Ultimate Ableton Live 10, Part 5: Audio & MIDI Effects

1. Introduction: this is Class five audio MIDI effects in this class. We're going to go through every effect in that long list of effects that comes with able to live. I'll go through every effect and talk about the parameters of each how to use them, some style, things that considered even some genre things to consider. We'll also look at those midi effects and show how using some of those can really improve your composition. And last but not least, we'll talk about how to work with effects in your track and what kinds of effects to put with what and just some general ideas about that right, so weakened. Decide what frequencies are going to get delayed, right? We could say all of them just by smashing this up if we wanted, um, or we could say just the high stuff. Just the low stuff, just the middle stuff. This can be like a total sound design kind of plug in, um, or, you know, it could be in a normal delay type plug and if you wanted it to be. But I just want a shot, this one, which is a low pass filter, right? So everything under this is gonna pass through it, Lows can pass through it and high stuff is gonna be cut up. This is gonna be a sharper, low pass filter. So here's what I like to do with this kind of effect. I'm going Teoh Titan with a little bit. Okay, Now I can really see what's happening. So if I'm gonna use Q A phaser and anything, I can really see how it's gonna be affecting this sound. 2. What Are MIDI Effects: All right. Midi effects Mediafax. Many effects. So what are Midi affects? Um, they are here, and they're just these There's not a lot of them. So we're gonna go through each one of these, But basically, what's happening here is Well, let me show you something. Let me, um, put an instrument on. Ah, track here. Let's go with Operator. And I want some kind of short for this first e work better. Okay, so I'm gonna throw this instrument on here. Now, remember this deal that we have these little dots here and then over here, we have an audio signal. The dots are the data coming in and telling the instrument what notes to play. And out of the instrument comes an audio signal. Right. So with audio effects, they have to come after the instrument because they're messing with this signal. Right? They need an audio signal toe effect. Many effects come before the instrument because they must, with this signal, they must with the data. Okay, so there's some things you can do with the data that you can't do with the signal, right? Ah, and vice versa. So what many effects are is looking at? Ah, ways of messing with the data. Um, so if I throw a media fact down here, it's got to come before the instrument. Okay? I can still put an audio effect on this track. It would just come out here, right? Many effects come before audio effects come after many effects. Mess with data Mitty, Uh, audio effects. Mess with audio. Pretty simple. Right. Um, so here I have amid the effect, and this is the 1st 1 we're gonna look at. So let's just dive in and do it, shall we? Um so ah, let's go into, uh, the appreciator. 3. Arpeggiator: So the arpeggio gator is probably the most widely used. Many effect. It's the one, probably that gets the most use. Um, you've probably heard it a 1,000,000 times and not really noticed it. Um, so let's look at it. So before we dive into that, let me show you what I've got set up here. So I set up this really kind of dark groove here, just using, um, stock stuff Go. Right. So just loops that I thought that would be kind of fun. Um, so now I'm gonna make a mid eclipse. So let's do to do something like this and let's go into our midi notes and let's do something kind of dark. Um, See, I'm gonna want whole chords here to do. I'm gonna do a C minor chord, but maybe like this, and then we'll dio going to do as a new clips. I'm gonna duplicate that clip. And then let's change this to it's too like a B flat major chord. It's kind of fun. I could just alternate between those two. Let's hear. Oops, I have that appreciator on it. I don't want to hear that our president or quite yet and this marimba sound isn't gonna work great for just trying this out. Something that stands a little bit. Let's go with pad my work. So it's here we've got get start. Let's add 1/3 chord. That's maybe and f it's go minor. And I'm just coming up with this because I just kind of know what's gonna sound good. Let's do that. And then let's do another chord. That's like, Ah, what we start on C minor. So some kind of G would be good. Jean Major is going to sound a little corny. Um, T Minor's gonna sound even corny air. So let's do something weird. Do a flat major. Okay, let's try that. So this will be our loop. Now I can combine all these MIDI files into one Command J same deal as when we do it with audio files. Let's look that so let's see what we've got. - Cool , nice and dark, right? So let's leave that track just how it is. But let's add are appreciated, so I'm gonna duplicate this track now. This is a technique I use all the time with AARP educator like I have a core progression. I like right So now I'm going to duplicate it and throwing arpeggio later on it. Many effects our appreciator. Now, let's try doing nothing and just see what happens, Okay? It's not that obvious. Usually I need to change the instrument to really get a good sound. Let's do something with the analog. Um, again, Um Well, wow. Uh huh. We're making a rhythmic effect here, so I want something that's well, it's something that's, like, Short has a quick attack to it. Right? And this might do so let's change our instrument to that. No way. Lost a note there. Uh, what was my chord here? A flat C You flat? I think. I hope that same quarters, That one. That's not what I did. Um, forgot what court I intended to put in there. Um, f Yeah. There we go. Okay. Now that's gonna matter. Because of what they are. Pesci ater does. So it's gonna replace my MIDI file with when I just fixed. So what the AARP educators doing is instead of playing these as accord, it could only play one note at a time, but it knows to play to cycle through the notes, the word arpeggio Gator means like a harp, right? So imagine like you've heard. Ah, heart goat like Strom through court. It's like a really slow strum, basically so completely one under attack so effectively we could emulate what it's doing by doing this right. It's going, do do do, do you right? That's what it's doing and go and doing that over and over. Do, do, do, do, do, do, do, do, do do do you do? But it's so much easier just to give it a core progression and tell it. Find the notes right? Um, so just out of the box, here's what it's doing. Delayed waken jazz this up a little bit in a couple ways. First, we can give it more notes if we want. Um, so let's take these notes. Actually, let's take all of these notes and Adam again and a lower active some just option click and drag and duplicating them. Okay, now it's got five notes to choose from. Tell me a little more interesting way, right, so it's got a pattern to it. But the more notes we give it, the more it cycles through the pattern. Let's go look at the effect so we can tell it what style to do. And we're telling it to go up through the notes. So go up and then back to the beginning. Go up. So play through. So play do, do, do, do and start over, right? Except faster than that. But play through the notes. That way we can change that. We can say, Go down, go up, then down. So it goes up and then down like a narc. Go down and up. There's a lot of different ways random is sometimes cool. Um, some of these ones I don't really know exactly what they're doing, but let's go up then down. We could have it kind of swing, which won't really work in this case, but we can set that right there. And then the rate the rate is the speed. So we're having it played an eighth note. We could change that to 1/16 note if we wanted. So you go twice as fast. Really? What I want, right. So pretty good. Um, I'm gonna take this whole bit and go down two octaves with it just because I want this thing to be a lot lower way transpose that while we're here, just a lot of a lot more we could do. The main things that I always go to with the AARP educator is the style in the rate. Okay. Oops. I just adjusted the rate. Let's see our pleasure, Gator. It's gonna play your notes one of the time. I like doing this trick where you come up with corporate Grecian duplicated, admire appreciator to it, and you're often running. You just created a ton of motion in your, um, track. 4. Chord: Okay, let's try adding the next one chord. Okay, so cords kind of like the opposite of an arpeggio later in sort of kind of in a weird way. Um, what we're going to do with this one is we're gonna give it single notes and it's gonna make cords out of them. But this is a little bit of a tricky thing to do. So let's add a new instrument. And let's this time go with strings. We throw that on there, let's take my core progression. This is gonna be tricky. So let's do this. Let's take my core progression. Let's go over here. So with my core progression, I'm going to give it just this baseline. Okay, so that's all it's got. Is this baseline? Now let's go to the Benny Effect cord. Throw down there. Let's see what we've got. So right now, without doing anything, let me extend my loop a little bit. Here, let's look this. So here's what we have. So now we're adding five semi tones toe every note on 12 is gonna be inactive. Okay, So, um, let's hear what we've got. Now. I'm adding three notes to every court eso That doesn't work awesome for us here because we just don't have a great core progression for it. But, uh, if you want to create cords out of nothing, then this is a good way to do it. You just need a baseline, and you can add cords to it. However, one thing to remember is that these are gonna be parallel chords now. What that means is I'm trying not to get too music theory here, but what that means is the cords are just gonna be plotting up and down in, like, kind of in the same pattern, which is not really how music works. Um, but let's drop it down, inactive and hear what we've got. - Okay , um, maybe for just this section, we mute this loop s. So what kind of drops out out there? I'm trying to build a whole track with MIDI effects. This is kind of goofy, but I think we'll be fun. Okay, so that's court. Uh, let's move on and talk about the midi effects rack. 5. MIDI Effect Rack: okay. We haven't looked at affect racks yet, but you can probably guess how they work. Because we have looked at instrument racks and we've looked at drum racks. Um, there really powerful and audio effects racks, um, which will look at later. But for now, let's just throw amidi effect rack onto an empty track here. So it looks like this This is familiar from our instrument racks. Right. But what this wants us to do is build some kind of thing. So let's grab an arpeggio gator and throw it in there and let's grab a cord and throw it in there. Right, So we've got it on one chain. We can put our cord on a separate chain if we want, And then we can work between chains in the same way, right? We saw this in instrument racks. Weaken. Tell it what effect to use based on the key. We play based on the velocity we play. Or if we want to just assign the chance elector to something. We can do all of that right, so you can build kind of thicker, more dynamic effects. Let's see what they have in here for presets. Some more complex are Pesci, a tres on experimental scale driver? Let's hear what scale driver does. Let's just put this midi clip on here. Let's put it out here, okay? Oh, I didn't put an instrument on it. Gotta have an instrument or else it's not gonna do anything. It's like it wave table mallets. Really sure what it's doing here? I think it's randomly choosing notes. Okay, so let's try using our whole cord from before. Okay, Um, interesting. So you can do really interesting things with the, um, many effects rack. Uh, more things will be obvious on what you could do with the media effects rack once we learn all over many effects. But, um, and as far as racks go, the MIDI effect rack is great. It's probably our least powerful rack because there's not a ton of many effects. You cannot put audio effects in a midi effects rack, by the way. Okay, let's move on and talk about the note length plug in 6. Note Length: I've added a synth and are a sampler, actually. And ah, this note length plug in that we're gonna look at now. So let's take our, um, core progression here, and let's chop it down to just a few things. Let's get rid of all of this, and then all of these, let's just make him really short, Okay? Now let's look at our note length plug in. What we can do here is kind of without having to go through and redraw everything, make them feel longer or shorter or whatever we want to dio. So I put something more interesting on it. So now I can go to this length, and now I'm making those many notes nice and short, or I can lengthen. So, uh, the gate parameter here is going Teoh be kind of a function of how the notes are written. So if you crank it up, they're gonna it's gonna make him longer. By that percent view, crank it down. It's gonna make him shorter. By that percent, um, you can also have ah various released times and, um, adjust things that way. The main meat and potatoes of this, though, is just the length. Um, and you can the sink nav is gonna change it from, Ah, seconds two division of the beat. Right. So I can say, make all of these, you know, 1/4 note long. So a good use for this would be like, let's say I didn't do this. And I just wanted Teoh keep things easy and throw this initial court progression in here. But I didn't want to rewrite the video shortened way. Not bad. All right, let's keep going. Um, up next is the pitch midi effect. 7. Pitch: Okay, let's make a new mini track. Throw something on here. Sure. Okay. Another one of these great wave table, Since let's go to the midi effect and look at pitch. Okay, so pitch really simple, right? This is just gonna move all your pitches over down. So remember that, um, live is not good at knowing what key you're in. What cord? You're playing anything about the notes that are happening. So you can't change the key, for example? Ah, here with this, Because it would have to know what Keir in it would have to analyze your notes and all that stuff. All you can really do is move stuff up or down. So let's take this. We were down here. That's solo. This cause it's gonna sound a little goofy way. So, um, if I move it up, anything other than an active or or multiple octaves, it's gonna be pretty dissonant. And that's almost always true. This works better on single notes, and it does records. Um, so just remember, if you want it to sound good Ah, and activist 12 two walked and then two octaves would be 24 3 octaves would be 36. Um, such Try moving this up two octaves. Oh, okay. That's not terrible. Maybe we can make that work. Let's give it a tone, a reverb, and, uh, put it kind of quiet. Let's hear it in contact. See if we could make that work. Nice having that higher shimmery with that. So pitch. Uh, really simple. Right? Okay, let's go to one of my favorites, Random. 8. Random: Okay, let's talk about random. So added another synth here, Just a little bell and let's throw the random MIDI effect on here. So this is going to make random notes and there's a couple different ways you can use this . But what's gonna happen here is we set a probability, and then we sat Number of choices, so 12. Okay, so what's gonna happen here is there is 30% chance that it's gonna choose a random note. Ah, and if it does, it's gonna choose one within 12 notes of the note that it was given. And that is going to then, um, be added because I have add selected here to the notes. That was, um, plate. Okay, uh, and if I want to crank it up, I can add this scale, which is kind of like a multiplier to it. Okay, so I can either add it to the notes that I played or subtract it or have it choose whether to add or subtract it. Okay, so let's send it to add, and then let's do it on. Let's crab. This one's and it's just single notes that might be a little easier to control Now, remember, this is going to be totally chromatic. This this does not know what key were in. So it's gonna play some weird notes, but let's just try it. Let's turn this up to 100% chance. Okay, let's move the active up a bunch with the scale. Well, too high. Here we go. Okay. So, um, one thing I could dio if I wanted to play more notes is given more attacks because every attack it gets, it's choosing a new note. Okay, let's do that so that there's a lot more notes to be chosen. It'll pick a note every ah, quarter. No, no. So now these a random notes. So most of them are going to be dissident with our chord because they're random right there . Just kind of any note. So you might be thinking yourself. How in the world is that useful? Um, well, it's not entirely by itself, but if we added another midi effect to it, we can make it much more useful. And the other one we want to add to it. Um, What? You don't have to add to it. Sometimes. Just pure randomness is awesome. By the way, um, but a cool one to add to it is the scale midi effect, which is Ah, when we're gonna look at next. So let's sit on this for just second and go over to scale. 9. Scale: okay with the scale effect. What we can do is tell it what notes to use. Okay, So, um, let's say this in this case, this kind of contradicts what I said a minute ago and that live doesn't know what key you're in and stuff like that. Um, it doesn't, but you can kind of tell it with the scale effect. So what we have here is this is kind of a confusing, um uh, Plug in. So what key are we in? Let me just figure that out really quick. What was our first chord? C minor. Okay, so probably in C minor. So let's set this to be a c minor scale. So if this is see Okay, so here's a minor scale, and then we set the base to be see if it's a C minor, right, and we can change it. So now we have a c minor scale. Now, all the notes coming in here, uh, live is gonna force them to be in this scale. If they're not in this scale, it's gonna bang him to the nearest note. It's kind of like a, um, auto tune basically for for midi. So it's just gonna slide it into the nearest note possible. That's in the scale. So now all our random notes are going to go through this. They're gonna have to be in the scale, and then they're going to get past to the instrument. So now we'll have these nice notes in Keep about right. Pretty cool. If I wanted to, I could turn some off like this. One was sounding a little sour in my core progression. Even though it's in key, it just didn't sound awesome. Ah, so there's a lot of uses for scale, right? Not just random. Like we could go here and throw it on here and effectively transpose what we're doing into a different mode like, let's say it's in minor and we wanted to be in, You know, one of these exotic scales like, Ah, it's too to a Persian scale. So if we wanted this to be in a Persian scale, let's solo it. It's quite a bit different. Cool, right? So I'm gonna take that off. Um, but that's how these scale effect can be used with some cool results. 10. Velocity: Okay, Last but not least, let's look at velocity and our media effects. So it's through velocity onto the same track. Okay, here it is. Now what we can do with velocity is weaken scale velocities so we can boost them. We cut them or we can randomize them. So let's say all our velocities are the low weaken kind of crank him. We can pull him back, and we can kind of find tune them a little bit how we want our velocities to be behaving or what's more fun to me as we can randomize them. Let's just crank this up. Well, it's not. Crank it up too high. So now we're in this range, right? Let's do that. Let's do that. Okay, so whenever a note comes in, it's gonna be randomly put in this range somewhere. All right, Um, so it's a good complement to this random note generating sequence we have here. So let's here and let's solo this. So now our velocities are gonna be kind of moving around, too. Some quiet notes, some loud notes. There's some quiet ones. Ladder one. It could be a nice touch to add to something. It's it's it can be subtle. Um, but we could make it a lot more extreme if we really wanted it to. But even putting it on something like this and just, you know, random izing those a little bit can really warm that up and make it feel a little more human and not like robotic. So keep that in mind. That's a great one for just kind of a subtle effect. That kind of goes a long way, I think. Okay, so we've gone through all our many effects. Let's hear this crazy track we made. Let's just say it ends right there. All right, here we go. A lot of many effects. 11. Three Types Of Effects: All right, so let's dive into audio effects. So here's our list of audio effects, right? We just click on audio effects, and here's everything we got. Remember, we're not talking about plug ins here. We're talking about the built in audio effects in live. So how do we deal with all of these effects? Right. There's a lot of them here. There's, I don't know, 30 or so 40. I'm not sure. Um, we're gonna break them down into three categories. And this is both a good way to think about audio effects for, uh, learning them in smaller chunks than just going through every single one of them in order. Um, but also a good way to think about how to use them. Um, think about which category of audio effects that you're working with. Okay, so the three types of effects that we're talking about here are dynamic effects, time effects and frequency effects. Guess so. Dynamic effects means things that ah, mess around with the volume. Okay, dynamic means volume, so Ah, anything that goofs around with the volume would be like a compressor is probably the biggest one. Ah, Limiter gate, things like that. Um time based effects or anything that mess with time. So stretch it out, compress it. Anything to do with time. Obvious things. There would be like delays. Uh, echo reverb, even the beat repeat things like that. And then frequency effects would be things that adjust the frequency, Moved the pitch up or down Something like that. Ah, frequency would be like e queues would be frequency effects. Um, and then a lot of different types of distortion. We would also call frequency effects because they do mess with the the frequencies of the sound quite a bit. So those are three big categories, and at the end, we'll have kind of 1/4 category of just kind of other stuff that's in here That doesn't fall neatly into those three things like the, uh, tuner and things like that. The utility plug in just some kind of general housekeeping things that we have that don't directly ah, manipulate our sound all that much. But they're good for us to have. Okay, so those are three types of effects. So whenever you're putting effects on something, think about Do I want frequency? Do I want time? Do we want dynamics how to combine those together. Um, in general, you don't wanna have, like, 10 time based effects on a single track. Try to limit those. Also remember that time based effects are the most CPU intensive. So if your computer's running really slow, it might be because you have tons of time based effects. We'll talk about that more in just seconds. In fact, we're gonna dive into time based effects. First, let's go to a new video. Let's talk about time based effects and then we're gonna go through all of them that we have. 12. What Are Time-Based Effects?: Okay, So time based effects? Um, these are effects that mess with the time, so delays echoes repeats. Looper would be another one. Cause it as adding time. No, Like I just said, you want to watch out for using too many of these on a single track, you're likely to just create a really muddy sound. And also, they are, um, CPU intensive. They'll slow your computer down, probably more than anything. Um, if you have a bunch of these, if you're if you're putting these on a track and they are slowing your computer down, I think about, you know, getting it just right and then doing that Friesen flattened trick or something like that. Um, these are also effects that we often want a bus to can't remember. That means that we might put the effect down here like that's what we have set up here. Here's a delay. That's time based effect. So is River, by the way. But let's look at DeLay. It's a little more obvious, and we can pipe the sound to that. So we have one delay and we can run all of this wherever it's blue. We're sending a little bit to that effect. Right. So here we only have one effect, but we're running a bunch of tracks to it, right? That's a little more efficient on the CPU. There's also other reasons that you might want to do that other than just, um, it makes your computer run a little bit faster. So a lot of time based effects we like to work this way. Um, where we're gonna bus right to them. By putting them on of us like this. That's less true with frequency and dynamic effects. We don't typically bust those, although you totally can. Especially if you're doing, like, an effect rack, which will talk about very soon. Okay, so in the next nine videos, we're going to go through all of the frequency based or sorry time based effects that we have here in live and learn how to use them. So what we're going to do here is we're gonna kind of cruise through them. They're not going to go through every single knob of every single thing. Um, but I'm gonna show you generally how to use each one of these effects. Okay, So, uh, let's start with the simple delay 13. Simple Delay: Okay, so let's look at our simple delay. We throw it on this drum loop right up here, and it's solo it. Okay, so now we've got simple delay on the drums. You can hear it bouncing back and forth, right? Um, here's what's happening. First of all, remember that with any effects, you can turn them off with this little doubt right here. So now it's totally up. Right? Turn that on. And also, remember, you can automate that if you go into the automation mode by pressing a and you click on this button, we can automate turning the effect on and off like that. Right. So here it's gonna it's gonna be off. It's gonna turn on and then off again, right? So, um, that is true of all effects. So don't forget about that. Okay, Um, it's delete automation. That was just control. Click on the automation button or ah, power button, I suppose. Clear that out. So here's what's happening here. Um, we have to delay lines here. Okay, So imagine there's, like, two different settings for delays and the way this one is set up, we have a left and a right. Okay, so we can delay the Left Channel differently than the right channel. Um, each of these numbers is a number of 16th notes. So 4/16 notes is one beat 8/16 notes is to beats, and 16 16th notes is for beats. Okay, uh, so we could say so. The reason we hear it bouncing back and forth right here that we're delaying the left Channel by four 16th notes, which is a beat, uh, and the right channel by 6/16 notes, which is a beat and 1/2. So they're being delayed by different amounts. So it gives it that kind of bouncing around feeling okay, so we have the sink mode turned down, we can turn that off, and then we can just dial in a number of milliseconds. That's much, much trickier. Um, if you're dealing with pulsed things like a beat, you should really keep that sink on. Otherwise, it's just gonna really fall apart if you do anything here. If you're dealing with something that's more ambient, more abstract than this might be a good way to go. But sink is going to keep you on the beat. And if we hit link up here, then. Ah, the left and right channels are gonna be the same. Okay, so you'll see the right channel kind of goes away because the left Channel is gonna controlled both of them. So if you don't want them to be separate, you can hit Link and Island men. Or you could just send him to be the same thing. Now, in almost all of our effects will see a dry, wet amount. And this works the same in just about every effect. Okay, so all the way dry means we're not hearing the effect at all. All the way wet means we're hearing on Lee the effect. OK, and anything in between is a mix of the two. Okay, So wet just means there's a ton of the effect on it, and dry means there's no effect on it. So halfway means we're gonna hear, you know, half of the original half of the affected blended together. So let's jump back to what I said a second ago with automating this effect to turn on and off. That's a way to do it. But another way to do it that's a little smoother would be to automate the dry, wet. See? Watch this. I can turn it all the way down and then turn it all the way wet. That's cool to do, like, right before a break like that. So check this out now. Right here. What we're going to hear is no effect, because it's all the way dry. And then throughout this last couple bars, it's gonna get wetter and wetter and wetter. So we're gonna hear that delay turn on slowly. Whereas if we automated it with this activator button, we're just gonna hear it all the way on all the way off. Right? So now we're gonna hear it slowly. Turn on. Let's check that out. Right. And then we lead into where that beat stops. A little bit of that delay. We could make that even stronger by turning up the feedback. Now the feedback in this sense means how many times that delays cycles around. Right now, it's just once. If we turn this all the way down, it's just gonna delay that signal. But if we turn it all the way up or not all the way up, that's a little dangerous. It's you're gonna hear the delay and then again and again and again and gets a little quieter every time. Let's try that. We're all the way dry. Here it comes. And now we'll hear it fading away because we've got a good bit of feedback here. So it's kind of piling up on itself a little bit. So play with the feedback play with the dry, wet amount. Cool. OK, uh, let's go on and talk about another kind of delay the Ping Pong delay. 14. Ping-Pong Delay: Okay, Here's the ping Pong delay. You throw that on the same track, this one works a little bit different. Very different sound. Right. So what we have here is a couple effects in one. First, we have a filter, right? So, weaken decide what frequencies are going to get delayed, right? We could say all of them just by smashing this up if we wanted, um, or we could say just the high stuff. Just the low stuff. Just the middle stuff. You know, we can really kind of define whatever's inside a little teal line Here is what's gonna get delayed. Let's say, like, just the high stuff, right? You see that? You hear that high stuff really friendly, but the kick isn't going up, right? That's cool. So here we have settings for our delay. And then here the same ah, system that we saw in the simple delay of 16th notes. Now, the reason we're here hearing it really like going super fast is because were set to three here, which is, um, a beat and 1/2. Well, sorry. Uh, 3/16 notes. It's, um yeah, the dotted eighth note, or just just shy of a beat, right? So it's just a little bit less than a beat, which means that after a beat or two, we're going to start piling up on 16th notes because our feedback is up pretty high. Okay, if we just sent this to 1/4 note, but that filter out, it won't feel as frantic. Right? We're just hearing we're turning right on there. Um, but this we start to get these more complex rhythms piling up, and then we've got the feedback in the dry wet, right. So same stuff. So it's really similar to simple delay. Except we have, ah, filter built into it, right? Everything else still applies. We can automate whatever we want. Um, including turning it on and off. All right. Building on this. Let's go to filter delay, which is like this one, but with another thing added to it 15. Filter Delay: okay. Remember that you can get rid of effects like just clicking on the title bar and pressing Delete. Okay, let's go to filter delays. That's right. Here. Throw it on the same track. That's a good one to show off delays. Okay, Now you're saying blow. That one just got a lot more complicated, but not really right. Like focusing on just one of these. Okay, this is the pink Pauling delay, right? We've got our numbers for a number of 16th notes. We've got a little filter, right? And then we just got an on off switch. OK, so we just have three ping pong delays. Here is all we really have, Right? Um, so we can set which frequencies we want to be delayed. And by what? So we could say low stuff, middle stuff, high stuff right now. Also were saying what input is here. So this is left. This is left and right, and this is right. Okay, so we're also kind of panning it or taking in the signal a little bit differently. And then out here we can set the delay, time feedback, volume of this delay line and the panning. So we can say what comes in on the left signal delayed by this much and then send out left . Or we could say, Send out center right. We could send everything back out center or we could switch him up. We can really do whatever we want, but basically, the thing we think about here is we have three Ping Pong delays. In one. We can set different delay amounts. So maybe on my low stuff, let's have it be two beats. That's 8/16. Notes. My middle stuff. Ah, let's do one beat. And on my high stuff, let's get that Let's go. 3/16 notes. So that's gonna make that frantic high stuff, right? Cool. I can dial down the volume of it. I can repent him in different ways. And then again, a dry, wet mix. This one just says dry. But basically, um, it's the It's the same concept as a dry, wet mix. It's gonna be all the way wet down here and all the way dry up here. Now we're only hearing delayed stuff and not the original. Right now, we're hearing a lot of the original with it go so filter delight. Not that complicated. Right? Um, all of these air kind of building on each other up till here. Uh, once we get to the green delay, which is the next one we're gonna look at. Things kind of changed a little bit, but let's do that now. So if we go to the grain delay 16. Grain Delay: Okay, so here we have the grain delay. OK, so this one looks a little bit different, but there's some familiar stuff here. Right. Here's our 16th notes grid. Right. So that's familiar to us. Okay, so we have this this big, uh, this big dark box in the middle with a dot and we can move this dot wherever we want. Right? So you're going to see this in a couple different effects. You're going to see this kind of big square with the dot that we can move around in the middle. Here is what's happening. Um, all this is really doing is letting us more between multiple parameters. We set those parameters here so we can say frequency is the vertical, right? That's what or pitch is the vertical. So we're just kind of assigning something random pitch, You could say dry wet is the vertical and all of these parameters we can get out over here . Okay, So we can adjust these parameters manually by doing that, or we can move the dot around right. The dot is just a nisi way to move this stuff around at the bottom. We can say, you know, pitch is the left and right frequency is the left and right. We can do whatever we want with that. So let's say pitch and feedback. Okay, so it's adjust those parameters and let's set it to be three. So we get that quick 16th notes stuff, right? So we're really pushing the pitch around as we go up. So over here, we're gonna have not very much feedback, No feedback over here. We have a lot of feedback, right? And then down here, we're not gonna be adjusting the pitch and up here, we're gonna be morphing the pitch kind of a bit. So what's happening here? That's different. Other than this interface, is that a grain delay as a type of effect called a granular effect. And what it's basically doing chopping are audio signal into tiny little bits, right that it calls grains. It's like, imagine your, um, audio signal is one big thing. And then we're gonna slice it into, like rice, right? Like tiny, tiny, tiny little audiophiles, like like, a couple milliseconds each. Um, in doing that lets us have other control of other properties, like pitch. Okay, So we can, um Before we were filtering by pitch, but we weren't affecting the pitch. It all right? We were just filtering by pitch with this, we can do a little bit more. You know, we can randomize The pitch isn't terribly obvious in a drum beat like this, but, um, granular effects give us more control over the frequency elements in it, So this is still a delay effect, but it's giving us some control over what we can do with some frequencies. So it's pretty cool. To be honest, this one could be a little hard to control. It could be a little unruly. Um, because there's just so much that can happen in it. You can just create a really crazy sound, um, out of the blue. So if you're looking for something, that's gonna be like a cool delay. Ah, this is not probably your best place to go. This one gets a little more complex. This is more of Ah, I would call it more of a sound design effect than a straight up just cool delay to use. So keep that in mind. 17. Echo: Okay, let's look at the echo. Plug in next. Now, this is one of the new ones. Um, this is only available in live 10. Um, and it's a little funky. There's a lot of cool stuff in here. This can be like a total sound design kind of plug in, um, or, you know, it could be in a normal delay type plug. And if you wanted it to be. But I just want to show you something. Um, let me show you just really quick. Some of the crazy sounds you could get out of this. I'm gonna run our same drum loop through it. But I'm just gonna play it for, like, a second, and then I'm gonna pause it. Okay, so here we go. Okay. So now I posit. But just listen really close. Nothing's happening, But just keep waiting way , Okay? That that can go on forever. That could go on forever. Um, so that just kind of shows you what? What? This thing can dio. So I just ran a little bit of signal through it at first, and it went through the plug in, and then it kind of died away, and then it kind of came back because I was messing with it. Um, so let's look at what this thing can do. Um, real quick. So we have three tabs at the top. OK, so let's start with the echo tab over here. We have familiar stuff we have are the volume of our input signal. Ah, and the amount of feedback you could see that reflected here. The clothes are filter for a second. And then up here we have the left and right. Uh, echo, um, this little thing is gonna link them together. If you want them unlinked, just click it. And then you've got separate controls for the left and right side. Um, and our rhythm amount here. So it's a little bit different than the way it worked in the other ones. Ah, but a similar concept. So each of these rings is giving us like the ah, a time that it's going to be fed back. OK, so you can kind of imagine that each one of these is the signal coming back again. And each one of the white dots represents an eighth note. Okay, so if I turn up feedback all the way even, like, way higher then these just get infant Testament, Lee. Small and quieter. Right now, One thing to note here is that feedback 100% feedback would mean that the signals going back into the delay again at the same volume. Right? So normally, we want feedback to be something less than 100%. If you go up to 100% it's never going to decay. But this feedback lets us go after 150% which means it's actually going to increase on itself and get louder and louder every time. So ah, play with that. It's fun. You know. Be careful with that a little bit. And these buttons will help you control that a little bit. This one gives you a little bit of feedback. Are sorry. A little bit of clipping on your input. Just a nice little crunch on your input. And this one inverts the feedback amount. So, um, we're going opposite now of what we were. Ah, what we were doing. Okay, we have a filter down here, so if we want to filter the signal, we can do it. Ah, you can control it with these parameters. down here. Ah, here's air filter type, or you can turn it off with that. Leave it on. And then some global controls over here. Okay, so we can add some reverb to it if we want stereo spread, the output signal and our trusty dry, wet mix going over to modulation. What we have here is the ability to kind of modulate what's happening coming out of the echo so we can set away form. We can set a phase if we want and notice we've got kind of orange line in a blue line. Right? So here's our orange stuff. And here's our blue stuff. So we can set the orange line to be the delay time and the filter cut off, and we would just give it some. Okay, you got Ah, give it some of that. And thats so that's gonna be modifying in a sine wave. In this case, the delay, time and filter cut off. We can also do the envelope, which is kind of sort of like a dry, wet mix for you're modulation. You can kind of think of it that way. So 100% would be all, um, modulated and zero would be no modulated. It's a little more complicated than that. But that's the basic Just did it. And then character are a couple other fun things you can do Gate in ducking kind of walks us through what is going to be applied. So if we turn on gate, what we're saying is it has to be this volume in order to go into the echo. Everything under this volume is gonna be let go and not applied to the echo effect. Ducking is kind of the opposite. It has to be under. So this one, it has to be over this volume. This one has to be under this volume. So imagine you've got, like, a snare crash and you want the delay on the actual hit of the crash. Ah, but not on the sustain. Ducking would help you do that. But let's say you want the effect on the sustained but not the crash. Ah, that would be ducking so gate and ducking noise just adds a good bit of noise into your effect and wobble. I'm not exactly sure what they're technically using here to create wobble, but it does exactly what it says it's gonna do as a little bit of wobble to it. Crank up this morph amount and the amount of the effect here to get some really cool Ah, effects. This re pitch isn't probably what you think. What re pitches is classically with a delay effect. What happens is, if you would just the speed of the delay while their sound going through it just mathematically. That creates what sounds like Ah, big pitch bend because the speed is going up. Um, so if you have this on, it's going to do that that thing where if you adjust the speed of the delay, it goes up, Let me try it. I'm not hearing her the any of my wife. Try that again. You hear that? The pitch is going up and down. Um, if I turn this off and I'm doing that, then it kind of just kind of cross fades between the old speed and the new speed. So you don't get that that pitch ramping kind of sounds. So it's It's a bit of a subtle thing, but if you're automating the, um, echo amount, that might be something you want to turn off if you want. Cool. So really fun Effect. Have some fun playing with that one 18. Chorus: Okay, let's go to chorus next. So choruses an effect. That's technically, it's a really short delay, like a really, really short delay, like between 20 and 50 milliseconds. Too short for you to hear it as a delay of, like, multiple things coming back. But, um, the way this particular short delay is set up, um, it has an effect of thickening this sound. So the chorus affected, sometimes also called ensemble. So I'm gonna put it on my strings here. So let me just meet this. I'm gonna turn off the effect. So here's what we're hearing. Okay, So this was like our strings and remember that? Well, don't remember because you might not know this. I don't think I said it before. Uh, I'm going to tell you now in an orchestra. What is happening is like if we ask the entire violin section, it's like, you know, sometimes 30 to 40 people to play the same note, Okay? The way that the thing that makes it sound thick in rich is all the very subtle imperfections of the way everybody is doing it just a very tiny bit different. And that's what the chorus affect simulates um So, uh, let's start playing this only to the effect on. Okay, let's make it that far back. Okay? Now we're modulating it a bit, giving it that crazy. Effect it off. Right? So it's not in this case, it's kind of subtle, but you can hear that it makes it feel like maybe this orchestra patch. If we imagine this being played by humans, Maybe there was, you know, 10 people in the orchestra here, and then we turn this on and then there's 30 people, right? It's not, um, that they're playing all new stuff. It's just that it makes it a little thicker. And the way it does that is through a really short delay. And then, ah, some modulation of that delay line. So it can really kind of picking up your stuff. 19. Flanger: All right, let's go to Flanders. So for Flanders, let's look at this line that way. Let's throw a Flander on that now. Ah, Flander is another type of real short delay, you know, again around 20 milliseconds too short for you to hear it as a delay. But we can do some cool stuff with it. So what we're gonna do with the Flander or while not what we're gonna do? What is done? What is inside of a Flander is we have this really short delay. And then the two signals the current one and the past one that's being fed back in. So we have two signals now happening at same time are going to be offset from each other or somehow, uh, messed with, right? We can invert the phase of one of them. We can modulate where that one happens. So and because that delay is so short. Ah, What we effectively are hearing is the same thing twice doubled Ah, and then out of phase on. And that's what a flan defect is. The best way to ah do it is just to hear you can hear this like, high pitched thing. Moving up and down in it. Right. Let's try it. Also up on something rhythmic here. It's right on this. There we go. You hear all these extra high frequency sounds, right? So we can slow that down. Speeded up. That's the module right now Go wacky all over the place. So now it would be much slower. Waken lower the feedback delay time dry, wet. I got a high pass filter here, and then we can mess around with the phase if we want a little bit. So I kind of like the chorus effect. The flan defect has kind of a thickening, um, feeling to it. It can kind of thick in your sound a little bit. The flans is, um, in my personal opinion, less useful than the chorus because flans has a really distinct sound to it. Um, and it's just not one that I find myself wanting to use very often. Um, but you might really like it, So, uh, it's there. Ok, let's go to reverb. 20. Reverb: Okay. You might know what a reverb is. Um, but there's actually a lot in a reverb. Um, let's put our river on. Let's try this to try that. Okay, Let's hear that again. It's gonna loop right here. Okay. So how did that change the sound? It's in a much bigger space, Right. Reverb is, um, how we deal with space. So you can think about if I turn this off, right? We can imagine if this was an acoustic sound, it could have been played, you know, in in ah, studio, right. A small room with Mike's right up on top of it. When I turn this on, it's not in studio anymore. Now it's in, um, a theater. Or maybe it's outdoors, right? We've made it feel much much. Ah, bigger space. And the sound isn't bigger in the way that Ah, the chorus and Flander made it feel a little bit bigger. The sound is still the same. It's just in a different space, right? Another way to think about it is we use river. When were mixing a lot to think about, um, the forward and back forward being like right in your face, like imagine this little percussion thing is two feet in front of you being played. And if we crank up the reverb, the more we turn up the reverb, the farther back it goes away from us until you know we get it, Um, something like that, where it's a mile away, like Imagine we're on a highway, an empty highway that's closed down. And this ensemble is literally a mile down the road, right? It might sound something like that. So if we crank it all the way up, that's what we get. Um, so reverb itself is another type of really short delay. Um, and it's actually a few different delays. We have early reflections, pre DeLay and, uh, the kind of what we sometimes call the tail of the reverb, which is kind of the main guts of it. And here we're dealing that mostly with size. Ah, and decay time And this diffusion, Um, early reflections are like, you kind of think of it as like if you're in the concert hall, um, the initial sound bouncing off like the walls, but still coming more or less straight at you, not bouncing off all like the back of the hall and then all these other things. That's what makes Acoustic river riel is the sound bouncing off all the walls? Um, but some of the sound hits you right away. Um, after being hit by you know, the stuff in front of you, like the sides of the stage and the walls on the sides and things like that. It's a little hard to explain quickly, but that's, um, early reflections, Um, and then we can mess with size and quality. We've got a couple different options and then, of course, a dry, wet mix. Now, a lot of the time, what we want to do with reverb is just crank it up. We don't care about pre delay too much. This is pretty big River and then control it with the dry, wet mix. So if I use just a little bit right, that's pretty decent reverb. Um, I can give it more and go more and more and more so play around with reverb, explore the settings a little bit more and, um, find something that works with you are mix 21. Beat Repeat: Okay, up next is beat. Repeat. And this is a really fun one. Um, this is kind of Ah, glitch. Plug in in a way in that, um it's going to generate all kinds of extra stuff before we throw it on here. Let's actually look at ah, preset here. Let's see this brain dance. One having to throw it on my groove. Here it's works best on percussion stuff like drums and things. But, you know, don't let that limit your creativity go nuts. Um okay, so it's turn it off. Just remind us what we've got here, right? Okay, that's right. Now, Okay. So you can hear what it's doing quite clearly, right? It's adding all these rhythmic things as well to what we have. So our first something here is Interval. That's like, How big of a beat is it gonna grab? Because it's grabbing stuff from our signal. It's not, uh, just randomly putting stuff in, right? It's taking something from what we're giving it. So how big of a peace do we want to give it? Eso quarter note. We could make that bigger all the way up to We're sorry. Smaller all the way down to a 32nd note or bigger all the way up to four bars. Let's go back to quarter note. King Weaken. Set an offset. So it's not always grabbing the first quarter note. Okay, And then grid is telling us how big of a note it's gonna capture. I think I misspoke earlier. Interval is how often it's going to capture something. So every quarter note and then grid is the size of what it captures. Variation will give a random offset to this grid amount. Right. So it will kind of randomly let bigger or smaller things through. Okay, And then we've got the chance, the chance that it's going to do something. This is like probability Gate kind of defines where it's gonna happen. We can do some pitch modulation in here as well. Where it, um I guess not. Modulation technically, but, ah, where it will modify the pitch at the same time. You can hear that happening here when it's going, Don't you know it's going down the volume of it and then a little bit of decay time. Now, my favorite setting here is these mixed insert and gate. So we have it on mixed right now. And what that means is imagine there's two different things. There's our signal. And then are, uh, Gucci stuff that this plug in or that this effect is making okay, so mixed means mix them together. Insert means when there's a glitch thing happening. Don't play the original at same time. That's going to give you more good stout kind of a sound. So here's mix. So the two mixed together. So we're always getting our initial signals, right? This'll one right. So this one, the initial signal plays if there's no glitchy thing currently happening, and that, in this case makes it a little hard to follow. But we could set this to 100 then something which you should be happening a lot more often . At least we can feel 1/4 note now, you know, and then Gate gives us on Lee the glitch stuff. So let's crank up our variation here a little bit. So with those three, you have different options. Mix is great if you just want to add some kind of ah chopped up stuff into a pattern you've got. Insert is going to make it more aggressively chopped up more or less feeling and gate is great for if Gate is great, Gate is great for if you're trying to mix glitch Tup stuff into something else like what if I did gate and then played Also, this other pattern we have here tell you right and that I could switch over to mix? Remember, you can automate between these these three. There's a lot of fun stuff you can dio with the beat repeat pattern. So look at some of these presets, um, and dive into this one because there's a lot of really wild stuff that could come out of it . 22. Looper: okay. Last but not least is of our time effects anyway, is the looper okay? So Looper does exactly what it says is gonna do, right? It's gonna, uh, loop for us. But unlike our other looping things, this is designed for us to take in a live loop and be able to play with it. This is, like the kind of thing where, like, if you're a guitar player Ah, singer songwriter kind of a thing. And you want to do live looping with some pedals and stuff like that, Um, or like, you play the chorus and then, you know, the next time the chorus comes back or something like that, this is how you want to do that. Okay, this is the This is the plug in or the effect that you're going to use to make that happen . Really? Well, So here's that works. Um, we have this big button here is called him, are multi purpose button. And what we really care about is right here, record one bar, then play. Okay, so we can set this to be whatever we want. Um, and we can say Then play or then overdub. That's what that is okay, so if I say one bar, then play. Ah, Here's what happens now. I've set this up too. Go into my microphone. So, uh, I'm gonna arm this to record, and then I'm going to just talk into it with my same microphone I'm talking into now, so here we go. So I hit. Record. Check. Check. Far. Check. Check our check. Maar, check. Check our check. Check. Are you okay? Um, were not overdubbing. Now, now we are playing, right? So let's change that toe overdub, and I'm gonna clear it with this clear button. Okay, Now it's cleared, so I'm gonna start again. And this time, uh, it's gonna record two bars, and then it's gonna start overdubbing. Check. This is thing thing. Another overdose booth. Okay, now, we were getting dangerously close to a little feedback there. Um, so I stopped it, but ah, we can still play it. That's solo it right? It's all in there. Right? So I'm just layering on top on top it on top of on top as long as I want. Okay. Um I can adjust the speed. I can reverse it going back. Another thing. Another thing I can adjust The speed could do all kinds of stuff. Hoops. I can do all kinds of good stuff here. Um, and with super cool is if I'm using this to play around with well, on recording or even live can always hit this little drag me here, click and drag. Throw that in and there is my loop I just recorded. Okay, um and now I can play around with it in my arrangement, Or I can or in the clip slot if you're in Ah, session view, whichever you like. Okay, so obviously, this is designed for this button to be mapped to a pedal or a key or something. Oops. So, in order to do that ah, command M gets us to our mini map ings weaken map that wherever we want, um, or command K if you wanted to map it to a key on your keyboard. Although if you're doing like a singer songwriter guitar thing, you want to get some kind of foot pedal for that? Uh, okay, fun. So let's hear. Well, let's go to a new video first 23. Time Based Effects Track: Okay, so we've gone through our time based effects. Now, um, I want to play just ah, what we have here so far One more time, Because, remember, we've got a bunch of time based effects on all of this stuff. And what I want you to notice is that it doesn't sound like we have tons and tons and tons of delays in echoes. Right. We have some but time based effects there is more than just adding a delay to something. So, um, some of it is subtle. The only one I'm gonna turn off here is my looper. Okay, I'm just gonna mute that track because we don't need to hear me saying this is a loop over and over and over or whatever I said, So let's just hear this one more time. - Way 24. What Are Frequency-Based Effects: okay. Frequency based effects. Now, these are all gonna be effects that do something. Teoh the frequency. And by frequency, I mean, either the frequencies in it or the more general term for frequency, which is pitch. Um, so these mess with the pitch, Um, now we've seen frequency effects before already. We saw them, and when we were looking at some of the instruments because a lot of the instruments had filters, Right. That's kind of a huge part of subtracted synthesis, which is a lot of what we looked at, so Ah, those filters were frequency effects, right? They were peeling away elements of the sound by the frequency. They were pulling out some frequencies, so that's a frequency based effect. Ah, and in fact, a lot of what we're gonna look at infrequency based effects are filters, Um, a lot of different kinds of filters, and there's a lot more than just filters. But, um, kind of at the core of a lot of frequency based effects are filters. Kind of like how delays were at the core of time based effects. But there was a lot of different kinds of them. Um, there's a lot more different kinds of frequency based effects than filters, and there were delays. But but we also have things like Distortions and AMP. Emulators and things that more subtly effect. Ah, the frequency is that we're hearing to kind of shape it into other kinds of sounds. So without further ado, let's dive in and let's just start right off with our main equalizers are Mahaney cues, um, in life. 25. EQ3: Okay, so four frequency based effects. Let's start with the E Q. Three. Okay, so the EQ you whenever we see each you that short for equalizer. Now, this one eyes quite simple. And this will be familiar to you if you've ever had, like, on your home stereo or your car stereo. You know, looking na that said like, Ah, low mid in trouble or base travel, you know, not turn up the bass, Turn up the trouble. That's basically what we have here. Um, we have low stuff. We have stuff in the middle and we have high stuff and we've been on for each. Okay, we also have a button that's gonna let us turn off low mids or highs. Okay, so let's just solo this. So let's turn off the highs. Enough. The mids. Now we're left with just what's the low frequencies here. Now it's important to note that in e que isn't gonna add anything. We're only peeling away. We can boost what's there. We generally don't like to do that with any que, um, we generally, like, just pull away sounds OK, so here's my low stuff. Let's hear what's just in the middle. Okay, here's the middle stuff. And we can adjust what we call middle stuff here. We can say, What is the low stuff and what is the high stuff in the remaining stuff is the middle stuff . So that's kind of where our defining of it is. And we can turn the volume of it down here without turning the whole thing off so we can kind of craft it a little bit more. Here's just our middle stuff. And here's just are high stuff. So this could be cool, right? Like, let's say you wanted to do something really wild. You could just leave this on and turn everything else off. And you've got this cool, buzzy sound happening above just by taking this high stuff or check this out. Um, one thing that we use this particular effect for a lot going to throw this on this beat. Loop it. Solo it. Now we're hearing everything. Check this out. If I assign, I'm gonna key map my low mids and highs. So command K to go in a key mapping low set to the number one mid two and highs three out of key mapping with command K. Now check it out. Let's turn off everything except the lows. I'm gonna press two and three at the same time, right? Let's bring in just the highs. Oops, just the mids. Just the highs. Just the lows. Right. So what we can do here is if you're you can actually perform with this. This is like the easiest Ah, performance effect ever, right? Like you're in a tune. Everything is awesome. Ah, everything on your having a good time. And then we want to do a breakdown. Just the low stuff, right? Stick in the high stuff and then all of it. Right? So just by, like, working a couple number keys, you can have, like, a really basic performance effect. Um, and it's not a bad one. Now, E queuing is probably one of our most powerful tools when it comes to mixing, um, and also producing, but especially in mixing. And this e Q three just doesn't give us enough power to really get deep into what's happening right? We've got three knobs that weaken goof around with can turn some low stuff, upturn some high stuff down. We can do whatever we want to dio but we can't, like, turn up. You know, 1000 hertz, right? We can't be really Ah, we need a scalpel. Right? Right now we've got a hammer and we need a scalpel for some stuff for a really intense mixing stuff. So if this is a hammer than Q eight is a scalpel, So I'm gonna throw that on here and let's go to a new video and let's do E Q eight. 26. EQ8: Okay, so this is a Q eight. Now, here's what we need to remember. We've seen this kind of graft before. Right on an e. Que? What we're seeing here is volume going this way up and down and frequency going this way. So this is low stuff. This is high stuff. Okay, so the frequency is easy to see low stuff over the high stuff. Volume is a tad bit more complicated in that notice that this says zero right there. And then plus six negative. Six plus 12. Negative. 12. What that means is how much were affecting the signal. So at zero, we're not doing anything to the signal here. I'm boosting the low stuff by our 677 d b. K. Here, I'm reducing the low stuff by six or seven db. Okay. So just remember that zero means we're not doing anything to the signal up. Means we're boosting it down. Means we're taking it away. So we have four points here by default. We have possible eight points and we turn them on down here so you can see for our on its turned 567 and eight. Okay, Now we can tell which kind of filter we're gonna use here. Okay, you can see eight looks different than the rest, because eight is using. Ah, this one, which is a low pass filter. Right, So everything under this is gonna pass through it, lows can pass through it, and high stuff is gonna be cut off. This is gonna be a sharper low pass filter. This is gonna be a band pass filter, ban, cut, filter. This is gonna be a notch filter to talk about a second, another been passed filter. And then, ah, high pass filter. So we cut off the lows, and then a ah, harder high pass filter is what I mean by harder, by the way. So here is a high pass filter. So the high stuff is unaffected. The low stuff is cut out. Here's a harder one. Write that line. Just gets a lot steeper. Okay, so with this now, notice that I have a couple more settings here. Q is a setting that sort of means with, um so if I go to, let's say, let's turn all of these off, except for one to really see what the Q is doing and Let's set this Teoh a notch. Okay, Let's do that. Q says how wide That not just gonna be okay. Why is it a que, um I don't think anyone really knows. I think it has to do with, um I don't think you stands ready than anything. I think, um que is a, like, a variable in equation. So but I don't think you stands for anything. I could be wrong if you know, let me know. So here's the gain. These two things are the same things that I can adjust just by clicking and moving the one . Okay. So I can turn on his money as I want. I can turn off his money as I want, and I can craft a very specific e que right. Like, let's say I want to boost 1000 hertz. There it is, right. I get it exactly on 1000 hertz. If I really wanted Teoh, Um I think in 1000 that goes o. R. One kilohertz is the same. I could have more stuff so you can boost and reduced at the same time with different filters if you want. Now there's one other big thing that happens in the e que? Well, actually a few other big things. Um, let's just see where I've got this. The guy put it here. OK, so we can see what's coming in here, Right? That light gray wave form, That's what's coming in. So we can tell, like if there's some frequency that's getting kind of out of control, like maybe right around here. See that? That's really hot. So maybe we want to take this down there and pull that down, wiping that out a little bit on. That's where mixing comes into play because that might not be something that you hear extremely. Obviously, that I've pulled out that frequency earliest reduced that frequency a little bit, but it helps our mix hugely in getting out of the way of other stuff. Okay, so I've toned some of this down a little bit. Um, another thing you can do. The thing I was going to say a second ago is this little arrow up here does something that not very much stuff in live does, which is throw it up into a new window. So watch this boom. If I click on that, we get this new little chunk of screen here, right? And this is the same thing that was down there. Except now we have a lot more control. Um, we can really get in deep here. We can see a lot of stuff happening over here. Including what pitch were on based on the frequency. Ah, What? How that frequency relates to the nearest pitch. Right. So here, like, 91.1 hertz is about F sharp one, etcetera. Ah, and that's just based on where your mouth is. Okay, so there's a lot of fine crafting you conduce with e Q eight. Let's look at, um, bright acoustic guitar, one of their presets. Let's throw that on there. So here's what they're saying. Ah, Live likes in a bright acoustic guitar. That doesn't mean you have to do this. This this means that if your recording an acoustic guitar and you want kind of a bright sound out of it ah, here's a good preset for you. So what we're saying is, we're gonna boost the upper frequencies that's going to give it that nice, bright sound. We're gonna cut anything below. Maybe 50 hertz or so. Yeah, 38 hurts, but we're going to start cutting all the way around 100 hertz. And probably because there's really no sound that the guitar makes down there other than things you wouldn't want, Um, like, overtones and knocking and Littlewoods stuff eso We're gonna cut out some low stuff. We're gonna boost some of the high stuff. Um, and that should get you a pretty decent acoustic guitar sound. If we want to get rid of this big window, we can click it again. Here. This little arrow brings it back into our, uh, device area. Okay, so that's evacuate. 27. Auto Filter: All right, up next. Let's go to Auto Filter. Now. This ah, is exactly what you think it might be. It's a filter that does some stuff automatically. Let's go to one of our synth tracks here, but that might be more fun. I want kind of a sustain e sound so that we really hear this. Okay, So here's our auto filter. Now, what this is going to do this is a little deceptive because it doesn't show you everything is doing. So, um, we have a filter here, right? We know what this does. It's just one filter. Okay, so we've got a frequency and a residence on the residents, remember? Is that little lip that comes up, So let's put it right about in the middle. Okay? Now we have the So that's the filter part of it. Now we have the auto part of it, which is over here so we can say amount, which means kind of house extreme. Is it gonna be, um, meaning cause we're gonna basically turn this to go like this automatically, right? Basically, on an LFO, which is what it says right there. So, um, we're not going to see this move, but that's what it's gonna be doing. Okay, so we want the amount is basically gonna tell us. Is it going to go like this two extremes, or is it going to go like this? Right? Ah, so let's say about half way so that it's not going all the way to the edges. You know, just around there rate is gonna be the speed and we can do it hurts or we can set it to a division of the beat. Let's set it to 1/4 note, and then we could do some phase and offset things if we really want toe Ah, find, Tune it. But let's hear what we've got here. Okay, so now this filter is opening and closing on other quarter note. Slow it down a little bit, right? Turn this off. It's like it more extreme. More right now here, going all way to the top, all the way to the bottom. Now it's just moving a little bit, but same speed, right? And we can choose the shape of this if we really wanted to, like, you have to go up and then smash back down. That's a particularly great sound. Let's leave it on a sine wave shape, and I think that's pretty good. Okay, so it's just a filter that's gonna move by itself on ah, particular rhythm of quarter notes. 8/16 notes. Something like that. Okay, um, great. Now let's move on to some of our more colorful effects Will start with AMP. 28. Amp: okay up next. We have kind of a pair. Um, we'll do him in two separate videos, but they go together. Eso imp. So here's amp, what we have here is an amp emulator of these became popular with, like, the line six emulators that started coming out about 15 years ago, I guess. Now, um, where is this supposed to make you sound like you're coming out of a guitar? AMP right. Um, so we've got a bunch of different settings here that we can play around with. I've got clean boost blues, rock, lead, heavy and base And then, you know, fine tune whatever we want. Um, mostly we have gain and then bass middle and trouble. What is that exactly? Think about it. Based Middle in trouble. That's any Q. Right? So we have another e que. In here presence is something we find on almost every guitar. AMP. I think it's another kind of element. E que kind of like almost, um like the residence. Kind of, uh and then a dry, wet mix. What you don't have on every amp Okay, so I put it on this track. Let's hear it without it. Actually, I take it back. Let's put it on this track. That's the track at what? This one got random notes happening. Okay, let's put it on here. Let's turn it on. That really did a lot of really interesting stuff. Um, let's go just totally, like scream a lead guitar and clean. I actually like throwing this on the clean setting on stuff. Sometimes here it is, without, uh and with. But let me start that again. So it's really got a lot of presence here without I can't control it, our troops. So even this clean setting gives us a really nice sound boost. Distortion e. Believe it unclean because I really like the kind of added power that gives it Teoh, that gives us Now. This particular AMP emulator goes real well with a Cabinet emulator because we're basically , if you have a look, a guitar amp. You've got an amp and a cabinet. So, um, we've got an amp emulator here. We also have a Cabinet emulator here, so let's go to a new video and let's add the cabinet to this as well 29. Cabinet: Okay, so I'm gonna throw the cabinet on this as well. Set it to go right after the amp. Okay. And here's my cabinet now, with cabinet, remember, we're emulating here. So emulating means that were taking something that exists that's riel physical and and trying to reproduce it or make a copy of it in software. So, um, the cabinet in an AMP is the speaker. So we say, What kind of speaker configuration do we have here have, like, a for 12 for 10 for 10 base? So this means the number of the first numbers How many speakers? And the second number is the size of that speaker. So 1 12 and speaker, 2 12 inch speakers, etcetera. Ah, the amp that I've always used my guitar amp for the last long time has had four tents. So gonna go four tanks. I like that. And then where do you want to put the mike? This is important on amp uh, close to it. Like straight on access, near off access or far away. I know that with my 4 10 am I like it near off access. What kind of mike do we want to use a condenser dynamic. Remember, this is all just emulating. I'm gonna go with Dynamic. And then do we want to be output mono or stereo and how wet I'm gonna go with all the way wet here. The same way I went all the way wet with my amp emulation because I don't want anything to come through That's not going through this. So let's hear what this Cabinet does to it. Enough that God kind of muffles it a little bit. Let's try with some distortion. Yeah, kind of muffles it a little bit. The cabinet is a pretty subtle effect, but when they're used together, if you're really trying to emulate, um, a guitar sound or any kind of distortion Um Ah, this could be a nice combo. 30. Pedal: Okay, let's look at another distortion Effect. This one eyes new. This is new to live 10. So if you're on an earlier version, you might not have this one. But new live 10 we have pedal. Let's add this on here as well. Pedal is, you know, another emulator of ah, just a distortion pedal that you might have in your guitar rig. So I'm gonna put this at the end of our chain of amp cabinet and pedal. Um, so we have three different types of distortion here. We have overdrive, distortion and buzz. So the overdrive setting is gonna be kind of a warmer sound. This is gonna be like, ah, aggressive sound, Almost like a clipping sound. Ah, and fuzz is going to be like, almost like a digital clipping sound. Um, to me, I think of fuzz as, like, a kind of a Trent resonant sound. Eso Let's hear And okay, it's like that aggressive boosted frank the output way Get a lot more a little softer warmer on and then we've got in each year waken play with Eddie. This'd a toggle down here is kind of our midrange mid, low, mid or high mid got a dry wet. And if we want this is kind of like what we saw over here in the and the wave shaper. We have this extra little sub boost here. We have that here to where we can just boost the low stuff. I think we're really gonna hear very much in this particular case, but it's ah Loh Boon way really want to get that in? Okay, so it's kind of see how that cuts through in context of our whole um so now it it cuts through the mix a little bit better. Eso all of those extra frequencies would call harmonics that are created through that distortion. Helps it really cut through the mix quite a bit. Okay, let's go on and talk about Corpus. 31. Corpus: Okay, let's talk about Corpus. Um, now, this is a more complicated effect than what we've looked at with the other ones, and it could have some really cool results. So Corpus kind of takes us back to physical modelling. Um, like we talked about with synthesizers. Right. Um, it's based on some of those same ideas. What corporate does is. So imagine you've got two things you've got, uh, something that makes sound like a resonator. Right? And then you've got ah, mallet. Okay, So, like, let's say a drum. Okay, so you're gonna hit the drum with a mallet, Okay? The drum is corpus, and the mallet is the sound that we put into it. Okay, so if we run through here, So I'm gonna run this type of sound through it. Let me turn enough. Run this track through it. Okay, So what I'm gonna do here is I'm gonna set it. Teoh Uh, pipe. Okay, so now imagine a big metal pipe was being hit with that sound. This is what it would sound like, right? Yeah, kind of. Um, so that's the guts of it. Now, in addition to that, we have a lot of parameters, right? You haven't lfo so we can adjust that over time. Weaken, tune it a little bit, which kind of adjusts the length of the pipe, and we even get a pitch represented station down here. So we're in the key of C minor. So let's set that to be a C. Let's do a lower C. Oops. See here we owe Okay. Um, some other parameters of the pipe. The opening decay radius. Let's try a membrane. Remember, A membrane is like the head of a drum. Right? This is kind of Ah, almost a steel drum. Sound kind of interesting. Um, tube interesting. I like to pipe best. Ah, and then we've got a filter that we can throw on it as well. If I don't like all that high stuff, get rid of some of that high stuff. Um, that's what corpus does. It's a complex effect, but there's a lot of interesting sounds that can come out of it. 32. Dynamic Tube: Okay. Up next is dynamic tube. But this one is somewhere between a dynamic effect, which we're gonna talk about in the next section on a distortion effect, which we're talking about now. Um, So I thought I would do it now to introduce it as a distortion effect, but you're going to see elements of this. Come back a little later, in particular. This section here, this is kind of ah, mini compressor. So what this does is let us deal with the volume in different ways. So think about that. When we come upon compressors later, you're gonna have to kind of double back in your brain to this one. So what this is basically doing is emulating a tube amp, I've got it on this track. Okay, so we have different types of tubes that we can select here. These air just different emulation types, and we've got a dry wet on a drive way. So we're getting some pretty cool sounds of that again. This is a more subtle effect, but we're getting some really warm kind of dirtiness. Oh, not dirtiness. More grit can warm grit out of this, um, and be sure and play with this bias parameter. This is really where the heavy lifting of the tube comes in, which I haven't even touched yet. So just by messing with the output in the drive and the dry wet a little bit, we get a nice warm sound. But let's now play with the bias a little bit. Turn it down a bit so it is tracked more drive with that tone. No, right. We're getting some very subtle but interesting sounds out of this thing, Um, in the same way that you went out of a tube AMP. So this might go well with our amp emulation or maybe instead of it. But that means that we could put the Cabinet after it, and we might get some cool effects also, so play around with dynamic tube. 33. Erosion: Okay, let's look at erosion next. Now, erosion is another type of distortion. And this one, the way this one works, is it kind of gives the feeling of degrading your audio a little bit by, um, modulating in one of three things Noise, wide noise or sign. And what wide noise is so noise would be like noise. Right. Wide noise is a separate kinds of separate noise patterns for the left and right channel, which gives it a little bit wider field. Okay, so here's what. I have this on the beach. Okay. Can you hear what it's doing? Let me really kind of crank it here. Gilded more crunch on the kick we wanted with this. So this is almost like a convolution effect. It's not I don't think actually doing convolution, but convolution is kind of like multiplying signals together. Um, and it sounds a lot like this. So here's what I like to do with this kind of effect. I'm going Teoh tightened with a little bit. It's gonna set it to regular nice. Well, let's leave it on white noise. Sure. And then what I want to do is I'm gonna actually automate it. to move around quite a bit. What I want to move around is the frequency. Okay, so I kind of want it randomized, but quick so I could make this go faster by zooming in more, but this will kind of get us in the ballpark. Okay, Okay. I'm gonna crank up the amount, and then we've got our automation going and let's see what we get get. It's cool. I'm gonna tame it back a little bit with the amount. There we go. Cool. So now it's toned down a little bit. It's just in there. Just enough to get a little bit of crunch on that low end on those kicks. Now, a lot of people think that erosion is a bit crusher, which it's not. Um, we do have a bit crusher that will get Teoh shortly. Um, erosion kind gives the feeling of a bit crusher and kind of the sound. But if you're looking for a bit crusher, uh, this isn't technically it, but it might get you in the ballpark of what you're looking for. A little more control to it. Um okay, let's what frequency shifter is up next 34. Frequency Shifter: Okay, Frequency shifter. Let's play around with this track with the frequency shifter. Um, this is this looks pretty similar. Toe auto pan, right? A lot of settings look almost identical. Toe auto pan. And it is We're not auto Pan. Sorry. Um, auto filter. Ah, the auto filter that we've already looked at. So And this is a lot like an auto filter, except we're gonna be dealing with the frequency. Um, So what we can do is we can leave this all the way off if we don't want it to be moving around, which can be a pretty annoying effect if you don't. If you're not careful. So let's leave that all way down for just second. Now, what we can do with this frequency is just turn it up or turn it down. Right. So now it's gonna be quite a bit higher, right? Meat? Um, or I can take that back to where we were. Um, and I can have it move around. Right. So you can hear it moving around. Um, we can change the speed of it. Um, let's change it to 1/2 note. Make it really kind of extreme. Right? This is why I'm saying this could be a really annoying effect. Um, so down here, it's much more subtle. Right? Um, we could also shift the whole thing up and then do it. So they were shifted and modulating it from there. And we can control the dry west. You could say, Just give me a little bit of that, right? That gives it quit. An interesting sound. So we still hear that wobble in it. Um, So I'm gonna turn this down quite a bit. Pull this back down to where it was kind of liked it, and right around there to real subtle. Just giving us a little bit of motion. Cool. So Ah, that's frequency shifter, not an auto tune. If you're looking for an auto tune, this is not It is just gonna boost up everything or take it down and let you do it. Ah, under an LFO 35. Overdrive: Okay. Up next is Overdrive. Let's put overdrive on that same track. Overdrive is another distortion effect. Um, we haven't e que in here, so we can kind of direct this distortion to be where we want high stuff, low stuff, mid stuff or whatever. And we've got drive and tone, right? Let's crank up the drive to really get a feel for it and the wet way Dio that's that distortion. So we have a lot of different kinds of distortions, right? Um pay attention to the different color of all the different distortion effects we have. They are give a slightly different feel, slightly different tone, um, in the way that they're applying distortion, right? Yes. I'm gonna leave this one right about there. I want to get a little more of that high stuff in there. Um, a little drive and not all the way dry or wet. Kind of right in the middle 36. Phaser: Okay. Up next is fazer. A phaser is kind of like a supercharged e que, uh, in a lot of ways, what it does is woops back to it. There it is, sweetness to it on this track. Okay, so, actually, let's make a little more obvious. So let's put it on our strings track. Okay? So what it does is it creates a number of what we call polls, which are, like, peaks in the e que, uh and then and we can control how many of them there are and their spacing. Okay, what should we do with the frequency? Okay, it's We don't get a great graphic for what that's doing, but so we say, uh, let's say five peaks and have him start at around 282 hurts. OK, so this is really handy from mixing. Um, it's not a great effect for just general sound design, but there are some cool things you can do with it. Okay, here's with it on. Was this a tough You okay? Nothing very obvious. That's move this way up here. I never get a little bit of feedback out of it. We can set the color of the filter with this earth and space parameter, which is then can be modified more by the color parameter. Here, this is just kind of a general starting point for the color parameter. And we can move, uh, it around with an LFO just like a lot of other stuff. So now we're kind of feeling that those dips in it in the frequency. I'm not sure if that's coming through, but it's notching out, Um, a bunch of areas around what we're calling polls. Okay, so there's polls where where we've got the signal, and then there's notches underneath them. Um, so it's a bit more complicated, but it's great from mixing. So when you're having conflicting signals, try working with the phaser to carve out a space for them. We'll talk about that more when we talk about mixing in a future class 37. Redux: Okay, lets go into reduction now. A couple of videos ago, we talked about a bit crusher. Um, we said that it was not a bit crusher when we were talking about erosion. Uh, this one is a bit crusher. If you're looking for a bit crusher, it is reduction. So what a bit crusher does is, uh it simulates lowering the bit rate. So if you imagine, imagine, like a old Atari or old Nintendo game. Um, where we had eight or even six bit sound it. Have it really gnarly. Feel to It is how you can get that. So I'm gonna put it on this opening Arpeggio hated thing. It's on now. Section Okay, so it's on now, but it's up on 16 bits, which is where audio normally is. So we don't hear anything, So let's pull back a bit. So we still don't here. We're not gonna here until about aids. Or so it's gonna give a real noisy wait. So we get down to two bits. All we really have is on and off with the volume of this thing. So it's just full last or not, and that makes it really dirty sounding we can also down sample it, which will give it even mawr of that. That old eight bits feel. Switch this off Here. Wait. So now we have that really gave, like, classic video game sound. So that is a bit crusher. Lots of fun, real noisy. 38. Resonators: Okay. Up next is resonate er's so resonator xyz kind of like also what you would think Throw it right on here. What this does is it kind of imagine we have our sound and then we're gonna add, uh, other little tubes and things coming off our sound, Each one of those giving, like a characteristic kind of pitch or something like that. Um, let's try some of their built in because this thing is a little tricky to dial in. Let's do the Paris resonator. Okay, let's just hear what that does. So here it is, without so that added a lot of harmony into this this sound because, look, we're adding all of these other frequencies. We're adding D two and then trance positions of what's coming in. So, uh, plus two steps plus two steps plus five steps plus five steps and then volume of each one of these. Okay, so here we've added a d to at zero volume, which is the same volume is what is in it. And then plus two steps, two steps, five steps, um, all at the same volume coming in. So, um, adding a whole other kind of ah harmony. Tried Los Angeles. Theo, Theo, way back to the parents. Wouldn't leave it there. So you can really dial these in to do whatever you want to do to fit your harmony. Um, and you can turn some of them often on. But imagine they're like these extra things that are gonna resonate. You don't want these to be like a way to create additional harmony. Really? Um, because you'd have to automate all of them to switch with your cord or whatever you were doing, but to give additional life to a sound with just some extra frequency content, especially with percussion sounds. Believe it or not, it doesn't sound like this would be a great percussion thing to use. But it is. Actually, it's great on percussion, so keep that in month. 39. Saturator: okay with saturate. Er we have another kind of complex effect here. This is a way of shaping ah effects. So ah, lot like the wave shaper that we saw out here in our synth. Right. So what we have here in the interface here is imagine the signal coming in over here going out over here, and this is showing us how much of the effect is getting applied. More or less so we have a couple different settings here. Let me see what I put this on way. Have a couple different settings that way. Waken treated as a distortion if we want. Um, the sign fold is good for some special effects. Really? Crank up the base. That's a cool sound, but there's a whole wave shaper built in here that's kind of hidden. So if I select a wave shaper and then I go and click this little toggle up here, don't forget about this little thing. Now I have these extra controls. Those extra controls on Lee show up with the wave shaper, right? We can't use them in anything else. So wave shape or what I can do is make you know. Ah, kind of fun, weird curve like that. And then if I turned to drive all the way down you see it's just a line, because remember this lines representing like how much of it is being used. So if I turn it up, this is what my wave is turning into. I kind of like that. It's really noisy, but it's giving me some real plunge. Eso There is this whole way of shape or section built into here. You can still control how much drive you you're using and a dry, wet mix as well, as well as just your general output volume. So we could maybe turn that one down. There we go. Go. So have a lot of fun with saturate er. 40. Vocoder: Okay. Last of our frequency effects is going to be the vocoder case of the vocoder. Ah, little deceptive. This is not a new auto tune kind of thing. Um, this is kind of a way to make something sound vocalized, and there's other things behind it, but, um, let me show you. Ah, how I like to use it. So we've got our signal coming in here. Let me just turn this offer second. So this is a signal I've got in. Turn it on. And so what you basically need here is a carrier and a modulator. K. The modulator, uh, is the signal on the track. The carrier can be one of four things could be noise. I can control parameters of the noise. And this is what it sounds like, right? This is kind of like that convolution stuff. I was talking about weight earlier. Um, where were kind of multiplying signals together Modulator pitch tracking. Which is where you get kind of that vote coders types of sound or my favorite. And this is what I like to use this for external. When we say external what we're gonna dio we're going to select another track. So I'm going to select one of my other string tracks and have it modulate this track with that track rich scene. Cool. There's a lot you can do with this vocoder, but really try pulling in another track, even like, let's grab one of my drum tracks, right? That's pretty sweet, because now this drum track is being modulated by, uh, this since Trump. But if I did this track, that's pretty cool. Um, it's actually kind of hoping I found this one. Ah, a little too much. Um, let's keep it on this first trip, because what we could do, then his mute this We can't meet that in our mix. We could mute this track. Ah, it's good automation. And I think it will work. Yeah. So now this will be our drum track for this part of the tune, right? Maybe. Right about there. We'll have the drums come back in. Okay, We're gonna listen this whole thing in just a minute. In fact, let's do that now. Um, okay, let's go to a new track, and then we'll see what we've done with all these crazy effects. 41. All The Frequency Effects: okay. I didn't think I was gonna be able to keep that up. Keep putting all those effects on these tracks. Um, but I think I did it. So, uh, let's let's hear it. Um, this might be crazy, but let's find out what we did just for fun. 42. Dynamic Effects: all right, we are onto dynamics effects, dynamic based effects. Remember, dynamic in the sense means volume. So you might be thinking, like, what? What could that possibly be? Right? Like we have a volume knob and it can go up and down, right? Um, it's actually a lot more to it than that. There's a lot of effects that are, um, either based on the volume of something happening or adjust the volume happening. Um, most of them that we're going to talk about our, you know, adjust the volume that's happening or with some exceptions, so in the way that and when we looked at time based effects, we looked at. These are mostly different kinds of delays. We looked at frequency effects we looked at. These are mostly different kinds of accuse with dynamics effects. These are mostly different kinds of compressors. Okay, so a compressor is what we're talking about here and then a bunch of different kinds of compressors and then a couple out of all things, too. Eso Let's dive in first and look at the compressor 43. Compressor: Okay, We're going to see the compressor. Best on this percussion track, I suppose. What's solo that? So, um, let's find our compressors. So we got start with this compressor. I'm going to throw it on there. Okay, so here's what's happening in a compressor. Ah, you see, in our way for him, actually. Let's look at our away form. Really quick. See how this attack here is much quieter than this attack here. Right? Obvious. Okay, so what a compressor is gonna help us do is level those out. We can either boost this one, or we can scale back this one, or we can do some combination of both and we can do it so that they're totally flat so that this is as loud as that. Or we can do it where they still have some variation. We just ah, squish it down a little bit or compress it. Right? So the heist, the loud stuff doesn't get quite as loud, and the quiet stuff gets a little less quiet. Um, so let's look at how that works. So here's our basic compressor. Okay, Threshold, gain reduction in output. So right now, hardly anything is happening. It's only happening when we see some gain reduction. So let's pull our threshold down a little bit. What that's going to do is that's going to set the volume at which things start to the compressor starts to kick in and things start to get a little, um, boosted or cut. Okay, so that's the threshold down here. We have thes three icons. These air really three different ways of looking at the same data. OK, so this is one way of looking at it. This is another way of looking at it. And this is another way of looking at it. This is probably the easiest way to understand. Okay, so his blue line is our threshold. That means anything that happens above that threshold is going to get pushed down by some amount in volume. Right? And you can see the volume in the yellow orange ish line. What the volumes doing the volumes, pushing it down whenever one of those really loud things hits. Okay, if I pull this all the way down while he was really pushing down. So now the quiet stuff is almost as loud as the loud stuff, right? You might threshold. Wait up. We're just going to get a touch of it, right? And now this isn't something that you might hear a lot. I mean, you probably hear it if I really just do this, all right? You can hear the compressor going crazy, but most of the time you don't hear it so obvious. But it becomes really important in your mix, and and it can be important as a sound effect, but less important, um, as a sound effect, let's look at it in the other way. This is the way we see compressors most often. So what we're seeing here is kind of a grid of what's happening. So the little dot is where our volume is at the moment. The big dot is our threshold. Okay, so my threshold is above most of little dots were not seeing hardly any game reduction if I move it down. Okay, Now it's all the way down, but when this is in a straight line means we're not doing anything. It means what's coming in is what's going out. So I would do this. This means anything that's at this volume is going to be reduced by a little bit anything, it's that this volume is gonna be reduced by more, but it still has some curve to it, right? There's some line. If I was to do this, everything is treated as the exact same value, right? That's moving our threshold down to zero. So typically you might want something like this in drums. Now there's an extra thing. You'll finding compressors called makeup gain. And that's on right now. What makeup gain does is it says when we push the volume down of those loud things. Also pushed the volume of everything up by the same amount so that we stay more or less act the same volume. We're just reducing volume of the loud stuff, and then we're gonna boost the volume of everything. That's what makeup game is. So if I take to turn that off and then we, uh, compress everything, it gets really quiet, right? So we turned on makeup gain so that we're still back up in the range that we were in. Okay, So to summarize all of that, a compressor takes your loud stuff and quiet. Sit down. Um, that's basically it. It's basically someone sitting there on the volume knob controlling it. Whenever something loud happens, they turn it down and then they turn it back up as fast as they can. And that speed at which they turn it back up is here. Release. You can slow that down if you want. Um, and the speed at which they turned it down whenever they hear something loud is here the attack. Okay, so that's a compressor M. Now let's look at a couple different kinds of compressors. Up next is the glue compressor. 44. Glue Compressor: Okay. Next. We want to look at the glue compressor. Now what this one does this is ah, able to something and what it does, is it specialty is to be a compressor, but also compressor that blends things together really well. So in order for this to really work because I'm going to do, I'm gonna take my three drum like things. I'm gonna put them in a group from a select, um, command G. And now those are in a group right here. Okay. And I'm also gonna put this bottom one because this one is now drums also. All right, I'm also gonna put this one in that group. Okay? So now I have four things that are drums. Okay, so now I'm gonna take a glue compressor, and let's look at a preset. It's too full parallel, and I'm gonna put this on the group, Okay? So I put in effect on the group That's gonna put the effect on all everything in the group . So what we have here, um, is another compressor. We have threshold. We have makeup gain, attack release ratio, everything we saw in the previous one. Okay, so let's look at now the compressor waken already here out of the boxing's air, blending quite a bit better. Um, all that drum stuff working together is a little less muddy. It's a little more clean. One of the big things you can do with this compressor is the dry wet. Um, they might think that doesn't sound all that big a deal. We've seen a dry wet on every effect, but you typically don't see them on compressors. Um, so this what we're doing here is called parallel compression. If you've ever seen that term before where we've got, we're compressing it, which is our wet signal. But we're also letting the not compressed through Okay, um, we could just hear the compressor and do the parallel compression. Either way, um, listen to it. See what you think. Um, but that's what's happening here. It's trying to kind of form everything together and again weaken side, chain to this. Think we've already talked about side chaining? Yeah, I think we did. Um, if we didn't, we're going Teoh very, very soon. Yeah, OK, we did. I just checked. Um, so you know, it's I chaining. It's so you can use this aside chain if you want to do some volume reduction based on another input from another track, because also cool. Okay, next, let's go to a limiter. 45. Limiter: okay. Ah, in a limiter. What we're doing here is, um, kind of like a compressor, but only 1/2 of it. It's like half a compressor. Kind of what we're saying here is we're gonna set a ceiling. And what that ceiling says is you meaning this track cannot get louder than this. No matter what happens, it's not gonna be particularly smart about it. It's just going to say no. Whenever you try to go over the ceiling, it's just gonna flatten you out right at the top. Okay, so, um, and what I'm gonna do now is I'm actually gonna put this on our group also, so that, um we don't get too out. And let's have a so way I see it working here. So whenever we see some orange coming down here, that's that was hit in the ceiling, and it's reducing the game for us. Okay, so, um, you know, set this to something on. It's a relatively simple effect. It just says this is loud as I could go and no louder. So, um, we use these in mastering, sometimes put it kind of like the end of a chain of effects, just to make sure nothing clips. Um, this would prevent that kind of a brute force way is kind of a last resort, but if you've got some clipping problems, it might be able to help you. All right, up next. Multi band dynamics. 46. Multiband Dynamics: Okay. Multi band dynamics right here. Now, this one, I'm gonna put on our master track. Okay, That would be all the way down here. Bottom line. Okay. Be careful about putting stuff on your master track. You generally want to do that very sparingly. That's kind of Ah ah, mastering process thing. Um, but if you are gonna put one down there, this isn't a terrible one to put there. So this is kind of like we saw Ah, e que earlier That or a delay, actually earlier that we could delay the lows, mids and highs by different amounts. Right, This kind of same thing. Except it's a compressor. So we have basically an e q and A compressor built into one here. Okay, So here's our high stuff. Mid stuff. So we can set kind of our definition of what's high and low, just like we saw before. Now, we also have here a little weird graphic thing, and basically, this is our threshold. Okay, so say American push highs a little bit. We want volume. Okay, so we basically have a separate compressor for every, um, for the three different bands here. And if we click in push up or down. This will increase or decrease the volume of that area. So there's a lot of stuff here to play with, but a really good mastering, uh, plug in. Good for filtering out your signals. And we'll look at another way to do this really kind of a similar thing once we get into effects racks in the next class. Um, but for now, keep an eye on multi band dynamics. It's a really good a mastering plug in. 47. Gate: All right, Gate, let's find a good track gate on. Maybe this one, um, what we could do with gate here. So what gate does is it's kind of the opposite of a limiter. What it does is it says a signal needs to reach a certain volume before, uh, we will hear it. Okay, So what this gate is going to do is all these sounds they attack and then they decay, right? We can chop off that decay with the gate. So what we're gonna do, you have to find where those air hitting, okay. And they're all very quiet, so let's boost. Okay, so now we've got that back in there. Now, if we want to way kind of tale of those, let's turn down our release. You're kind of just like turning off instead of these is naturally fading out. Turning off gait is also a good effect for, um, if you're recording something in and you've got some ah, background noise in it, gate will not help with that situation. But I've used it before when I've been, like recording dialogue and there's been extraneous. Sounded like another a nearby room. And I put on gate so that, um, the mic is basically Onley on when the actor was talking, right? So that background noise is still in there. It's not filtering that out. Um, except in between words. You couldn't hear it, so it was much less of a problem. It's not often that you want to use. It's actually kind of never that you want to use gate for noise reduction. It doesn't really work that way. But, um for, like, triggering events, sculpting events, things like that. It works really well. All right. On to drum bus. 48. Drum Bus: everyone. So drum bus is a brand new plug in or a new effect. And I think for this one I'm gonna hand it over to my colleague James Patrick, who's gonna walk us through his demo of drum bus, which is a really cool demo. So let's watch his really quick and then you'll be back to me. Everyone, this is James Patrick at Slam Academy, back at you, looking over some new features and live 10. Um, the sketch we just would last one over in the wave table video sounded a little bit like this. Today we're gonna look over the drum boss device. Let's listen to this drumbeat. This is a pretty cool drumbeat. If I grab the drum boast device, that's right. When I slap it onto the bead Stella more punch. The drive here can run in soft, medium hard mode, kind of like you remember those soft, medium or hard mode distortions from earlier versions alive. But this just sounds a lot better, like way more gritty, gnarly something that the older ones. But now the real fun is over here, and crunch and boom. There's three different modules trim, crunching boom. I think we have 20 a crunch. Let's hear it. Where the crunch really gets fresh is just had a tiny bit on. Now you tweak transients Wasn't Tom's. Check out the boom. Turn your 99 into a NATO it Okay, time, right. Look, it tells you the pitch. Even my song isn't see minors Bring this down to see Losi. That's like 32 hurts. That's too low. Put up 64. That's gonna give you. See, I'm running with 32. Too bad you folks on the Internet can't even hear that. You're gonna have to come to slam academy dot com and play around with this thing with me where the best electronic music education in the world is available. Slam academy dot com. Check us out. 49. AutoPan: all right. Every sweet, Huh? Um, back to me for one mawr. Um, dynamic effect. And that's gonna be auto Behan. So auto pan. Pretty simple. Um, it's panning with an LFO, right? Nothing too complicated. So it's throw it on this track. All right, Let's Okay, we're looping that part and speed phase if we want and change the shape signed to square. Okay, so if you're using headphones should be able to hear this kind of moving back and forth. Right? Cool. Um, so all of the auto stuff still applies. We can change it to a division of the beat. So it's moving every quarter note, for example, or one bar. Let's do quarter note. Now it's going moving left to right over every bar, remember? Are panning is the left to right mix on. And this is just gonna, like, have someone sitting there turning that dial up and down, left to right on this track, it can get a little nauseated ing, So let's, um Let's speed it up to one one bar. Right? It's a little bit better. Okay. Great. Um, I don't think we need to listen to this goofy track again. Um we have sufficiently destroyed it. But let's go on and talk about our other audio effects some some of the kind of oddball things that Aaron live that don't really fit in any other good category. 50. External Audio Effect: Okay, first up for the kind of oddballs external audio effect. If I throw that on something, this is actually really cool what this does. It's kind of like we saw a next journal instrument when when we were looking at instruments is kind of like that. Like, let's say you have, like, a guitar pedal. Um, that you really like, right? It does something really awesome. You can't find any way to emulate that in software. Totally legit might be totally true. Um, you can use it. Ah, you would load up this external audio fact. That's kind of the easiest way to do it. And you'd say audio out to. So in my case, I would say Channel two, Let's say so. That means the output on my hardware device. I'm gonna plug a cable into that and then into my guitar paddle over my affect or whatever , right, that's gonna send this channel out to it. And then I would say it's gonna come back in, um, Channel three. I'd have to turn Channel three on, but then I could plug out of that effect back into my audio interface on Channel three. Okay. And then that's it. It's gonna route it right through. Okay, I could actually even do it with, um I could say audio one. So my voice No, I didn't turn it on. So in this case, my voice would be going sent out to that effect and run back through and in through Channel two. We could do it. I don't know why I do these backwards idea to audio one. Yeah. So now we're coming back. Well, now we're coming back in. Audio one. I was right before, and you can control the dry wet, um, the gain of both the output and the input in the same way that you would with any other effect. Ah, this just lets us get outside of our computer in a relatively easy way, um, to use any other effects that you might want to use. So it's handy to have 51. VinylDistortion: all right. Up next. Vinyl distortion, uh, is kind of exactly what it says it is. We can throw some vinyl distortion on track. Let's actually put it on something to put it on this one. Let's throw it on something a little more obvious here. Um, throw it here. Okay. Was already pretty dirty, so we might not hear this too much. So all we're really doing here is trying to simulate, um, a vinyl record. Right. You still kind of hear it crackling like it's playing, but, uh, there's no there's There's no signal on the record. Kind of, um, it's neat, you know? It's not Ah, groundbreaking. I don't know what I'll say about it. Uh, make it sound like you're pulling your sample from a vinyl record. There you go. 52. Spectrum: Okay, next up is spectrum. And unlike the vinyl record one, um, Spectrum is wildly useful. Um, So what we're gonna do with Spectrum is under throw it on, sort on that same track can. It looks like this. The reason that spectrum is so useful but doesn't go into any of our previous categories is that it doesn't actually do anything to our sound. It just tells us a lot of information about ourselves. If I play, we can see what's happening in a lot of detail. In fact, I've even got one of these little toggles up here, right? And we know what that means. It's gonna go up there, and I could drag that bigger if I want. Okay, Now, I can really see what's happening. So if I'm gonna use Q A phaser and anything, I can really see how it's gonna be affecting this sound. Um, once I put a spectrum on it, so just be sure you put your spectrum first. And then whatever facts, in fact, let's do that. Let's look at, um, let's go back to that phaser. Well, it's a little hard to see in this way for him if I just screwed up some noise. You feel to see it better. But if we look close, we can see how this phaser is affecting this way. Could use an e que No, Let's make sure the e que comes before the spectrum so that we're seeing the right thing. But in this we can see all this high stuff has been chopped off. Still little in there, but probably from all those distortions, I added. What if I added back up? We can kind of create a little wave and our respect from here. Cool. Eso spectrum is hugely useful, but it doesn't change our sound at all. Just for visualizations, it really helps us. 53. Tunes: All right, What would we be if we didn't have a tuner? This is just like your standard old guitar tuner. Right? Um, attracted. I put this on. Let me put this on something where, um, my voice is going through it. So now I can. So if I turn my mike on, I can Ah, uh, you know, use it as a ah, uh, tricky. Tricky to sing a perfect c sharp. Not that I was aiming for a c sharp before I started, but that's where we landed So handy. Make sure your acoustic instruments are in tune before you record them will make it a lot easier to add other stuff to it. 54. Utility: okay, Utility. Ah, utility is also kind of useful. Think of it as kind of like an odds and ends thing. Um, I found this to be most useful when I was having to swap stereo channels in some cases. So if you have a stereo audio file, you've pulled in and you want to treat it like a left or treat it like a right channel, Um, or you have a left or right channel that you want to treat as a stereo. This can kind of force it, or you have left and right channels. And you want to swap. Um, you can do that and switch them out. Um, you can treat this as a mono based signal, um, and then adjust the volume and about left, right balance on the output mute or give it a D. C. Offset, Which is kind of like a voltage thing. If you've got a weird home in a recording, try turning the d. C outside on. You might get rid of it. Um, but most useful for likes whopping channels in dealing with some mono stereo stuff. Um, so when you encounter those, remember that the utility plug and exists for exactly that purpose 55. Whats Next: all right. And that is all our effects. Um, all the native live effects. Um, in one class, every single one of them. Um, my voice is getting hoarse, even though I spent, uh, two weeks making that, um, the voice is getting hoarse as of today. What is up next Up next, We're gonna go into class number six in this series, The last one before the max for live one. Um, and this one's all about, ah, deejay techniques and controllers. My colleague James Patrick, who you just met, um, in the drum bus video you're gonna hear from him again because he is a pro D. J. And I am not so much of a deejay. So he's gonna walk us through some of that stuff, and I'm gonna kind of fill in the gaps on some of the technical things that he talks about . So stick around for that. That's gonna be the next class. We're also gonna talk a lot about working with controller, so it's not all deejay stuff. So if you're not interested in being a d. J, you should still watch it because we're gonna be talking about ah, working with other controllers. Um, the A P c 40 The push. Um, these are all different controllers keyboards, guitar, midi guitars, things like that. So stick around for that. I've got a couple more quick things for you in this class, and then we'll be often running on live six. 56. Thanks Bye: All right, everyone, that is the end of ultimate able to live 10. Uh, part five. I'm like, losing track of all these numbers now. Um, thanks for hanging out. Thanks for being a part of this class. It's been a lot of fun to make. Um, like, all of the classes. Um, it's been really great having this this big able to in community here, Um, and I hope to grow it with the able to 10 things. So tell your friends, um, in the meantime, usual deal. So in the next segment here, I've got a discount thing for you to get other classes nice and cheap, including the next able to class. Uh, part six, the deejay techniques and controllers one. So please check that out. And you can also get into my other classes. Like my music theory classes. Um, my other audio production classes sound design things like that. So, um, please check those out. Get that. Pdf in the next thing. And you can take more classes with me because they're fun. Ah, and I have fun making them. OK, we'll see you in the next one. 57. 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.