At this point, I'm feeling pretty good about all the clips that I have inside of session view, and I'm ready to create a linear version of my ideas that I'm going to export and upload for my assignment for the course. There's two ways to do this, and I'm going to show them both to you. So I'm going to start by performing it into the arrangement. First off, I'm going to head up to the transport here. So the transport is the stop, play, and record icons that relate specifically to the arrangement. So we've seen in session view here, there's so many play icons, there's so many stop icons, there's so many record icons. And that's just per clip, right? So now we want to be manipulating what's happening right here in the arrangement. So you can see the cursor is somewhere between measure eight and nine. So what I'm going to do is press stop a few times to get it to go back to the beginning of the arrangement, because this is where I want the beginning of my song to start. Then I'm going to hit record, and you can see that everything turns red, and I am recording. So let's get going. I'm just going to play these in, and you'll see it printing right into the arrangement as I go. [MUSIC] Okay, so I just played a bunch of clips in, it's still recording. So I need to press stop. And everything is right there in the arrangement for me. So it's all kind of grayed out. You can see that it's not bold like the rest of the colors in arrangement view right now, like it's got a little veil over it. This button right here, this is called the back to arrangement button. And there's something that's really vital to understanding about Live that's going to make working in it a lot easier. When it was originally developed, it was made for electronic musicians to be playing electronic music live on stage. So Live is always under the assumption that you're performing live. And that you really only want to be working in the arrangement when you specifically tell it that that's the case, right? So that is the case right now. I'm not performing anymore, I was performing. And so now I need to hit this button, it's called back to arrangement, again, and when I click it, it's going to disappear. So it's a little bit confusing, but here I go. It's gone, and the entire arrangement is now bolded for me. So if I was going to go back here and just press play, I could do that from any point in the arrangement. [MUSIC] So, as this is playing, I'm going to launch a clip in one of these tracks, and you'll see what happens. [MUSIC] So I launched a clip in track two, and that is then graying out this track. And it's saying, you're performing live. Let's just override what's happening in the arrangement, and let you do what you want to do during this point in time. And when I'm ready, I go back to the arrangement. So there's a lot of flexibility, but with all this power comes somewhat of a responsibility to be in control of what's playing when. That's one way to get everything in, it's to perform in using the transport here, pressing record, and then literally just launching the clips when you're ready to have them play back. Another way to do this, and quickly, I'm just going to delete everything, is to drag everything in. So, I'm going to click, and I'm holding down on this clip here. I'm pressing tab, and you can see I get to drop it wherever I want to drop it on this particular track here. This is the one that's associated with the drums, so this is the track where it belongs. And then I could just pull out, if I want to have this duplicate, or I could use Cmd+D in order to duplicate directly adjacent to the clip itself. So I've got three of these, maybe four makes a little bit more sense. And then I'll come grab a couple of these. Pull this out for a little while, so on and so forth. I can do this with all of these clips as well. Maybe I don't want this to come in until a little bit later. We'll bring in some of these. So none of this, neither of these workflows is better or worse than the other. It's just a completely different way of getting stuff done, and some people like to be a little bit more performative, some people like to be a little bit more click-oriented, and all roads lead to the end result. As long as you can wrap your head around it and your ears around it, that's the way you should do something. So additionally, there's some edits we can do in the arrangement view which don't exist in the nonlinear function, because we're now living a linear world. So if I was in the middle of this clip here. I'll just use my marquee. I've clicked in the timeline here, and I want to make a split. I can go up to edit and I can select split here. Or you can see the key command is Cmd+E. And then I make two clips out of this one, and I can just grab the top and move one over to the side, or any which way. As long as it's looped or there's more MIDI information, I can expand and contract, just like a MIDI note itself. On audio clips, I also have the option of fading. When I hover over this clip, you can see that the four corners have squares in them. And as I reach over, I can grab the square and pull over if I want to have a fade. So let's just quickly listen back to what this sounds like here. [MUSIC] So I've just faded out on this clip, I can always go back and adjust these things. I can change the shape of the fade, depending on how I want the volume to swell in or out. And I can do this in the beginning or the end of the clip. When I have two adjacent clips, I can crossfade them by grabbing the square that's on the left-hand side of the adjacent clip, and just pulling over, and then I will immediately crossfade from one clip into the next. Let me solo that, and we'll take a listen. [MUSIC] So we have a lot of flexibility, and you can do some really creative things with fades and arrangement edits. And however you want to get your stuff into the arrangement, it's totally up to you. And this is how we're going to create a linear version of all of our ideas.
