Ableton Live 9 Tutorial: Warping Pt 2 – Tracks That Don’t Start w/ Drums

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Dubspot instructor and Ableton Certified Trainer Michael Hatsis a.k.a. !banginclude finally returns with a follow up to his previous tutorial video explaining some essential warping tips and techniques in Ableton Live 9. In part one, Hatsis used a standard house track with a 4/4 drum pattern to explain how to set Live’s Warp preferences and determine track tempos. Here in part two, he delves further into more creative tips for warping: using a track with slightly more complex arrangement from Dubspot student Entransik, he shows you how to warp a song that starts with a sound other than a drum beat.

Michael Hatsis is a Brooklyn based electronic music producer, Ableton Live Trainer, and Dubspot instructor.


Music Production w/ Ableton Live

From the studio to the stage, learn to use Ableton Live to create, record, produce, and perform your music. Learn about linear and improvisational styles of producing electronic music as we help you master the software’s innovative interface.

After completing this program, you will leave with four completed tracks (an EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

    • Ableton Live Level 1: Shake Hands with Live
    • Ableton Live Level 2: Completing Your First Track
    • Ableton Live Level 3: Production Essentials
    • Ableton Live Level 4: Sound Design & Instrumentation
    • Ableton Live Level 5: Advanced Composition & Production
    • Ableton Live Level 6: Taking Your EP Global

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, United Kingdom

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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