Guest access Access: Full access for everyone Unlimited lesson views

View lessons Sign in with Google

LESSON DETAIL

Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View (Intermediate · Automation · tutorial)

An AI-generated intermediate Ableton lesson focused on Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View in the Automation area of drum and bass production.

Back to lessons Unlocked for all viewers

Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View (Intermediate · Automation · tutorial) cover image

Narrated lesson audio

The voice track includes the tutorial plus extra teacher commentary.

Pitch Effect amount Wet mix Volume

Open audio file

Main tutorial

1. Lesson Overview

This intermediate Automation lesson shows you a practical Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View. You will design a DnB-style bell/pluck patch with Live’s stock devices, create musical clip-based modulation and performance variations in Session View, and then record those performance automation lanes into Arrangement View so you can edit, arrange and polish them for a track.

2. What You Will Build

A tight, percussive bell-pluck Instrument Rack (Wavetable + envelopes + filter) that sits in the mid/high range for Drum & Bass.

Several clip-based performance variations (short pluck, slightly detuned bell, long tail) built in Session View using clip envelopes and mapped Macros.
A clean, editable result in Arrangement View where device parameters and automation lanes are recorded and fine-tuned.

All devices used are Ableton Live 12 stock devices: Wavetable, Instrument Rack, Auto Filter, EQ Eight, Reverb, Ping Pong Delay, Compressor/Saturator, and Utility.

3. Step-by-Step Walkthrough

Note: The exact phrase below is used intentionally to match the lesson topic:

Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View

Step A — Patch: Create the bell pluck Instrument

1. Create a new MIDI track (Cmd/Ctrl+Shift+T) and load Wavetable.

2. Oscillators:

- Osc 1: Select a sine-ish partial (e.g., “Sine” or “Bell” wavetable position), set Unison = 1, Detune 0.0. Pitch -12 to taste for body.

- Osc 2: Add a second oscillator an octave up or slightly detuned (+7 to +12 semitones) for bell overtone. Reduce level to taste.

3. Filter & envelope:

- In Wavetable, set Filter type to Lowpass (24 dB) or Bandpass if you want more bite. Lower Cutoff ~2–4 kHz to start.

- Set Filter Envelope (Env 2) with fast Attack (0–5 ms), high Decay (50–150 ms), Sustain low (0–10%), Release short (50–200 ms). Increase Envelope Amount to taste so the filter opens quickly then closes — this creates the pluck shape.

4. Amp envelope (Env 1): Fast Attack, short Decay (50–120 ms), low Sustain (0–10%), short Release (20–80 ms) for the pluck click.

5. Add gentle FM or ring if desired: slightly modulate Osc 2 pitch via the Wavetable’s oscillator FM amount for metallic tone.

6. Reduce low frequencies with the Filter or later with an EQ Eight.

Step B — Rack and FX chain with Macros

1. Drop an Instrument Rack around the Wavetable (Cmd/Ctrl+G).

2. Add devices after the rack in this order: Auto Filter → Saturator → EQ Eight → Ping Pong Delay → Reverb → Compressor/Glue. Use Utility before the chain if you want gain staging control.

3. Map 4 useful Macro knobs:

- Macro 1 → Filter Cutoff (Auto Filter cutoff)

- Macro 2 → Wavetable Position or Osc 2 level (for bright/darker bell)

- Macro 3 → Reverb Dry/Wet (for tail control)

- Macro 4 → Amp Release (map to Wavetable Env 1 Release or create rack macro to scale it)

4. Name macros: Cutoff, Brightness, Reverb, Release. Set ranges: Cutoff limited to key range (e.g., 1–8 kHz) to avoid too much low end.

Step C — MIDI clip: melody and note articulation

1. In Session View create a 1-bar or 2-bar MIDI clip (double-click an empty clip slot).

2. Create a simple bell-ish arpeggio in 16th or 8th notes typical for DnB. Use higher register notes (e.g., G4–D6).

3. For pluck articulation shorten note lengths (gate) to emphasize the envelope. Use velocities to add variation.

Step D — Clip-based automation & Session variations

1. Select the clip and open the Envelopes box in the Clip View.

2. Envelope target: choose “Device” → “Instrument Rack” → Macro 1 (Cutoff). Draw a fast downward curve that opens slightly on the first 16th then closes — this creates the pluck sweep per note.

3. Create another envelope lane: Device → Instrument Rack → Macro 2 (Brightness). Make small dips/rises for variation.

4. Optionally use clip envelopes to modulate Reverb Macro for one scene (dry for verse, wet for chorus).

5. Create three separate clip slots (scenes) with variations:

- Clip A: Short pluck — short release, low reverb.

- Clip B: Bellier — higher wavetable position, slightly longer release, more reverb.

- Clip C: Detuned/chorus feel — increase Osc 2 level and add subtle Auto Filter LFO or macro modulation.

Step E — Performance automation in Session and mapping for hands-on control

1. Assign a MIDI controller (or use mouse) to the four Macros so you can perform live changes when launching clips.

2. If you want LFO-like motion use Auto Filter’s internal LFO (rate synced) and automate its amount via Macro. Auto Filter is stock.

Step F — Record automation from Session to Arrangement

1. Prepare Arrangement for recording:

- Switch to Arrangement View (Tab).

- In the Control Bar enable “Automation Arm” (the Automation Arm toggle) so parameter movements will be written into Arrangement. Then enable the main Record button (Global Record).

- Alternatively, enable the Arrangement Record button (red circle) to begin recording into Arrangement.

2. Start recording, return to Session View, and launch the clip(s) and perform your Macro moves (or let clip envelopes play). Live will record the parameter changes and clip performance as automation lanes in Arrangement on the corresponding track(s).

- Tip: If you only want device parameter automation written, launch the clip while recording and perform the Macro moves. Clip envelope modulation itself won’t automatically convert; performing macros will write device automation into Arrangement.

3. Stop recording after 8–16 bars. Switch back to Arrangement (Tab). You’ll find automation lanes for the mapped device parameters (e.g., Cutoff, Reverb) recorded on the MIDI track. Clip note information is also recorded if you launched clips while recording.

4. Tidy up: show/hide automation lanes, consolidate (Cmd/Ctrl+J) if you want a single continuous clip, clip-loop and cut variations into the arrangement.

Step G — Polish in Arrangement

1. Fine-tune automation curves: use the Draw tool (B) for freehand, or click and create breakpoints for precise values. Smooth sharp jumps by adding short ramps.

2. Add sidechain compression: send the pluck to a bus or use Compressor sidechain to the kick for DnB pumping.

3. Use EQ Eight to remove sub frequencies; boost 2–6 kHz for presence.

4. Duplicate automation lanes for pre-chorus → chorus transitions and offset values to taste.

4. Common Mistakes

Not enabling Automation Arm or global Record: the parameter moves won’t be written to Arrangement, so you’ll still only have Session clip envelopes.

Expecting clip envelopes to automatically convert: clip envelopes are Session-only. You must perform or re-draw automation (or record it) into Arrangement.
Mapping macros to multiple parameters without adjusting ranges: small unintended changes across multiple mapped parameters can produce jumps or thin sound.
Overlong release in a pluck: creates mud in DnB mix. Keep tails controlled with gating/reverb pre-delay and EQ.
Recording with high-CPU autos (oversized delay/reverb) without freezing: may cause dropouts when recording automation.
Forgetting to quantize clip launches when you want tight timing. Use quantization or global quantization while launching.

5. Pro Tips

Use a short pre-delay on Reverb to preserve transient snap while giving a sense of space.
Use a separate Return track for reverb and delay; automate the Send amounts with macros to keep FX automation separate and easier to edit in Arrangement.
When mapping one macro to multiple parameters, use the Rack’s min/max mapping to control the contribution of each mapped parameter so the macro remains musical.
For more dynamic pluck textures, automate Wavetable’s Warp/Position rather than just cutoff — it changes harmonic content more musically.
To convert clip envelope modulation to editable Arrangement automation without playing it live: play the clip while recording and use your mouse to move the macro as the clip plays (you can “play” the macro automation by nudging it with a controller or manually with the mouse during record).
Use small smoothing on automation breakpoints to remove zipper noise (right-click > Set Value/Curve for smoothed curves).
Freeze/Flatten a track if CPU becomes an issue after heavy FX during recording.

6. Mini Practice Exercise

Objective: Use the blueprint to create 3 arrangement sections (Intro, Drop, Breakdown).

1. Create three 1-bar MIDI clips in Session View with different envelopes: A (short pluck), B (bright bell), C (long tail).

2. Map Cutoff and Reverb to two macros.

3. Arm Automation and record 8 bars into Arrangement: launch A x2 bars, then switch to B for 2 bars while performing Cutoff sweep, then C for 4 bars with Reverb automation rising.

4. In Arrangement, edit the Cutoff automation into a smooth ramp and shorten the reverb tail in the intro with an automation fade. Add a sidechain compressor to the pluck on the drop section.

7. Recap

You now have a complete Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View: a Wavetable-based pluck, an Instrument Rack with mapped macros, musical clip envelopes and live performance in Session, and the method to record those parameter moves into Arrangement for precise editing. Key takeaways: design a focused patch, use macros for performance-friendly modulation, remember to enable Automation Arm/global record to capture parameter moves, and clean up automation in Arrangement for production-ready results. Use the Mini Practice Exercise to solidify the workflow.

Extra coach notes

Extra Coach Notes — Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View

1) Quick conceptual recap (automation mindset)

Clip envelopes in Session = performance parameters attached to clips only. Device parameter automation in Arrangement = editable, permanent lanes. The workflow here is: design patch → perform in Session (clip envelopes + live macro moves) → record performed device automation into Arrangement for precision editing.
Think of Macros as your “performance instruments.” Clip envelopes are great for per-clip micro-shaping; macros and real-time moves are what you record into Arrangement.

2) Session-to-Arrangement recording nuances (practical)

Always enable Automation Arm and Global Record before you start performing. If you forget, you’ll capture clip launches but not your knob moves.
Use a short pre-count (metronome + 1-bar pre-count) so you can get hands on controllers and be ready a bar before actual recording starts.
Launch quantization matters: set Global Quantization (top left) to your desired musical grid (1/16 or 1/8) for tight clip launches; use Clip Launch Quantization if you want exceptions.
If your clip contains audio or MIDI content and you want that clip’s note data in Arrangement exactly as played in Session, launch the clip while recording into Arrangement. Notes will be captured; clip envelopes will not (unless you physically move mapped macros while recording).

3) Recording automation without a controller (mouse performance tips)

If you don’t have a MIDI controller, use the mouse to perform macros while recording. Get comfortable with performing circular/linear sweeps—practice with metronome and pre-count.
To record precise curves with a mouse, perform coarse sweeps live, then tidy them in Arrangement with breakpoints and short ramps.

4) Macro mapping hygiene (keep maps musical)

Map each Macro to only a handful of related parameters. If you map one Macro to many unrelated things, small Macro moves can cause large, unpredictable spectral shifts.
Use min/max mapping for each parameter (in the Rack Map Mode) to set useful ranges: e.g., Auto Filter Cutoff 800–6000 Hz, Reverb Dry/Wet 0–40%, Wavetable Position 30–70%. This prevents macros from plunging into ugly ranges.
Invert a mapping by swapping min/max values — useful for one knob closing a filter while another opens a different device.
Name and color-code macros. When you record automation, the lane names come from the device/parameter; clear macro naming makes lanes quicker to find.

5) Converting Session variations into clean Arrangement lanes (workflow patterns)

Pattern A: One-track performance — keep one Instrument Rack and perform all variations. Record everything into Arrangement, then edit automation lanes to isolate intro/drop variations.
Pattern B: Multi-track staging — duplicate the instrument track once per main variation (short pluck / bell / long tail). Tidy each track’s macros for that variation and record each track’s automation separately into Arrangement. This yields cleaner lanes and fewer passes when editing.
Pattern C: Dummy/aux track trick — use a MIDI dummy track sending no notes but with mapped macros to write automation while clips play. Useful when you want automation for FX sends without touching the instrument track’s note stream.

6) Clip envelopes vs. device automation — practical conversions

Clip envelopes are excellent for per-note modulation inside a clip but won’t exist in Arrangement. To “convert” a clip envelope into an Arrangement automation:

- Launch the clip while recording into Arrangement, and manually perform the equivalent macro/device movement in real time (mouse or controller) so Live writes the automation lanes.

- Alternatively resample or freeze/flatten the result (render to audio) and use that audio in Arrangement (good for one-shot sonic captures).

If you have short micro-modulations per note (e.g., tiny per-16th cutoff wiggles), consider re-drawing them as denser automation points in Arrangement rather than recording every single pass—this is often faster and cleaner.

7) Automation editing techniques (precision & smoothing)

Use the Draw tool (B) for freeform shapes; hold Cmd/Ctrl while dragging to snap or constrain.
Breakpoints: click to add, drag to set values. Short ramps (not instantaneous jumps) prevent zipper noise and audible stepping when automating filters or wavetable positions.
To create repeating LFO-like modulation without running CPU-costly devices live, draw repeating shapes (sine/triangle ramps) in Arrangement and copy/paste them across bars.
For small glitchy steps: zoom in on the automation lane and nudge points with arrow keys for fine control.

8) Routing, returns and send automation best-practice

Prefer automating send amounts to return tracks for reverb/delay instead of automating dry/wet in an insert reverb. Benefits: easier to edit FX automation as separate lanes, lighter on CPU (since one return can serve many tracks), and easier to automate crossfades between small and large spaces.
Map a Rack Macro to a return send (by mapping the send amount parameter to a Macro) if you want one knob to control both the dry instrument and reverb send for performance.
When automating a return send, record your send automation during Session performance (by moving the mapped macro) so it appears as a separate lane in Arrangement.

9) Creative automation variations to try

Multi-stage release automation: Automate the Amp Release macro to be shorter on punch sections, longer on pads/breakdown sections. This can be subtle but massively effective in DnB.
Wavetable position automation: automating wavetable position instead of filter cutoff often sounds more musical and “bell-like.” Automate larger, slower moves for sections, and tiny fast moves for note articulations.
Velocity-to-filter mapping: map Wavetable Envelope Amount or Filter ENV amount to MIDI Velocity so stronger hits open the filter more. That adds programmatic variation without extra automation lanes.
Macro stacking: map one macro to cut off + small distortion amount + tiny reverb send. On the drop, hit the macro for a huge perceived change; in Arrangement you can fine-tune contributions by changing map ranges rather than re-recording performance.

10) CPU, latency, and safety

Heavy Ping Pong/Long Reverb tails while recording can cause dropouts—freeze the track or reduce buffer size until you finish recording automation.
If recorded automation seems off-time, check Global Quantization and Delay Compensation. Re-record with a higher pre-count and monitor buffer.
When bouncing audio for safety, record a reference resample of your performed Session take so you have an audio backup of the exact performance before major edits.

11) Troubleshooting common failure modes (with fixes)

Nothing was recorded: check Automation Arm, Global Record, and that your moves were on mapped Macros (not unmapped device controls).
Automation recorded but jumps to extremes when moving knobs later: check Macro min/max mappings and invert if necessary. Also check whether Arrangement automation is “overriding” your device state (use "Back to Arrangement" to re-enable arrangement automation).
Clip envelope behavior seems different live vs. Arrangement: remember clip envelopes live is clip-only; when you copy notes to Arrangement you must recreate/record device automation to reproduce the envelope behavior.

12) Small pro-tweaks to make it sound more “Camo & Krooked”

Emphasize transient: use a tiny pre-delay on reverb and a short ambience to preserve pluck snap. Automate the reverb pre-delay or dry/wet slightly on transitions for clarity.
Add a subtle FM sweep on attack only—map FM amount to a Macro and automate a quick click on the attack to add metallic sheen without mud.
Tight sidechain to the kick with an Opto-style Compressor (fast attack, medium release) in the drop. Automate sidechain amount with a Macro for racing/easing pump.
Layer with an octave-down sub-sine (low-pass filtered) on a separate, muted channel for fullness. Automate its level only in Arrangement for controlled energy sections.

13) Practice extensions

Create a follow-action chain across three Session clips that automatically cycles A→B→C while you perform only macro moves; record that into Arrangement to capture both clip changes and your hands-on adjustments.
Make a “performance rack” with Macro Variations: set up Rack Chains with slightly different macro targets (e.g., Chain 1 short release, Chain 2 long tail). Automate the Chain Selector or map it to a Macro for instant timbral switches—record Chain Selector automation into Arrangement as well.

14) Final checklist before recording a final pass

Automation Arm ON, Global Record armed, pre-count enabled.
Macro mappings verified (min/max ranges).
CPU/latency safe (freeze heavy tracks if needed).
Global Quantization set, metronome on if needed.
Return sends assigned and returns cleared of extreme settings.
An audio resample or duplicate track prepared as a backup.

Use these notes to refine your Session performance and get clean, musical automation lanes in Arrangement. The small preparation steps above (mapping ranges, return sends, macro naming, and pre-count) save huge time when polishing the bell pluck for a DnB production.

Ask GPT about this lesson

Chat with the lesson tutor, get follow-up help, or use quick actions.

Bigup 👽 Ask me anything about this lesson and I’ll answer in context.

Narration script

Show spoken script

[Intro]
Welcome. This lesson is a practical, intermediate automation walkthrough: Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View. We’ll build a tight DnB-style bell pluck with Live’s stock devices, create clip-based performance variations in Session View, then record those performance automation lanes into Arrangement so you can edit and polish them for a track.

[Lesson overview]
What you’ll end up with: a percussive bell-pluck Instrument Rack built with Wavetable and envelopes, mapped macros controlling filter, brightness, reverb and release, three clip-based variations in Session View, and recorded automation lanes in Arrangement ready for fine-tuning.

Step A — Patch: Create the bell pluck instrument
1. Create a new MIDI track with Cmd or Ctrl + Shift + T and load Wavetable.
2. Oscillators: set Oscillator One to a sine-ish partial or bell position, unison one, zero detune. Drop its pitch an octave if you want more body. Add Oscillator Two an octave up or slightly detuned — around +7 to +12 semitones — and reduce its level for overtone shimmer.
3. Filter and envelope: choose a Lowpass 24 dB or Bandpass for bite. Start Cutoff around two to four kilohertz. Use a fast filter envelope attack, a medium to long decay — somewhere between fifty and one hundred fifty milliseconds — low sustain and a short release. Raise the envelope amount until the filter opens quickly and then closes, creating the pluck sweep.
4. Amp envelope: fast attack, short decay between fifty and one-twenty milliseconds, low sustain and a release between twenty and eighty milliseconds for a tight click.
5. Optional: add a touch of FM or ring modulation on Oscillator Two for metallic character. Reduce low end with the filter or later with EQ Eight.

Step B — Rack and FX chain with Macros
1. Group Wavetable into an Instrument Rack with Cmd or Ctrl + G.
2. After the rack, insert devices in this order: Auto Filter, Saturator, EQ Eight, Ping Pong Delay, Reverb, and Compressor or Glue. Put Utility before the chain if you want master gain control.
3. Map four macros and name them: Cutoff, Brightness, Reverb, Release. Typical mappings are Macro 1 to Auto Filter cutoff, Macro 2 to Wavetable position or Osc 2 level, Macro 3 to Reverb dry/wet, and Macro 4 to Amp Release. Limit mapping ranges so Cutoff stays in a musical band — for example one to eight kilohertz — to avoid muddying the low end.

Step C — MIDI clip: melody and articulation
1. In Session View create a one- or two-bar MIDI clip.
2. Program a simple bell-ish arpeggio in 16th or 8th notes in a high register — think G4 up to D6.
3. Shorten note lengths to emphasize the pluck envelope and use velocity to add dynamic variation.

Step D — Clip-based automation and Session variations
1. Open the clip’s Envelopes box. For the envelope target choose Device → Instrument Rack → Macro 1 (Cutoff).
2. Draw a fast downward curve that opens on the first 16th then closes to create the per-note pluck sweep.
3. Add a second envelope lane for Macro 2 (Brightness) with small rises and dips. Optionally add a lane for Reverb Macro for scene changes — dry for verse, wet for chorus.
4. Create three clip slots with different versions:
- Clip A: short pluck with low reverb.
- Clip B: bellier sound with higher wavetable position, slightly longer release, more reverb.
- Clip C: detuned or chorus-like feel by increasing Osc 2 and adding subtle Auto Filter LFO or macro modulation.

Step E — Performance automation in Session
1. Map a MIDI controller or use the mouse to control the four macros so you can perform while launching clips.
2. If you want LFO-style motion, use Auto Filter’s internal LFO and map its amount to a macro for live control.

Step F — Record automation from Session to Arrangement
1. Switch to Arrangement View with Tab. Before you start, enable Automation Arm in the Control Bar so that parameter movements will be written into Arrangement. Arm global Record as well.
2. Hit Record, return to Session View, launch your clips and perform your macro moves. Live will record parameter moves and clip performance into Arrangement as automation lanes on the corresponding track.
- Note: clip envelopes themselves do not automatically convert to Arrangement automation. To get them into Arrangement you must play the equivalent macro movements live during recording, or resample the audio output.
3. Stop after a suitable pass — eight or sixteen bars — then go back to Arrangement. You’ll see automation lanes for Cutoff, Reverb, and any other mapped parameters. If you launched clips while recording, note data will be recorded too.
4. Clean up by showing or hiding automation lanes, consolidating clips with Cmd or Ctrl + J if you want a single region, and trimming or cutting variations into your arrangement.

Step G — Polish in Arrangement
1. Fine-tune automation curves using the Draw tool or breakpoints. Smooth sharp jumps with short ramps to avoid zipper noise.
2. Add sidechain compression to taste — either with a bus or an inserted compressor sidechained to the kick for that DnB pump.
3. Use EQ Eight to cut sub frequencies and emphasize presence in the two to six kilohertz range.
4. Duplicate and refine automation for transitions and offset values where needed.

Common mistakes to avoid
- Forgetting to enable Automation Arm or global Record — your knob moves won’t be written to Arrangement.
- Expecting clip envelopes to convert automatically — clip envelopes live only inside Session.
- Mapping a macro to too many parameters without limiting ranges — small moves can cause big, unpleasant changes.
- Setting overly long releases for a pluck — that creates low-end mud in DnB. Control tails with gating, reverb pre-delay and EQ.
- Recording with heavy CPU devices active without freezing may cause dropouts.

Pro tips and workflow hygiene
- Put a short pre-delay on reverb to keep the transient snap intact while still adding space.
- Use return tracks for reverb and delay and automate send amounts — this keeps FX automation separate and easier to edit.
- In Rack Map Mode, set min and max per mapped parameter so the macro behaves musically. Invert mappings when you need a knob to close one thing and open another.
- Automating Wavetable position often yields more musical harmonic shifts than only filtering.
- If you don’t have a controller, you can perform macros with the mouse during recording. Do coarse gestures live, then tidy in Arrangement.
- If CPU is strained, freeze or reduce heavy FX or lower buffer size during recording.

Mini practice exercise
1. In Session View create three one-bar clips: A short pluck, B bright bell, C long tail.
2. Map Cutoff and Reverb to two macros.
3. Arm Automation and record eight bars into Arrangement: launch A for two bars, switch to B for two bars while sweeping Cutoff, then C for four bars with Reverb rising.
4. In Arrangement smooth the Cutoff automation into a ramp, shorten the reverb tail in the intro with a fade, and add sidechain compression to the drop section.

Recap and final checklist
You now have the full Camo & Krooked Ableton Live 12 bell pluck blueprint using Session View to Arrangement View: a Wavetable pluck, an Instrument Rack with mapped macros, clip-based variations and the method to record parameter moves into Arrangement for precise editing. Key takeaways: design a focused patch, use macros as your performance instruments, enable Automation Arm and global record to capture movements, and tidy automation in Arrangement for production readiness.

Before a final pass, verify these items: Automation Arm on, global Record armed, macro min and max ranges checked, CPU safe or heavy tracks frozen, Global Quantization set, and a short pre-count enabled. Record a resample as a backup if you want an audio safety take.

That’s it — use the blueprint and practice exercise to lock in your workflow, and polish the automation in Arrangement until it sits tight in the mix.

mickeybeam

Go to drumbasscd.com for +100 drum and bass YouTube channels all in one place - tune in!

Channel:

Drum & Bass Ableton Live 12 Tutorials