Arp Sound Design and Creating Atmosphere | Aaron Carstensen | Skillshare

Arp Sound Design and Creating Atmosphere

Aaron Carstensen, Keep making music

Arp Sound Design and Creating Atmosphere

Aaron Carstensen, Keep making music

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7 Lessons (57m)
    • 1. Intro

    • 2. Arp Part 1

    • 3. Arp Part 2

    • 4. Chord Pad

    • 5. Mix Part 1

    • 6. Mix Part 2

    • 7. Texture

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About This Class

This class has a few sections to it because I want to provide in depth knowledge for each topic. I start with creating an arpeggiated synth using NI Massive and ableton's arpeggiator effect. Next is a atmospheric chord pad also using NI Massive. The next section is mixing these instruments together in an EDM style using the DAW's audio effects. Finally I explain how layering sounds creates the size heard in EDM music. 

Meet Your Teacher

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Aaron Carstensen

Keep making music


Hi! my name is Aaron and I am an electronic music producer with 8 years of experience. I have completed my degree in electronic production from the Berklee School of Music and am currently working on my trap metal project Xstitch.

The most recent release here is my Quick Mix: Low End video tutorial. I am starting the Quick Mix series as a way to quickly showcase practical techniques so if you like the first one I'd be happy to make more.

If you've gotten any use from my lessons it would be super helpful to get a follow on Instagram, I'm most active there.

As always let me know if there is something you are stuck on or want me to cover I would be happy to make a tutorial on the topic.

Keep making music!

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1. Intro: What's up, guys? Uh, Aaron here with another tutorial. Um, this time what? I'm gonna dio eyes show you guys how to make this e g m kind of groove intro groove. Ah, lot of drops and, um, like, big since get tutorials. But it's easy to forget that there's, uh, the rest of the song. So I think this is a good tutorial. I'm gonna do effects and stuff and mixing. I like to kind of do a little bit of everything, so that's why they're getting kind of long. But, um is the loop I have. So, um, like no kicks, really? It's just kind of that, like build, I guess. Um, so I'm gonna break down. I'm gonna show you how to create this arpeggio. It'd synth right here, this one, and then I'm gonna show you how to make this court bad. And then that's the only sound design. I'm going to do the rest. I'm gonna show you how to mix this and all. Um, I'll go over how to get, um, space. I got a question about how to make this stuff kind of sound. It's like vibe B, and it's got a lot of atmosphere. Um, but you still want to keep it like, like, always? You want to keep You don't wanna wash things out, so I'll show you. I'll go over all that, and then I'll do mixing outside of the sound design. So, actually, if you want to skip over, if you don't have massive or you don't want to make the sense that's fine. You can just skip to the past the sound design, and then go right to the mixing. All right, I'm gonna go over the art first, um, saucy in the next video. 2. Arp Part 1: What's up, guys? There's going to be the arpeggio hated synth. Um, I'm just gonna call it an art from now on. Um, so this one's interesting because, um, we have a couple different since going on in this In this loop, we made, um, and the ones that I really I really layered the AARP the most out of all these different cords, which are instruments, because the thing with these Arpege, it'd since they're kind of straightforward in, and if you hear them on a track, you could probably point out that it's an AARP. Um, it's kind of bouncing around its pluck in different notes. It's it's it's pretty easy to point out the hard part is making it expressive and making it not really that that that that that, like, really static in its motion, if you know what I'm saying, you know, it's kind of a weird oxymoron, but giving it character, given any expression is a hard, hard thing to do. So I wanted to go over that because I think they're really fun. There's a lot of patterns you can make, um, once, you know, kind of how to do it. So here's the synth all by itself, Just the first oscillator. That's what I started with. It's really just a saw wave. Um, so we've pitched up a little bit for us four cents. I think those air sense it's d tuned. Second oscillator Ah sine triangle, uh, moved to sign pitched up. I put a, um a little bit of ring modulation on this on the second oscillator kind of accentuate the ah, the upper harmonic. And I also de tuned it. Ah, finally put a police on. So it's kind of kind of a lot. It's kind of a big stack. Honestly, um, but it it once we start cutting things away, it'll sound way smaller. Um, it'll still sound full, but it's kind of overkill right now. Um, so those are the oscillators, the main envelope, it pretty much on and off. There's not a lot of attack. Pretty pretty, you know, have it? I e don't like that. I usually put it back, so it's kind of ah, hard, but But it still slides in a little bit, uh, and then put release. Kind of not, uh uh not clip be like cutie, huh? Just kind of ease out, you know, but pretty on and off. I'm gonna do voicing I turn this up to four. Ah mahn a phonic since I did a little bit of de tune, Um, I don't do the Oh, I don't do a ton of de tune here. I do it here more on the, um, on the actual pitch of the oscillators because I feel like I'm more control. And also, this kind of d tuning has is very obvious, so I kind of ease it and then, um, pan position I put all the way left. You can do whatever direction you want. Makes a big Since a lot of people say, uh, would be careful, you know, you don't want to lose the oh character, but I think I think that d tuning is really bad when it's just centered. So I'd pull it left or right either way. So it's it's big and it's got d tuning, but it's not super like super saw. Um, you know, it's not crazy d tuned, and it's not they're not all saw ways. You know, when you're stacking oscillators up like this, you need to be careful that they all have their own different thing going on. I just put the saw down below because I wanted it. That was too light. Oh, like I said in another video, I like to start, um, low. When I create the sense and then filter out the low, um, gives you more character. So moving on to the filters. Um, all these oscillators are up to filter one. Filters are in serial mode. I pulled down the low pass like low pass to so and he's your low pass first, and then we're gonna go to the harder part. I I pulled it down pretty low. And at first, when you're starting with this, um, on and you hear that you're like, Oh, that's you're cutting out a lot of the sound. That was a huge mistake. Um, sorry. Not doing that was a huge mistake. I used to make where I wanted loud. I wanted big and I wanted, um, you know, I wouldn't leave room. I know that sounds big. That's on small. I don't like that. It's actually this. It's a good spot. There's other things going on, and also there's the character of the really, really high part. Isn't as, um, expressive to me as a as kind of like the high mids. And I'll show you what I mean, in a second. So next filter, we're gonna do a low pass. Four. So this is the harder low pass. So, like I said, um, it's in serial mode. So that means all these oscillators air going first here and then to hear Here we get I'm gonna mute this, but I'm gonna pull up the six. LF l u c sounds better. Sounds more like an art. Know that we're kind of moving into that. Our range. So if you'll listen, listen really carefully right here. Not a huge difference. There's to me. What I hear is there is that high Those high frequencies kind of intervals are give it a little too much. Um, Elektronik sound. Honestly, it sounds a little like I stacked up with 10 oscillators, and I'm running through filter E up there. Up there for me is too much. So I like keeping it down. Um, pretty low. Pretty low, cause we'll move everything around. Um, so real quick. What I did for this is, um, go to six. It's an LFO turn into this just kind of saw looking one. Um, put it in whatever spot, and then you drag how much you want to modulate it? That's backwards. Um, be careful with your filters is basically what I'm trying to say. Um, next what I did, I put on this 5th 1 Just This is like a 2/1 ratio. Sorry. The sixth is a 1/16 but you can figure that out. Um, ratio is to over one. So what that's doing is is well, it's plucking. It means it's gonna pluck. It's gonna pull this. It's going to kind of go like this. The cut off is gonna kind of go like this so it gets a little more character. It's not gonna be plucking on the same cut off every single time, But that's a texture thing that's up to you. You couldn't change that around if you want. Um, I apologize that the effects on already e put on a tube with just a little bit of drive on a little bit of dimension expander. You honestly Not a lot. Not a lot in the synth, which so that's OK. E pulled down the low shelf a little bit because I knew that this was gonna be, ah, more mid range. And we started off with kind of low. Um, low sound. So here's Here's where what happened. Is I So this is where I started. Actually, I'm going to go into the next video I'm gonna do in another one, um, and kind of go into the AARP itself on the like, the able to narp because this whole process can kind of be like jumping between things. So I'm gonna go take this. This is our starting point is where I started with just that plucking synth, um, as where I wanted to begin. So continue next video for the in depth are, um, continuation. 3. Arp Part 2: What's up, guys? So we have our AARP beginning play real quick. Pretty, pretty simple. It's got some with through it, you know, it sounds sounds pretty coo. Um, so here's what We're gonna start jumping around a little bit if I So after here, I put down um, I put down on arpeggio eater on able to, um this is, um this has the opportunity air The option for you to increase the steps you wanted to go, gives it a little bit more e kept the rate the same. So the rate on this on this sixth LFO on this filter is the same as the rate in the arpeggio. Gator e. I mean, you could mess around with that if you want. I kept it the same because I wanted it. Teoh be a supplement to the the pattern already have. So there there's some things you can do in the arpeggio or that are easier to do in the Arpege eater than modulating them in massive. So, um uh, now, because this is a model phonic sent, um, it wouldn't play these notes. That's why I pulled them out. I just wanted to start with show you what I was beginning with. So these notes I put down later and what you can see is, um, things were going. Have to play around. You're gonna play around with the once you have the base sent the basic synth you're gonna I'm sorry. I say base a lot, as in, um, like the foundation, not the B A s s. Um So So now, yes. So play around with notes you put down. I just I just picked some notes that are in the C minor, you know, And like, maybe played off some chords I had I made the cords first, actually, in this style, a phone right here. So that's legit. What? I started with this whole thing off, and then I said, OK, it's in C minor. Um, e DME, whatever. Um uh, so I played with these notes I played with this, um, the style and the offset. So you confined this'd is this? See, this is where it gets experimented e where you condone change. Things changed the steps. If you want. Um, I put it on re trigger. So if you hear that, that's without re trigger. This is default. It um, it kind of Reese. It restarts the pattern at more musical times for me. Finally. Now we're gonna jump back into massive because I have this stepper on the whole thing. So I thought when I heard this E said, OK, that's a cool pattern. Um, but I want it to be less aggressive. I want I don't want it to be so every note. The same, you know. So I pulled out a ah stepper put on 1/16 the same, um, same rate as all these. All these lfo is everything. And then I put it on the master. This is the ant mod. So this is pretty much modulating the volume, um, of the whole synth and I took restart off. So I picked. Then I picked No, I thought about, like, music. You know, like with music you're gonna have, like, a couple note like, Oh, you If you have, like, a pattern like a synth pattern or ah, high hat pattern, you're gonna be like, Oh, t you know, there's certain notes where you're gonna if you're hitting the symbol, you're gonna hit him harder. So it's kind of like a velocity thing, so I picked these. So those are the notes. Those air, the spots where I said okay. I wanted to ease back. I'm pulling it down all the way because I want to show you ticket ticket, ticket ticket jumped up the did. You know, That's kind of what went in my brain. And you can mess around, decide what notes you you want full and one you know, you want to ease back on. So this is a This is, um, this kind of personal preference. And the reason this is kind of confusing is because you have Teoh these settings. This this, um you know your modulation in massive this arpeggio later. And then the notes you pick all kind of have are intertwined. And so this wag, it's difficult. See that? That doesn't sound as good. It kind of pulls away. It puts too many notes on this places I want to pull back on, and it it. So that's where I had to mess around a little bit. And that's where you gotta practice. Um, know where you want things to accent. I know. I wanted I wanted this, like, three going at once and then, like right In the beginning, I want more action, And then just to is going to sound like less jumpy. Um, so that's what the, um the arpeggio eater is That's how you're going to make it a little more expressive. Um, so I'm gonna show you the layer I made. All right, so this is the second. What I did here is if you take the first you control G control drag, and it will keep you create a copy of whatever Cynthia controlled were dragged. So I copied over, um, this first synth and what I did on here is I It's pretty much the same sense as you can see . The same, uh, you know, I got the distortion, the dimension expander, low pass. What I did is I put up, I took off one of the, um, oscillators. And then I put these on the perfect fifths just to give it a little, um Um uh, making a little bigger, making a little thicker because in this loop, it is kind of the main thing going on. I put a little bit of delay, and then I made this more more plucky because I don't want it super, Um, obvious. I kind of want it. That high end, just a subtle little boost. And then what I did is I panned them left and right, so that's pretty centered, you know, if you here. So we're gonna pay these. So the farther you paint it, the bigger it's gonna sound bigger. But I would keep it pretty, like, you know, I'd keep it somewhere close to the center, because once you go too far, you're gonna lose the kind of the focus of the sound. So, um, if you'll notice I didn't put a lot of re verbs or anything on in the synth. We're gonna do that after, because that's part of the mixing creating space. But that's the little art thing I wanted to show you. Like I said, in another video, small delays like millisecond delays, you're gonna make things sound bigger. Um, so think about that when you're doing these ARPs. And then, um, So I'm gonna go over the the chord sound design. Next, um, but play around with his art stuff because it's kind of tough to make it sound musical. Try to make it musical and expressive. Um, So what more sound design thing in the next video. That's gonna be the cords I have in the background, and then we'll move on to just mixing. 4. Chord Pad: All right, guys, this is the cords synth. So I pulled all the effects off. So this is where I started. So this is just a poly saw with, um, just typically gm cords. Three stacks. You know, Um, what I wanted to talk about with this synth is it's pretty. It's it's It's kind of like a pad in. You hear it in the back and it's playing the chords and an issue. I had a lot creating this kind of thing in, um, in as seances. You want it big and spread out. You don't want us put like Like, let's say you had three oscillators playing one octave just d tuned. That's kind of getting into, like, super saw Realm. And that's super aggressive. And you want, like, this easy kind of like floaty e g m pad in the background, so I'll show you. What I did is first a poly saw. Police cells are nice because it's it's not its it's already spread across the spectrum. It's got it's got character all over. Um, what I did next was already thought, OK, that's pretty good, but I want some hire some focus. I want some I want something to de tune it with. So I put up this perfect fifth. It's actually up on Octave and then a perfect fifth. And then I did a perfect fifth on this one, too. So what this does is after you detain these. So I usually do like, um, up, like, 10 cents or something. Um, you go too far, and then he's back and see what's good. Um, also, I don't like putting these all the way. Hi. I'm like turning up the amp all the way. I like the poly saws, the foundation, and then the fifths, I put kind of mix in a little bit. Um, these are just simple chords. Kind of the same envelope we had in the other one. On the other sense, it's just kind of on and off. It's not too expressive. Turn this unison up to four. Keep it on Polyphonic. I gave us, um, de tune and then pulled it left or right. Um, so the reason I did all this is because I wanted, um I wanted these cords toe kind of have power in in multiple spots. Um, I wanted them d tuned. I wanted them wide. I wanted that. They're different to be different notes. You know it doesn't like it's playing chords, but it's also playing like the frequencies kinda have different spots that air are accentuated. It's not just like a saw playing chords super aggressively. So if you listen the saw way, I put a square wave on there and it just kind of sounds like obviously like a square since like, it's kind of like it sounds like a squares and not super expressive. So I like the poly saw for this. Um, I pulled the low, uh, sorry oscillators all the way up serial mode for filters. I pulled the cut off pretty low. And then what I did is I put, um, macro one on the cut off. So that's where the synth is cut off at. I put a low pass to because it's it's smooth, I put it. I pulled it pretty low, and then I gave it. I picked the bottom part I wanted, and then I picked the top most part, and then with the top most part, I put I bound the residence a tiny, tiny bit. So as it goes up, it's gonna bump. I don't like bumping low frequencies because they start toe rumble and sound, and kind of they sound wonky. So I like Teoh, But I think the like high like around the three K two K one k. Kinda like bumps, kind of give it presents. So I didn't even put a second filter. This just goes straight to a chorus. So what? This course does this kind of just a mixing thing? It's It's not a lot of chorus. I'm gonna show you how I do my courses. I don't like, you know, that's like it was like, Oh, that's a course. Since I'm not using it as a chorus, I'm using it as a as a softener, kind of. That's kind of what all these things are like. Effects like reverb and stuff, you creating space, and to me, it sounds softer. Um, so how I do this like this all the way? I don't want my thing super d tuned. I don't want to like that. Sounds that, um, boy can do is use the death depth, use the depth to find a rate you like, And then what I do is I'm like, Okay, that kind of, you know, I kind of, like, wobbles with with the beat a little bit And then I pulled the depth on. Then I pulled the dry wet down. So now what that's doing is just kind of creating mawr motion in the synth, um, subtly. And we want, like, a lot of motion. That's what makes things sound big and riel and, um, like spacey and and it's the more static you you have your synth, the more just in your face. And like Elektronik, it sounds, um So next I did a small reverb again, just softening things so dry, wet I put it 50%. And then I put the size down density down and then the color down, I'm actually switch that toe high density because I what I want I don't want a big reverb tail. I just want, um, to create that same same thing the course is doing is create motion. I don't want a really shiny river, but that's not what this re verbs about. This reverb is just a softener. And then finally e que Okay, I pulled out some of that, like, 501 K just because that it seems that always get some build up. Um, so that's synth. It sounds really cool. I really like this type of, like, pad kind of chord synth. It's actually not super challenging to make. It's pretty straightforward. Um, you can play around with your inserts, that kind of thing. You're modulation stuff, but also play with Thea oscillators. That's always a big thing. Is is sound design like, we'll tell you what to do. And then people don't take and like, you have, like, a 1,000,000,000 in here, so find something cooler. Um, that's the just the background cord. Um, So I'm gonna go about mixing this stuff, um, in the next video. So probably gonna start with the mixing the AARP in the cords and stuff, So see in the next video. 5. Mix Part 1: our guys. Um, so we have our loop. We made our two cents. We met our arpeggio hated, uh, synth and then our cords, um, I layered underneath the cords. This base, um, so legit. It's just playing the fundamentals of the bottom of the the cords. And then basically, I don't want to go over the sound design because it's pretty straightforward, but, um, it's just ah, saw with a little bit of distortion and low pass. Um, So what this does is kind of gives the whole thing foundation, if you think about, like, listen to like, um, What's that Justin Bieber song with snake? Yeah. Barge in on the edge of something beautiful. Um, don't you give up known Ana. Okay, that song. Listen to the beginning. And he has this Really like, uh, the pluck is super lush because the pluck, the main pluck sound is has a lot of reverb on it. And then there's a sub and like, a base layer below it. And what that does is gives it like this really like soft, like big feeling. Um and you're like, Wow, that sounds like that's how do you make that that sweet pluck. It sounds like one pluck, but it's a layer. It's layering that sub in, and that's what I do. So listen, Joe, we're gonna play it on. That's off. And so what the sub is doing is just it's softening the blow of the whole thing. So with the ZPM since are pretty big and aggressive and, um, but when you pull up that sub underneath it, it really softens it out. Don't go overboard, though, or else your mix will sound quiet. So that's a side note. So I'm gonna go just left to right. Um, mixing drums. Um, I put sand reverb, even your drum. Do you want your drums to have space Once you start putting in the kick? Uh, you gotta be careful that it's not. You're not getting a lot of reverb on that super low. And so on this send, I cut out the um, you can cut out the low end on a separate filter. I kind of just do it on here on, and it's not a lot. It's not a lot. It's not a super big decay is just giving it spaces, giving it room, so drums have room. What I do on the AARP started with you. I pulled out some of that low end. I eased up on the, um on that mid 708 100. That's where you get a lot of buildup. I eased up on that and then I pulled down the high end, The top. Um, I'm doing that a lot more now because, like I said in the past video, this high end is is it's fine if you're making something really big, but we're making, like, a needy M intro and we want it space you want of I B um, the more of that super high you put in there can get harsh really fast. Um and then it also sounds I don't know when you put re verbs on it, It just kind of like is just Ouch. It hurts a little bit, Um, so I I'd be careful, you know, don't make your sense sound like flub e and low. Andy. I'm just be careful with that high end, but at the same time, be careful with low end. It's kind of just be careful on all. Everything needs to be balance. I know it's it's it's hard to describe, um, so here's first reverb. So this. So like I said, um, I do it two different kinds of reverb. The 1st 1 is, um, keep the size small decay time small pre delay, tight density pretty thick and then the scale. And then this one you can pull. So this isn't a big tail reverb. This is, um, like I said in the last video, I think it's just softens things. It gives this since space, so you can be pretty generous with this sense because, honestly, I thought I thought the original synth without it. That's a dry dry since because I didn't put any reverb on it on in the in massive UM, which would you soften the blow a little bit, but it's It's really there. It's really in your face. So I put this one up 50% on what that's doing. It's not It's not, Um, there's not a lot of tail. You hear a little bit of the tail coming in, but it's It's just it's giving. It's kind of building a room around it. Next. I just put a compressed around there just to kind of it's It's plucking a lot. It's jumping around. So, um, I wanted it. I would just want to detainment a tiny bit. It's It's pretty hard ratio. Pretty quick attack. Um, I didn't do a lot on the release. Honestly, I could pull down this knee a little bit, too. I put any que eso. It's only compressing. It's compressing around the 700 hertz. Um, just cause that's where it's kind of building up this week, you doesn't mean it's on Lee compressing the 700 hertz. It means the 700 words are going to activate the compressor. And I didn't want toe. I just liked it there. Um, because that was where a big, big spot. All right, next thing. Ping pong. Delay. Um, you hear it when I stopped playing, You hear it at the it know what this is is I pulled down the filter and then found a, um, a B division that I liked, and then I put it 20% and then 27% on the feedback, 20% dry white. Sorry. Um, and what this does I've noticed so delays. Um, I didn't want a lot of feedback delayed because that would get messy really fast. But if you listen to it this like I said with the sub base, the base I pulled the filter down really low. So it's it's adding a little bit of low end. Um, it's like a padding to me. This ping pong delay is a pad at the bottom. Um, if you listen to the listen to the harshness, so this on on that's off and partial. Part of it is the driveway is It's pulling in. Its changing the volumes a little bit because but But that Lohan pad kind of gives it a more even frequency without you bumping this like low end and getting it like a You know this really like President Loathe Delay. The lay low end for me is, is what I really like. And that's one of the small things. You might have a different preference, but it's pretty small. This is the tale reverb. So what this reverb is is is a lot of pre delay. So we get that initial sound big size that gives it kind of It's kind of like a pre delay, um, kind of like thick grain are more dense. Um, I pulled down the density and it turned out the scale. So, um on then decay times like 2 to 3 seconds. That's not honestly, not a huge tail. That's once you start getting these 10 seconds, it's really obvious. So this this isn't a secondary space thing. This is, um it kind of goes from like an AARP. It's like, All right, cool art sound. And this, like e g m. You know, it's like it's like all it's so big E g. M um, this kind of the gm reverb. Um and I put this one in the past. I've I've showed you had to compress this. Um, I did not do it on this one. Uhm, there's what I did. This is the synth I picked it to to do it on because it's in this loop. At least it's the main thing. It was the most 6. Mix Part 2: I'm so that that, um, this AARP is the main focus. Um, that might change when you have a lead or something, but and then if you had a lead, I would do, like, compress to reverb our side change reverb, but because this element, I kind of I wanted It's kind of a background element, but it's the only it's kind of the main thing. Um, if that makes sense just in this composition at the moment, that's another thing. Depending on your compositions gonna change. Um, so I put I put a good amount on. Uh, that chord pad is not mixed also, but But you get the idea. Um, finally, I put on our mess compression, low ratio, quick attack, and longer release on this is going to squish together the the main sound, the delays and the river herbs and kind of give it here. I'll play it on and off. Um, the gains might be different, but pretty similar. Um, listen to the tail. Listen to that detail. It's so we have we have all the elements there. It sounds pretty good on that. What that did is squished everything a little bit, so we get more river. We get mawr DeLay. We just get a richer sound. That's what it is. That's a thickening. We just thinking that out. So that is the AARP. I'm gonna talk about this cord. Oh, yeah. Also, I pan, um, things I would reset the pans at the end of my mix, but I like to have kind of an idea where my pans might be. Um, so real quick. Um, my high hats are pulled. 14 left. My snares pulled four left. The artist pulled left a little bit. And remember, we panned each, um, individual one. Um, and then the cords I panned right a little bit. I keep my base is centered on. Then we're gonna go over this texture later. So this is our cord bad. Um, here's what I did. I put a, um I kind of band passed this, but, like really big. So I just cut out the low low where the this sub will be. But this kind of takes the spot of where a base with, you know, but like a really like of I b. You know, it's not I'm not I don't have, like, a saw base um, in the like 104 100 range. It's just this this in kind of takes up. It's filling the the background on because we're doing that. It gives it a, um, the whole thing a, um, more spacey feel. You know, there's no if there was, like, a saw based, like up, up 12 in this area. Uh, it would be pretty aggressive. So listen to it. It's not a super loud synth, but it it is filling up a lot of, um, a lot of the spectrum. So So it kind of just trimmed the edges and then pulled down the like 800 look, it's kind of a spot where I felt that it was colliding with the AARP a little bit. And, um, I just didn't want it super aggressive. Actually, I think I like it there better because it's more where the art is. So I kind of shaved out a spot for the AARP. I put a saturate er on it, so this one's kind of interesting. Um, so this is on and off. So what this is is I pulled the driveway around. So this is Dr. I put 70 b of Dr. But then, like 10 db of of decreased output. Um, so what this is doing is there's There's a lot of motion in the, um in this court since remember what I was talking about is all these effects are are giving it motion. What that can do is kind of create motion in the frequency spectrum. And instead of just compressing this thing down at the end, I wanted Teoh this this distortion, this saturate er will kind of, um, flatten things out a little bit. Brick wall it a little bit, but I didn't want a time like I didn't want. Oh, so what? I pulled it down dry, wet, like 16% and it gives a tiny bit of presence a little bit. It just kind of It's a tiny bump. It's hard. Teoh. Listen to it a couple times if you can't hear it, because that's a lot of, um, processing is hard to hear. It's hard to learn. I think it's one of the likes with something visual. You can see the difference, but it's it's It's hard to train your ears to hear this stuff. Um, so don't feel bad if you can't hear it. It took me years. Um, I 67 years, six years and only a couple of unknown, actually, what a compressor is doing. So, um, so next, reverb eyes, that same type of reverb that that is just creating space. I wanted even more space on this. Um, cause I just want that big like background stuff. I didn't put a lot of I didn't put a lot of decay on their. So the question I got was like, how do you keep things Spacey without washing them out? You know, how do you create the space? It's gonna be this kind of small reverb. And then when you stack them all up, then it sounds bigger. It sounds like you have a room, It sounds like, and then you can pick elements like we picked this AARP and put this big river body weight . It's actually good amount of river, but, you know, still getting nice sound out of it. All right. Finally, our mess. Compression. Same thing, um, low. I put a really low ratio quick attack, long release, eyes just kind of. There's not a lot of like peaks in this, but like, that's what I said, when it's kind of it's kind of jagged, the it's not a smooth edge, so I kind of just push it down on the way. So you're not just Brick walling it with limiter at the end. Um, finally, I'm just gonna go over this base real quick. Um, this I'd say, Keep your base is low The's bases when you're creating a sub base or low base, your want up centered. So there because the sub is just one speaker. You want these subs to be centered? I wouldn't put Dimension Expander on it. Really? I wouldn't put um uh that, uh, widening tool. You know, the massive, like voicing thing. I wouldn't pan it left or right or d tune it all you want. It's centered, but a centered that's a really dry since. So if you start pulling that up into the high end, it's gonna be really frickin obvious. So, um, I usually keep my sub subs, and then once he gets create something around this, you can start panning it. I'd be careful, but start panning it more, Um, panting like, uh, elements up here more. Ah, so that's a very dry sense but it's very low neck. Is that that padding? So, um, last video. I'm gonna talk about texture because that's a huge thing. Um, and this I'm really about space in the next video. 7. Texture: Alright, guys. So we have our, um, loop here. You know, it's got space, it's got it's got. We picked what we wanted Our big reverb on. Everything else has small river herbs. Except this this we kept our base low, so it's not really obvious, but it gives padding. I'm so finally, here's something. We're gonna listen to it without this texture, and then we're gonna turn the texture on. It's pretty different. It sounds pretty different. So, um, quick explanation when you hear these these e g m intros and big like, um Spacey kind of like Elektronik tunes. Most likely, it's not just these since we made you know it's It's their layered since. And then there's, um, texture added at the end. So though put like, um, you know, it's kind of it's kind of the Sprinkles on the cake or I'm on the cupcake or whatever, Um, reverb, um, let's see reverb on noise. That's kind of what this is. I put a lot of reverb on it, and I cut it pretty hard. Put a lot of reverb on that one, too, and it's just kind of a supplement to the, um cords. So if you listen to it, it's big and lush. It's covering the whole frequency spectrum. Honestly, I I put these at the end. You can layer them in their kind of sound like a layer, but I would usually they're gonna play different notes. You know, I thought this one could be a layer, but this one is just a loop. There's not really notes to it. So I like to put him at the end, so create your song. And if you say Wow, there's not enough atmosphere, you make it a step. So like OK, I want, um, if you're kind of like shoehorning atmosphere into your since or like boosting thing, you're like, Well, usually they have, like, cool noise or something, and you try to, like, boost this cord to get that noise like or like this thinking you try to bring out the high end. You're like, Oh, I'm going to boost the high end to get that cool noise. That's not what they're doing. It's not this. It's It's thes separate layers, and that's what we always talk about layer about. Actually, I even pulled that up more. I thought it was too dry And that's where um So, um, uh, I put this This'd is just Ah, um on additive. Um, sorry. I know I'm supposed to be teaching you Justin additive de tuned cord pad. Kind of like the same thing, um, as the cord. But I like the affidavits. Relief soft. And then this is just Ah, um on atmospheric loop I had. So what I did is I cut the part that I liked most And then, like, you could compress thes and stuff like that. I pandan left and right. So just give it a listen. It's just It's just that the icing on the cake, man, it's the Sprinkles. That's what That's what you hear that it creates a feeling. Yeah, that's what you're creating. You've created the song. The song is in this chord and the AARP and stuff like that you're like, all right, that's my song. And then make it Make it Ah, Part of your composition is a I want to create a feeling. Now, what kind of feeling do I want? Um, I want this, like, white noise stuff. If you listen like seven lions, he's supervise. Be, um I'm assuming I mean I don't know, because I don't know him. But when I listen to his songs, what I hear is is like probably 45 different pads going at the same time. But they're all layered. So we hear one big pad that's just like and it feels like you're in like a giant giant frickin room, and that's kind of what you're creating. So So once you have a song and if it doesn't have enough atmosphere, don't say like, Oh, man, I messed up I need to restart like try adding these, like high, um, textures on top, you know, and pan them auto. Pamela, maybe mix them in pretty, pretty wet, you know, like if I had this dry, honestly, it doesn't sound that bad. Um, that's kind of your choice. I like more reverb. I'm into it. I was born into this like E g m genre or TDM era, So I know a lot of like older people will say like, be careful, but I like these big sounds. I like a lot of reverb. I like drenching things and reverb. It's just about being doing it smart. Um, so that was my long winded tutorial. I hope you guys enjoyed up. You learn something, as always, Shoot me a message. If you have an idea for a video if you have questions. If you want me to look at a track, um, I do all that for free. So, um yeah, hit me up. Uh, keep practicing, guys. Piece up.