on and on and on forever do the same thing with this track command J loop it out. Oops. I gotta turn on loop that we know it's looped. I don't really have to worry about my warp settings down here is when you consolidate it. It's pretty. It's gonna be pretty on you, don't you? Probably had it on the grid before you consolidated it. Like when you were building it, which we did. So when it's consolidated, it should be warped correctly, and it shouldn't be anything you need to do there. But you do need to turn looping on and then we'll drag it out. And now we've got a loop that we can use way are such a loser off. See what happens when we have these? Let's turn this back on. I like to do this in compound loops like put some other loops on it at the same time. A little over the top, right? It's I think it might even be clipping. But what if I did this? Just put this big chunk on here at weird random spots. Ah, and then I cranked up my tempo like kind of a ton 150. It's going to get a little okay, it's too much. 1 20 Let's turn our Metrodome off. I kind of dig it. Um, I like these creeks. Sextuplets? That happened up here. That was fun. Um, I think we made some cool stuff here. It's really noisy beat, but it could be cool. Okay, So consolidating is the secret that you want to do there. Um, okay. All of that being said next, let's jump to talking about the, uh, easier way to do what we just did. 21. Slice To New MIDI Track: Okay, uh, for this next experiment, I'm going to switch to a different loop because I want some drums are a little more normal sounding for this one to really make it make sense. So here's what I've got. Go. Okay. So first thing I want to do is look at this loop. This is not a full loop. I mean, this is a four bar loops, and it's a full four bars, but I've got all this empty space at the end. So what I might do is lock it in at three bars. Well, that's a little risky. That's a very good Well, it's not really gonna matter what we're doing now. If we I wanted to use this as is you might need to truncate it a little bit more like toe one bar. Ah, we're gonna need a warp it, which will matter for what we're doing. Okay, so let's tighten this loop up. Let's take our loop all the way out four bars and then let's zoom in here and get this right on the grid, cause it's not on it right now. We're gonna do a little bit of looping first thing. I'm gonna do is make an anchor right here. This is our obviously our first note are downbeat going to control? Click on it and say, Set 11 here, meaning this is the beginning and let's pull or loop into starting right there. Sometimes that's all you need to do. But let's try. Ah, walk from here. With that being said, Turn on our Metro gnomes, we can hear it and let's see how we did turn our tempo down so we can hear it a little easier. I think I was pretty good. Actually, it's hard to tell. Let's try taking it down to just those two bars, see if we're lining up. Okay, so here's what I'm gonna do now. I'm not gonna worry about this long extra thing cause I actually want it there for just a second. Here's how we're gonna chop this one up. This is Remember, I said, there's an easy way in a hard way. This is the easy way. Even though it's complicated, you know, we're still like making music here. It's not like we're just anyway. Let's just do it So control. Click on that sucker and let's say sliced to new midi track. That's what we're looking for here. Okay, so we've got to give it a couple tips. Now, What we're gonna do here, sliced into many track, is going to take each note and put them into a new MIDI instrument. Okay? And then we'll be able to trigger each note one by one, as we want to. However, we have to define what the note is. Is the note every quarter note? Not necessarily. That would be Ah, whole one of these, right? And we want each individual hit, right, so we don't want quarter note. We could say every transient, that would be every attack here. Or we could say every warp marker, which we really only have one off if we put a ton of wort markers and that might be a better way to go. But let's try every transient and see what happens and say OK, and it makes us a new mini track, and we see this line going up. Okay, Why do we see a line going up? Well, let's hear it first. I'm gonna solo it and it's hear how it sounds when I met him off. Good sounds great sounds the same as the original, right? Can't really tell much of a difference between those two. The reason we see this line going up, you're always going to see this line going up when you do this. The reason is because these are all our slices. Okay, so if I put my if I audition these So here's the first note that it heard the second, the third, the fourth, the fifth to 6th 7th attempt, etcetera. So if we played those all ah, one and then the other than the other than the other than the other, the other in order it would be this thin this than this. That that that that that that is that right? And basically, that's what they've done here. They were just playing one at a time. I could do the same thing about going like this, right? So they're giving you the whole loop. One note at a time. But you don't have to stick to that. Let's mess it up. Let's maybe take this woman out. Move these two over here. This one appear was gonna randomly do this. It's more of these two here. No wonder there to their sometimes it's fun to do, like let's zoom in a little bit like a fast note. It's like, kind of inhuman like that. And then we'll put there. It is going back out. What kind like that sound? Let's leave that there. Put that there. That there. That there, all this over there. And then let's duplicated this again. You can repeat notes if you want to harm in that. Ah, and then let's just select this whole thing. Copy paste here and even weirder here by doing that there. That's fine. Okay, let's hear what we got. That's it's gonna be random and weird. Um, but who knows? I left a gap right here, So let's take some of this stuff, put it right there. It's got a cool. Um, I kind of dig it like this stuff, especially so I might do this again on over here, again and again. There, some of this stuff I'm going in the opposite direction of goodness. I was better before, but, um, you get the point that slice to a new mini track we now have as a midi instrument, which is ah, lot more flexible and a lot easier to deal with than these chopped up audio samples, right? This was kind of clunky. But here we've got all this finesse that we can put into it. We can do stuff like this. Ah, lot easier. We can do the same thing by chopping up that little sample on layering it on like a stutter thing here. But it's not as elegant as doing it down here and not nearly as tedious as doing it in the audio. Let's do something like this anyway. You get the point. Let's move on. 22. Working With Drum Racks: Okay, So when we did this, when we slice to a new MIDI track, what did we actually make? Let's look a little closer at this. So here's all our MIDI notes, and that's fun. But when we look at our instrument, what happened here? We're on a MIDI track now, right? And this is a drum rack. Okay, so a drum rack. Let's dissect this thing because it's quite important and you're going to see these a lot more often Iraq, Iraq itself is something will encounter a number of different ways, and there are huge important concept in life, so Iraq can be an instrument rack. It can be in effect rack or it can be a drum rack. Okay, and it's really just a group of that thing. If you had an instrument rack, you could do multi, use multiple instruments at once on the same track and have some control between mixing between them and doing some other really cool stuff. Same thing with an effects rack. We're gonna talk about both of those in the future, but right now let's talk about a drum rack. We're gonna talk in more detail about drum racks in the future as well. But what we have in the rack is first, we have eight knobs that we call Mac Rose. Weaken. Set these to be just about whatever we want. There's a lot of control over what these are by default through this, but we can change them inside the rack. We have. We have these 16 pads, k. These look a lot like any drum machine you've maybe ever seen came on them. I can click a little play button to hear what's there. I commute this one or Aiken solo, this one. If I just solo this one and then play it, that's the only one we're gonna hear, right? If I muted we're not gonna hear it, right. That's cool. So this is called slice five, but let's double click on slice five. Now we get access to the actual audio file and we can really get in deep here. We can move the start position. Okay. If we weren't right on it, we can adjust it. Get right up on there. We could do a little cross fade. We can change the length how it loops the start position, the volume of it where it ends a bunch of other factors about it. We can put a filter on it. Um, we could have it repeat, we can chop it up even further. Um, and we can do even more stuff to if we wanted to add more things to this rack, which we can. What's important about a drum rack is that when you make one by default, what you get here is a simpler let's go to our instrumentally quick. So here's our instruments. Here's a simpler okay. Each one of these pads in a drum rack has a simpler on it, and we can make our own. There are more drum pad. See here. This little grid is showing us that there are a lot more pads that are still empty that we can use. So here are the ones that we started with a couple more It needed to make our sample. But here's a bunch empty, so I could throw a simpler on here and loaded whatever sample I want. In fact, I can throw anything on here like, let's say collision. Let's go to analog, uh, guitar. Here's a synth I can throw that synth on that drum rack. Whoa, right, cause now I can trigger this synth to do stuff with my drums. So check this out. Let's go down here to take the sense. Put it here. Just put a few difference. But let's put a few different sense. A few different places just for fun. This demonstrates stuff. It's not feel goofy. We'll see what happens. Okay, now I've got since in place of my drum rack. So it's getting weirder, right? Point is, you can put anything on one of these pads and you can trigger it with a MIDI note very, very quickly. Ah, so with that month, let's make our own drum rack from scratch. Ah, in the next video. 23. Creating Your Own Drum Racks: All right. So let's make a new drum rack from scratch. First thing I need is a new mini track. Uh, command shift t gets me a new mini track. Then I'm gonna go to my instruments and drum rack. I was gonna throw one right on that track. And here we have an empty drum rack. That's what it looks like. There's nothing there. It will not do anything. So let's start some sounds on it first. I'm just gonna go to my sample library here and find someone Shots drum, one shots. Okay, so let's go to That's cool. Clap. Put that there. I'm just drag it right on there. And ah, lives gonna figure out to put a simpler, cool snare. Let's find something else like that. Put that up there. Kind of randomly putting stuff places. But we typically reserved that Low one for your kick. Let's do this. You get kick sound like that. I sort of like that. So I'm gonna put that there, that I'm gonna modify it. We're getting rid of that first little thump that happens. Feels like it was like a little double bounce at the beginning. No, it doesn't. have enough. That's cool. Okay, Okay. Don't I got some good sounds? I keep going. I could add stuff all day long. I could add. Since I could have instruments, I could add a whole songs You can add whatever you want to a drum rack. Think of each of these little spaces as, um uh, blank canvas, you know, to do whatever you want. Okay, so now let's do something with those macro. So those macro zehr hidden right here. So if I click that, I can open him up Now, you see, they just say macro 12345678 And they're kind of zeroed out there, not doing anything. So what I could do is say, let's set something like the transposition. Actually, let's do the transposition of this sound. Let's set that to be one of my Mac Rose. So I'm gonna control click on it. It's a map to macro one. Okay, now, when I move this, it moves that. So why do you care Why? Why not just move this or this instead of putting it on a macro? Well, here's there's two main reasons that come to mind, right away. The first is because of, um I might want to do this later and just not see all those buttons, right? You just put your most important stuff out here and make it so that you're not distracted by 100 buttons. You're just narrowed it down to eat. And that's what you're gonna use. Um, that's actually really important. Especially in performance. However, there's another reason. Watch this. This is probably the coolest reason. So I set my transposition of that. Ah, Sample to macro one. Let's go to this little clique and let's set this transposition amount to macro one. What now? Both of those are going to move when I move. Macro. What? Okay, so what does that mean? What that means is, let's record a little drum track. Um, I need to find these notes on my keyboard. Okay. So I'm just gonna record a really simple beat in one pass. Let's solo this tracks. We don't hear all this other stuff. Uh, we got some armed a record, and I'm gonna play something really simple on these first Midi notes. Uh, I'm gonna turn on my Metrodome to help me out. Ah, and then we'll come back and make another pass at it. Okay? That's all I need. Let's loop that two bars. What? We just did. Okay, Now what else? I want to put in there for my snare in on that too. Okay, let's do it again. Now, in order to do this again to add another layer, I need to hit this plus up here. Okay? That's gonna let me overdose overdubs. Gonna let me do this? My snare. Okay, let's take another stab at it. Okay? So I just laid down my snare drum on top of their That was a super glitchy snare e. I don't know why I did that. That was weird, but by overdubbing, I put one I recorded again on top of what was already there. Now, let's deal with these two things, so I need to find these notes. There's one. Okay, here are those two notes. So I'm going over double layer those, and I'm just going to kind of randomly hit him. Okay, Now, let's hear what we've got, okay? I'm gonna quantifies this command a and you okay? I want to turn off kick and my snare. I want to hear just this stuff because what I'm gonna do now is a just this transposition now. So now I'm transposing both of those at once, and I could record this. I just recorded a bunch of automation. If I press a, you can see the automation I just recorded of that transposition. So it's really cool. There's a ton you can dio with, ah, drum racks. We're going to talk more about Drum Max as we go, but get used to using them. They're really, really powerful. 24. Writing Drum Tracks: Okay. Last thing on drum racks for now is that one of the other advantages of doing this is that you don't ever have to do the consolidate thing. Um, so this is good to go. We can loop it if we want. We can do whatever we want. Hopes I didn't select loop. You have to go in here and turn loop on, and then we can loop it and do whatever we want. Um, and because I Kwan ties these, these all should be quantities. Now it's gonna be pretty weird. Let me see if I can get my There we go. My big drum hits back, Let's try it and let's see what happens if we listen to all of them. Maybe it's interesting. It's actually kind of cool that this gives this kick gives it like a real grounding force e kind of like just that first bar again. I'm like, super into that. For some reason. Maybe I'm just in a weird mood, but that's a totally sweet group to me anyway. OK, so that's from Rex. For now. I'm gonna give you this session, just as is right now. Uh, in the next little segments, you can download it and play with it, Um, and then we'll move on to working with him Since. 25. Intro To The Live Synths: okay, in this section, we're gonna talk about using lives since so we're gonna look at some of the different sense in live. We're not going to comprehensively go through how to use every single synth in live and every instrument in live. But we are going to do that in the next class. The next class is all about the instruments in lives in live, the synthesizers and the samplers, all the instruments. But in this section, what I want to do is talk about in general how we can make some music using them right, without going into every nitty gritty dial, just like, how can we rock out using them? So what I'm gonna do, I think in this section is I'm going to continue using this because it's messy and it's dense, but I'm kind of into it. So I'm gonna delete all of this stuff that was a shift click and then just delete key. I'm gonna take this, make sure all of these air set toe loop. So I'm looking down here. That one is not so Let's turn out of loop there. That's gonna drag this out of the Loy's. So this one is tricky because it's got all this extra stuff that I recorded. So let's just let's set the loop to be just this bar. So, command, Al, that should keep us to just a loop. Yeah, Before we were, we had all this other stuff out here that I didn't really want, so I just looked this section. Okay, now these I'm gonna pull out. I just want Oops. This one. The loop is also not what I want. So what I want here is I think I wanted to live to be just one bar, but let's try setting it. Well, let's do just one bar. So I want just this to loop. Actually, just this command L Now we see this all shaped up. Okay, Same deal here. That looks good. And here, that looks good. OK, so now we've got a longer pattern I can work with, so I'm gonna layer some stuff down here. So it's not a new, uh, midi track. That's ah, command shift, t community track. And then let's explore putting some instruments on it. So here we go. Let's go to a new video and dive into doing that 26. Layering Synths: okay. Something to go over to my instruments tab in my browser. I'm gonna look at what I've got here. Now, this is one of the big things that if you're in anything other than live sweet, you won't see all of this stuff. Okay? So if you're in live, intro or live standard, you're going to see less stuff here. If you're in life, Sweet. You should see all of this. If you're in live nine, you will see all of this. Except for this. Um, this is only in live 10. So let's start off simple. Let's do operator. And let's just throw on a preset, right? Let's do Let's try symptom misc and see what's here. So let's just audition some stuff. I'm just gonna click on it and listen to it. If you don't hear it when you click on it, make sure you've got this little blue button or make sure this button is blue. I should say, if it's not blue, you're not gonna here to turn that on. And I kind of dig this. It'll bounce cord super chill sound. So I'm gonna put that on there. You could double click it to put it on the track or just drag it right over on there. I like to drag things over so that I'm really confident in what I'm doing. Um, so now I've got my mini keyboard here. Let's find something that works. Let's let me think here. So I'm gonna do my capture trick again. So I'm just gonna hit, play, listen to this, go a couple of times, and then when I find something I like, I'm gonna hit my little capture button up here. So here we go. Okay. They found something pretty quick. So let's do capture. And this is what it grabbed. Good. So that is a two bar loop. So let's just do that so that we focus on just this to bar loop. Okay. I like it. Could go in and tidy out my notes here, Which again is kind of my constant bad habit of making things like super deadly on the grid . But in this case, I'm gonna do it. Okay, Now it's dead. Up. Let's hear thing. Okay, so this is a really subtle sound, right? This is quiet. Chill. Let's see if we can do something to kind of amp. it up a little bit. So here's what I'm gonna dio Ah, quick and easy way to make a really kind of much more dense sounding synthesizer is just duplicate this track. So control, click on the track Name Duplicated. Put a different instrument on way. It's kind of fun, similar sound. So now we're gonna be making a much thicker sound. It still might be quiet, though. It's here waken add something even more interesting to its. Duplicate it one more time. Let's go into strings. I don't know if I want that. Let's try pad. It's kind of funds and that really is really quite slow. Let's hear that by itself. Really Crank this up. Okay, now let's hear it all together. I think it's cool. I like it. So what I'm trying to point out here is weaken layer since to get a much more interesting sound, right? So don't think that you need to go into every parameter of our synth here. If you don't want Teoh, you can use some presets and just layer them. It's a great way to start. Um, you do ultimately want to understand how to program these things and really get into the weeds and know what you're doing down here. And we're gonna learn how to do all of that in the next class. For now, I want you to just get comfortable just making sounds that are unique to you by layering some of the presets, right? And then do a little bit of mixing between them and, ah, have some fun with it. 27. Freezing And Flattening: Okay. Next thing I want to do is talking about this freezing and flattening thing. What we're gonna do here when I talk about freezing and flattening, what we're talking about is taking these tracks and turning them into audio tracks from Midi tracks, two audio tracks. And there's a little more to it than that. What? We mean here it. Well, let's talk about why you would want to do this. There are a few reasons one would be You want to send this track to someone this session to someone who doesn't have this particular preset. So in that case, this isn't gonna play. So if you convert it to audio than it will play, another reason would be, Let's say, in an audio track, you have an effect on it that someone doesn't have right. And in that case, it's not gonna play, because if they don't have the same set up you have, those things aren't gonna work. Another reason yet is that let's say you have a session going where you have ah 100 tracks in your computer is starting to slow down because of all the effects you have and all the instruments are using. If that's the case, then this freezing and flattening situation can help you out. Um, let's do it to this track. Okay? So in order to freeze, attract what I'm doing is I'm essentially creating a temporary audiophile out of it when they control click on that track, going to go to freeze track. Okay, now it turns blue. That means this is effectively an audio track. I can still go backwards, though. I can unfreeze that track the same way Unfreeze track. And now it's back to a midi track. If it's frozen, I can't do anything to it. Okay? I can't edit this right. Like it's not gonna let me hope you. I am an audio track, sort of. So it's sort of an audio track is kind of how it's working. So if I want to So this is called freezing. If I want to go one more step deeper and flatten it, that means for Riel making an audio track. So I have to freeze it first. And after I do that, I get this option for flatten. If I flatten it, I have made it an audio track and there's no going back this is an audio track now. Okay, so I can do that on many tracks. The tournament audio tracks. I can also do it on audio tracks. Teoh right effects directly into him. I don't have any effects on anything here. We're gonna do effect in just a second. But let's say I hadn't effect on here. Let's just do it. Let's take audio effects and let's do this echo. So it's solo this. Okay, now we've got this big echo. Let's say I want to take that audio effect and write it into the audio file. Meaning I want this audiophile toe have the effect in it. I don't want an effect on it anymore. I wanted the effect in it to do so. I would do freeze track and the same thing applies, and then I would flatten it. If I flatten it, the audio effect is going to go away from the track. It's gonna delete it, and it's gonna have it written into the audio because you don't need the effect there anymore, right? It's in the audio track. I'm not gonna do that because I don't want that actual effect on there, because it doesn't sound very great. Okay, so let's convert the rest of these Midi tracks Freeze track, flatten track. And you'll see you get this extra stuff here. It's because these since have this longer, uh, tail to him. So it's it's putting that in there. So it's recording all of this sound that's going out there for his track. Flatten track. There you go. So it should sound exactly the same now. Oops. I still have this soloed. Okay, wait, so it still sounds the same, but it uses less computer processing to play audio files. And it does Teoh play the instrument, which is really something you only after concern be concerned about if you're either on a really slow computer or you are, uh, have a session with a tone of tracks or both. Um, but it's still handy for when you're sending out files back and forth and just to know that it exists freezing and flattening. There it is. Okay, so up next, let me give you this session so you can play around with this if you like, and then we'll dive into working with some effects 28. Applying Audio Effects: Okay, so when it comes audio effects, same deal applies that. I just explained to to you about, uh, the live instruments in that what we're gonna do in this section is talk about putting on some audio effects, working with audio effects. In general, we're not gonna go through the nitty gritty of every single audio effect that we have. That would be all of these. Right now, we're not gonna work on every Diallo of every effect. But we have a whole class coming up Class five dedicated to every dial of every effect. Okay, so we're gonna go into super detail on all of them there. What I want to do in this section is just talk about how to use the effects, basic audio effects and how they work. Um, in life. Okay. So, ah, to get to our audio effects, we go here in our browser to audio effects. And these are all of our audio effects that are built in the live. Now again, if you're on a lower version Ah, you're not on the sweet version of live. You're going to see a little bit less effects here than I see. Um, there are a couple new ones. Toe live 10 here. Um, only three or four. I think our new toe live 10. Um And if we open them up, we get some presets. Okay, so we'll look at the presets in just a minute. One thing to keep in mind is that plug ins here plug ins are different than audio effects. That you can do the same thing. Um, the way I like to think about it is audio effects are effects built into life. Things that able 10 has made, um, or bought. I guess, um, these are able to things plug ins is made by anyone else anyone other than able to. So if I go here, I have a ton of plug ins, but these are made by someone else. Um and so they are also great, and you can get plug ins from anywhere and get some really powerful and really good stuff. Some are really expensive, and some are totally free. Even dig around the Internet and find out the plug ins you want. Um, but what I want to focus on here is the ones that able to gives us with live, which will find here in the audio effects tap. OK, plug ins are also audio effects, although plug ins can do other stuff as well. Um, but most of the time plug ins are audio effects. So let's look at the audio effects. Have and see if we can sweeten up our our little beat here with some audio effects. 29. Basic Audio Effects: Okay, let's go down to e que eight. Okay, this is a standard audio effect that I that I love. It's an e que It works Exactly how you would expect. Let's throw that on this first track or this first synth I should say. And here's R E Q. And I remember our audio effects are gonna come up down here in his bottom window. If you don't see the audio effect, you see the audio file instead. Shift tab, shift tab is gonna take you between the clip information and the audio or and the effect the audio effect information before we dive in doing this, let's go to a MIDI track. We can put audio effects on a MIDI track. Okay, So if I put this audio effect on here, if I drag it down here and try to put it over here to the left, it's not gonna let me do it. But if I put it to the right, it will. The reason is this is MIDI data coming in here, right? We've seen this before and being converted toe audio data here because this is an instrument, an instrument takes in many data and outputs audio. It makes sound so we can't put an audio effect on MIDI data. That doesn't work. But after it's converted to sound, we can put the audio effect there. Right? So the audio effect has to come after the midi instrument, but it can go on a muddy track. Songs that comes after the MIDI instrument. Same thing with these midi effects that will look at later thes many effects. Can Onley go before an instrument? Okay, so we'll look at those many effects more when we talk about all the effects. For now, let's take this off there because I don't want that there. Let's go back to here and let's adjust it so we can address our parameters now on e que is basically showing us our frequency from low stuff over here. Toe high stuff over here. Okay, so this is high stuff, high frequencies. These are low frequencies and everything in between. And then the volume of how much we're going to amplify or reduce those frequencies. Okay, so right here, this is zero. So I'm not doing anything to these frequencies. And once we get up to hear about, I don't know, 2000 Hertz. I'm boosting it, and then I'm cutting everything off. So everything above this point once is about 5000. Hertz is getting cut off. Okay, so I'm boosting and then I'm cutting. It's cool so I could do this and reduce the frequencies. The volume of the frequencies around 100 Hertz could do whatever I want. So let's take this to do that and let's hear. Let's solo this and hear how it's working. Okay, Don't have much information down here. You can see in the graph the majority of my information in this audio track right here. So if I want to get more juice out of it, that's kind of where it is too much there. I'm not getting a lot of extra sounds out of this. E que. Let's take that off and let's try something different. Let's try something that's going to give us a little more, um, color to that sound. How about this saturate er, let's go into one of the presets mid range patterns. So a lot of these sound is in the mid range. Let's just throw that on there and hear what it does get a little bit of distortion in there. It's like there's little gremlins inside it kind of like it. So one thing to always watch out for on an audio effect is this dry, wet mix dry means none of the effect on Lee. The original wet means none of the original. All effect. Okay, so the amount of how wet it is means how much effect we're putting on it. So you could always tone down your effect with the dry, wet mix. So if I put it right about here, it's about 50 50. So we're hearing half the original on half wet or the effect do down here. We're gonna hear none of the effect you hear all usually don't want it on either, unless you're doing a specific thing that we'll talk about later. Okay, so now that I've got these little rhythm particles coming out, let's add a little delay to that. Have you filled her delay and let's put it after the's mid range pattern? Er, right, because this is creating those little rhythmic, distorted blurb blurbs, bits, whatever you wanna call him on here, we're gonna put a delay on them. That's going Teoh, help give life maybe. Oh, this'll try eco thistle, new, lithe get kind of a lot of different, pretty dense sound we've created. Now remember that with audio effects you always have this little yellow dot and you can turn anything off with that so I can t o thing. No way. You can really hear how things are affecting by toggle ing it honor off. That's really useful in audio effects. Okay, there's one other thing we can do. Ah, well, there's a lot of other things we could do with effects. But one other thing I want to point out right now and that's automating are effects. Let's go to a new video and talk about that. 30. Automating Effects: Okay, so let's say I like this this kind of gnarly sound that this effect makes, but I don't want to run all the time, Right? So let's automated to come on at a certain time and turn off at a certain time. Remember, automating means changing a parameter over time. So what, we're gonna dio we're gonna go into automation mode. So I'm gonna press a That shows me all my automation stuff, right? That's what all these lines are now I'm gonna click. There's two ways I could do this. I could either automate the on off button. Let's do it that way. So it's off. Now, let's have it turn on here and then turn off over here somewhere. Okay? So now the effect is gonna turn on right here and then turn off right there. And the reason I know that I'm looking at this on off button is because that's the last thing I clicked. It's always the last thing you clicked is what parameter you're working with. So if I listen to it, okay, not bad. It's clear that automation let's just leave it on. Okay? So I can double click or single click sorry on a line to get rid of around a dot to get rid of that point. And now let's automate the dry wet mix because with the on and off, I can change it to be on or off. But nothing in between the dry, wet mix could turn it all the way dry and then say from I don't know, here, up to here I wanted to turn on and then here off so that when it loops back to the beginning, it's off. Okay, so I just automated this Dr Wet mix to slowly turn up to more and more and more wet. And then quickly is it back to all the way dry so you'll see this knob turning right. That's kind of fun. So any parameter, in an effect, can be automated. All right, let's remember that, Um, no matter what effect we're doing, we can say, let's say the amount of feedback we have in this effect I'm just gonna click it, and then that's the parameter I'm looking at up here in this track. Let's turn it up, down. Just making a point and then move in that point and it's gonna connect the lines. You can make more exotic lines if you want. Just put your mouse over the line here till it turns blue and hold down option and click and drag and you'll get these kind of parabolic lines right? Like that. E stop. When I stopped playing, it just ramps up full blast because it's got a lot of stuff built up in the eco. Um, I should be turning it down at the end of it, but that's OK. Okay, so that's automating effects. We can pretty much automate just about any parameter you can imagine. And we don't have to be an automation mode to use it just to change it so I can press again , get out of automation mode, everything Theo e. So I can get out of automation mode. I don't need to stay in their Teoh, have it work. I just need to be in their toe, right, automation and change it. Cool. Okay, no next. Let's go on and talk about some advanced techniques for your production, like side chaining, busing and routing, re sampling and all that good stuff 31. Intro To Advanced Production Techniques: okay up next, we're gonna work on a couple of advanced production techniques a couple things that while you are making tracks you may have heard of, Like, a lot of people have heard of side chaining these days because it's super popular. Takes a little finagle ing and a little knowledge to really understand what you're doing with side chaining. Ah, which is what we're gonna do in this section. We're also gonna talk about busting and routing ah, and re sampling. So all of these techniques kind of together, I would call sort of advanced techniques, advanced techniques, their advanced techniques and there. But at same time, there's things that are used every day. Uh, just about every single track. I would probably use all three of these things. Eso They're things that you'll want to get really comfortable with. Okay, So let's dive in and let's just let's just kick it off with side chaining, because it's probably the one that you've heard of and want to know how to do. So let's do it 32. Side-Chaining: Okay, So what side chaining is is, uh, controlling the volume of a track with another track? Basically, that's what it is. So let's say, for example, we have, ah, track our drum track and our since track, right. And we want the synth track to stay out of the way of the drum track. In other words, every time the drum track gets loud, we want the sense track to get quiet. So we link them together so that the volume of the synth track is controlled by the drum track. Right, So only one of those two can get loud at once. Basically, that's what side chaining does. So let me show you a case where you would want to do it. Actually, let me just tell you a little anecdote A really kind of relatively easy to understand way of thinking about side chaining is imagine your a typical kind of like party D J. Right? So this is the person who just, you know, plays tracks, and every now and then they get on the mike and say, Hey, everyone, let's Ah, um, let's dance the chicken dance now or whatever your wedding deejay kind of kind of person. Here's what they Here's how they could be set up. They could be set up with a microphone that's being side chained to the music they're playing. Okay, so there Mike is always on, and whenever they want to say something, that side chain kicks in. So whenever they go up to the mic and start talking, the music knows to stay underneath the microphone. So the microphone, just by getting a signal meaning he's talking into it pushes the volume of the music down Something music automatically just pushes down and goes right underneath the deejay so they don't have to move. Ah, filter anything now? Not all. You know, these wedding DJs, I think set up that way. But some of them do, Um and that would be a really slick way to do it where you don't actually have to move any favors or anything like that. Okay, so ah, let's do it first, I'm gonna put a kick that's just gonna thump, right. Like I want a really simple track, and I'm gonna side chain my synth to that. So let me get let me describe a clip. I'm just gonna do this with audio. It's going to search for a kick Groups. Let's just go down. Teoh, It's going to samples. Okay, here we go. Nice clean kick. Let's take over this out of your track up here. Zoom in and let's just put this 1234 Actually, that's probably too much. So let's do it. One and three. Okay, I'm gonna put a little tail on this kick. I'm just gonna kind of fade out the end of it a little bit, so I want it nice and punchy. Okay, Now I'm gonna select that whole track Command J consolidated together so that I could just loop it, turn on loop, zoom out and dragged that bugger across my whole pattern. Okay, let's solar that cool. It's pretty fast. That's okay. All right, So there's my kick. So now that in the track, maybe I want maybe I don't know what my Yeah. I don't know if I need that in there, but let's leave it for now. I'm gonna show you a trick where we don't actually have to hear this kick, but Okay, so let's side chain it to this city. All right? So what? I need in order to do side chaining is I need a compressor. Let's go toe audio effects and find our compressor right there. And let's throw that on the thing that's being side chained to the thing that's going to be controlled. Okay, so here's our compressor. How to get to the side chaining settings. I hit this little arrow right here and now I see citing. So I turned that on and now it wants audio from So this is what I want audio from. So this track is called three e kick. I could change the name of that easily, but that's OK, so three e kick Okay? No, I've done it now. I just need to dial it in a little bit. Sounds pretty unaffected. What I'm looking at here is g r gain reduction. So every time that kick hits, I want that gain reduction to go down right? And you can see now it's going down. Just a touch. So let's pull this threshold down, okay? Now it's really extreme. We're doing it right. You can really hear it every time that kick heads Thetis, since trying gets pulled it down. And now I've got this rhythm, Teoh. Okay, now, if I don't want to hear that kick thumping, I can actually turn it off. I commute this track, and it's still gonna be used. Teoh side chain. You don't have to hear that. That's why a lot of the time what I do is have a kick going all the time in my session just as a default session. I have one of these kicks just dumping. Um, I may or may not want to hear it, but I almost always want to use it as a side Jane. A lot more life in this sense Now, e don't know if I like this little distorted thing that's happening, so I'm gonna turn that off from it. That's pretty cool. Let's give this a little more volume by going over to our clip view. Most ing it a little bit, see if we can keep it, including we're clipping a little bit right here. But that's good. E thing. I could change to these other tracks to if I wanted Teoh. Um, but I don't think I need to. I think that having these an outside chain and smooth still sounds pretty cool. Yeah, I think it's cool. Um, so to recap, in order to side chain, what you need to do is you need a compressor and you click this little arrow side chain, turn that on and tell it what to listen to. Okay? Ah, And then you just need to reduce your threshold until you see a good amount of gain reduction or you hear it. Um, you don't have to side chain to just a kick like that. Um, we could side chain to this whole drum pattern. Ah, in fact, let's do it. So this track is called Six Live Loops. Let's go down here and change it to six live loops. Let's hear what it does that solo. This it's giving us a lot more is giving us a deeper pattern. But because there are less just total silence is here, but letting our since ever get to full volume because there's almost always sound happening here. Whereas up here we had these big silences that let our synth grow back up to its full volume that here we don't have it. It's a little tougher to use a rhythm like this, but it does create some cool patterns in our since sound right? It's gonna need I like doing it was just something straight up. Like that way. Get that cool group. Okay, So that side chaining next, let's talk about routing. 33. Routing And Bussing: Okay, So if you've been wondering what these little negative infinity guys are, now is the time to learn. These are sense. So with these weaken, send the signal somewhere else other than to the master case. So the signal. Let's take, for example, this drum track. Okay, let's just solo this from track. So the signal for this track always gets sent down to them. Master down here. But using these two things Oops. These two. We can also send him somewhere else. And the other places they can go are here. In here. So this is send a This is send be. This is send a and this is send Be. Okay. So if I want to send some of this track to here, I would just turn it up there. Okay? I can send a little or a lot, whichever What? Why would I want to do that? Here's why. Check it out. Let's say I want river on this track, okay? I can send it there, and I can put reverb on here, which is already on here. I can put whatever effects I want on these. I can put a ton of effects if I walk. So here there's a reverb on it. So now I'm sending this track to the reverb. Okay, so, no, this is where things get a little complicated. So stick with me for a second here. Why is it better to send the signal to a separate return track, which is what this is called with reverb on it instead of just putting reverb on the track ? So, in other words, I could just do this. I could just go to my effects through a reverb on that track. Okay, so now this track has a reverb on it, so it's gonna get all the reverb it needs. Yeah, I could not do that. Use the send and put all the reverb down here and send it there. Okay? There are two reasons why doing this way is better than doing it the other way. One reason is because when you're dealing with time based effects, that would be reverb and delays. It's better to do it this way because, um, the way it handles the signal will be cleaner without going into, like, a big, long, mathematical thing. Um, basically, you're still going to get all your good, sharp attacks that we can see our in this beat, but they're gonna have reverb layered on top of them instead of If we just put the reverb on this track, some of these clean attacks here are going to get a little more washy. Okay, um, another reason that doing this doing it this way is sometimes better is because, let's say we wanted to put reverb on this track and the same exact reverb on this track, this track and this track instead of copying all the settings from the reverb that we put on this track and duplicating it under this one, this one and this one, what we can do is just set our reverb settings down here and then say, Send, send, send, And they're gonna have all of the same settings that although they're gonna get same on a reverb. Okay, so you don't have to, like, tediously copy the settings over. Um, So what you can do is you can build if you want a big cool effect. Let's just throw a bunch of stuff down here, okay? All of that is on my send. I just made this big, gnarly effect on the send. So if I want this track to do something cool, Okay. There's nothing going to the Senate now. I wanted to do something fun. Drink it out. Right. So now I've got this cool custom effect on my send, and I can control when I'm using it. Right. And I can send everything to that to this return spot if I wanted to. So it's really cool to, like, do and like, map a controller like a fader to this So that you know, everything gets sent to this this big, crazy effect for just second, then pull it down. It's one of the cool deejay tricks that we do, and we'll talk more about that. When we talk about the live performance section of this class, I think is part six. Yes, Part six. We'll talk about doing exactly that. But for now, um, that is how sends and receives or sends a returns work. So by default live, set you up with 21 of them has a reverb on it, and the other one has a delay on it. So if we want to send this to a delay, could just crank this up, can change the settings of our delay Down here you can You can make more, though you can do insert return track that was control. Click down here, insert return track and now you've got another one. See, we can rename it and call it Mega Effect and you'll see. When I made that, I got 1/3 1 appear. Okay, so let's say in my mega effect has it see there's a delay on it already. Let's get rid of that delay. Let's do, like, a big delay. Resonator, um, vocoder some stuff? No, do that a little bit. So I made a big effect, and now I can put everything on it if I want to send this since two. That same effect, thank you. Thing is being sent down to this effect. Also doing a whole lot, because this effect this mega effect thing, we may just really kind of want our rhythm that this is getting it. But you get the point. I can send as much as I want down to these effects. So that's what sends and returns are. These are your sends down. Here is our return. Or sometimes we call him receive, so send in receives and in return, whatever. Um, sometimes we call it a bus, but that's how those work. And they're really handy for doing big, complicated effects. Performance, uh, or using time based effects like reverb and delays. Ah, when you still want your sound to be nice and crisp still, in general, you should always do reverb and delay with a return. With Ascend like this, when you can other effects, you can put right on the right on the track. Or you can group them together and put him on a return track if you want. But you should get in the habit of always doing it on time based effects like reverb and delays. It'll just make your track sound a lot cleaner. 34. Resampling: okay. Re sampling one more trick that you may or may not need. Um, well, you'll probably will need at some point what re sampling is is basically taking what we've got and recording it into a new track. Um ah. Good way to think about this is I used to have to do is all the time. When I was a kid and I had a four track recorder, right, I could record four tracks at a time, which meant that I could record three tracks and then take those three and re sample them onto one track. And then I had those three tracks under one, and then we could record three more and then take all of those and push him under one. And I could keep doing that, um, over and over to maximize my four tracks. We don't have to deal with that here because we have an unlimited number of tracks. Most of the time. However, um, you still might find a need to do it. Let's say you want to take our beat right, and you want to smush this all down to one track. That is, though, beat right? So everything except the sense and you want to make a single audio file, that is all of that so that you can use it for some other stuff or you can mix with it, or you can, uh, take it over to session view for live performance or something like that. There are a number of reasons where you might want to take all of this drum stuff and convert it to a single audio sample. So re sampling is a good way to do it. Um, Now you can re sample a single track. So this is kind of like flattening. If you were gonna re sample a single track, right, you're gonna convert it to an audio file, basically, is what you're doing. Um, except and re sampling. We do it in real time. It means we have to play it in back into the program and alive to re record it. So you could do it with one track you could do with a bunch tracks. Okay, let's take our whole beat and re sample this down to a single track, so I'm gonna make a new track sort audio track, and it's gonna be an audio track. Then for my input here instead of external in, I'm gonna say re sampling. And now I'm gonna say what I want to record. I can record any individual track. So if I did this, this track would be listening to, uh, three e kick, which is this one. And it's just gonna record that into that right, which doesn't really do me a whole lot of good. In this case. This doesn't have a lot of effects on it or anything like that that had effects on it. And I wanted to converted into Justin audio file with the effects written into it in the exact same way that flattening did. This could be useful, but that's not what I want to do. So I'm gonna listen to re sampling, but I'm gonna listen to my master, and then I'm going to mute my sense. Okay, those are muted, so I'm just gonna play drums here. So on this track, I'm gonna set my cursor over here. I'm gonna arm it to record, because, remember, this is re sampling is a really time operation. So now I'm gonna hit record up here, and I'm gonna do one pass through move So now I have all of this recorded as a single audiophile. If I solo this, it's the same thing as all of this. So if I really wanted to, I could no get rid of all of this. And I could do that. The problem with that, though, or I should say the danger in that is that I can't mix this anymore. Like I can mix this audio file with all of this since, But I can't take some of the percussion sound and turn it up, Turn it down in the same way as I could before, right? I can't make this louder than this. Once I've bounced it down to this were effectively, like bouncing this down to single tracks. Um, so you lose control of the mix of each of the elements that you re sampled down here when you do this, but, uh, it can still be really useful tool. Just be sure that you get your mix pretty tight before you do this, right. Um or what you might do is take this and say, now that I've got this, I want to use this and this at the same time. Look, I'm gonna do something to this, like, reverse it, Okay? And then maybe pull the volume of it down, Something I've done before. So now I've got basically all of this stuff happening again. Quieter and backwards. That's what it sounds like by itself. Let's hear it in the mix. Now, that's not ideal. But what if I did just this drum part and this at the same time? So just this and this would be cool for a break, right? There's a lot of different uses you could do for that. Uh, okay, So there you go up next one more time. I'm gonna give you this whole session and maybe I will. I'll take this out, but I'll leave this re sampling track set up so that you can re sample stuff if you want to . So download this track and give that a try. Make sure you understand how to do that. I also still have the side chains set up here. Okay. So you can see how that's done. Being side chained to this kick up here. Okay, So, um, download this track and then we'll go on to some more. So I guess we're into the wrap up section of the class, but continue on because there's a couple more important things I want to tell you about in the next section. 35. Coming Up Next: All right, everyone. We've gotten just about to the end of this class, um, able to live 10. Part three, editing and producing. Here's what comes next. Synths and samplers. So in the next part part four, we're gonna be working on using all of able to lives synthesizers and samplers, which is another way to say all of its instruments. So we're gonna be going through how to use every single one of these instruments that are here. And I'm also going to give you some patches that you can use on your own, some good template patches to get started and how to program some of these things to make some of your own custom sounds. So we're gonna get into some sound design stuff a little bit kind of deep in this next section. Um, we'll talk about how to program, Ah, bunch of the instruments and how to use all of them. So please join me in that class. It's gonna be a lot of fun. Um, so let's go on to ah, one more quick thing I want to tell you about in the mall, and then we'll wrap it up 36. Wrap Up!: Okay, You have reached the end of ultimately even live 10. Part three. Ah, production. Thanks for being part of classics for taking it. Thanks for spending your time in the class. I hope you had a good time. Um, if you like this class, please feel free to give it a nice review, and it takes more classes. I'm going to give you in the next little thing. The last thing you'll you'll get here. If depending on what platform your own, you will see a little bonus lecture deal where you'll get a coupon to take my classes, all of my classes, any of my classes for just 10 bucks. Eso download that, pdf. And the next thing and you will have your all access pass to anything of mine. 10 bucks talking. Um, and sign up for my mailing list also is in there as well, so you can learn about some other stuff I have going on. And, uh, maybe you get some free classes out of it. I like to send those there, and I think that's it. Thanks for being a part of this. Thanks for being a student. And I hope you had fun and we'll see you in the next class. 37. SkillshareFinalLectureV2 (2): 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.