Audio Production - Pryda Style in Logic Pro X | Martin Svensson | Skillshare

Audio Production - Pryda Style in Logic Pro X

Martin Svensson, Learning music creation since 2006.

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27 Lessons (3h 50m)
    • 1. Introduction

      5:42
    • 2. Production Stage - Part 1

      8:00
    • 3. Production Stage - Part 2

      8:00
    • 4. Production Stage - Part 3

      8:00
    • 5. Production Stage - Part 4

      8:00
    • 6. Production Stage - Part 5

      13:51
    • 7. Production Stage - Part 6

      8:00
    • 8. Production Stage - Part 7

      8:00
    • 9. Production Stage - Part 8

      11:12
    • 10. Production Stage - Part 9

      8:00
    • 11. Production Stage - Part 10

      8:00
    • 12. Production Stage - Part 11

      9:16
    • 13. Arrangement - Part 1

      7:00
    • 14. Arrangement - Part 2

      7:41
    • 15. Arrangement - Part 3

      8:00
    • 16. Arrangement - Part 4

      8:00
    • 17. Arrangement - Part 5

      8:01
    • 18. Arrangement - Part 6

      8:04
    • 19. Arrangement - Part 7

      8:00
    • 20. Arrangement - Part 8

      8:01
    • 21. Arrangement - Part 9

      8:00
    • 22. Arrangement - Part 10

      8:00
    • 23. Arrangement - Part 11

      5:48
    • 24. Organising The Project & Naming Tracks

      8:58
    • 25. Mixdown - Part 1

      8:00
    • 26. Mixdown - Part 2

      10:44
    • 27. Mastering The Right Way - Part 2

      13:57

About This Class

In this course we are going to create a track from scratch in Pryda style in Logic Pro X. This is the ultimate step by step guide to create music in this style with some 3rd party plugins like Spire and Fabfilter plugins.

Transcripts

1. Introduction: Hey guys, welcome to the electronic music production in Logic Pro 10 Preda style course. In this course, I'm going to show you how to make this track from scratch in Logic Pro 10 and also show different workflow procedures that I use daily. When I produce music, we're going to cover topics such as how to create corporations, how to overcome writer's block and how to mix and master track. How to arrange parts of your track fast with regions and loping method etcetera. This is tips and tricks that I've using and developed myself throughout these 12 years of producing and getting certified with logic. Pro. 10. We're going to use some third party plug ins in this course such aspire soon and pep filter plug. It's when attending this course. You will also get a bonus off free sample packs with a library that its exclusive for you to meet students offer free. That's number back library contains a lot of different sample packs, and new ones are added every week. You will get free access to them lifetime with the purchase of this course. Alright guys, so I hope you're as excited as I am to dive into this course and get this track done and finished. Ready to release. So see you there. - Way , - way . 2. Production Stage - Part 1: All right. Hey, guys. And we'll come to this course. So first we need some kind off musical idea, and, ah, I'm going to create some different corporations here, and I'm going to aim for something that is very similar to one of Preed us own tracks. So what I'm going to do here, I'm going to open up Spotify. So Spotify here. Let's see her. I'm I already searched for Preda and his track align. Let's take a brief. Listen to this track here. So this is really ah, amazing track, in my opinion. So I'm going to have this track as a reference track and we're going to make something similar to this track. So what I'm going to do here is first of all, getting these corporations out there and as you can hear, is just basically, Sawtooth played in quarter positions here, so I'm going to do something similar. So I really have some sounds loaded appearing logic, and I'm going to show you how I created these sounds here and yeah, and why I use them. So first I'm going. Teoh, use this instrument to track here, and let's just solo it for now. So I'm using Spire plugging opening up here, and I'm using this preset here that you're going to get with the project file. So you're going to get this presence who can open it up as well. And this this present here is very sounds amazing for these kind of corporations. So what I'm going to Julia is to take this sound here and start playing some chords here. We're going to create some corporations with this sound that I have here. And this is plugging called spire, which you can get for Yeah, it's a paid plug in, but you can get a demo version that works as the full version, but it has some noise being added every 30 seconds, so you can try it out. You can play around with it and basically follow along the course with that trial. Tell you so, as you can see here we go to Google search for spire. And now we have the first website here reveal sound that it's the manufacturer off this plug in. Let's take a look here. All right, so as he gets here, it cost $189. If you want to buy it, But you can also just download it depending on your OS. And as he we used logic in this course, we would use the Donald for Mac OS X here. So let's go back to logic here and now we have this sound and this sound would be included in the project files. So if you can't excess this sound, you just go to the project file and just go to menu here and just save preset thinking. Go to your own project file or your own, um, projects, and then just press load presets. You can load that presets. All right, so let's play the son of it. All right? So you some plug ins here or I use one plug in for now, which is the DJM filter. So this son is a bit filtered, so let's just disable that plug it. All right. So as you can hear, this sound is really powerful. It's a nice saw tooth wall off sounds basically so you can use this kind of plug in here to get this kind of sound DJM filter. So we're going to enable the DJM filter, and now you can just play around in the sun like this. Okay, so let's close by your here, and I'm going to use the plug in called cattle from extra records. And this is also a paid plug it. So we're going to use basically cattle flag in, and we're going to use aspire plugging in the creative process here that are paid planes. You can get both of these plug ins as demo versions, and they are going to work as the full version. But with some limitation, we can still use them to follow along this course. So you are enough force to buy any plug ins? All right, so I'm using the cattle. Ooh, plug in here and I use, um, plugging or a preset here, which is from a DSR sounds. If Google on idiots are sounds, you will get Ah there, Katou Lou Preset pack. So what I use here is there e g m court. And as you can see her I used the 123 presets was which is G minor. So now if I play this this sound here with cattle Ooh, you can just basically randomly play with just one note here on the keyboard. You hear that kind of sounds. So what I'm going to do is to filter it a bit. And now I'm going to play around until I find something interesting here. 3. Production Stage - Part 2: So let's try it out. I'm going to record it. So let's do it like this. And I'm going solo it. Yeah, let's just go like this. And I think I also have this d Jeff Inter automated here, so wait, uh, let's see here. Yes. So that's just disabled, that automation for now, I do it like that. And now I'm going to record this sound here, So let's take a listen. Uh, all right, so I can hear how fast I will go, and I also emotion going to adjust the temperature to 1 26 bpm. So let's take the mitral on here and let's record it. Okay, so I did some mistakes in the ending part here, but I'm going to fix this. So let's get our piano roll up here. And, um, let's see here. I'm going to go with it's the first of all, I'm going to Qantas them, So select all notes and Q that will cont ice or just go to Cuba in here. Yeah, I think this one here to be ending. I think there misplaced here this'll. So I'm going to Reese ice this region here. So now we have an eight bar looped region here as take a listen to it. Oh, okay. So let's see for have something that sounds good. Okay, so what I'm going to do here, I'm going to keep this corporation and I'm going to create one more corporation here. And this is just because, you know, sometimes you will get a corporation. That is fine. And you work on that track for a long time, and you spend a lot of time, and then you feel like, OK, this corporation maybe isn't that good after all? So I'm going to create one or tentative corporation here just to compare them. And then I'm going to decide which one off those two that I'm going to use in the final track. So let's try it again. And just so you can, like, see why I'm using G minor here as well as what? I'm using the temp off 126 BPM. So I'm going to open up safari here again. Let's go to Google. So what I'm going to do here is to search for Preda and I'm going to align here and beat ports. So be poured is a very great resource for a lot of things with music. But in this case, I always use be port for finding the BPM and original key off the track so you can see here , um, is released in 2012. So it's a pretty old track, Um, but it's BBM of the track is 126 and it's in G minor. It can also pre listen to attract like that. You can see what Jonah anise and everything. So also the length here is pretty important when we're going to arrange the track. So let's get back here. That is why I'm using 126 BPM and also why I'm using it in G minor. So let's try it out again and let's create a new corporation. It was very important to start out with one corporation or one cord that you feel is very strong. So the beginning court should be very, very strong and should really like try out different courts here on the key on the keyboard , and then you should just go with something that you feel like it is standing out, and that chord should begin. The corporation so should build, build up on that e Feel like this court is very standing out a bit. So let's build something up on that, uh 4. Production Stage - Part 3: Mm. All right. So I'm thinking of using this second part off the corporation that did. So let's go to piano here. I'm going to select all notes Qantas them. And, uh, I think I started here. So, uh, let's see, I think it was there. So I'm going to use that corporation thinks part here. Everything like that, Uh, and I'm going to copy this, and what I'm going to do now is to go back to Spotify here. So let's get back to Spotify. And let's take a listen to how the corporation is made in this in this track here or not, how it is made, but but how it is, um, rhythmically main. So, you know, a corporation also have a rhythm, and that is going to decide the rhythm off the whole track. So, as you can see now, here I have my notes placed Ah, in this section hairs in the beginning. But here it's just a little bit before this more here on the same thing goes with the next one here. And then it's the same principle here. And this is just because I played it, um, on my keyboard with my fingers and, you know, just have some basic rhythm inside of me when I created this. But let's take a listen to how Preda does it. Or a prince how he did the rhythmical part off the corporation. So what it did here is to introduce one chord before the next chord. Um, let's try this out. So let's see here, - as you can see here I introducing the next, scored with Accord with a short just a very short court here. So let's get back Teoh Spotify. And let's take a listen to how it does it in the later section off the corporation. So he does this for ah, three parts off the four, Let's say three bars here. So the first part, 2nd March, third part and then in the fourth bar here is going almost crazy with the courts here just randomly playing out notes now and I'm going to adjust their the different courts. So just to get the rhythmical section off this cooperation here, I'm not sure about this, but let's just play. So I think I'm going to get rid of this long notes here. Let's take a listen again. Great. So I'm going Teoh, take everything off from this morning, I'm going to 5. Production Stage - Part 4: - I think we nail it there. So I'm going to take this rhythm here, So But I'm going to do is basically take these notes up or down, depending on what sounds good. I think it sounds pretty good, actually. Let's take a listen to this corporation now again. And let's compare those to Theo. Yeah, this is better, in my opinion. So I'm going to use this corporation here. And as you can see her, I have the cattle plugging on. After that, I have, ah, velocity plug in, which is ah, media fix plugging. Ah, that comes with logic. And this is just using the precinct called Maximize Velocity. So everything I play on my keyboard is going to be maximized velocities because I want the corporation to be played at maximum velocity all of the time. So after that, we have, ah, another media fix plug in, which is media affects freeze and it's free. If you Google on Mediafax. Freeze! You can download this plugging for free, and what this does is to save those, um, those just regular notes to riel court progression or records. So we're going to have the rial Court immediate that up from this plug in and is generated , but it cattle a plug in. So we're going to do. We're going to record these scores here, so you will make sure to have this media fix plug in as the last media fix plug in. So now what do you want to do is to press freeze here and just play this cords? Media file years. Who can drag this from the plug in out to the workspace area and also important information ? No. And now, if it double click this media region, you see, it will have the rial cords exported now. So now it's a lot easier to Ah, layer this sound, you can create basis. Just export the nowhere notes here and all of those that stuff. Okay, so we have the first son, then the next sound is also spire presets here that I found in the the regular banks that you get with spire bacon. Also open up the project filing. Get that as well from there. So this this sound is very similar, but is more plucky and it's a pluck sound. So what I'm going to do, I'm going to copy this media region and just play this with same media data. That lad in the corporation thistle contains a lot of river been. So we're not going to use this as our main sound, but I'm want to have this in the background. So what I want to do is basically have this sound and this sound, um, being layered, so there's no going to be 6. Production Stage - Part 5: going to be more than these two sounds for now, at least. So, um yeah, let's take a listen to this both here. It's a disabled like a two o'clock in and disable all of the media if experience. Because now we have our media data. So and now I don't really need the media fixes anymore to create a little bit of a melody here. So let's just take off every single lower notes. So basically, just because this is the lowest notes, so let's get rid of those. And these are the same notes, but just an octave up the's left here. So what I'm going to do is to just play a little melody on top off these courts here. So let's solo this, and that's just basically try something out here. - All right, so let's get rid of all of those red notes, and this might sound bad, So let's try this out with the course here. Let's try to get these, um, use this melody, so I'm going to put this aside for now. But we're going to do right now is to go back to our reference track. So let's see here. Spotify, there we go. And now let's just take a listen to the different individual sounds off this song. Obviously, we need some kind of drum loops, and we're going to do that with the basic first arrangement that we're going to do after this video. But let's just take a listen to what different individual sounds that we should adhere. There's our corporation, and this is the sound of we're going to use, which is the instrument one here so still just drum loops and affects us. And as you can hear the these corporations are basically just this sound here, and it's filtered with some kind of filter. There, there you have some kind of our pigeon or something going on there. So I'm going. Teoh, Yeah, let's just public eight. This instrument one here has moved a corporation over here. Let's just have this soloed and let's go back to Spire. So now I'm going to Ah, let's see. I'm going to select factor Bank here and just browse around different presets. Let's see if we have some kind of arpeggio preset here or sequence. Let's try this out Too much going on here, so I'm going to take everything off besides the lower notes years. So we just have one single line off notes. I know that at all. So let's go to our page. It instead think All right, I'm going to public. Ate it again. Move this over here. So it's going to be the single note here, and I'm going to use the other arpeggio here as well. So Torpey Jane herself Theo, listen again to our reference strike. There's something going on that is at least one octave up from the court position. I think I tried these both. Maybe one of those should be one of them up. So let's get back on one of those Those instruments. Yes. So we're looking for some kind off Ambien is going on. No, in the background, something that it's just group making this corporation to grow in the last section before the drop. This is what preloaded with the track as well. And I feel that this sound she sounds pretty good in the background. But this sound is still, um, I think it's way too much, um, off rhythm going on here. That is not too similar to our original rhythm in the corporation because with our appreciator there's a rhythm playing in a pattern, you know? So let's browse around with different Arpege in her and see if he come up with something different. Maybe Mm, - that sounded a bit different. I think it's on a good, um, but we really have to try it out in the arrangement stage there is when we're going to decide a through, going to use this sound or if we're going to switch it out and yeah, we have to also move along in the course here because other otherwise I could sit here for I probably I consider for 10 hours and just ah, switch out different sounds for this part only. So I don't really want to bore you with that. You can play along a lot with it. I just want to show you how to do this, you know? Ah, but it's I mean, as you can see here, this is endless off possibilities to create sounds. We just one plug in, You know, it can basically do the same thing with logics own building plug ins. You don't necessarily have to have this party in. Um but I just did it because I think it has very good presets for this kind off style, you know, off some. So what I'm going to do now in the next section is to create a very basic arrangements. I'm going to delete all of this sounds here and just create a very basic arrangement with beets. And we're going toe. Also, analyze this original song eso We're going to do some kind of similar arrangement to, ah, reference track. It's they were going Teoh set up very basic drum loop, something to start out with, you know, and just create a very basic arrangement. So we have the whole arrangement ready in front of our screen. Then we're going to perfect the sound, adding sounds. Adding different effects is transitions adding more sounds and in base, for instance, that is very important and adding different drum loops as well. Then, after that, we're going to create, obviously makes down, and we're going to create a master so the track is done and ready. All right. So yeah, let's see you in the next lecture 7. Production Stage - Part 6: Alright, guys. So it's time to create our arrangement. So we're going to great thes short regions. First I'm going to do now is to first create some arrangement markers. And for that I use this function here is not the arrangement, actually. Is the marker here? The marker function in the global tracks here, So I'm going to do it is to take ah and create some markers depending on where are reference track has the arrangement set up? So what? I'm going to do it first. Plus here. And just rename this to intro because obviously the first section of the track is going to be the intro. They were going to go back to Spotify. I'm going to take a listen, toe a reference track and see where the different parts in the track itself, the reference tracked ISS and where it ISS. So let's say that the drop section is going to be at, let's say, one minute mark here. Then I'm going to create a new marker and said it to, let's say, drop section, for instance. Okay, so So let's go back to Spotify here, and I'm going to, um just take a listen to this track and just, um, compare it to our arrangement here and set markers for that. So let's take a listen way, All right? So at 45 seconds, there's going to be a break section Or actually, it's a bridge section, and it's because this is the intersection here. Then it's a bit off a bridge because it's a break. So it's a bridge to the to the first drop section here. So let's create this bridge here and let's take a listen to a track in 1 46 around there. So let's take a look. Hair for the six, all right. Should be at Bar 57 year. So let's create a new marker there and set it to the drop one. All right, on. Now, let's take a listen to it again. So to 17 is going to be our next bridge here. So there bridge, too. So to 32 is to drop to you can call lease. Whatever. You don't have to call this exactly how I do it. We're name it like this. You can name it however you want. This is just for me to know where the different parts is. going to be in the track. So 302 Okay, so there's going to be our break section. - So for 18 All right, so we're running out off, um, off minutes here or length of the track. So let's just expand it by going to restaurant marker here at then and just drag it out. So we worry for 19 should be around there. So here is going to be our drop three. So 4 50 is going to be our ultra section, and that truck is just ending like that. So, uh, so that would be our last section in the track. So let's make it a bit shorter. All right? So I think we're done with the markets here. I'm going to do one more thing. I'm going to call her those markers here. So let's bring up our color palette, and I'm just going to call her them randomly, just so we can see some difference between the different sections of the track. So let's deal with something like this. Ah, green. Yeah, some darker color. All right, so now we know where the different sections off the track. It's so now. When I collapsed this or expanded back here. This global tracks, man, you can see that all of the different sections off the arrangement, it's now it's a lot easier to arrange the track itself. So we have these three sounds here, and I'm going to get rid of the different drum loops. Or at least this one here. That was just me when I experimented a bit. And I think I'm going to get rid of the Dub bass as well. Okay, this 12 and this one as well. So we're going Teoh, create this track from scratch? Um, yeah. So let's just take a listen to the track to a reference strike and move it to here. So we're going to work with the intersection first. So let's take a listen very carefully to the intersection and just analyzing the track. And we're going to basically do the same thing as in this track. So, uh, yeah, just take a listen to it, and I'm going to explain 8. Production Stage - Part 7: explain what is going on and how to do it. So 1st 2nd here, um, it's a beat. And then it's like a big reverb kind of sound off the synth that is fading away very, very slowly. Let's take a listen to it. So this 15 2nd marker here, um, the synth sound on the main synth chord progressions is going to be playing, and they are very much filtered here, so it can't really hear them. But they are filtering up and up and up towards the towards a bridge section here so that it's at around 16 seconds, which will be around yet bar nine. So we're going to focus on these four or these eight bars here first. So, yeah, we're going to create a drum loop from scratch here. I'm going to go to plus softer instruments. And now No, I don't want to use the drunk it I'm going to use. Let's hear the ultra beats. All right, so the ultimate is a drum machine, and it's it comes with logic. It's very good to use for like, different, like very simple beats. And as you can hear in the reference track, this is a very simple beats just a higher than a snare, basically. So let's create an empty media region here. That was Yeah, that is our track, actually yet. Okay, so that just focus it here and let's zoom in a bit. So now you can see the actual, um, different drum sections here in this ultra beats. So let's see here. OK, we want a close tie. It's so we want to snare on the on a second here. So now, as you can hear, I don't think these two drum drum elements are really that good. So I can draw these notes out for Let's say, I hear close tie it and the snare. And now I can leave it like this and I can go back to ultra beats and choose different drum kits. So let's go to maybe classic electric it. So now they would actually match with the media data that I had. So now we can just play them just brushed her difference drum kits here until it sounds good. I also want some open Hyatts here. Let's here like this on every second. Let's take a listen to something else, - all right? It doesn't sound exactly like I want this to sound, but I think maybe this is the closest one for now, Um, I'm just going to browse around this, um, these different presets here just a a little bit more. But the epic electro is the best one for now. But let's just take a listen to the 1st 1 and just browse around here. Maybe the clap would be better here. Strange noise, son. Take a listen to the open high. It's That should be the 11. So if you click on it, you can adjust the different settings to this sample itself. So what I'm going to do here is to make it a bit shorter. - Okay . I think I'm going to leave it like this. Um all right, So you want to add some type of kick drum here as well? So 9. Production Stage - Part 8: So I'm going to do it, Um, in the ultra beat here because a kick drum, But maybe let's try, uh, this one is Stan, - I think this sounds great, but I think the yeah, this open heart here is a bit too long. So, um, it's 11 again. All right, that is good enough for now. So I can just tweak this different drum loops for hours and hours. I can Ah, yeah. And I actually have a course around this drum loop making. And when I go more in depth to how to actually create drum loops from scratch How Teoh use some different drum loops to, like, borrow different drum samples and drum elements from them, and to create your own different drum loops. But I'm not going to cover that in this course. I just want to create this track in this course. So, uh, I think I'm going to use it like this for now. And maybe afterwards, if I feel that this drum loop isn't like, really good enough for diss track, then I would maybe switched off something or maybe replace some different drum elements from this drum appear to something else, depending on how it sounds with the other elements in this track. So So now I'm going to create us that the big, big reverb sound. So this is our I'm just copying over the region from our main since sound or the corporations. So let's get rid of the Dejan filter here. So now I'm going to take this first corporation and just cut it like this. Okay, so now we have the one the first corporation in this. So now we have the first chord in the corporation. So let's make it a bit shorter, okay? Something like that. And now I'm going to add some different reverb begins to it. So first, I'm going to use the silver verb. And this river plug in is very good for these long, long river verbs. OK, so I'm going to go for dry note wets, actually, 100% and dry signals should be maybe around 20% for now, and we're going to make this size a bit higher here, and let's just take a listen to it. So what we're aiming for here is a very, very long reverb sound. Okay, George, Pretty long. But I wanted to be, um, ending somewhere around here. Okay, so let's make the size bigger and maybe try the rates here. Or pretty late. That's the modulation section. We want to Pre delay. Yeah, that is exactly what I wanted. So I'm going to enable this silver beer, and I'm going to create a bouncing place, miss enable its and let's track this out a bit. School bells in place. And now I'm going to call this. Let's see here, Preed up big verb hits. So we want to include audio tailing file, um, new track normalize off. So let's take a listen to it. So I want the first bit to be cut off. We want don't want a attack. We just want the reverb. So, um and yeah, let's move this to here. And you can hear in the original the reference track here that it's here. If you want to take it to zero, then it's going to start not on the first beat, but just right afterwards, they're so going to take the solo out of this. Delete this region from our main since sound take off the silver bas. Well, so this a bit loud way Want this to be toe have some side chain on. So I'm going to add the plug in, um kick starts Nicky Romero. And you can get this at cable guys that the They have a trial version, so just try it out. Get ducking sound of this big verb hit. There's also one big hit like a big symbol hits as well. When this, um, is introduced this bigger bits. So I went to create one more track here. Soft arrangement. And now we want the drum kits. Yes. Symbol. So let's create a new empty media region, as go for a symbol. We have that. Okay, - we want that to be reverb as well. I also want the kick start there as well. So now let's, um, move this kick, start the sighting compression. We want that to be on end because we want to create a river beer. So let's go to the silver. Okay, so this Kruma verb, let's just enable it. This is very, very good as well for Long River herbs and this section. New plug in here. So this is a nice function here. The decay. Um, So the decay thus issue to delay the reverb sound a bit and then make it longer. Um, so let's take a listen to the symbol 10. Production Stage - Part 9: Okay, I So I'm back to the epic electro. Um, let's say the drum loop here. So I switched out the kid to the epic electoral year. So drum kits epic electro. And I think that this drum up would sound better. So, um, yeah, I'm going to go to close at first. So now we want the snare and a cake care. I think that sounds a lot more like, um, like pretty, so yeah, and we want some different, like, one more drum loop here. Just Teoh to make this a bit fatter. So we want something very similar to this. So something very, very, very simple and basic. So I'm going to go to Apple Apps here. I'm going to choose the electro house, Lou Pack and all drums. I will show you only drums here in the apple. Oops. And I'm going to go something. Something very basic. Let's try this. Maybe make this a bit shorter and make this very quiet. Yeah, that is good. So I'm going to use that. So it's closes. Okay, so now we're going to introduce the corporations and let's take a listen to ah, the original track. So there is our corporation. So let's take a listen to it. We want to automate that. So I'm going to automate the DJM filter knob here, and we want this to be very low in the beginning. And we want this to be a bit higher in the bridge. Maybe I think we're going to make it toe to drop section. So we want us to be very low here, and I'm going to create it. So, um, it's a bit of a curve like this, and I think I have some automation going on from before. So I'm going to get rid of that. Yes. So just this is nothing you have to do is just me. When I was like experimenting a bit before Crane in this course, but now it's gone here. So, um, don't worry about that. So let's take a listen. And I want to compare the volume off our corporation with the reference track. So it's it's pretty. Think of this, just required there. Let's listen to it right. So let's listen to on a track in. So they're basically nothing going on until 46 seconds, which is our bridge section, and but I want to do something else with our main corporation. Let's go into it. And I think this is a bit too high in them. Is he going here that is very high. Select one part off the corporation and just put it on active down or up? Sounds better. I think so. Let's keep it like that and I'm going to listen to it again. So we haven't uplifted there and then we have a hit and we have that big verb hit their against. I'm going to carpet over Teoh this bridge section going to keep this main corporation just looped like this to move our additional sounds. So here we have the drum loop that it's actually not here. So let's do it like this. You can actually hear the drum loop there, but it's being located. So the kick drum, it doesn't have any basin it. So we're going to do it like this just to not having those these different drummers confused with each other. We don't want to confuse this one with and remove that. We want to being sound like something else in the bridge section. So I'm going to Dublin. Kate, this epic electro I'm going Teoh, move 11. Production Stage - Part 10: move it or copy the regions like that. And now I'm going to put on e que on here. So we want low end to be a big backed off. Or actually, I think it's the high end that it's, um, being backed off both, actually, as do the same thing with this one. Split it there. Okay. And going to put the mixer and I'm going to Let's see her Audio six was it yet? And the epic electro is there. Let's see here. Yeah, someone to copy this EQ you on Teoh this track. Now, I have the exactly same settings on both of these to drum loops here. Just like that. So now I'm going. Teoh, put some up lifter in here before the sprint section. I'm going to choose one of these up and down lifters here, So, um yeah, and if you want the sample pack, just go to music Dash product, Come. And, um, I have some instructions in this course in the previous videos where it can get the sample packs for free. All right, so let's browse around and see what we should use here in this transition between the intro m bridge section. Let's try this out. Let's just move it out like this and just a line it to the breed section. Maybe something like this and we want to lower the volume here. Let's take a listen. I also want some kind of hits here as well. So, as you can hear in the original track, you can hear some kind of clap or something. Um, that it's going like being delayed and is very subtle. But it's there, and I know that that it's pretty us kind off, um, kind of sound, where he uses that snare all the time. And if you go to one of our other sample packs, which ISS weapon snare to books. And here we can take a listen to a lot of different collapse. Yeah, this is what I'm going to use to clap 25. So let's imported here to a new track and let's see, it's a very, very short clap, but what I'm going to use here ISS first. I want some kind of reverb, and let's go with the silver verb here. Let's have it like this and now we want some delays, so let's go for the echo here. I want to make this a bit. Sure is. So 1/4 notes. Let's take a listen to this. - Yes , that is what I want. So I'm going to use it like that. So I put some silver bow echo and I also located. It's just a little bit Teoh, get rid off low and there I This is a bridge section. We don't want a lot off low and going on here, So that is why I did it. And now I'm going Teoh, just make this a bit longer. So let's move it to here. And we want to loop the main cords. Look this as well. And, ah, let's take a listen to the track here. It's around 105 some around there. Um, there is some sense that are introduced. So I'm going to take one of those one of these here and just filter them in, but very, very slowly. I just want to listen to what iss What? This is so I think I have an automation here. Um, maybe knots. Let's see here. Okay. So take a listen to it. I think the sound itself it's like that. So I'm going to just and automate this DJM filter knob. Let's do it. They would do something like this. I still want Let's hear it something like this. I still want this sound to be very, very subtle, so let's lower it. 12. Production Stage - Part 11: take this up. Dijon filter on. - All right, so we want to know how much we want this. Our main course to be filtered. - Okay , so I'm going to go back here, and, um, let's see, Weaken dio but more sound in there. So, um, that's Yeah, let's just public eight this track here and I'm going to change this new track too. The ultimate here. And this plugging is very good for different, kind off. Very unique sounds and organic sounds more so. I'm going to take our main corporation, put it here, and I want to add it out some different stuff here. So I'm going to take I think I'm going to take the this note here. So basically delete everything that is in this line besides what's going on in the last section. So this is just my preference here, and I think that this can sound good. So let's take a listen to its We don't have chosen any sound, so I'm going to choose something. Let's see, maybe get hoarse. - Um and then all right, so let's go with the 1st 1 here. I think it was this one to get rid of this sound here because I think it's unnecessary to have it here. And because we have the ambience guitar. - Okay , I So from now we're going to work at the drop section, and from there we're going to take the same breed section, copied over and copy to drop over. And we're going to do something else with the break. I think they're going to copy the drop section and create the big altro. So let's see you in the next picture. 13. Arrangement - Part 1: Okay, I see. So it's time for the drop section. But first, I just made some different things here. I took off the inst four. I deleted that and I added some different instruments. So I took the old ultra me here, and I use the preset called sweet Residence. And what I did here is that I took the first line that we had in the ambient guitar section , and I doubled it. I double it and put it one octave lower. So now it sounds like this. - Okay , so it's time for the drop section. So I'm going to extend this corporation to a drop section there, and I'm going to take the sweeper beat and our epic electro beats copied over to the drop section. So we want to use that when it's not filtered at all, as those two loops are. I'm also going to take the let's see where I'm going to take the up lifter here. Use it just before this drop sections are just copied over. And, um, yeah, I think I need some kind of hits here, so let's take a listen to the reference track and see what Prince said There Okay, so there is, um, kick drum. So I'm going Teoh, Um, take the marquee tool here. Just double click. So now I have this region here separated from the loops. So I want the kick drum to be 1234 Um Okay, So just before here. And we want some some kind of sound right before maybe. Maybe not something here. Let's take a listen. Yes, exactly. So I also want this to be a bit filtered. Um, I think I'm going to filter off the low in here, so let's put on that's here in Polo Extra records, DJM filter and take off the rez aware and just make it like, I think maybe filtered in this, like, high pass filter. We want this because we wanted to kind of slow slowed, disappear in this section, and then we want to drop section Wanted to be full on. So that is why you you want Teoh kind of drop some different elements before the actual drop, so I'm going to automate it. Just take the the gym filter knob here, and, um, let's see. Maybe do something like this. And now I'm going to put it back here because we don't use this drum loop here so I can just drop it like bats. So, um, - I want to hear that kick drum, so I think I'm going to back it off a bit. Yes. So we want Teoh, um, the leads, all of the drum loops there. So we have one section off. Just add some kind of feel here right before the drop section. So, um, let's go with the apple. Oops. And I'm going to take some Let's see, your, um, try electro house mistrial drum loops or let's search for something here. So, Phil Okay, let's put all Jonah's now. So what we're looking for here is just one kind off something that is like a Phil. So it's basically one sound. It's like a like something like some hitting sound Kind off. Um, Okay, so I'm going to take the epic electoral year. Public ate it, but one empty, meaty region there. And now I'm going Teoh, browse for some different drum. Oops. 14. Arrangement - Part 2: removes here, so or drums. I want some kind of affects sound here into use one off our other sample packs. Here, this narrows pack. And I think we're going to use this snarled 28 years. I'm going, Teoh, drag it over. And this is actually a snare role. Ah, very energy. Energetic snare. Oh, so I I don't think it would fit in this track, but I'm going to borrow one, just one section of it. So just like that, something like that. I think I'm going to use it. Um, used this narrows for that kind of purpose. Okay, so next thing that we want to do here is to add some hits to introduce the drop section. So I'm going to copy the collapse over here, the kind of delay clap that we had, and we also want to add Let's see, here we had them this hit Nevada symbol hit. So let's copy that over as well. And we want this to be at the bar when I drop hits. We obviously want this to be a bit higher in volumes are going to Dublin, Kate. It just because I don't necessarily want to um automate volume here, so let's just Okay, so I don't feel that it's, um It's not like some energetic going on here in the first drop section. I don't feel in the energy from it, so I think I'm going to have to use something else. Um, and also, I want Teoh use a kick drum here. So, um, a better kick drum, because this kick drum here is kind of weak. I think so. I'm going to go to plus here, new software instrument, and I want Let's see here, um drunk it designer. Yes, we're actually, um okay, let's go for an empty channel. Strip creates and drum machine designer dirtiest. So this is what I want and I want some kind of kick drum, so let's maybe that one so new empty media region love better there. So now we I also want a base so we don't have any base in their obsession. So there's why. Ah, a lot of the energy is, um, is not there yet, So let's go with the plus here, and I'm going to add and yes, m, I think, um, this plug in is good for bass sounds. So I'm going to go with clean base. And now I'm going to take the corporation. So, um see, here they have our corporation. But now it is on our GSM plug in here. I'm going to delete everything besides the lowest notes in this corporation. Um, so we want this base Teoh. Um, it's here because it's a lot of attack, but we wanted to be having more of the K here. Okay, lets see. Clean base. And I don't want any high end here, so let's take off the high end. I think this base is going to be too low, So let's get this one active up some side chain there as well. 15. Arrangement - Part 3: Alright, guys. So now we're back in the logic pro session here with this track. I have taken a break for a few days on this track just to refresh my ears and just get some new perspective off this track and Ah, yeah, Now we're just going to basically copy some different stuff over from the first drop here to the second drop. I'm also going to have the break section here. I think I'm going to use ah, something else instead of just copying the breed section here. And then we're going to copy the third drop section and create an all true And for that, I'm going to use the reference track that we used before. Um, so this track with pretty here yet I'm going to listen to this his track at the same time as I'm scrolling through the project here just to see what? What we should be used in this section here. So the section here is the bridge to So the second bridge section and it should be around its here. Two minutes and 17 seconds, Some around there, So ah, let's hear in this track. All right, so this second grade section here is basically dropping off some kick drums, some and also some drum loops. Here, let's take a listen to it again. So the low end from the kick drum is taken away as well. So we're going to do here is to take these Teoh drum loops here, copy them over because these drum lives didn't have any base in them. As you remember, we e cute out the base from kick drum and the drum loops. And I'm going to just have these all of these, Um, since sounds looked as well. And let's see here. I'm going to use the up lifter as well. I'm going to copy all of these elements. Let's see, the bridge section starts there. So I'm going to match this up. It's here like it's a now. We should, um, have the break or the breed starting in this section here. I'm also thinking this crap here, I think it's pretty weak. Um, I didn't get like that energy that I get from, um from pretty us tracks. When this clap is hitting the echo clap, Let's take it up up a bit Here. I'm going to go with even more reverb. Let's take it all to 100%. Let's make the size bigger, Let's say CIA free Delano, but reflectively reflectivity. Um, yes. So let's try this out now and let's see if we get some extreme results or if we should overdo it even more. That's something a lot better. In my opinion, I This is what I mean by taking big breaks, you know, because previously when we did this clap sound here with Echo, I thought that this sounded really good. And now I was like, OK, I can't really hear this at all. And we did some echo, and now I think it sounds pretty good. I think we should do even more here. Let's see, Maybe something like this. Yeah. - All right. Um, this main since sound here, I think we should have it. Um, I think we should do something about it because I think it sounds pretty like boring after a while. It's just all the same thing all the time. And I think it's because for now, the cords are pretty dark or they aren't like that, uplifting as they are in previous track. So I think I'm going to make some notes here, One actor up. So this is a nice trick that you can use if you think that your court sounds maybe a bit boring or Yes, as I explain here that let's say that you feel that your cord isn't that doesn't have that energy. You can put some difference elements off the corporation, one locked up, and that will actually make very nice trick here. So I think I'm going to move. Um, maybe these notes here more knocked up doing like this. Let's try it out in the drop section here. All right? So we can really edit the notes here because they are looped. So I'm going to just select them with the Marquis to click in on its here and now we get ah , separate region here, so yeah, let's just compare these notes and put them one octave lower that we had before and just compare that. So I'm going to play it. Yeah, and I'm thinking of moving something else here that c Maybe this would be too high. Yeah, I'm thinking off having it like this, actually, So let's leave it like that. Ongoing Teoh delete 16. Arrangement - Part 4: down. Delete that and loop it as we have before. So now let's go back to the second bridge here. Now let's take a listen to ah prince again and almost going to have this. Let's see Thies to drum loops here. Ah, in a big, nice reverb. So I think he uses something like that in the drum moves here in this section. So I'm going to take these to drum lives here and create a track stack. So let's create a summing stack here, and I'm going to call these drum loops without base. Okay, so let's create a scene reverb like this. Let's put the dry all the way up wet to around 50%. Um, yes, sometimes that maybe let's put the size up and let's take a listen to it now. It can be too much, but let's Yeah, let's listen right. So I'm going to cut the low and from the base here or from the river here. So as soon as I did that, you can hear that the reverb isn't like overdone, because if we would have all of a reverb like in the frequency spectrum, so it actually re verbs even the base sounds here. That was some like this. It sounds almost like it is in a a huge arena or something. But I want Teoh have it around there, so just low cut the reverb signal off the single. So we're not low cutting all of the single here. We just low cutting the reverb single. You're getting away much cleaner reverb sound here, And it's also a lot easier when you're doing your mix down of your track. When you have reverb zones that are low, cut it here. Okay, so I'm going to automate this. So let's go to the Silla verb through wet signal. And first I'm going, Teoh, have some reverb in the brief section here, But I don't want any reverb in the other sections off the track just in the bridge section here. So let's take take it all away like this since we don't we're not using any, um, of these drum loops in this section. So it's fine that we have, like, a little steep here, but I'm going to use like this and now I'm going to take it up. Um, like that maybe up until the drop, the second drop section here. All right, so let's take a listen to it. I also want to filter out the synth a bit. Let's see here because I think it's a bit too much in the section. I actually want to back it off in the bridge, Something like that. Just so we get some So some kind of break from this corporation playing all of the time. And then when the second drops hits, then we're back again with full yet the corporation being playful arm. So I also want some kind of snare. Oh, I think I'm going to use the same one here as well and just copied that over. And my wife think Wish it dio something like this. And, um, copy this over from the first drop. So now what we're basically doing is just Teoh copping everything from drop one to drop to . And yeah, this is the preda big verb hit that we used. Let's take a listen to it. Yes, actually. Add that to the bridge to here. - We don't want to use that one. Let's see There. Um the clap makes this eco snare sound there. And this honest ed Okay, so in here. It's the same corporation playing, um, almost all of the time here. So, um, the strike can get a bit boring. And I know what's prayed of us in this situations, because I analyze this track a lot and he's actually playing the same corporation over and over in his tracks. But what he does, um, is that he's adding small, bit off sounds off that corporation. So let's say he has some different notes from the compressions or from a corporation. And then he just filtered them up all of the time in, let's say, a drop section and then it just goes up and up and up until a break, and then it's just cut it away. So I'm going to use the same thing here in the same theory. So let's just create a new, um, new plug in here, and I'm going to use this spire plug in as well. So what I'm going to do here is just a public aid 17. Arrangement - Part 5: doublet. Kate, This instrument one here. So we have all over stuff kickstart djm filter and so on. Okay, so first of all, I'm going to copy the corporation here, and let's do it with second drop section. Maybe I will just move this. If we get some nice results here, I'm going to use it for our first drop in second drop. So Ah, yeah, Let's just create in area here for our new son. So I basically just copied over the corporation, and I'm going to take away all of the low notes here, so let's see, um, nets say that we want to keep, uh, three whoops. Three layers off the corporation. So all of that should go away. And let's see her now. Well, now we have two left here. So three. Okay. Three, I have three and three ray re injury. Okay, So should be something like that then. So I'm going to go to Speyer again and just, um, search for some different presets here. So, um and, you know, I'm not really sure what I'm looking for here. I'm just I just want something that makes the corporation a bit bigger, and I want this sound to be filtered. So I don't want to this sound to be played Fulham When the cord or when the drop It's here . So I'm just going to test it now and then I'm going to test and filter it out a bit. Um, just to see if it would fit our track here. Let's put this corporation one active up. - That sounds horrible. All right, so I'm going to use one more thing here. I'm going to go to the media affects and to arpeggio here. So this is logic pro tense, built in our progenitor. And I'm going to use some kind off present here just to see if this maybe would do something for our, um, second sounded. I think I want to ah, lowered them corporation here. E Oh. Okay. So I think I'm going to do something else here. Um, let's see. Oh, let me just leave one note like this. - So I just play around a little bit here for myself on da. Just come up with a different thing here. So what I did here, I put some SX 24 and the priest called warm electric from guitars. Soon I did something like this. Is that so? I took, um, just one off the cords here from the corporation. And then I created a totally new pattern here, as you can see, and then I 18. Arrangement - Part 6: see. And then I doubled, um, the active and double it again. So it makes up accord from E Let's hear f two F three and four and, um, outside of some silver, my gods. Okay, so I'm going to filter this in a bit, and let's take a listen to it. Something. I bet, um, I may do it, e. So I'm going to use this sound in the air in the bridge to as you can hear as soon as I play the bridge to section here. The main since isn't filtered. As you can see in automation, it actually is. Um, so that's a glitch or a bug in logic. And it has been there for years. Sometimes automation works, sometimes it doesn't. But in when you bounce it out, it actually works. So, um, so just ignore that. - All right? So I'm going to add one more last sound here. I'm going to use its from this section, and I want some kind of still on some kind of AARP sound there. So let's do it again. And public ate the spire here. Um, yeah, and just I'm going to take the corporation asset it four and, um see, where are we? Uh, yes, we are in this section, so I'm going to actually draw the notes out myself. Yeah, so let's just have it like that. And I'm going to actually everything else from here and just create some kind of amenity here. And let's have something else in here. It's a lot off reverb and echo and stuff going on here. So let's, um Maybe I will tries in different sound first. - I love these different delays. And Rive herbs are in the inside of the plug ins so we can just mute them like this. Okay, so, um yeah, we just going to create the break section and the third drop and the ultra in the next videos? Um, yeah. So see you there. 19. Arrangement - Part 7: Alright, guys, it's time to create our break section drop section or the third drop section and ultra low and then we're done finishing the track. After that, we're going to create a very simple and basic mix down. And after that we're going to create a very simple and basic mastering as well. Just so this track works for you, you can play it out everywhere basically. But I'm also including inside this course I'm including, um, three different tracks being a mixed. And in those three different tracks, I'm getting very in depth with the mixed house. So if you want a very good explanation off mixed down, then just watch that part and that part is going to be after we're done with the mastering of this track. And this is because if we were going to makes down this track and master this track like, you know, taking every detail to attention, that will make this course like 10 hours or 15 hours long. And I rather focus on creating different tracks for you and different styles on all sort of things with music production and then, if you want to learn proper, like mixed down and mastering or not proper. This is proper mixing and mastering as well that we're going to do in this track. But just just, you know what kind off details we should look at and why we should do different, um, different stuff in the mix down as well. An explanation off that, like, more in depth explanation that that you can see in the later section after this course is done. And I'm including in this in this course. So you don't have Teoh pay anything extra or attend a new course. Something of that. It's included in this course. All right, so let's start with the brake section. So I'm going to do it like this, and I'm going to add one more sound. I promise you, the high not going to do it, But I'm going to do it. And this because I took a listen, Teoh, um, to put a song here. And when I'm at the break section, I can hear, um, one different sound that should be inside off our layer corporation here. And if you take a listen to it Very. Um, you can hear it very clearly, actually, um, because this is so like saw too progression and then you have some kind off. It sounds almost like organs in the background as well. And these two sons are layered. And in the break section here, what he does is to just take this sawtooth away in the break section. So you only hear the organs playing where I call the Morgans. I don't know if they actually are organ, but this it sounds like an organ sound. And then he's just filtering out this sort tooth here in the break section and it comes back. So the brake section starts at three minutes two seconds. So let's take a listen to how that sounds in this track. You hear that? So it is like an organ being played in the beginning off the brake section, and then the sort of is filtered being filtered in here later on in in the break section. So I have a very nice sound that I like to use. Um, that should sound like an Oregon, basically. And if I'm going to create a new, softer instrument, and that's go when I retro synth here so that it's actually a built in plug in within logic . So let's create that track. And here we have the, um, the Red Crescent. Then we're going to use ah, precept from the synth leads and it's called Cheerful Melody. So let's close that I'm going to move this track into our track stack, and I'm all actually going to name the strike. You should do this. Ah, in the beginning and when you're producing. But I'm just focusing on getting this track out there, so yeah, this could get a big mess is sometimes when I produce, I try to stay organized, but you can see, um, we don't actually know what this is or this track. It's so we should rename them. And I'm going to do with that before the mix down. So we can so we know what we should mix. And just to like no, where we have everything in our project. Anyway. Um, so the cheerful amenity here, I'm going to copy the corporation from or are so tooth soon. Oh, let's take a listen to it. I'm have to lower the volume a bit here. Uh ah. All right. So it's too high in the frequency spectrum, so I'm going to lowering an architect it down. Ah, uh, and I think we have this too low here. Let's see, Maybe I think this is too high. Uh, copy. Uh huh. Okay, that sounds good. So I'm going to automate the kick start. Um, you can see them side chain here, and, um, we didn't do this. So when I have areas the kickstart, which is our side chain, that explained for and we have that bypassed in the intersection here. So So we have that the side chain activated all of the time because there's actually kick drum being played in the intersection here. Bridge section drop on da the bridge here. Yeah, you can You can hear a kick trumping played all the time, But in the break section, there's no kick drum here. So I'm going to bypass this kickstart plug in which I can do with, um bypass kickstart parameter there and just do it like that 20. Arrangement - Part 8: I think that's too high. Way. Sounds great. So I'm thinking of actually, um, layering this sound in all of the other parts of the track. Let's see how this sounds. - Uh , yeah. And we also want some transitional elements, as usual, Someone to copy these over here. And let's see, your break section should be there, OK? And then we also need this sound like that. And now I'm going to have the sort of back here again. But we want this to be filtered, and this should be filter a lot here. So, um, let's see. Should do something like this. Maybe we owe Okay. So, um, the kick starts plugging s and enabled here, but it iss um that's here on the individual channels. And I think it was because And we couldn't do that in the beginning for some reason. So, um, so let's take a look here. Okay? So I'm going to I think the kick starts. It's here. Um, kickstart makes and I want to bypass the side chain off this our main synth here. Um, so kick start mixing. We can say kickstart mixed parameter here and just get rid off the, um site chain in the break section like that. And let's see here as well. We should have the sheer from melody hair should be I should have a kick start plugging on it as well. I think that we should automate at kickstart makes And, um yeah, we should have it on all the time, but the break section here don't want the sighting to be on there because we don't have any kick drum. So, um, yeah, it's just one simple rule here for the side chain is that if you have a kicked Roman, you should have a kicks or the side Jane on. If you don't have any kick drum like just drum loops or it's a break section, for instance, don't have any kick drum. You can just disable the sign chain for that part. So side chain is basically just ducking the sound for the kick drum. Otherwise, you would have a kick drum being played and all of the sense, so the kick drum isn't going through the mix. - Okay , so, um, that's filtered this a bit. That and then when this hits, we should have the 50 open. So, like that. Awesome. So Let's take a listen to it and see what we should adhere in the break section so immediately I can hear base when, um, the sense since kicks in. Um, let's borrow our base here. Let's see if we should You use the clean base. Maybe, um, that's moving here. Or carpet here. Onda, Um, just take a listen to it basically. 21. Arrangement - Part 9: same thing here. It kick start. Should be that. See her should be disabled for this part. Groups like that. - So somewhere around three C or 3 33 So like that. So here, we should use our We're going to use our, um, drum loop. Same one as we had in our bridge sections. So that one without base basically, um, just copied over like that. And let's go to our track stack put ah, digital filter on the track stack, put off the rez. Oh, and, um, I'm going Teoh automate the DJM filter for the track stack here. Um, so just so we don't mess up anything else, I'm going to create a point there. And then a new points in for this section here. So we're going to you use the same thing as it princess, and it's going to be very quiet in this section here. And then we're going Teoh, um, automated. You get really here that the digital filter itself creates some low India, and this is because it's filtered. So after the jam filter, I'm going to put on e que on so make sure that CQ is after the filter and then just take off the Lewin. - And then there's the other. It's the other synth sounds coming in as well. So, um, is good to introduce new stuff. Every, um, every four bars, basically, um, so let's introduce that there. But I think this kind of music, we should actually make it a bit longer. So every eight bars introduced this sound and then for, um, these eight bars, maybe we should go for something else. Maybe these said, these two Here I got assume out a bit. So, like that's but that there and obviously we'll have Teoh filter it as well. So let's create a new point. And then one more, maybe something that make a curve to make it a bit. Um, yeah, a bit more realistic, basically. And then DJM filter here as well. Next one. So those automation process can get a bit boring or it's not very creative, too. Create a lot off automation curves like this and should be a better way to automate stuff, I think, And I I think it's a lot of it's the same thing in every deal. D W. And you cannot as well like automate stuff with the knob. Let's say that you have a meaty controller and you have a lot of knobs on them. You can actually record the automation by hand, but just, um Yeah, but just playing around with the knobs so you can do that as well. Um, I prefer to do it this way. And, uh, yeah, it's I should I think so. I still think that should be something else that makes the automation process more creative . Then just writing the mouths or going out with a knob. Prisons. So now we just copying over, um, our stuff to the third drop section. 22. Arrangement - Part 10: Yeah. Now we have to automate, um, every single kick start here as well. So, um yeah, and as I said before, you can use this with the track stack, and it should work, but for some reason, it didn't work. So I have to do it on every single track here. So go full on here with a kick, start with a side chain, and, um, don't using that. You know, we are using these sounds and OK, I didn't put any kickstart on them, so let's do that. There was one. Okay, kickstart is on here, but it should be off all of the time, But when the drop, its or when we have a kick. Yup. Gonna go here. I have something else. Yes, the clean base as well. Okay, Yeah. I think that that's going to be good for now. - Okay , so we're going to end this track now, and, um, let's take a listen to on the track here. - So at 5 20 is going to be or less. Um, that's bit of music here, and we're going to make this huge kind of reverb reverb ending that created us. So that's see here. Um just going to have everything. I'm not using this one there. Um, bring that. I don't want any base there, so I'm not going to add the base. I am? No. So he has a kick drum there, so we should have used drum loops without base. So I'm going to do it very easy. Now. I'm going to put ah, reverb on our master, and, um, that's a big no, no. For a lot of people. Um, but I'm I feel like we could use it like that's for the ending section here, so let's put a dry on to 100%. This is very important. Then we should go with the low cuts here. Size should be big. Reflective, really. Should be big. And now we could automate the wets here, so let's take a listen to it. So that wasn't the thing I was looking for. I'm going to go with the crew member, Mr. I am Cincy Decay. This nous. That should be good. Let's try this out. All right. So we really need to seek you this, Um there you go. And, um, we basically don't want any low end in the reverb single here. Is he in here? Um, the wit signaled us. Make the single go, like very much high in volume. So we need to automate the dry single here as well. So assume as we put off or up the wet signal here, we have to lower the dry signal as well. I'm going to automate this, um, and just so we can 23. Arrangement - Part 11: just so we can automate the Kruma verb sing on it because it's on our steering out signal Masters, we have to create a track for a master. So just right, click or steer out and create track. And now we have our stare out as a track in the arrangement here. So now I can automate, um, plug ins that are on our, um, yes, master channel. So from a verb. And let's go with them, See what signal first. So it's very important to start at the beginning of the intrasection, so let's do that. Okay? And I'm going Teoh it. See, you had signal up until on 60 by 1 69 years. So I'm going to automate like that. This may be too much. I think, Um, that's going Kruma Verbund dry. So now we have to automate from here to 1 69 Something maybe like this. Let's try this out. Right. - Rates ? I think that sounds great. I'm still going to filter out this. This sounds here. The main south sound or main, since since I'm here. Um, so that's to something like this. And same thing goes with the cheerful milady, we don't have any dejan filter on. So let's put one on there. Knob. All right, let's try it out. Not with all right, guys. The track is now done. So in the next section we will go through mixing and mastering, and then we should be all done with the track. So let's see you in the next videos. 24. Organising The Project & Naming Tracks: Alright, guys will come back in this video. I'm going to show you how to get some organization down here. I'm going to organize, um, this project here so naming and, uh, placing and the different tracks where they should be coloring and other stuff like that. I'm also going to show you some stuff that I added on when I got off Cam here. So I just done some very small, small stuff here just to make the sound a bit better. And what I did here first was the main synth, and ah can listen to it may be here, some some around here. It sounds a lot more a lot fuller right now. And what I did here is that I got to aspire plug in here and I took the voices up to 16. So that makes the synth, um, just out putting a lot more off thes saw tooth sounds to your track here. So that would make yeah layered sounds and the records sounding a lot more. And, um, actually Fuller. Then when I did as well waas that I created a new track, I took all of the notes, so I basically took the chord progression here copied over to this track. And I put on E S P on and what I did here, I I took off all everything here but took the noise to the maximum here also, for the frequency to maximum and the resonance around there, they conceded the K up and everything ideas are should be at zero. So why did I do this? Is because I want some white noise being played at the same time as the drop. Its and I wanted to be played, like at the same time as the corporation is being played here. So if you layer white noise sound with your sins, that will actually, um, yeah, they were actually give a lot more energy to your drop section. So there's a very nice trick to how as well and ah, just listen to the difference here. If I just play the track here before were on the bridge section and then go to the drop, you will almost not hear it. But if you listen to very clear, but very clearly, you will hear it. Um, And also, one more thing here is that you should have this white noise, Um, on a very, very low volume. Otherwise, it it's going to take over all of your instruments and they will just hear white noise. - There's again here. This track needs a lot off mixing. Hear some sounds. I can really hear them. And some sounds are just too way too loud. But we're going to fix that in the next section. Now we're going Teoh Rename stuff. So let's go from number one here and down to the last track. So the 1st 1 is, um, serious attract stack and the tracks that contains all over since basically, yeah, So I'm going to call it since. And I'm going to do this with capital letters because it's ah, track stack. So then I know that this is a group track and not any like it doesn't generate any sound. They would have next one cheerful milady. Let's call it like that. So I'm going to use my key command here, which is old shift in like that. Then we have our main synth. I think it is. Yes. So main sin. Whoops. It doesn't work because we have to select them like that. Then we have our next one here. That's called a dream pluck. I don't know. We ran a name, um, scenic pants, K warm electric. See what that IHS that's got it like that. It is named sweet resonance. Name it like that. A mean guitar. All right, so then we have our clean base here and epic electro. Let's see what this is. And that is our kick drum. Ah, Kick close high hats. And then we have our What's this? Okay, this is empty. Um, and we did something there, so yeah, let's get rid of it. If it doesn't contain in the sound, why even have it there? You know? And the strike, it's empty as well. Let's get rid of it. History of that and that as well. That's here. Okay, So white. I see white noise hits. Okay, so we have renamed everything and let's do some coloring here, so I'm going to call her all of this since in Ah, see here More yellow color. Ah, let's have it like that. I just coloring this these different regions just just to, um, see the difference between them, you know? So we know that all these are kind of since maybe do something more greenish here. Just to you know, all of the these regions now have almost the same color just to know that, Okay, this is just more for sin sounds, Um c dub bass here. ISS doesn't continue in the sound, so let's get rid of that too. See? What is this? Ain't six. Okay, let's see here. So that is our crash. That's call it crash hits. Right? Then we have something more here. This are crashing to Okay, Okay. So let's hear Inst too. So same thing here. Kick plus. Hi, aunt. Without see. Without base. It's without base. It should be without base. Um, no, this is actually with base. So now we have different colors on different things. Um, I think we're ready to create our mix down. So we're going to do that in the next video. So see you there 25. Mixdown - Part 1: Okay, I say So now we're going to create our mix down here. And as I mentioned before, we're going to make a very, very basic mix down here just so you can play this track out on, like, in your car outside without, um, different sounds disappearing Or, you know, drumhead being very loud or other stuff like that just to basically level out every instrument in this track. Then we're going to take this mix down and create a very basic masters. Just so we get the volumes right and the the overall volume writes on and also have the most energy from this track as we can, but we don't want to overpower it at the same time. So just for ah, very basic mixed on What I do is to play this track while having the mixer open like this. So it's very easy to just, um, take a look at the levels and let's see what is playing when and then you can just make the value higher or lower. So I'm going to do that. Just play the track and, um, yeah, see what we come up with here and also what I do when I mix quit. My mixed down is to have ah, limiter on. And I'm going to actually make this a bit higher where I'm going to overdo it. Um, just so, um, I can get the volumes rights and, um, yeah, it is just because I want to hear everything more. Um, but I'm going to lower it when we are going to create our master. No, from 26. Mixdown - Part 2: Yeah, I think the levels are pretty good. There isn't too much to complain on in on here at this stage, so I'm going to make some very basic e queueing as well. Um, first, I'm a still not so sure about this main sent there. Um, I have been changing up a bit. Um, I think it sounds good is not bad, but I think that it, um it's too too much disable nuts. - No , I think it still sounds, Um, like it's too boring if I get rid of the highest knows there. So I'm just going to live in, like it. ISS I think it sounds good. Um, and this is said before in my previous courses, and I always think of it like this, That all right, may I maybe feel like this track is getting boring right now? And this is because I heard it, like, a 1,000,000 times on Repeat, Andi, if I am just going to, like, trying to perfect the sound even more and more and more, then we going to have a little bit of a problem, because ah, you just hearing the same thing all like, over and over again. in your head. So everything you're years like creating will to you some bad. And I think every producer has has had a problem that, um let's say that you're creating something and you feel that this sounds awesome. But you still wanted to be even better sounding, you know, and ah, you just perfecting the sound and perfected in a sitting on one sound for 23 hours and then you feel like everything is just sounding like shit. You can get in anywhere, so on everything you do. As I said, just sound like shit. You can't proceed with a track. You can't finish it. Ah, and let's say that you're scraping everything off and just creating a new track and you can't really create a new idea because it still sounds like shit. So you have to like, closer computer and sleep on it and go back like a day after that, or maybe two or even three days to get the inspiration back. The best thing you can do to avoid that is to just leave different sounds, even though you don't like them 100%. So let's say that you like them, but you still think that the sound can be even better. Just leave it like this and create your track. Finish it, bounce it, do whatever you want. But you have to save the project. That is the most important thing. Then let's say that you create something else, then go back in like that, say, a week or two, two of the project and perfect that sound then then is going to be a lot easier to do it. You're going to have a new perspective of the track. And maybe you feel like, Oh, this track is actually really awesome as service. So you may on end up releasing it. And let's say if you have it open, like a week before that, you will you will leave. You wouldn't even release it because he would like hate it or you wouldn't like it at all. So that is what I dio most often. Um, we're always actually when I'm producing now. But I had that problem a lot of times. I mean a lot. Um, yeah. All right. So now I'm going to create some e que As I said before, um, and the EQ you here is very basic. I just cutting off low in from different instrument That doesn't need Lohan. So let's see here. The dream pluck doesn't need any Lewin. It's not a bass sound, so Ah, skip it off the loan like that. And it isn't like a lot of difference there. So if you can't hear in a difference, just back off the Lohan, even though there isn't any, Like, big off single in the low in section. But just get rid of it. Um, you're cleaning up here. Makes by doing it. That's here. I have the preda reverb hits. I know that this doesn't need any low end crash it. Yeah, I'm going to keep on every percussion or something, like percussive elements. I'm going to have the loan on in this case here. Uh, see, obviously white noise. The one in low in there. Yeah, I think that it is. Guys, um I think I'm going to live it like it is. I think it sounds good. I'm going to test this track out in my car before doing the mastering. Um, but as I said before, I'm going to include three different tracks that is going to be mixed and, ah, two of those tracks are, um I'm just showing how to mix them. And then I'm going. I'm getting that track to my car. I'm playing it in my car and just making some notes, then going back to the mix down and like adjusting those those things that I didn't like with the mix. And I really think that that is very great to do. Because even though I have to awesome sounding monitors in my studio here, um, that could sound like there's something like you can't even here in your monitors because you're so used to them. Um, let's see if you have a car and you're listening to music in your car all of the time, then you're very used to that sound. So let's say that you're having your radio playing all the time. You're when you're driving a car around and then you're putting on your track and you feel like, oh, well, the kick drum is too loud or I can't wears the drums, you know, and then you can just make some notes. Go back to your computer. Um, like, push the drums a bit lower the kick drum or something and go back to the car. Play it again if it sounds great than it is. Good. So I'm gonna take this track, Teoh, Um, when should you just bounce it like it is? So yeah, so file bounce, project or section. I'm going to bounce it in PCM A FF. That is great. Um, you want to normalize off? You want this to be off here and the mode off line short, but I'm going to do one more thing before we're going to, um great are Mr Track or are mixed down to the master, and that is to make some headroom for a master. So when you're doing your master, you want some headroom, and the headroom is basically that you want a low volume level to be at around or peaking at minus six decibels. And that is because the mastering is going to take care off the volume that is going to push the volume up 20 here. So and we want to make sure that the track is in Peking, um, above minus six decibels here. So let's put on the second drop, for instance, you can see that this began minus five because I have a limiter on. So let's put that limiter off speaking at around minus 19. So we're really good here for now. So as soon as your peaking at minus sixth and you want something to lower the volume here, So if I would have a scene that is going to minus three or even clipping here, you know, then you will go to plug in called utility gain. And from here you can just lower to give volume like that. So now you can't bear to hear it. And they could just lower the volume until you see that it isn't peaking above minus six here. That is how we do it. Okay, so let's bounce. It's as I said before, See PCM. Everything should be good here. Let's see started. No, we want the whole track. So you have to be sure that and you don't have this cycle on here. So and then you should have the song length as well, because now it's going to bounce it from here to the end section. There. We want the whole reverb, so let's make it a bit longer than we can cut it off on the master stage. So that's bombs predator or section again. I can see Start one on one and 1 93 which is the end section here. Okay, I So I'm going to press. Okay. Here, I'm going to bounce it out, and then we're going to look at the mastering stage. So see you in the next video. 27. Mastering The Right Way - Part 2: Alright, guys, it's time to create our master for this track. So I'm going to import the track. Teoh Empty logic Pro Project file here. So I just created a new product file with an audio track in it. And as soon as I import the track to this empty logic project file, you will see this dialogue here. It says batted audio file contains markers. Do you want to import them into this project? So logic has detected that I used markers arrangement markers. As you remember in the first videos when he created the arrangement, we also created arrangement markers. So if you click import here, you will see that you will get all of the arrangement markers inside of this new logic Pro project file here. So let's see here. I'm going to get rid off this track, and now we have our mixed down here. So it like this and what I'm going to do here, I'm going to add some different plug ins. So first I'm going to use on e que going to go with the linear face CQ and this is the same . Make us logic ones. The regular e que, which is called the channel que but this one uses more CPO, so it's in a bit off, a better quality. We're going, Teoh, have it on there. Then I'm going to use some third party plug ins for the mastering. So, um, the 1st 1 isse from his here plugging alliance and, um yeah, bring works digital you can see here. And what I do with this buggin is to set the steer with to around 1 30% some around there. So what you want to see here is to ah, you want to have the track to be widen so you will get a lot more stereo when you put push this knob here? Um, yes. So you want your track to be a mono compatible. First of all, that is very important. And that is actually something you should do in the mix downstage, and that it's something that we're going to go through Ah, in the mixing stage that I'm going to show after this video. But I can briefly just show you hear what I'm talking about. So I'm going to put a plugging before all of my plug ins here, So let's see, I'm going to put media ring, and I'm going to put a move to meet her here. So, um yep. You want your track to be the mono compatible And why do you want that? That is because, um, yeah, when you play your track on clubs, systems like, let's say, a nightclub, for instance, you don't have any steer system there. And this is because, you know, you have one speaker, you have one speaker and have one speaker in a club, and they all play the same thing, so it isn't like you have. Ah, that's a 5.1 stereo sound system in a club in the nightclub because that issue Zhu Li used in home, let's say in cinemas and other place like that. But you don't use that in nightclubs, so your music is going to be streamed in mono on the night club. And if you have a lot of steer information in your mix down, then when you have when you out putting it in mono, then you can mask some different sounds. So to be sure that your track is Mona compatible, you have to look at the correlation here, and if it sits around there are on the green here, then you're fine. But if it's on the middle or like way about here, then you're going to have a lot of modern problems. So let's take a listen to a track and see where we hitting with Correlation. As you can see, it's almost perfect in this case. And why is that this? Because I didn't do a lot of different steer widening effects in the mix down. I didn't take, like, a lot off eco stuff or created horse effects like different people does all the time. And then they create some different problems with a stereo. Ah, you can wide in the track with this plug in here still with. So now we will get our track stereo, but mono compatible still, and this is what I dio. Ah, I know a lot of different big producers does this as well, and it minimizes the problems with mono with using a track in mono or stereo, and it's going to sound great in studio and is going to sound great and mono. So that is where you achieving by doing it like this. So we're not really done with the this plug in here. I'm going to use the steer with, but I'm also yes. I'm going to put the monem maker up to around 1 50 hertz and a mono maker. What this does is that it takes everything below this amount here and put that to mono. So you want your base to always sit in mono. That is just a production rule that you always want to to have in their. Um, you always want your track to be around 1 50 around 100 hertz and below. That should be in mono. So that is what I do. I also e que So I go to the model section here, and I put off some low end from around 30 hertz and below. And this is because you want here on the bass sounds that is below this amount. So why should you have it there? You know, if you can't hear it, that it's unnecessary to have it there, but it can cause some problems. If you have a lot of base and lot off sounds going on in this area here, you can get some rumbling problems with your mix. But I know I mean, you can still hear it. So why even have it there? So I always do it like this. And same thing goes with a steer section around. Um, yeah, around 19 some around 19. You can just cut off everything because you won't hear it on a waste. So I do the same thing with steer section here. Um, yeah. Mr is like that. It can also link them. So now it would be the same mono stereo. And, um, this is basically what I do here for displaying. Then I put some some kind of saturation because I want to have the sound to be to be sounding more like they are alive. So I put on, um, not that one. I want Let's see here. I want the thumb filter. Saturn passed one. So now I go to a preset here called a Magic Most ring. So let's take a listen to a track. Now, the difference is massive with this plug in. This is worth all of the money that you have. Just put this, um, preset on, and you will have an instant boost off your track, but in a good way. So yeah, but If you want to use this plug in, you have to make sure that you have a lot of headroom in the master as we did in the mix down. Okay, so now I always almost always used a plug in a free plug in cologne ot from extra records. And I always set this to around 10 12% some around their um this can make your track sounding a bit flat and you don't want really want that. So I'm going to be a bit careful with this plug in. Um, but yeah, just just played and compare it to the original. So again, here it's almost levels up the different elements off the track. So, um, if I turn this off, you can really hear that The kick drum is sounding a bit dull and it's disappearing a bit, but you can still hear the click of the kick drum. Ah, and some of the drums are also disappeared. But as soon as I put this on, you can hear a bit off a bump off that, um, elements of the track sounds amazing. So that is the only compressor I'm going to use for distract because I I think that it sounds great already. So if you don't need any park in, you don't have to throw it in there because, um because you always do it like that. Or someone tells you that you have to have a compressor on your tracks. Um, so that is I mean, this is a multi band compressor. So you all were, um, already compressing your track, and then we have the last plug in here. Um, it's also from fat filter is the pro l which is going to be our limiter. Same thing goes here, going to use, um, let's see her. I'm I'm almost always using the transparent and allowed, so let's go for that. And now we're going to raise the volume here. So if you have headphones on, just lower the volume a bit because it's going to be a bit louder. So I'm going Teoh, put this gain on here and we're going to look at this. These two bars here so you can see the overall volume off the track is going to be the same amounts as we have in this. Yeah, Innotrac basically. And then you see this bar here you don't want this to, um, pass around minus three decibels somewhere on their um because here is how much is going to limit. So here's this The signal that is going to be, um yeah, that is actually clipping in the in the mastering here. But you want this to be higher. You want this to be around minus three miners to some around there? You don't want this to be too much because you're going to hear that your track is overpowering a lot. So let's take a listen to it and see what we come up with way great. So we're done with the mystery. That was a very quick master section. Um and I think it's done. I mean, if you don't, you don't need to overdo this these stuff. I mean, I do almost all of my mix mixing when I produce. So that is why I always have a very short mixed on stage. Then I used the mastering very quickly. I just want the master to be louder and more powerful and more energetic, but nothing more than that. I put on e que here, as you can see, but I really don't need to use it. What I can do here if I am going to be very like detailed, for instance is that I can get the my reference track the Preda track and compare the different CQ elements. So let's say that we play our track here and I don't hear them high ends as good as I do with the Preda track. Then I can put the high end like a bit bit more up like this. You don't want to overdo the e que in the mastering stage. So that is a big no, no, you don't want to do this or this and this in a mastering. And if you feel like you have to do that to have it sound great, then go back to the mix down on do and do it over again because that is going to fix the problems there. If you're going to over saturates ik you stuff and then you take it through all of these different mastering plug ins here, you're going to have a very strange sounding track and then alright, guys. So I'm going to bounce this track out now, and ah, the track is done. So thank you for attending this course and see you in the next one