Music Production for Beginners: The Complete Ableton Course

Make sure that you complete the task at the end of each video. It will help increase the amount of information that you retain throughout the course.

If you get stuck, ask questions in the comment section below each video.

Your Task

1. Download the sample pack using the link above.

2. Drag and drop each audio loop onto its own audio track.

3. Align the audio loops with one another on the far-left side of Ableton’s Arrangement View.

4. Loop the arrangement using Ableton’s Loop Brackets so that the audio loops repeat themselves when you engage playback.

5. Save the project to your desktop (File > Save As…)

This is a supplemental lesson that will teach you how to use Ableton's Warp feature. For this lesson, you don't need to make any changes to your project. Simply follow along with the video and pay attention.

The two main takeaways from this lesson are that:

• an audio clip with Warp engaged, and its native tempo specified, will play back at the tempo of your project.

• an audio clip with Warp disengaged will playback at its native tempo.

You'll undoubtedly need to warp audio clips manually at some point. Ableton typically warps audio clips automatically for you, but if it can't identify the native tempo of an audio clip, then it won't warp the clip automatically.

For example, in the previous lesson, the audio loops that you imported into your Ableton project were warped automatically because each audio loop contained a clearly defined tempo.

However, if you were to import the sound of a baby crying into Ableton, the audio clip would likely contain no discernable tempo, meaning that the audio clip would not get warped automatically.

In this lesson, you'll learn about the common structure of lyrically-focused songs, in addition to the somewhat different structure of electronic songs.

Your Task

1. Look up the lyrics to three songs on Genius.

2. Analyze the structure of each song’s lyrics.

In this lesson, you'll learn how to turn a basic loop-based idea into a full song.

Your Task

1. Download the reference song using the link above.

2. Import the reference song onto an audio track.

3. Align the beginning of the reference song with the timestamp at the top of Ableton’s timeline that says 5.

4. Add a Locator to the beginning of each song section.

5. Align your audio loops with the beginning of the reference song.

6. Duplicate your audio loops to fill in each song section.

7. Delete audio loops to create a visual song structure.

In this lesson, you'll learn where you can find royalty-free sounds that you can use in your songs without worrying about copyright infringement.

Your Task

1. Download three large sample packs from any of the resources from this lesson.

2. Create a "Sample Packs" folder on your computer and add all of your sample packs to it. If you want to take things a step further, you can categorize samples into the following subfolders:

• Arps

• Basses

• Bells

• Brass

• Chords

• Drums

• FX

• Guitars

• Keys

• Leads

• Pads

• Plucks

• Strings

• Subs

• Synths

• Vocals

3. Create a folder on your computer called “Sample Packs”.

4. Move the sample packs that you downloaded into the folder you created.

5. Add the folder to Ableton’s Browser.

In this lesson, you're going to learn about the importance of matching the tempo and key of audio loops that you use within your songs. When you search for audio loops on Splice, you can filter samples by their tempo and key, which makes it easy to find loops that sound good when layered together.

Your Task (Optional)

1. Add some audio loops in the key of F# minor to your Ableton project.

2. Remove existing audio loops to make room for the new audio loops if your arrangement starts to sound crowded.

In this lesson, you'll learn how to format and render your song correctly.

Your Task

1. Wrap your arrangement with Ableton’s Loop Brackets.

2. Click the Loop Brackets to highlight your arrangement.

3. Navigate to File > Export Audio/Video…

4. Use the following export settings:

• Rendered Track: Master

• Render Start: This is set automatically based on the location of Ableton's loop brackets.

• Render Length: This is also set automatically based on the location of Ableton's loop brackets.

• Include Return and Master Effects: Off

• Render as Loop: Off

• Convert to Mono: Off

• Normalize: Off

• Create Analysis File: Off

• Sample Rate: 44100

• Encode PCM: On

• File Type: WAV

• Bit Depth: 24

• Dith Options: Triangular

• Encode MP3: Off

5. Click “Export” to export your song.

In this lesson, you'll learn how to save Ableton projects in a way that avoids the very annoying "Sample Offline" error.

Bonus Tip: To fix an existing "Sample Offline" error:

1. Click on the text that says "Media files are missing. Please click here to learn more." This text is found at the bottom of Ableton within an orange box.

2. A sidebar panel will appear that provides you with the ability to relocate the audio files used within your project. Click "Set Folder" to indicate where you'd like Ableton to search for the missing files, and then click "Go." Ableton will provide a number of search results.

3. Click on the magnifying glass icon next to the name of the missing sample, and a list of available audio file replacements will appear within Ableton's Browser. Click on the audio files that appear to audition them.

4. When you've found the right sample, make sure that it's highlighted, and then press [Enter] on your keyboard. The offline sample in your project will now be linked to the correct audio file on your computer.

Your Task

1 . File > Collect All and Save.

In this lesson, you'll learn why gaining a basic understanding of music theory is important, and we'll also take a look at the music theory concepts that will be discussed throughout this section.

Your Task

1. Download "The Music Theory Cheat Sheet" using the link above.

In this lesson, we briefly review the concept of tempo which we previously took a look at when producing a song using audio loops. Tempo refers to the speed of a song. Songs with a slow tempo will cause you to bob your head slowly, while songs with a fast tempo will cause you to bob your head quickly.

In this lesson, you'll learn how to interpret time signatures, and you'll also learn about the role that note values play within written music.

A bar is a measurement of time specified by the number of beats equivalent to the numerator of a time signature. If the numerator is set to 2, there are two beats per bar, and if the numerator is set to 4, there are four beats per bar. The numerator value you choose to use can affect the feeling of a song without changing the tempo. For example, 4-beat musical ideas will feel different than 3-beat musical ideas.

The denominator of your project’s time signature dictates the length of one beat, which is indicated by a number—this number can be set to 1, 2, 4, 8, or 16 within Ableton. Each one of these numbers corresponds to a different note value:

• 1 = Whole Note

• 2 = Half Note

• 4 = Quarter Note

• 8 = Eighth Note

• 16 = Sixteenth Note

In 4/4 time, one bar can fit one whole note, two half notes, four quarter notes, eight eighth notes, or 16 sixteenth notes. Alternatively, one bar may contain any combination of these notes, as long as they don't exceed the value of four quarter notes. Why four quarter notes? Well, the time signature indicates that each bar contains four beats (numerator), and that each beat is equivalent to a quarter note (denominator), meaning that each bar is the length of four quarter notes.

Your Task

1. Open a new Ableton project (File > New Live Set).

2. Engage Ableton’s Metronome.

3. Adjust Ableton’s Time Signature. Listen to how the following time signatures sound:

• 2/1 (Two whole notes per bar)

• 4/4 (Four quarter notes per bar)

• 3/4 (Three quarter notes per bar)

• 7/8 (Seven eighth notes per bar)

• 15/16 (Fifteen sixteenth notes per bar)

In this lesson, you'll learn how to trigger virtual instruments using MIDI notes that you've programmed into Ableton.

Key Commands:

• Create a MIDI Track: [Cmd][Shift][T] (Mac) / [Ctrl][Shift][T] (Windows).

• Create a MIDI Clip: Highlight a selection along the timeline of a MIDI track and then use the keyboard shortcut [Cmd][Shift][M] (Mac) / [Ctrl][Shift][M] (Windows).

• Create MIDI Notes: Use the keyboard shortcut [B] to activate the Pencil tool or double-click on Ableton's Piano Roll.

• Narrow Grid: [Cmd][1] (Mac) / [Ctrl][1] (Windows).

• Widen Grid: [Cmd][2] (Mac) / [Ctrl][2] (Windows).

Your Task

1. Visit the music theory website mentioned in the video.

2. Start by memorizing the names of all the white keys.

3. Then memorize the names of all the black keys.

• Change the settings to include all the b and # notes.

4. Keep practicing until you can identify every note on the keyboard in under 1 second.

5. You need to have these note names memorized before moving forward with this section of the course.

An interval is the difference in pitch between two notes. To create chords, you first need to understand how to create intervals. You should work towards memorizing the following intervals which are listed on your music theory cheat sheet:

• Unison = 0 Semitones

• Minor 2nd = 1 Semitone

• Major 2nd = 2 Semitones

• Minor 3rd = 3 Semitones

• Major 4th = 4 Semitones

• Perfect 4th = 5 Semitones

• Tritone (Diminished 5th) = 6 Semitones

• Perfect 5th = 7 Semitones

• Minor 6th = 8 Semitones

• Major 6th = 9 Semitones

• Minor 7th = 10 Semitones

• Major 7th = 11 Semitones

• Octave = 12 Semitones

Your Task

1. Visit the music theory website mentioned in the video and practice visually identifying intervals for 10-15 minutes.

2. (Optional) Once you've memorized all the interval formulas, practice identifying intervals by ear.

A scale is a set of musical notes ordered by their pitch. Scales ordered by increasing pitch are called ascending scales, while scales ordered by decreasing pitch are called descending scales.

Generally, scales are used as a practice tool to help memorize certain groupings of notes that produce a particular feeling—these groupings of notes that span the length of a keyboard are called keys. While the notes used within a scale and its related key are the same, the difference is that you play scales ascending and/or descending, while you write music within a particular key.

To create a scale, and discover the notes a part of its associated key, choose a root note on your keyboard and then apply one of the following formulas:

• Major Scale Formula: WWHWWWH

• Minor Scale Formula: WHWWHWW

• W = Whole Step (2 Semitones)

• H = Half Step (1 Semitone)

You can find these formulas on your music theory cheat sheet.

Your Task

1. Write down the notes used in the following major keys on a piece of paper (WWHWWWH):

• C Major

• D Major

• B Major

2. Write down the notes used in the following minor keys on a piece of paper (WHWWHWW):

• A Minor

• C# Minor

• G Minor

Start on the root note of each key.

Apply the appropriate major or minor formula to find the other notes included in the key.

In this lesson, you'll learn how major keys and minor keys relate to one another, which is going to allow you to transpose audio loops effectively in the following lesson.

By moving three semitones down from the root note of a major key, you land on the root note of its relative minor key. Additionally, by moving three semitones up from the root note of a minor key, you land on the root note of its relative major key.

Finding the relative minor key of a major key:

• Start on the root note of the key.

• Move 3 semitones down.

Finding the relative major key of a minor key:

• Start on the root note of the key.

• Move 3 semitones up.

Naming relative major keys and minor keys appropriately can be a little confusing in certain situations, but not if you remember this rule: a minor key and its relative major key are always separated by a single letter in the alphabet. For example, A minor and C major are separated by the letter B, whereas Db minor and Fb major are separated by the letter E.

In most situations, you should try to simplify the name of a key as much as possible to avoid unnecessary confusion. For instance, the key of Fb major contains Fb, Gb, Ab, Bb, Cb, Db, and Eb—every single note is flat. By referring to this key as E major (same root note), you can remove some of the flat symbols. By doing this, you end up with E, F#, G#, A, B, C#, and D#. Working with four sharp symbols is much easier than working with 7 flat symbols.

Your Task

1. Find the relative minor key of the following major keys:

• C Major (Answer: A Minor)

• D Major (Answer: B Minor)

• B Major (Answer: G# Major)

2. Find the relative major key of the following minor keys:

• A Minor (Answer: C Major)

• C# Minor (Answer: E Major)

• G Minor (Answer: Bb Major)

In this lesson, you'll learn how to re-pitch audio samples to fit the key of your song, regardless of the original key of the sample.

• Situation #1 (Major Song, Major Sample) = Match the root note of the sample to the root note of your song.

• Situation #2 (Minor Song, Minor Sample) = Match the root note of the sample to the root note of your song.

• Situation #3 (Major Song, Minor Sample) = Match the root note of the sample to the root note of the relative minor key of your song.

• Situation #4 (Minor Song, Major Sample) = Match the root note of the sample to the root note of the relative major key of your song.

At the end of this video, I mention that it's possible for an abundance of minor-key samples to pull a major song into a minor key, and vice versa. So at what point does a song flip into its relative key? Well, it's a somewhat subjective matter and it depends on various factors. To be safe, use primarily major key samples if you're writing songs in a major key, and primarily minor key samples if you're writing songs in a minor key. However, don't be afraid to sprinkle in a relative major/minor sample from time to time.

Your Task

1. Create a new Ableton project.

2. Find some E major audio loops online.

• Layer these loops together in Ableton.

3. Find any minor key audio loop online.

• Layer it together with your other audio loops in Ableton.

• Adjust the pitch of the sample so that it’s within the key of C# minor, which is the relative minor key of E major.

4. (Optional) Turn the arrangement into a full song by creating an intro, verse, chorus, bridge, and outro.

In this lesson, you'll learn how to use the circle of fifths to make identifying relative major and minor keys easier. Additionally, you'll learn how to pinpoint the number of sharps or flats within a key, and identify the notes that are meant to be sharpened or flattened.

Order of Sharps: F C G D A E B

Order of Flats: B E A D G C F

Keep in mind that the order of flats is just the order of sharps in reverse.

Your Task

1. Using the circle of fifths, write down the notes used in the following keys on a piece of paper:

• D Major (Answer: D E F# G A B C#)

• F Minor (Answer: F G Ab Bb C Db Eb)

• Cb Major (Answer: Cb Db Eb Fb Gb Ab Bb)

• G Minor (Answer: G A Bb C D Eb F)

2. (Optional) Memorize the circle of fifths:

• Download a blank circle of fifths using the link above.

• Practice filling it in. Either laminate it and use a dry erase marker or print multiple copies.

In this lesson, you'll learn how to create major, minor, and diminished chords. You'll also become familiar with how these different types of chords appear within Ableton's MIDI Note Editor.

Major Chord Formula: Root, Major 3rd, Perfect 5th

Minor Chord Formula: Root, Minor 3rd, Perfect 5th

Diminished Chord Formula: Root, Minor 3rd, Tritone

You can assign a major, minor, or diminished chord to each note in a major key; based on the root note that you select, only one of these types of chords will fit within the key. If a chord uses notes from outside the key that you're working in, you can't use the chord.

Major Key Chord Sequence:

1. Major

2. Minor

3. Minor

4. Major

5. Major

6. Minor

7. Diminished

For example, if you were to apply this formula to the key of C major (all white kets), you would end up with the following chords:

1. C Major

2. D Minor

3. E Minor

4. F Major

5. G Major

6. A Minor

7. B Diminished

You can also assign a major, minor, or diminished chord to each note in a minor key; based on the root note that you select, only one of these types of chords will fit within the key. If a chord uses notes from outside the key that you're working in, you can't use the chord.

Minor Key Chord Sequence:

1. Minor

2. Diminished

3. Major

4. Minor

5. Minor

6. Major

7. Major

For example, if you were to apply this formula to the key of A minor (all white keys), you would end up with the following chords:

1. A Minor

2. B Diminished

3. C Major

4. D Minor

5. E Minor

6. F Major

7. G Major

Your Task

1. Load a virtual piano onto a MIDI track in Ableton:

• In Ableton’s Browser, click on “Instruments”.

• Click the disclosure triangle next to “Simpler”.

• Click the disclosure triangle next to “Piano & Keys”.

• Double-click “Grand Piano”.

2. Create a four-bar MIDI clip on your MIDI track.

• Highlight four bars along Ableton’s timeline and use the keyboard shortcut [Ctrl][Shift][M].

3. Create the following chords within your MIDI clip:

• C Major, A Minor, B Diminished, G Major.

• Make sure each chord is one bar in length.

In this video, you'll learn how to write chord progressions, which consist of a sequence of chords. Typically, a chord progression will repeat throughout a section of a song. For example, the verses in a song may use a certain chord progression, while the choruses use a different chord progression. In some cases, one chord progression is used throughout an entire song.

Chord progressions are expressed using roman numerals. Major chords are indicated using upper case roman numerals, minor chords are indicated using lower case roman numerals, and diminished chords use a lower case roman numeral and a small o symbol to indicate that they're diminished. Some examples of common chord progressions include:

• I-V-vi-IV

• V-vi-IV-I

• vi-IV-I-V

• IV-I-V-vi

On their own, these roman numerals don't refer to any specific chords. You need to apply them to either a major key or minor key to figure out which specific chords they refer to. For example, when applied to the key of C major, I-V-vi-IV refers to a C major chord, G major chord, A minor chord, and an F major chord (C-G-Am-F).

You can create your own chord progressions by selecting a random sequence of roman numerals. If you want to write a major key chord progression, choose roman numerals from this list:

Major Keys: I, ii, iii, IV, V, vi, viio

If you want to write a minor key chord progression, choose roman numerals from this list:

Minor Keys: i, iio, III, iv, v, VI, VII

Once you've decided upon a major key chord progression or minor key chord progression, you'll need to apply it to a specific key. For example, if you decided to use V-vi-IV-I as your chord progression, which is a major key chord progression, you could apply it to any major key. Here are the chords that this progression results in when applied to different keys:

• The Key of C Major: G-Am-F-C

• The Key of D Major: A-Bm-G-D

• The Key of F# Major: C#-D#m-B-F#

Some chord progressions that you come up with will sound better than others, or suit certain songs more than others. There's often a fair bit of experimentation that goes into writing chord progressions, which is something that you should keep in mind.

Your Task

1. Apply the following chord progression to the associated key. Which chords do you end up with?

• Key = F Major

• Progression = ii - V - iii - vi

2. Apply the following chord progression to the associated key. Which chords do you end up with?

• Key = D Minor

• Progression = i - VI - III - v

Your Task

1. Create a major key chord generator.

• Scale (“Major” Preset)

• Chord (“Major Chord” Preset)

• Scale (“Major” Preset)

• Group your MIDI effects together to create a MIDI Effect Rack.

• Map the “Base” knob of both Scale MIDI effects to a macro knob.

• Save the MIDI Effect Rack as a preset.

2. Create a minor key chord generator.

• Scale (“Minor” Preset)

• Chord (“Major Chord” Preset)

• Scale (“Minor” Preset)

• Group your MIDI effects together to create a MIDI Effect Rack.

• Map the “Base” knob of both Scale MIDI effects to a macro knob.

• Save the MIDI Effect Rack as a preset.

If you have trouble creating the MIDI Effect Racks yourself, you can use the following links to download them. Simply drag the downloaded files (.adg files) onto a MIDI track in Ableton to load the MIDI Effect Racks:

• Easy Chords - Major

• Easy Chords - Minor

Your Task

1. Pick a major or minor key.

2. Write a four-bar chord progression.

3. Use Ableton’s Locators to create the following sections:

• Intro: 8 Bars

• Verse 1: 16 Bars + Drum Loop #1

• Pre-Chorus: 4 bars

• Chorus: 16 Bars + Drum Loop #2

• Verse 2: 16 Bars + Drum Loop #1

• Pre-Chorus: 4 Bars

• Chorus: 16 Bars + Drum Loop #2

• Outro: 8 Bars

4. Indicate section changes using:

• Different virtual instruments

• Different rhythms

• Different chord progressions

5. Leave space for other instruments (bassline and melody).

In this lesson, you'll learn how to invert chords, which will allow you to write smoother chord progressions. The three chord positions that you should become familiar with include:

• Root Position: The root note is at the bottom of the chord.

• First Inversion: The major/minor third is at the bottom of the chord.

• Second Inversion: The perfect fifth is at the bottom of the chord.

By transposing notes up/down an octave within Ableton's MIDI Note Editor, you change how chords are voice. Attempting to voice chords so that there's no more than one space between notes on the outside of your chord progressions will ensure a smooth transition from chord to chord.

When a chord is in first or second inversion, it's referred to as a slash chord. A slash chord is a chord that uses a bass note other than the root note of the chord. To notate a slash chord, you write the name of the chord, followed by a "/" symbol, and then the bass note that's used. Here's how you would write a C major chord in root position, first inversion, and second inversion on sheet music:

• Root Position: C

• First Inversion: C/E

• Second Inversion: C/G

Your Task

1. Invert the chords in the song that you wrote:

• Move notes up or down an octave.

• Close the gap between notes on the outside of your chords.

• The goal is to make your chord progressions sound less “jumpy”.

In this lesson, you'll learn how to extract basslines from your chord progressions. Generally, copying and pasting the root note of your chords down an octave will produce the most resolute type of bassline. However, feel free to experiment with using the major/minor third or perfect fifth as the bass note instead—sometimes this will sound great and other times it won't. In some situations, you may choose to add a bassline to the MIDI clip containing your chords, and in other situations, you may choose to move the bassline to a dedicated bass track.

Tip: It's easier to extract a bassline from your chord progression before you start inverting chords because the root note of each chord is at the bottom of the triad.

Your Task

1. Add a bassline to your song:

• Highlight the root note of your chords.

• Copy and paste your root notes.

• Transpose the root notes down an octave.

• Modify the rhythm of your bassline.

2. (Optional) Move the bassline to a separate MIDI track.

• Playback the bassline using a different virtual instrument.

In this lesson, you'll learn how to use chord tones (stable tones) and non-chord tones (embellishing tones) to write melodies. Common embellishing tones include passing tones, complete neighbor tones, double neighbor tones, and incomplete neighbor tones.

• Passing Tones: Occur between chord tones and create a stepwise motion.

• Complete Neighbor Tones: Occur between two instances of the same stable tone.

• Double Neighbor Tones: Two embellishing tones that occur between two stable tones—one a step above the stable tones, and the other below.

• Incomplete Neighbor Tones: Embellishing tones that you need to jump to from a stable tone, but they need to be neighbors with the tone that follows them.

Check out this website for more information about embellishing tones.

Make sure to take advantage of Ableton's Scale feature to hide the notes that aren't within the key of the song that you're writing. Don't get caught up in the technical language used to describe the embellishing tones that we've taken a look at in this video. The main takeaway is that there's some order to the seemingly chaotic process of writing melodies. Experiment with writing chords, basslines, and melodies in Ableton—it becomes easier the more you practice.

Tips to Write Great Melodies

1. Include repetition in your melody.

2. Avoid writing a melody that’s too repetitive.

3. Leave space and allow for silence.

4. Experiment. Develop a rough idea and then refine it.

Your Task

1. Add a melody to your project.

2. Primarily use notes included within your chords (chord tones).

3. Sprinkle in some notes not used within your chords (non-chord tones).

4. (Optional) Make a point to include the following embellishing tones:

• Passing Tones

• Complete Neighbor Tones

• Double Neighbor Tones

• Incomplete Neighbor Tones

If you don't plan to capture live recordings, all you'll need to produce professional-quality music is the following:

#1 - Headphones

Audio-Technica ATH-M50x ($149) - These are high-quality closed-back headphones that will allow you to hear the small details in your songs.

#2 - MIDI Keyboard

Akai MPK Mini MK3 ($99) - This is a 25-key MIDI keyboard with 8 beat pads, 8 knobs, and an X-Y joystick controller. It fits nicely into a backpack and it's a great mobile option.

Novation Launchkey 49 MK3 ($219) - This is a 49-key MIDI keyboard with 16 beat pads, 8 knobs, 9 faders, and two modulation wheels. For most beginners, this is an excellent option for their home studio.

Native Instruments Komplete Kontrol S88 ($1,049) - This is a full-size 88-key MIDI keyboard with hammer-weighted keys. It's perfect for pianists and it integrates tightly with Native Instruments' popular music production software. On top of this, it has light-up keys.

#3 - Headphone EQ

Sonarworks SoundID Reference Headphone Edition ($99) - This software applies an EQ compensation curve to the output of your computer to compensate for the coloration applied by your headphones.

If you plan to capture live recordings, you'll need some additional gear on top of the gear from the previous video:

#4 - Microphone(s)

Audio-Technica AT2020 Condenser Microphone ($99) - This is a great general-purpose microphone that provides detailed recordings. It's an excellent choice for recording drum overheads, acoustic guitar, and vocals.

Shure SM57 Dynamic Microphone ($99) - This microphone is often used to record high-impact sound sources like drums, amps, and aggressive vocals.

Microphone Cables ($8/Each) - You need to use a microphone cable to connect a microphone to your audio interface. 10-foot microphone cables are generally a decent length for most home studio spaces, but shorter and longer microphone cables are available as well.

#5 - Audio Interface

Focusrite Scarlett Solo ($119) - This audio interface provides one mic input and a switchable line/Hi-Z input. It includes two line outputs that allow you to connect a pair of studio monitors. Setups that are possible with this audio interface include:

• Recording with a single microphone and electric guitar at the same time.

• Recording with a single microphone and electric bass at the same time.

• Recording with a single microphone and a piece of outboard gear that produces a mono signal at the same time.

Focusrite Scarlett 2i2 ($169) - This audio interface provides two switchable mic/line/Hi-Z inputs. It includes two line outputs that allow you to connect a pair of studio monitors. Setups that are possible with this audio interface include:

• Recording with a single microphone and electric guitar at the same time.

• Recording with a single microphone and electric bass at the same time.

• Recording with a single microphone and a piece of outboard gear that produces a mono signal at the same time.

• Recording with two microphones at the same time.

• Recording two electric guitars/basses at the same time.

• Recording a piece of outboard gear that produces a stereo signal.

Focusrite Scarlett 18i20 ($549) - This audio interface provides two switchable mic/Hi-Z inputs, six mic/line inputs, 10 line outputs, one S/PDIF input/output, two ADAT inputs/outputs, and a word clock output. Setups that are possible with this audio interface include:

• Record with eight microphones at the same time.

• Record two electric guitars/basses at the same time.

• Mix using six pieces of mono outboard gear or three pieces of stereo outboard gear at the same time.

• Take advantage of the S/PDIF and ADAT inputs to record with even more gear.

• Create various modified versions of these configurations.

#6 - Microphone Stand

Round Base Microphone Stand ($22) - This type of microphone stand is perfect for recording vocals because it stands up straight and it's height adjustable.

Tripod Boom Stand ($17) - This type of microphone stand is great for recording instruments because you can angle it in different directions; this makes it easy to position microphones above or beside instruments.

#7 - Pop Filter

Pop Filter ($8) - A pop filter is often attached to a round base mic stand and positioned between a vocalist's mouth and the microphone they're singing into. It reduces plosives, which are large low-end transients that can ruin vocal recordings.

#8 - Shock Mount

AT2020 Shock Mount ($29) - This generic shock mount is the right size for the AT2020 and it will help isolate the mic from the stand you've attached it to, which can reduce low-end rumble.

Shure SM57 Shock Mount ($49) - The Shure SM57 is internally shock-mounted so a shock mount probably isn't necessary. However, if you find that low-end rumble is making its way into your recordings, this shock mount is the right size to house the Shure SM57.

#9 - Studio Monitors and Acoustic Treatment

Kali Audio LP-6 Studio Monitors ($298/Pair) - These are some of the most affordable studio monitors on the market and they're comparable to many studio monitors at twice their price point. When you purchase studio monitors, you need to purchase a pair of them to be able to perceive a stereo image; this is a fundamental mixing concept that we'll be taking a look at in a later video.

Acoustic Treatment - If you decide to purchase studio monitors, you need to buy/build acoustic panels as well. Otherwise, you're better off using the recommended headphone/headphone EQ setup that was recommended in the previous video. You're looking at about $35/panel if you go the DIY route. An untreated room is guaranteed to cause significant acoustic problems that lead to poor mixes, which is why acoustic treatment is required if you're using studio monitors.

Speaker Cables ($9/Each) - To connect your studio monitors to your audio interface, you need to use balanced 1/4" TRS to 1/4" TRS cables. Connect one end of each cable to line outputs 1-2 on your audio interface, and then connect the other end of each cable to its respective studio monitor.

#10 - Subwoofer (Optional)

Kali Audio WS-12 ($599) - Assuming you've dialed in the acoustic treatment in your room quite well, you can integrate a subwoofer. This will allow you to hear deep low-end frequencies that you can't hear using studio monitors alone. If you decide to purchase a subwoofer, make sure to set it up properly so that it doesn't overpower your studio monitors.

When positioning your desk and speakers, attempt to do the following:

1. Center your desk along the short wall of your room.

2. Measure out 38% of your room's length and set up your listening position at this point. Your listening position is where your head is positioned when sitting in your chair.

3. Align either the tweeters or acoustical axis of your monitors with your ears using height-adjustable speaker stands.

4. Create an equilateral triangle between the face of your speakers and the back of your head.

To save money on acoustic panels, build them yourself by following along with my guide called "How to Build Your Own DIY Acoustic Panels." It will show you how to build 24-1/2” x 48-1/2” acoustic panels that you can use to sound-treat your home studio. These panels are 3" thick, but you can double up the depth of the panels and pack them with twice as much insulation to increase their bass absorption efficiency.

Acoustic panels should be applied to the following areas of your home studio. If you're working with a limited number of acoustic panels due to budget restraints, prioritize the areas listed first:

1. First Reflection Points (Side Walls) - Hang 3" thick acoustic panels and use a mirror to identify where you should center the panels. Center the height of these panels with the acoustic axis of your monitors.

2. First Reflection Points (Ceiling) - Hang 3" thick acoustic panels between your listening position and your monitors. Leave about one foot of space between the back of the panels and the ceiling; this will increase their ability to absorb sound.

3. Back Wall - Use 6" thick acoustic panels to absorb bass effectively. The thicker these panels, the better.

4. Corners - You can stack 3" thick acoustic panels on top of each other in the corners of your room, but if you have the budget for it, consider building or purchasing bass traps. Most bass traps are anywhere from a foot to a foot and a half thick. If you plan on working with a subwoofer, bass traps are essential.

5. Rear Side Walls - Hang some 3" thick acoustic panels on your rear sidewalls to reduce flutter echo and deaden the sound of your room further. Center the height of these panels with your walls, as opposed to the acoustic axis of your monitors.

6. Front Wall - The front wall of your studio is at the bottom of this priority list because your monitors are facing away from your front wall. Your front wall primarily interacts with the sound bouncing off your back wall and the thick acoustic panels applied to the back wall of your studio are already absorbing a lot of energy.

Factors like the position of windows, mirrors, and doors will affect the placement of acoustic treatment. In my studio, I covered a large window with black acoustic fabric to dampen the reflections—it didn't make sense to hang acoustic panels in front of the window. Due to the placement of the doors in my studio, I wasn't able to place bass traps in the back corners, but I was able to use hooks to hang bass traps off my doors. Your studio will provide its own challenges; do your best to think creatively and overcome them. Also, keep symmetry in mind when making acoustic treatment decisions.

In this lesson, we'll take a look at what the recording process looks like at a glance. Make sure to download "The Home Recording Checklist" above before moving forward.

You can use a walk-in closet to record vocals/instruments and achieve great results. The only problem is that you might be limited on space or not want to turn your closet into a recording booth.

Building a DIY recording booth is relatively simple and drastically cheaper than sound treating your entire room with acoustic panels. To build a DIY recording booth, you'll need the following items:

1. Moving Blankets

2. Grommet Tool Kit

3. Background Stand

4. Command Hooks

In this lesson, you'll learn how to connect all of your recording gear together. Follow these steps:

1. Connect your audio interface to your computer using the USB or Thunderbolt cable that it came with.

2. Download and install the drivers for your audio interface; they'll be available through the website of the company that made your interface. If you own a Scarlett interface, download Focusrite's Control software which includes the drivers you need.

3. Plug your headphones into your audio interface's headphone output.

4. Connect your studio monitors to the line outputs on the back of your audio interface using TRS cables.

Your audio interface allows you to record mic, instrument, and line-level signals. Make sure to record with the right type of cable:

• Microphones = XLR Cables

• Electric Guitars and Basses = TS Cables

• Synthesizers and Hardware FX = TRS Cables

Moving forward, we're going to take a deeper look at the audio interface settings and inputs you should use when recording different sound sources (electric guitar and bass, acoustic guitar, vocals, etc.).

Follow these steps to prepare your DAW to record audio:

1. Navigate to Live > Preferences on Mac, or Options > Preferences on Windows.

2. Click on the Audio tab within the Preferences window.

3. If you're on a Mac, select "CoreAudio" from the Driver Type dropdown menu. Windows users should select "ASIO" from the Driver Type dropdown menu.

4. Select your audio interface as the Audio Device. If you're presented with an Audio Input Device option and Audio Output Device option, select your audio interface within both dropdown menus.

5. Use an In/Out Sample Rate of "44100."

6. Reduce your buffer size as much as possible. On Mac, there's a dropdown menu that you can use to change the buffer size. Windows users need to click on the "Hardware Setup" button to change their buffer size. Ideally, you want the Overall Latency value less than 10 ms. If you experience audio dropouts when you engage playback, you may need to slightly increase the Buffer Size.

By pressing the [Tab] key on your computer's keyboard, you can access Ableton's Session View. Doing this lets you view level meters with numerical values on them. Aim for a consistent peak input level between -18 dB and -14 dB within Ableton. An input signal that's too quiet will result in recordings that contain excess noise, while an input signal that's too loud will result in distorted recordings. Ultimately, you just want to avoid clipping while recording a healthy signal.

Leave Ableton's track faders set to 0 dB while recording and adjust your input level using the Gain knob on your audio interface.

Follow these steps to record audio into Ableton:

1. Select the audio interface input that you're recording with from a track's Input Channel dropdown menu.

2. Record arm the track by clicking its Arm Recording button (black circle icon).

3. Click the Arrangement Record button (black circle icon) at the top of Ableton's interface.

4. To stop recording, press the [Spacebar] key on your keyboard.

You can categorize microphones based on their polar pattern. A mic's polar pattern is sometimes referred to as its pickup pattern. Sounds that occur within a microphone's polar pattern are recorded, while sounds outside the mic's polar pattern are rejected. Choosing a microphone with an appropriate polar pattern for the task at hand will allow you to capture recordings that are free of excess noise. Common polar patterns include:

• Omni-directional

• Bi-directional

• Cardioid (Used by the Audio-Technica AT2020 and Shure SM57)

• Supercardioid

• Hypercardioid

• Shotgun

Before you shop around for a new microphone, identify the type of polar pattern that you need; this affects how you can use the mic.

In this lesson, you'll learn how to record electric guitar and bass. We'll explore recording a DI signal, as well as recording an amp using a dynamic microphone like the Shure SM57.

To record a DI signal into Ableton, follow along with these steps:

1. Connect your electric guitar/bass to a Hi-Z input on your audio interface using a TS cable. If your audio interface uses combo input jacks, make sure the input you're using is set to Instrument mode.

2. Loop a section of Ableton's timeline using [CMD][L] (Mac) or [Ctrl][L] (PC).

3. Engage headphone monitoring. Select "Off" if you're using direct monitoring or "Auto" if you're using Ableton's monitoring feature.

4. Record-arm the track.

5. Click the Arrangement Record button at the top of Ableton's interface.

6. With looping engaged, record multiple takes back-to-back.

7. Right-click on the track's header and select "Show Take Lanes."

8. Audition each take, click on the header of your favorite take, and then press [Enter] on your keyboard to make it the main take.

9. Replace sections that need improvement using segments of your other takes.

10. Apply fades and crossfades to the comp that you've created to remove background noise.

To record the sound of an amp into Ableton, follow along with these steps:

1. Connect your electric guitar/bass to a pedalboard using a TS cable. Then, connect your pedalboard to an amp.

2. Set up a dynamic microphone, like a Shure SM57, in front of the amp's grille using a microphone stand.

3. Connect the microphone to a mic input on your audio interface using a microphone cable. Since the Shure SM57 is a dynamic microphone, it does not require +48V phantom power.

4. Loop a section of Ableton's timeline using [CMD][L] (Mac) or [Ctrl][L] (PC).

5. Engage headphone monitoring. Select "Off" if you're using direct monitoring or "Auto" if you're using Ableton's monitoring feature.

6. Record-arm the track.

7. Click the Arrangement Record button at the top of Ableton's interface.

8. With looping engaged, record multiple takes back-to-back.

9. Right-click on the track's header and select "Show Take Lanes."

10. Audition each take, click on the header of your favorite take, and then press [Enter] on your keyboard to make it the main take.

11. Replace sections that need improvement using segments of your other takes.

12. Apply fades and crossfades to the comp that you've created to remove background noise.

There are four primary mic placements that you'll want to experiment with when recording acoustic guitar in mono:

1. Top Fret: Delivers string noise and brilliance.

2. 12th Fret: Provides a good balance between brightness and warmth.

3. Sound Hole: Results in a rich and potentially "boomy" sound.

4. Body: Produces a warm sound that omits most string noise.

Play around with these microphone placements to find one that works. The sound of the guitar you're recording—as well as the other instruments in your song—will impact your microphone placement decision.

Once you've found a general microphone position that works, change the proximity of the microphone in relation to the guitar.

Start with a 12" proximity placement and then move your microphone closer. How does it sound?

Try moving your microphone further than 12" away. Is there too much room tone now? You need to hear how various placements sound to make a well-informed mic placement decision.

Mono vs. Stereo Audio Files

Mono audio files contain a single channel of audio, while stereo audio files contain two channels of audio.

Mono vs. Stereo Playback

Mono playback systems:

• Consist of one speaker

• Allow you to perceive the dimensions of height and depth

• Can accurately playback mono audio files

• Can't accurately playback stereo audio files (the left and right channels get summed together)

Stereo playback systems:

• Consist of two speakers

• Allow you to perceive the dimensions of width, height, and depth

• Can accurately playback mono audio files in dual-mono

• Can accurately playback stereo audio files

Mono vs. Stereo Recording

You can capture mono recordings using a single microphone. To capture stereo recordings, you need to use a pair of microphones.

The Scarlett 2i2 has no “Mic/Line” switch – the Focusrite preamp stage is automatically configured for a microphone when you plug an XLR into the input, and for a line or instrument when you connect a jack plug. Set the INST switch to OFF when connecting a line-level source like a synth or hardware effect.

Within Ableton, ensure that you've selected a pair of input channels from the Input Channel dropdown menu if you're recording a stereo sound source. Otherwise, select a single input channel when recording a mono synth or hardware effect.

In this lesson, you'll learn how to record lead vocals, doubles, harmonies, ad-libs, and whisper tracks. Consider the following before hitting the record button:

• Mic Height: Align the diaphragm of the microphone with your vocalist's nose and angle it down towards their mouth.

• Distance to Microphone: The closer your vocalist is to the microphone, the less room tone and more bass you'll capture. As they move further away, you'll capture more room tone and less bass. Start by positioning your vocalist roughly 8-12" away from your microphone and make adjustments as necessary.

• Use a Pop Filter: A pop filter reduces plosives, which manifest themselves as large low-end transients that can ruin your recordings. For best results, attach your pop filter to a secondary mic stand—not the one your microphone is attached to.

Other than that, recording vocals is very much the same as recording other sounds with a single microphone. Don't forget to remove noise and fade clips together to create great-sounding comps.

To export stems, follow these steps:

1. Make a selection along the timeline using Ableton's Loop Brackets, found at the top of Arrangement View.

2. Move the opening Loop Bracket to the beginning of your song (start of your instrumental clip), and the closing Loop Bracket to the end of your song (end of your instrumental clip).

3. Shift-select the vocal tracks that you want to export as stems.

4. Navigate to File > Export Audio/Video.

5. From the Rendered Track dropdown menu, choose "Selected Tracks Only."

6. Use the export settings displayed in the video.

7. Click "Export."

8. Create a folder on your Desktop called "Vocal Stems".

9. Delete the name that populates within the "File name:" field.

10. Click "Save."

Mixing refers to blending tracks together in a way that sounds good. This section covers the following:

• Mixing Checklist

• Grouping Tacks

• Setting Track Levels

• Capitalizing on Stereo Space

• Essential Mixing Tools

• Bus Processing

• Parallel Processing

• Pitch Correction

• Time Correction

• Mixing Template

Mixing lets you:

• Balance track levels

• Pan track elements

• Add clarity to your songs

• Control dynamic range

• Thicken sounds

• Create a cohesive sense of space

• Fix pitch and timing errors

Mixing can't fix:

• A poor performance

• Several damaged audio recordings

Write down these issues if you hear them in the song that plays:

• Unbalanced track levels

• Narrow sound

• Lack of clarity

• Sounds that fluctuate in volume

• Weak and thin sounds

• Undesirable room tone

• Pitch and timing errors

Do the following to make mixing easier:

• Download samples that sound good out of the box.

• Be critical of the recordings you choose to use.

• Revise your arrangement if necessary.

Your Task

1. Download the Ableton project using the link above.

2. Group together the following tracks:

• Drums (pink)

• Basses (orange)

• Guitars (green)

• Synths (yellow)

• Vocals (cyan)

3. The keyboard shortcut to group tracks is [Ctrl][G] or [Cmd][G].

Your Task

Download the project using the link above if you didn't complete the task from the last video.

Set tracks levels by walking through these steps:

1. Turn the output of your audio interface down.

2. Download the pink noise sample using the link.

3. Load the pink noise onto a new audio track.

4. Loop the main section of your song with the pink noise playing in the background at -12 dB.

5. Solo the pink noise.

6. With the pink noise soloed, also solo the first track in your song.

7. Bring the level of your kick track down until it’s barely audible against the pink noise.

8. Repeat this process for the rest of your tracks, one at a time.

9. Repeat this process again for your buses, one at a time.

10. Download and use the reference track to fine-tune track levels.

Your Task

Download the project using the link above if you didn't complete the task from the last video.

Pan the tracks in your mix to take full advantage of the stereo space available to you. Use a 50L, 25L, C, 25R, and 50R panning strategy to simplify the process. Where appropriate, add panning automation by right-clicking on tracks, selecting "Show Automation," and adding automation nodes.

This lesson is simply an introduction to Ableton's EQ Eight, Glue Compressor, Hybrid Reverb, and Delay, in addition to Klanghelm's IVGI2 saturator. We'll be taking a deeper look at these tools in the following videos.

Your Task

1. Add the following audio effects to an Ableton Collection:

• EQ Eight

• Glue Compressor

• Hybrid Reverb

• Delay

2. Rename the Collection "Mixing Tools."

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. EQ the following tracks:

- "Hi-Hats 1" Track: +4 dB high-shelf boost at 7,000 Hz.

- "Synth Bass - High" Track: Low-cut at 60 Hz.

- Guitar Bus: Low-cut at 80 Hz and -5 dB high-shelf cut at 5,000 Hz.

- Synth Bus: Low-cut at 120 Hz.

- Vocal Bus: Low-cut at 180 Hz and +3 dB high-shelf boost at 5,000 Hz.

- "Pre Choruses" Track: Apply a phone filter:

• Steep low-cut at 500 Hz.

• +6 dB bell filter boost at 950 Hz, 1,600 Hz, and 2,650 Hz.

• Use a Q value of 2.5 for the bell filters.

• Steep high-cut at 3,500 Hz.

• Deactivate EQ Eight.

• Automate EQ Eight's Device Activator button so that the EQ only engages during the pre-choruses.

Compression reduces the dynamic range of audio signals, making the difference between quiet sounds and loud sounds less significant. In this video, you'll learn how to automatically reduce the level of loud sounds using a compressor. Doing this will prevent the volume of your tracks from jumping all over the place, making it easier to set overall track levels.

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. Compress each vocal track individually:

• Add a Glue Compressor to your vocal track.

• Attack: 0.1 ms

• Release: 0.2 s

• Ratio: 4:1

• Set your Threshold level while looping a quiet section of each vocal track. Aim for 0.5 dB of gain reduction.

3. Apply bus compression to each group:

• Add a Glue Compressor to your bus.

• Attack: 0.1 ms

• Release: 0.2 s

• Ratio: 2:1

• Set your Threshold level while looping a quiet section of each group. Aim for 0.5 dB of gain reduction.

4. Apply parallel compression to your drum bus:

• Create a return track and add a Glue Ccompressor to it

• Attack: 0.1 ms

• Release: 1.2 s

• Ratio: 10:1

• Send signal from your drum bus to the compressor at full strength (0 dB).

• Reduce the threshold level until 10-15 dB of gain reduction is being applied.

• Use the return track's volume fader to control the presence of the heavily compressed signal.

5. Apply sidechain compression to your bass group:

• Apply a Glue Compressor to your bass group.

• Click the "Sidechain" button to disclose the sidechain menu.

• Select your “Kick” track as the compressor’s sidechain input signal.

• Click the "EQ" button and set the high-pass filter's cutoff frequency to 200 Hz.

• Attack: 0.1 ms

• Release: 0.2 s

• Ratio: 4:1

• Adjust the threshold knob so that 3-4 dB of gain reduction is applied every time the kick plays.

A saturator applies non-linear compression and distortion to its input audio signal. The distortion generates additional frequency content around the existing frequency content, while the compression prevents the sound from getting out of control (too loud). Saturation makes weak and thin sounds appear rich and full.

The VST folder locations on Mac exist by default:

• Library/Audio/Plug-ins/VST

• Library/Audio/Plug-ins/VST3

You need to make a custom folder called "VSTs" on Windows; this is where you'll install all your plugins. You can place it anywhere you'd like but I recommend putting it in your Documents folder:

• C:\Users\YourName\OneDrive\Documents\VSTs

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. Download and install Klanghelm’s IVGI2 using the link below.

3. Saturate your vocal bus and your drum bus.

4. Experiment with applying saturation to all your buses.

Reverb is the sound that lingers after a sound source stops producing a sound. A sound source could be:

• Someone yelling

• An instrument being played.

• A speaker playing sound.

Reverb audio effects, like Hybrid Reverb, allow you to simulate different spaces by reproducing the sound reflections that you would hear in those environments.

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. Set up a short reverb on a return track:

• Pre-Delay: 10 ms

• Decay: 706 ms

• Low-Cut Filter: 500 Hz

• High-Cut Filter: 2,000 Hz

• Dry/Wet: 100%

3. Set up a long reverb on a return track:

• Pre-Delay: 10 ms

• Decay: 3,000 ms

• Low-Cut Filter: 500 Hz

• High-Cut Filter: 2,000 Hz

• Dry/Wet: 100%

4. Send your drums, guitars, synths, and vocals to the short reverb.

5. Send background elements, like vocal harmonies, to the long reverb.

A delay is a device that creates echoes, which can be used to split your mix into different layers and create depth.

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. Create a return track and add a Delay to it.

3. Send your “Verses” track and “Pre-Choruses” track to the return track.

4. Automate the delay’s Feedback amount:

• Verses: 35%

• Pre-Choruses: 0%

• Choruses: 15%

5. Filter the delayed signal:

• Center Frequency: 1,500 Hz

• Width: 3.5

6. Automate the send level of your “Choruses” track to selectively apply a delay to a few words at the end of phrases.

Pitch correction allows you to tune vocal performances and create robotic vocal effects. The two most popular pitch correction software are Antares's Auto-Tune and Celemony's Melodyne. This software is quite expensive so we'll be using a free alternative in this video called Autotuna. To avoid a pitch correction mess, you generally want to apply pitch correction as the first effect in a vocal chain.

Your Task

1. Download the project using the link above if you didn't complete the previous tasks.

2. Download Autotuna using the link below.

3. Drag and drop the Autotuna.amxd file onto a vocal track.

4. Use the following Autotuna settings:

• Quality: Best

• Amount: 25%

• Correction: 20 cents

• Scale: B Major

• Follow Push / Live Set: Off (no follow)

• Dry/Wet: 100%

5. Save Autotuna to your User Library in Ableton.

6. Copy and paste Autotuna onto all of your vocal tracks.

7. Manually adjust the pitch of notes in Ableton’s Clip View if necessary.

Time alignment allows you to align the transients of audio recordings with the grid of your Ableton project, resulting in perfectly timed recordings. You can use Ableton's Warp feature to time-align audio clips.

Your Task

1. Download the problematic audio recording using this link above.

2. Import the recording into your Ableton project.

3. Add warp markers to the recording’s transients.

4. Align the warp markers with the grid of your project.

Your Task

1. Download the reference track using this link.

2. Fine-tune effect settings:

• EQ

• Compression

• Saturation

• Reverb

• Delay

• Pitch Correction - Tip: Increase Autotuna’s “Ambient” setting if breaths sound weird.

3. Tightly dial in your track levels.

Your Task

1. Create a default project template that contains five return tracks:

• Compression

• Reverb Short

• Reverb Long

• Delay 1/8

• Delay 1/4

2. Create a default audio track effect chain.

3. Create a default MIDI track effect chain.

4. Override the default settings of one audio effect.

Mastering is the process of making a master copy of a song, from which all other duplicates are created.

• Vinyl = Vinyl Lacquer Master

• CD = Glass CD Master

• Streaming = Digital Master File

Your Task

1. Download the final version of the mix above if you didn't finish the previous tasks.

2. Download a reference song from the internet.

3. Alternatively, download the mastered version of this song using the link above and use it as a reference.

4. Import the reference song onto a new audio track.

5. Set the audio track’s Output Type to “External Out”.

When vocal and instrumental groups feel detached from one another, you can use glue compression to tighten up your mix. Consider applying compression as the first effect in your mastering chain—assuming your mix needs it.

Your Task

1. Add a Glue Compressor to your Master track.

2. Use the following settings:

• Attack: 30 ms

• Release: 0.1 s

• Ratio: 2:1

• Threshold: Aim for 1-2 dB of gain reduction

• Makeup: Aim for 1-2 dB of makeup gain

3. Save a Glue Compressor preset called “Glue Compression”.

Saturation provides your mix with color. It acts like the glossy finish on a painting, sealing your mix together.

Your Task

1. Add Klanghelm’s IVGI2 saturator to your Master track.

2. A/B the processing you’ve applied to determine whether it’s helping or harming your mix.

Master bus processing, like compression and saturation, can unbalance your mix. If this occurs, you can use an EQ to rebalance your mix. Ableton's Channel EQ is great for this purpose because it's slightly more musical than Ableton's EQ Eight.

To make balancing your mix easier and improve mono compatibility, add a Utility to your mix and engage the "Mono" button. Make EQ adjustments with your mix summed to mono and then remove the Utility when you're finished.

Your Task

1. Add a Channel EQ to your Master track.

2. Balance the lows, mids, and highs if necessary.

3. Use your reference track to do this.

LUFS stands for Loudness Units Relative to Full Scale. A LUFS meter allows you to measure perceived loudness within digital systems.

Audio signals with a low integrated LUFS level (like -24 LUFS) will sound quieter than audio signals with a high LUFS level (like -6 LUFS).

Your Task

1. Download and install Youlean Loudness Meter.

2. Add Ableton’s Limiter to your Master track:

• Ceiling: -2 dB

• Lookahead: 6 ms

• Gain: Aim for 2-4 dB of gain reduction.

3. Add Youlean Loudness Meter to your Master track.

4. Analyze your song from start to finish:

• Aim for a minimum integrated LUFS level of -14.

• Limit your song harder to increase the LUFS level if necessary.

• Important: Make sure to reset the meter before engaging playback.

Your Task

1. Group together the audio effects on your Master track:

• [Ctrl][G] or [Cmd][G]

• Doing this places the effects inside an Audio Effect Rack.

2. Duplicate the Audio Effect Rack.

3. Reset the parameters of the effects in the second Audio Effect Rack.

4. Bypass the effects in the second Audio Effect Rack.

5. Save the second Audio Effect Rack as a preset.

6. Delete the second Audio Effect Rack.

Your Task

1. Wrap your song using Ableton’s Loop Brackets.

2. Leave some time at the end of your song for reverb and delay to die out.

3. Apply a fade to the Master track, slowly fading out your song.

4. Export your song:

• Rendered Track: Master

• Sample Rate: 44,100

• Encode PCM: On

• File Type: WAV

• Bit Depth: 24

• Dither Options: Triangular

5. Click “Export”, name the audio file, and save it to your desktop.

Back in the day, before the internet, the only way to distribute your music to people was through brick-and-mortar music stores. You’d have to get a whole bunch of records, cassettes, or CDs created and then convince music store owners to sell your music.

These music store owners were like the gatekeepers of the music industry. You could sell records out of the back of a van or something, but most people discovered new music through their local record shop, and if your music wasn’t sold there, it was very hard for people to find out about you.

In 1999, things changed substantially. Napster was created, which was the first peer-to-peer file-sharing internet software that emphasized sharing digital audio files. This dealt a really heavy blow to record stores, which meant that they were no longer fully in control of the music being distributed to people.

From a consumer perspective, this was great because consumers could go online and find all sorts of music—even music that record stores weren’t willing to sell for various different reasons. However, the issue with Napster, and other peer-to-peer file-sharing services like Limewire was that artists were losing sales because a bunch of their music was available online for free.

After the whole Napster debacle, music streaming services like Spotify, Apple Music, Amazon Music, and Google Play Music started to appear. In fact, there’s a good chance you use one of these streaming services. The way they operate is that they charge a monthly fee to users, and then payout music creators based on the number of times their music is streamed

This streaming model allows artists to distribute their music online while receiving compensation for it, and it lets consumers stream as much music as they want for a flat monthly fee. As an artist, it’s in your best interest to upload your music to as many of these streaming services as possible. The more places people can find your music, the more money you’re going to make.

Some music streaming services allow you to upload music to their platform directly, but many of them, like Apple Music and Spotify, require that you upload your music through a digital music distributor. A digital music distributor acts as a middleman that uploads your music to tons of different streaming services for you and collects the royalties generated through those streaming services on your behalf—it automates a lot of, otherwise, really time-consuming work.

If you try to make a profit using someone else's intellectual property, which is essentially an idea that they came up with, you can get sued for a lot of money. Don't steal artists' music or you'll probably end up bankrupting yourself.

Issues arise when people don't realize that what they're doing is stealing. For example, when you use a small audio clip from someone else's song or video in a song that you make, you need to get the sample cleared by the creator of the song or video. What this means is that you need their explicit written permission to use the sample. If you don't do this, it's considered intellectual property theft.

This whole process is really time-consuming and annoying, which is why most people just turn to sample websites like Splice that provide royalty-free samples that have already been cleared. You can use any sample from Splice without worrying about getting sued.

Visit the Black Ghost Audio forum, Discord server, and Facebook group to connect with the community.

Your Tasks

1. Write three songs from scratch.

2. Experiment with Ableton’s other audio effects:

• Read the user manual

• Watch YouTube tutorials

3. Check out some third-party plugin companies:

• Native Instruments

• FabFilter

• iZotope

• Waves

4. Start learning about sound design:

• Download Xfer Records’ Serum synthesizer

• Watch YouTube tutorials