11 ways to speed up your workflow by using a Fruity Loops template - FL Studio | Mr. Belt & Wezol | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

11 ways to speed up your workflow by using a Fruity Loops template - FL Studio

teacher avatar Mr. Belt & Wezol, DJ/producer duo from the Netherlands

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (28m)
    • 1. Introduction

    • 2. Crackle (vintage feel)

    • 3. The drums

    • 4. Battery 4

    • 5. SliceX

    • 6. Sidechaining

    • 7. Creating the melody

    • 8. Vocals

    • 9. Piano & Chords

    • 10. Effects

    • 11. Arrangement

    • 12. Master Channel

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this video Sam explains his template, which he uses to start all his projects. 

More info about Mr. Belt & Wezol:

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Kingsday were celebrated with four appearances throughout all corners of the Netherlands. But if you really want to see the guys in their element, you should visit their "The Cuckoo’s Nest" hostings and clubshows. Here they play long solo sets or invite all of their DJ friends for a huge back2back frenzy. The ADE editions are traditionally sold out and new editions will be announced all year round.


Our new track ’One Thing’ is OUT NOW! ❤️

Youtube: www.youtube.com/mrbeltandwezoltv
Twitter: twitter.com/mrbeltandwezol
Instagram: instagram.com/mrbeltandwezol

Meet Your Teacher

Teacher Profile Image

Mr. Belt & Wezol

DJ/producer duo from the Netherlands


Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Ki... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Welcome guys to miscibility weasels college. I'm going to be your teacher for today. My name is Sam or weasel. Today we're gonna talk about my templates. This is the project I begin every track with. And today I'm just going to walk through it with you guys. So yeah, let's start with the templates. So maybe let's start with why. It's a good thing to have a templates. Well, for one, it's really speeds up your workflow. So normally when you just start a empty project, you spend a lot of time just drawing every pattern into the playlist. And yeah, just what a template you can just take lot of shortcuts. So if we look at the playlist right here, the first thing you notice, I think, is this crackle channel on top here. 2. Crackle (vintage feel): The reason why I at this critical is dead beckon a days. All the analogue synthesisers de heads is some kind of bleeds. So when you record it's like Courts on your, on your synthesizer, you always gets just a little bit of a hum or a little bit of a crackle. And nowadays everything is in the box, so you don't get that anymore. But this critical channel kind of mimics that sounds. So it's for a little bit of a vintage feel. So that's why the critical is there. 3. The drums: Then if we go over here, you can see the separate drum elements that I have going on. So if we zoom in air and you see that I have the side chain kick on top here then just the standard drum loop, which is just this very basic. To kick the clamp at the open high hats close high adds percussion and the main base one, which is like the, like the melodic channel, all on their own seperates channel here on their own separate pattern. And say, well, this is already one of those steps that 3D skips a lot of time for you. It skips a lot of work that you have to put into it because everything's already assigns, the only thing you have to change is maybe at a different sample or something. So, yeah, let's dive into the drum loop first. If you are a university students or higher and you gets the samples for free. So this is just my basic sample or a basic drum loop. Really basic, just a cake, a club and the open heights, and a side chain kick. And maybe we can go into the way I set up my drums. So all the separate channels are media outlets, channels, and they're basically nothing. The only thing day communicates is information. So the actual samples are in battery for battery for is, you know what it is. It's, it's like a sample organizer, sluggish drum computer kind of thing. So all you actual samples I'm using are in this plugin. So as to kick IS open high Hands. And these media channels just trigger the different samples I'm using. So the reason I'm using battery for, for all my drum samples is because you can really adjust every sample according to your needs. So as you can see here, there's a volume envelope so you can really perfects to attack and decay and that kinda stuff on your, on your cake. Pretty basic stuff of course, but you can also adjust the pitch here. But my favorite part of Mettrie for is this engine bits right here. And normally the sample just sounds like this. But you can actually change the engine. It goes true with one of these settings. So these are all vintage drum computers, which could really give a difference, special quality to the sample you're using. So that really helps in achieving a vintage five. Then another adults quality for using battery for is that you have a lot of effects already built in. So desaturation, lo-fi filtering, it really makes your workflow a lot quicker. So instead of a lot of difference plug-ins to your, your mixer channel, you can actually do it all in the box, in the plug-in in this case. So these drum samples are not really something special or something I'm not using the specific samples for a reason. They are just really basic. And all these samples are going through their own mixer channel. So you can see the clap in the open I had coming in right here. 4. Battery 4: So maybe it's good to show you guys how you actually set up better before, so you have a better understanding of how it works in the life of BEC backoffice. So let's add a new instance of a battery for, and as you can see, it's completely empty. So let's throw a sample in there, this gig, whatever. And then let's add a midi outs channel. So let's sets this media channel to port five, and then we have to communicates debts Mettrie for needs to listen to everything that's going on. Port five. So we go to the settings right here. We set this up to port five in the input ports. And we also set up, that's, this sample is getting triggered when I play certain notes. So I'm going to go for a sheet tree right here. And now if we place the tree here on the media channel, it plays it within battery. So let's now try to do the same for to clamp. So let's just add a clip sample and copy it is media channel. And we wants to collapse to play on a B note. So we adjust this. So you're she nodes becomes a B note. I hope this is understandable for you guys. And we change this to the B notes. So now whenever I play a C note on this midi outs to channel, it plays the collapse sample within battery. And if we now want to complete its, what you also do the same for a open high hats. We throw this a, a sharp ends. We'd throw dis. Yeah, you set this up so that if you play a C note, it actually plays an a sharp notes and now it plays the open ions within battery. So that's the first section of how to set up better a luckily, if you have to Fruity Loops file, you don't have to do that at all because it's all set up for you already. But what you didn't also wants is debts. All these difference samples you're using are being redirected to the correct mixer track within the mixer. So the way to do that is to make sure that's at processing right here. You set up everything to be the correct channel. So I'm trying the plug-in on track one in the mixer bowl. So that's actually the side chain cake I'm using. But I'm throwing all the separate channels. This means 11 channel up from the channel you're using is means two channels up from the tractates or using tree and so on. So if you then go back to the actual samples you're using, n should go to output right here. You check the direct outs and click the, the channel she wants the samples to play into. You just do this. And if I did it correctly, you can now see that every separate sample is being routed to a separate mixer trek. So that's how you set it up. So this is getting pretty technical and I think a lot of you guys don't Verde, you're not interested in this kind of content with, if you are, please let me know in the comments so I can go do another video about this. That video we'll then maybe be about patch here, which is a really handy plugging within FL Studio and connecting stuff, you know what, all these wires here. That's for another video. Okay, so that's how you set that up. In short. If we now return to the actual drum loop I have going on here. You can also see that there's some channels here, florida close heights and the percussion and a riots. 5. SliceX: These are all just SLI six plug-ins except for this one, because I'm using samples for arrives mostly. But this is just a really easy time skipping tool to use for loops in a creative way. And so if I just use some standards, I'll maybe let's use a actual close hi-hat loop. If I just throw in this, which is a vegans loop, just automatically slices it up so I can be creative with it. Sounds amazing. But this way you can just switch it up. I don't know, maybe, maybe you only like this bars. It's a repetitive loop so it doesn't really work. But normally would a loop that has a lot of stuff going on, on this one, for example, maybe you only like this bar at the end. I'll show you remove the risks and you just, you just take it like that genome show normally that's really time consuming. But if you set it up like this, you can just, you know, go play with it right away. I'll drums are going through their own separates channel on the mixer. Um, there, there are some standards. Affects are going on. So to kick has just a limit our astray, if I want to increase the volume allows you know, that I can just do that right here. The clamp has a couple of plug-ins going on. Warm is to come across share, which is just a really simplified version of a compressor, just a one-off thing. And other plug-in I'm using is the FET filler Saturn, which is just a distortion units which you can really use to bump off the high frequencies. And yeah, this is just for some cutting of low frequencies. And the same goes on here for the volume adjusting interface. So the effects are really not doing that much. But it's just that they're dare already so you don't have to load them in. Same goes on Furda open iIt's gets less complicated with each mixer channel right here. All these drama channels are being routed to the drum bus and the drum bars. This is just where I put all my general drum effects. So imagine, for example, that you have, I don't know, you're just before a drop or something and there's a drama going on. This is where I put my reverb, for example, in all if I wanted to create like a, some kind of crescendo effects, I just take the, I just take the drum loop channel and I put all my reverb effects. I just put it on there. So, you know, there's usually a lot of stuff that you want to apply it to all your drum tracks. So that's just an easy way to do that. And the other thing that's happening here, and that's the last thing and been the tale about the drums is parallel compression. That's this channel right here. So to clamp is being sensed to suit sent channels, as you can see right here. And those ten channels are being routed to the drum boss again. Oh, compression is also called New York compression. It's a way to make your sounds have more like more base. It's what it is. It's actually just a compressor that's heavily compresses the sound that comes in and it's routed back to the drum bus. So if I really put this one up in volume, it really gives it some volume of course. But also yes, some, there's some compression without altering the actual collapse sounds. So you can then use debts clap sound from the mixer channel as to sound that punches through to mix. And you can use the parallel compression as more of a steady base for the clamp. I hope it's not too complicated, but it's especially when you're going to lay our claps, It's a good way to kind of glue it all together. And this drum room send channel right here is just a 3b shorts all the way with reverb channel on room modes, which just gives like a tiny Weaver up, you know, normally you once or at least I want mine drums to be as dry as possible. And with dissent channel you can add a little bit of reverb and without altering the dry singleton much. So something like this. Normally, you know, same goes for the open eye. It's only then that only goes true. The reverb channel. As all the other drum tracks right here. 6. Sidechaining: So what you can also see in these first couple of mixer tricks is the side chain cake. And it has been talked about a lot on the Internet. The way I do it is I just have a noise step. It's this sounds really short neu step. And I just side chain debts to all the channels that I think needs side chaining. So the open IS closed eyelids, percussion rides, but I'll show all of them and all the elements and the focal and stuff. Yeah, I I side chain that. So I just, you know, I'm on the channel and I just quick side chains or district, right mouse click that is. And then here I add a limiter, which is air. And then put this 12z channel one. Side chains track is on channel one. And here I play with the settings. That's the way I do. It, gives me the most control because if I had side chain through the actual kick, the settings will always be difference because you know, your, your cake has a different length or for using a 3D weird short gag or something. And this way you can really get a feel for how these side chains settings of each thread should be. So and that's why I use a noise step for death and announced the actual cake. 7. Creating the melody: And another thing I'm doing in this template is I'm bundling all the melodic elements together. So this is a solid base and this is the main base. This is the main lead one, and this is the mainly two. As you can see, it's not actual plug-ins, but its just so I can easily choose massive here or whatever. And it's all set up to go to to ride makes her channel, you know, it's going to make some channel 15, which is some base, as you can see here. And you know that the two main leads, for example, they're going through these two channels and they are both going to this lead bus. And I'm doing that so you can apply compressions who both the lead sounds but you can all show, send them to the same reverb channel, which is this one. So you're sure that's all the melodic elements are getting the exact same reverb, you know, so it's not getting messy. Another thing I am doing here is I'm using shape or box. And shape or box is actually a really handy tool. It's kinda like Kickstarter, but with more control. So if we start at the top right here, you can see that there's two bands going on. And you can split these bands however you want. I'm choosing it to be on 100 hertz. So you can see it's down here. The low splits is accepting 100 hertz. And this way, especially handy for like basis and stuff. This way you can make sure that a certain frequency bands is completely being side chains when the cake is coming in, for example. Because of course you don't want the self of your base to be fooling around with the sum of your kick. You know, you want them separate. And a way to really nail this, like really nil it's to perfection, is to put up a kick on your master channel that load up shaper box. And then we can just make the spit here on 100 hertz or something like that. Then if we played kick, oh, let's put this on one-forth. Then if we played a cake, you can see right here in this box everything above 100 hertz. And right here, we just play only the kick. This is the actual waveform of the kick below 100 spirits. So this is your actual sub frequencies. So if you're then going to shape the side chaining off your base bus, for example. You can really make debts a perfect, perfect shape that's completely connects width when you're sub n, the sum of your kick ends. So we can see right here that there's a little seal off the kick going on right here. So maybe we should, you know, it's already pretty OK. But something like this. Completely. Make sure that's the base is in sync with the sub frequencies of your kick. So that's a really good way to really nail that side chaining. Of course, you can also use this plug-in to completely side chain your sounds. You just have to remove the bands that's there. So yeah, that's how I nail my side chaining. And the other thing that's going on on the base class for example, but I'll show on the lead Bosch and the step bus is this maximum mono. That's why I call it. It's basically just a, a instance of maximus, which is a FL Studio native plugin That's completely mobile, knows everything that's below 100 hertz. Because normally are well, normally you just don't want anything below 100 hertz to being in serial mode. Because you want your base to be sub-e. And if you stereo that up, it's gonna be sounding really weird. So if we continue on to all the other channels that are going on here. So from this channel, this channel is all like melodic staff, synthesizers and stuff. This is all vocal. 8. Vocals: So this vocal channel gets sent through this vocal reverb channel, which has this reverb, which is a really nice reverb for vocals, I think. And this is where vocal chops if, if I'm using them, focal repeats, which I call like an ambiance kind of sounds. Maybe I can show it to you guys. I think I have some like this kind of these kinda sounds, you know, just stuff that I use from the vocal. Debts could Hoover across the intro or maybe across a drop, even just ambience stuff. 9. Piano & Chords: Then if we go to these channels, the piano was just a instance of true pianos. Yeah, it's just my favorites plugin. When it comes to basic piano melodies, you know, it's a really balanced piano plugin, I think is just a empty channels. Well, and these are all just. 10. Effects: Affects Generals. So normally, when I throw in an effects, I just go through the wide noise is right here, and this is my most used wide noise sample. I just throw it in here and then instantly throw it on, on channel 29, which bundles up all my affects channels. So it's all nice and tidy, just the way I like it. This is the crackle We talked about. This is the reverse effects channel, which is another separate folder in my sample folder. My belt on weasel sample folder seals basically like a suction effects. So just reversed sounds, that's kinda give it a sucky feel. I'm using that a lot, so that's why it threw it in the template as well. Then reverb claps. Well, everyone knows what those are I think, but to be sure, like those kind of sounds, you know, or, or would snares. I use those a lot as well. So that's why they're there. And deaths all the mixer tricks. 11. Arrangement : So if we now go to the arrangements, it's actually the moments basic arrangements that I use in most of my tricks. So little bit of leeway here that I can use if I want to extend my intro or something. Then just to stand there at 16 bar intro and a, I'll show it like a standard first break. And then with most of my tracks, I usually play around widths, how long the drop should be. So sometimes it's just this bit. Lately I've been doing the slightly longer version a bit. And then here I just always change it up, but it's just a good reminder to know when certain stuff should happen in your trick. The second break should happen somewhere here, you know, just so you can work towards something. I think that's really, really handy, unhelpful. 12. Master Channel: So the last thing we should talk about is the Mestre channel and the master channel is nothing really interesting. I think. Let's start from the top here. Edison is the plug-in I used for basic sound editing. Now if I take this sample, for example, but I find it's way too long or something where I want to reverse it and then maybe make it a lot shorter and make it more Stuckey, you know, just do that all within Edison. So that's why it's so my master channel G20 and is a really basic plug-in which can't find the key of a certain sample or well, not the key, the actual note. I use it for kicks mostly. So as you can see, I label all my kicks bottom. So it's not completely accurate. But this one, for example, this is an F and G20 and gives me the information so I know when the cake is in key with the rest of my projects. But also sometimes when I'm using shirt and plug-ins, especially with serum, sometimes serum has just a it's just a little bit out of tune. And I think that's just because we're using certain wave tables which are making the sound out of tune. Even when you're locking the actual bitch right here, it's still can get pretty out of tune. So that's also just a reminder to see if your sins are actually a tune. That next thing is to fruity DB meter, which is just really standards. But I really want my cakes, for example, to be on a certain level. And what my collapse would be on a certain level. And I just check its width with this plugin. And if I really want to be precise, I'm using span, which is a free plugin. You can download it on the Internet, which really gives a good representation of what your frequency spectrum is looking like. And you can also use it for finding, for example, the, the notes of your kick. Let's throw in. It's thrown this kick. So right here you can immediately see which frequency is most prominence. And if G21 isn't working, you can just use this plug-in to finds the most, the harmonic that stands out most to finds the notes of your specific sample. So that's what I'm using span for. These last wants are really just there to see the levels. So if I'm playing the drop, which I then finished, I use the RMS meter right here to find the, the, the audio levels, like the loudness of the track. Usually wanted to be around minus five RMS. Sometimes when I'm mastering the track for club US, I used to just throw up the stereo width here of the difference frequency bands just to give some more stereo effect. And this limiter is just limiting. That's all it does. It doesn't compress in any way. It just makes sure that the track doesn't go above 0 db. So that's the whole master channel. Nothing special tickets. And yeah, I think that's the whole templates is pretty basic, but I think that if I didn't have this templates, I will be spending a lot of hours just doing the basic stuff. And, you know, you could spend your time actually creating music. So this template is a godsend for me. I hope you guys learned something. I hope you guys use this template for your productions. I will include a list of every plugin that you will need for opening this Templates. There's some page plugins in there, but you can easily replace them with like free to use blogging or similar plugin. So that's my templates. I hope you guys learned something from it. I hope you guys had fun watching. It's, we're doing this for you guys, so please throw in all your ideas. It will only help us and help you hopefully. And yeah, that's it guys. I hope you had fun to you in the next video. Bye.