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Let’s get on with the video.
We’re starting the tutorial series.
All right, so this is the start of some audio warping tutorials on how to warp audio.
As most of you know, I do a lot of sampling in my videos, my music, I sample every song off albums, I basically sample a lot of things.
And people always ask me how do you do it.
So I’m going to try my best today to show you how to sample things.
So there are a few key points to audio warping.
One is if you have a sample that’s like has a rhythm to it, you need to warp it into time.
So it’s in tempo.
So I feel like that’s a good place to start.
So let’s drag something in that is not in time at all.
Like, for example, this Kenny beats Mack DeMarco freestyle. You can do this with literally anything, any sample, anything that has any sort of rhythm to it.
So usually you want to find a downbeat.
So the start of like a musical phrase, the start of a rhythm, I usually do it kind of by ear, you have to kind of just feel it out.
So here you see there’s a downbeat, so you can count like 123134.
So I’ll show you the easy way to do it.
First, the easy way to find the tempo, you go to a BPM tapper, just google BPM tapper, you play the beat in the background.
And you just press spacebar on the beat.
So watch 1234.
So from this one, it looks like it’s 93 BPM. It’s not always completely accurate.
But that’s the easiest way to do it.
So then you type in 93, and you should be on time.
So there you go, you have it in time now.
So then you go on more, you want to warp it because warping when you turn this on basically allows you to warp it without it going off-grid.
So warp, it might seem a little beginner for some of you.
But we’ll get into more advanced techniques in a minute.
When you have warping on, you can pitch it around.
You can use all of Ableton’s beautiful techniques. You can cut it in half, so it’s double speed.
There are different warping modes as well. You get beats warp, beats warp is sick, can go by transients, if you press this little thing.
It’ll only play the transients you can do eighth notes can pitch this around as well.
morphing is alive and changes the tempo of the current project as well.
It sounds like some Skrillex shit right now. You can also reverse it. If you would please change it back to complex, you’re trying to reverse it reverse.
Now the whole thing’s reversed.
It’s still in time.
That’s the basic audio warping. I’ll show you another way that I usually get a sample into time. It’s dropping the same Kenny beat sample.
So we have a downbeat here.
As you can see, we’ll cut this up, we’ll line it up.
So now what you have to do is literally just drag the tempo, make sure warping on the sample isn’t enabled.
So it’s moving on the grid, and then just drag it until you see all of these drums lining up, so you can kind of feel it out.
So I usually look for a second start of a beat.
So this is the first one.
This is the second part.
I want to line this up with another start of a grid.
So like this area, so Oh, baby, baby, baby.
There it is at the start.
And now it should be on time again.
I guess we already knew it was 93 because we tapped it out.
But so now it’s time once again.
I think now it’s time to make a beat with our newfound skills.
So let’s find a weird sample.
I’m just going to search for a sample in my library.
Actually, no, you know what we’re gonna grab a melody sample from the Rams wide melody camp Volume Two available on Ramsey.
com.
Right this second, I want to use this. I think this one I’ve been waiting to use for a while.
So we’ll pretend we don’t know it’s 103. We need to get it on this line.
So once this hits this line, it will be in time.
It was one of the three, but you know.
So now we enable warping.
I’m gonna pitch this around.
A lot of the time when you pitch a sample down, it gives it more of a, you know, a little bit more of a gritty nostalgic, like a lo-fi like sample sounding tone.
So I like to pitch my samples down a bit.
So for this, I want a break, I want a drum break.
And this is going to fit perfectly into our sampling and audio warping.
So I say I want a break.
Let me scroll down in my library.
Okay, so this is a good one. This is a good bonus break.
That’s clearly not in time at all.
Let’s turn off the warping.
This right here is the end of the phrase.
So we’ll delete this.
And now all we have to do really is fit this ending to this right here, turn on warping.
If you hold shift here, this is another way to warp it.
If you hold a shift in Ableton, you can just squeeze it into time.
There we have it.
So another warping tip if something’s not quantized, so quantize kind of means like everything being on the grid versus off the grid.
So you see this drum break now.
It’s in the tempo, but it’s not on the grid.
And in this case, I want it on the exact grid.
So what you can do, it’s actually really easy. You go to quad, you right-click in this warping area, you go to quantize settings, you pick what subdivision you want it to quantize to, you just press OK.
Then it’ll quantize it automatically.
I actually should have chosen sixteenths. My bad.
So now, as you can see, it’s not like it’s not as bouncy anymore, which sometimes you want, but it is exactly on the grid.
So that’s how you do that.
Now I want to just mess around with the beats warp that I was playing with earlier, while I try to pitch this up like eight go to the transients.
So I’m gonna add another break to it.
I just want another one.
Honestly, I want an Amen break.
I like this one because it has a little more texture.
So it’s 169 BPM.
Sometimes it automatically warps as well.
And you don’t need to do it.
But it really just depends on the sample.
So I’m going to go like this, I’m going to change the mode to read pitch, which is really interesting, because if it’s slowed down, it’ll make the pitch lower if the sample is faster than it originally was, when you dropped it in, don
It also works really clean.
When you re-pitch it, it’s not going to have any extra artefacts in it, it’s not going to have any weird sounds.
Sometimes you get kind of weird sounds when you’re warping to read pitches. It’s really the cleanest way to do it.
But it obviously doesn’t work very well if you’re using a melody sample because it’ll make it out of key.
Yes, sir.
So if you stretch a sample out a lot, you can sometimes get some interesting cool stuff.
So watch, I’m gonna stretch this hi-hat sample out.
So I’m going to set a channel to resample. We’re going to record it.
So what that does is it just records anything that’s playing in Ableton into a new channel watch.
For example, I’m recording that with resampling on it’s gonna play it’s just gonna put it on a new channel, but I think you can do it with beats work, which is pretty cool.
Select it all.
Change it, the beats, change it to the transients mode, can get a little bit of variation just through doing that.
So you can’t like automate that unless you’re actually just doing it with your mouse.
Let me show you, if you record now in your resampling, you can get some cool effects like that.
That’s something that people might not do that often.
But it’s pretty sick.
And you can take this as well.
Just around, turn it into a loop.
So it adds a little bit of cool variation.
Very vibey.
Very cool.
So there’s one final tip. I think I touched on the most basic audio warping techniques. There’s one final kind of fun trick that you can do.
This isn’t so much for use, like in a beat necessarily.
But if you automate the tempo in the master channel, say it’s 103 154 and you have warping enabled in your sample, you change it to re-pitch mode, re-pitch mode, you get almost like a tape stop effect.
So you can kind of use that however you want.
But you can also do that in this area.
You see this little area, this little area, you press this, you go to clip transposition, you can draw in automation for the pitch and other cool warping techniques.
Go like this.
Hold alter option your day, and that is audio warping, sampling, whatever you want to call it a tutorial complete, we’ll do B next.
I don’t know what B is going to be yet, but we’re going to do something next.
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