Bundle - Ableton Beginners Complete Music Production Collection

Two demonstrations showing the composition of sounds in terms of frequencies, and how various complex sounds can be manipulated with EQ to become much simpler ones.

A series of lessons teaching the various controls available on different types of EQ, including gain, frequency and Q, as well as a look at the different types of EQ band.

Two lessons showing different approaches to EQing a bass guitar, with one focussed more on boosting and the other attenuating frequencies.

A demonstration of frequency overloading when similar bands of frequencies combine.

A more detailed look at the Frequency Spectrum, including a demonstration of sine waves with octave spacings, an analysis of a more complex tuned percussion sample and a breakdown of low, mids and highs.

Some examples of using EQ to shape the frequencies of sounds with respect to one another.

Tips for applying EQ to individual and grouped drums.

A few common objectives when using EQ, to help guide a workflow and provide solid aims to work towards.

A detailed lesson focussing on low frequencies and the considerations for using EQ on kick and bass parts in heavy sub bass Trap.

Some pointers for using EQ to shape the entire mix.

A realtime mixdown EQ session, working through every part in the second set of stems to fully sculpt the sound of a dense and melody-laden mix.

A quick assessment of your EQ knowledge!

A summary of the main sampling applications in music production, and the ways in which they can benefit your workflow. 

An introduction to the way pitching and transposition is handled in a sampler, including an explanation of root note.

An introduction to changing sample length, looking at start and end positions, one-shot and amplitude envelope modes, and sample snap.

A look at the two most common envelopes after amplitude, those being filter and pitch envelopes.

Some tips for working with drum samples, including more radical ways of modulating percussion and techniques for achieving varied and natural-sounding hats.

How looping works in samplers, covering loop length, position, fading and synchronisation, as well as how to make a classic, old school looped bass.

A look at the way many different popular samplers handle re-pitching and time-stretching of samples, when played with a MIDI keyboard for example.

Two examples of ways of sampling a vocal to make musical parts, including a 90s rave lead and a deep stab patch.

A guide to multi-sampling, showing how to map sample zones to areas of the keyboard and particular velocity ranges.

A walkthrough of sampling an accordion, including recording and editing the instrument, then how to import and set up samples to make a realistic emulation.

In this first module, Rob introduces the concept of filtering, by giving a quick overview and demonstration of the wide range of applications. He then takes a more detailed look at filter frequency, resonance and slope, and provides an explanation of the main types of filter, including low-pass, high-pass, band-pass and notch.

Rob applies filtering to all the individual sounds in the course project, to show the huge part filters play in shaping the frequencies of each instrument and so cleaning up the mix.

A demonstration of how to modulate filters, using the two main modulator types, envelope and LFO. These techniques are shown with a sustained chords phrase, which is transformed into a classic lead and rhythmic pad sequence.

Rob continues to develop the Downtempo track, by applying a series of dynamic, modulated filtering techniques to the sounds within it, helping to tighten and shape sounds, as well as add extra movement and width.

A guide to using sidechaining to create filter modulation using external signals, such as drum loops, custom made patterns and even MIDI clips within the DAW. Rob also provides a demonstration of how to use filter sidechaining to create a ducking effect similar to a sidechained compressor.

The final session with the Downtempo project sees Rob using sidechaining and automation to control filter parameters in the arrangement, creating rhythmic patterns and allowing parts to flow and play well with one another.

A set of lessons dedicated to bass processing, showing 4 different techniques for creating rhythmic filter patterns in the DAW, working with a distorted bass sample accompanied by a Glitch Hop Beat.

A short quiz to test how much you've learned from the course, including both written questions and ear training.

Rob starts the course with a brief explanation of what compression is used for, followed by a more comprehensive demonstration of what exactly compression does to an audio signal.

A guide to the main controls on a compressor, which determine how much compression occurs, including the level adjustment options and speed of the effect.

In this first realtime session module, Rob works his way through various sounds in a project, to show how compression can be used to even out dynamics and fatten up sounds.

Rob explains the various options you often find for the compressor sidechain, allowing you to filter the signal triggering the compressor, or change it to a different track entirely.

A guide to the range of additional controls found on compressors, including Dry/Wet, Knee, Peak & RMS Detection and Vintage modes.

A module looking at the benefits of multi-band compression, including instructions for how to set it up without a multi-band compressor, before showing the same process within iZotope’s Neutron.

In this second realtime session module, Rob continues working through the course project, showing some tips for compressing Kick Drums and all drums together on the group track, before moving into sidechaining the bass and leads. He then shows some alternative techniques for fattening up the snare and 2 different approaches for compressing the whole mix.

A brief farewell from Rob, with some recommendations for further study and assessment.

Rob introduces the course, with an overview of the basics of synthesis, explaining the structure and main sections on a synth, with audio examples along the way. Then, he provides a demonstration of how oscillators can be layered to create different sounds.

A guide to the main types of waveform available in most oscillators, how they sound and what they are normally used for.

A thorough look at the foundations of the synthesiser, the sound-generating oscillators, beginning by working through the basic controls and then exploring additional features that are commonly found. 

2 examples of patch creation using only the oscillators, one that shows how to create intervals and chords and another showing how to make a detuned patch.

2 further examples of patch design using just the oscillators with increasing complexity, layering multiple waveforms together and combining many of the techniques introduced so far on the course.

A guide to filtering on a synth, explaining the most important considerations and unique aspects of filtering presets.

An introduction to a fundamental part of synthesis, the ADSR envelope, beginning by looking at the amplitude and then filter envelope.

2 examples of using filter enveloping to create classic synth presets.

A look at a cutdown synth, to emphasise the most important controls seen so far on the course, and show how much can be done with a relatively limited control set.

How LFOs work on a synth, beginning with an overview and then walking through the creation of a popular LFO-modulated synth preset, the wub wub bass, before showing how to modulate pulse width and the sound it creates.

A guide to modulating the pitch of synth presets, including both envelope and LFO modulation. The last 2 lessons then show how to design 2 classic pitch-modulated sounds, a sub bass drop FX and kick drum patch.

A demonstration of additional modulators and sequencers found on synths, including complex curve modulators, step sequencers and arpeggiators.

Some general tips for using effects to process synth presets.

Some brief tutorials explaining fundamental synth settings, for creating performance effects and patch characteristics.

Rob gives an introduction to music theory and the course, explaining the various topics that will be covered and goals to achieve once the course is completed.

The basic principles of music theory, going from the very beginning with a look at the different notes and simple rhythms, as well as most popular scales like major and (natural) minor.

A guide to the different kinds of MIDI devices, software and hardware, both DAW-factory and 3rd-party, to help with playing and composing in key.

A comprehensive lesson that shows how an assortment of basslines can be made, from the simplest, through to more complex, lengthier patterns that move through many different notes in the scale.

Techniques for creating melodies, including an introduction to target and passing notes, suspensions and resolutions, and motifs.

A step-by-step guide to playing with a MIDI keyboard in a trickier scale like Eb (starting on a black note), beginning with the hardest method and ending on the easiest.

A series of lessons introducing polyphonic accompaniment creation, starting with single intervals and then moving into chords, working through the triad in its regular, inverted and transposed forms.

A guide to arpeggios, showing the traditional form and then moving into some different techniques for using arpeggiators in the DAW to make engaging, rhythmic melodies.

A Quick Tip for playing in key with a computer/QWERTY keyboard.

A realtime session, putting all techniques into practice, by making a bassline, leadline, padline and arp sequence, purely with the mouse in the DAW.

Rob introduces the course, explaining the subjects covered and materials provided, before giving an in-depth overview of Ableton Live, showing all of the main areas and features to be covered throughout the tutorials.

A guide to the important settings in the preferences, to help with routing audio to speakers or an interface, changing the look of the software and setting up a MIDI controller, and then an introduction to the Browser, where all of the Live’s instruments, effects and other materials can be found.

In this first module working with audio, Rob shows how to import samples into Session View and adjust their settings in the Clip Editor, changing their level, pitch and looping, in order to create a simple performance.

Continuing to work with audio, Rob shows how samples can be laid out in Arrangement View, to build up different musical parts, constructing beats, bass and melodies to form a few simple sections of a track.

A comprehensive guide to working with instruments in Live, including how to create phrases by drawing in notes and playing with the computer or MIDI keyboard, introducing concepts like Quantisation and Note Velocity along the way.

Rob continues developing techniques for working in both Session & Arrangement View, showing various methods for transferring from one mode to the other, as well as how to combine them to compare ideas for individual tracks. All of this is shown whilst starting to lay out a track, helping nurture a better understanding for the different ways songs are put together.

A guide to working with Drum Racks to produce beats, showing different ways of entering notes, by playing and drawing, as well as how to adjust them in the Clip Editor. There is also a demonstration of balancing drums on the Mixer and how to use Macro Controls to add tactile expression.

A detailed guide to recording in Live, covering the initial hardware and software setup, then differing ways of recording and editing parts, including Punch In and Out, Loop Mode Recording and how to fix timing with Warp Markers.

Rob provides a rough guide to mixing, covering balancing levels, panning and then a look at some of the most important audio effects, including EQ, reverb, compression and delay.

In the first part of this lengthy module, Rob introduces working with 3rd-party Plugins, before providing a guide to using Loopcloud to build up beats and bass in the arrangement.

As an alternative to editing samples in the arrangement, Rob shows how Simpler can be used to play imported samples using MIDI, sequencing a bassline and then teaching some important parameters within the instrument for transforming the sound.

In this final part, Rob shows how to use Key and MIDI mapping to control parameters within the software, allowing fills to be created and effects changes to be applied, for example to improve a performance.

After concluding the previous module, giving a demonstration of recording effects tweaks (creating automation) in the arrangement, Rob shows how to export the arrangement to create an audio file of a track, then gives some tips for saving a project so that sample location issues can be avoided.

Rob concludes the course with some final suggestions and a farewell!