BOOM BAP FUNDAMENTALS: Make Hip Hop Beats That BANG - Music Production for Beginners | Kia Orion | Skillshare

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BOOM BAP FUNDAMENTALS: Make Hip Hop Beats That BANG - Music Production for Beginners

teacher avatar Kia Orion, Artist & Music Producer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

27 Lessons (2h 46m)
    • 1. Course Intro

    • 2. Welcome To Class!

    • 3. Course Expectations & The Three Pillars Of Learning

    • 4. Course Project

    • 5. Working With Samples

    • 6. Chopping The Sample

    • 7. Making Your Melody

    • 8. Intro To Drums

    • 9. Drums That Knock

    • 10. Intro To Bass

    • 11. Crafting Your Bass

    • 12. Intro To Textures

    • 13. FX & Textures

    • 14. Mixing, Mastering, & Arrangement

    • 15. Mixing Your Beat

    • 16. Mastering

    • 17. Tracking Out The Beat

    • 18. Transitions & Spice

    • 19. Bouncing The Stems

    • 20. Thank You & More Resources For Beginners

    • 21. Walkthrough #2: Drums

    • 22. Walkthrough #2: Melody

    • 23. Walkthrough #2: Textures

    • 24. Walkthrough #2: Percussion

    • 25. Walkthrough #2: Melody 2

    • 26. Walkthrough #2: Mixing & Mastering

    • 27. Walkthrough #2: Arrangement

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About This Class

How much time are you willing to waste learning music production?

One year?

Five years?

It took me 10 years to learn how to make beats I was proud of, which is 4X longer than it should have. 

How come?

Because I had no structure. 

I tried to learn on my own through random youtube tutorials and blogs I read online. 

I spun my wheels for years. 

And after teaching hundreds of students I know now why.

The answer is simple:

We think because the information is out there we can do it ourselves. 

But with the internet sending us new tutorials every other day it leaves us feeling even more confused than when we started. 

Do you learn about compression first? What plug-ins are best for mixing hip hop beats? How do you manipulate audio to chop better samples?

I remember I had a million questions and couldn’t find the answers all in the same place. 

It took me years of trial-and-error, wasting time trying to learn concepts I thought I needed only to end up months later in the same spot. 

So what’s the alternative?


After being frustrated with how confusing my own journey was learning music production I decided to do something about it...

I created Beat School, an online academy that teaches the foundational elements of music production in a simple and effective way. 

This course on hip-hop production is one of the beginner programs designed to help students gain an understanding of beat making with a step-by-step approach. 

In this course you'll learn: 

-How to easily warp, chop, and manipulate audio samples

-A simple four step process to build hip hop beats from scratch

-How to mix and master your own tracks without having to pay an engineer

-How to achieve the sound you want without wasting money on expensive gear

-How to create banging beats with only stock plug-ins and free resources

-How to design your own sound

-How to make better decisions in terms of sample choice and sound design

My goal is simple:

I am here to teach you a simple process to chop samples, warp audio, easily create drums patterns, mix, and make hip-hop beats that BANG. 

In this course I won’t overwhelm you with fancy software or advanced techniques. You’ll learn exactly what you need to get producing as fast as possible. 

In doing so, I have built what I believe is the most effective way to easily make boom bap beats.


My courses are effective, impactful, and include extra resources to help you level up.

In the Class Project section you'll be able to download all the files I use so that you can create your own beats and follow along with me. 

That being said, your progress is completely up to you. I can’t do the work for you. 

But I CAN lessen the learning curve, provide an easy to follow blueprint, and shave years off your path to mastery.

I hope to empower you with the knowledge, practice, and resources you need to realize that this isn’t rocket science. 

You can do this.

If you are willing to invest in yourself and commit to learning a few hours a week, I have no doubt you’ll be able to achieve your goals with music.

Download the stems, set aside a few hours for dedicated learning, and let’s make some beats!

P.S. Dig this course? Check out my free training to avoid the BIGGEST mistakes producers make when starting out. 

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer


Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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1. Course Intro: truck. Welcome to the booth. Best way to learn is to do it. I thought you knew that. Come and get the gems and home and teaching you these Wait Give you the secret so that you can make your I know the feeling when you're trying but you can't seem to get better music Stuff like you can't breathe It's like there's something that you can't see Watch me illustrated on the beats The boy Stanley The way I break it down Colors on the canvas, 1000 feet deep by my show you all the answers never had cold tips. When you need those teaching essentials in the way you'll understand no shortcuts, no cheat codes When it comes to music production, its fundamentals over everything you're under chop samples make banging drums. Mixing basics give you exactly what you need. Teoh easily get started making your own hip hop tracks as fast as possible. Get the stems follow along 2. Welcome To Class! : Welcome to your new course. My name is Kia Ryan and I will be your instructor for this class. Been producing music for over a decade now and teaching an online for the last four. I started Island Def Jam in my early twenties and realize that that was not the life for me . And so then I took my music in my own hands and really dove into what it means to be an independent artist. I've had music place than commercials have been commissioned for branded content. I've worked with artists. One on one is a producer, and I also constantly releasing music under my own name. Keogh Ryan. As an artist myself, I know how important it is to have that autonomy in that control over the sounds that you produce over your own music. And so I hope that I can encourage you. To do with these courses is to take back the control that you're able to do whatever you want to to be able to create whatever you dream about creating and learn that you can do it yourself. So my intention of these courses is to keep them short, punchy and impactful. Give you exactly what you need to know that you can take these concepts and then go apply them into your own work. So I take all my secrets, tips, tricks and tactics that I learned over the past decade off making mistakes and put them all together here for you, so you don't have to make the same mistakes that I did. 3. Course Expectations & The Three Pillars Of Learning: I hope you're as excited as I am to get to the good stuff. But before we do want to talk to you about the three main pillars that any of my material is based off in that 1st 1 is that you learn by doing practice makes perfect. That's why I always attach stem files along with my courses in my project, because it's not about just learning the information. It's about what you do with it. If you're able to take these concepts and then actually apply them to something riel and practicing that over and over Number two, another pillar that all my courses are based off of is keep it simple. Once you dig in, you start to see we walking through these different tutorials with you. You'll realize how few effects I really use and how many of those effects are actually stock plug ins. It's not about having fancy stuff. It's about using what works, using what you know and keeping it simple. Often in tutorials and courses that I watch, we like to overcomplicate things. We get overwhelmed with anxious, with all the different knobs and switches that there are that we might not know how to use . I'm not going to pretend like I know everything under the sun about music production. But the beautiful part is that you don't have to, and in my courses I give you just what you need to know. So I don't overwhelm you with all of the extra stuff that isn't important or even pertinent to the class. Dial in your basics. Get your foundations correct first, and then you can add the extra funds stuff You can have the icing on the cake later on in the third big pillar and believe that I want to instill in you is this idea of patients that it doesn't happen overnight to understand music production, to make music that you're proud of. They can happen much faster than it did for me, but that it is going to take time and it takes practice now with these courses. What I can do is I can shave years off of that learning curve, but you have to stay consistent. It's not about taking one course and then you become a jet I. The next day is about taking the courses, staying consistent, staying patient, continually learning and then implementing those ideas into your work. So whatever you're feeling right now that excitement that you're feeling right now hold on to that. You're ready to dive in this course, learn some things, and then actually go back to your dog and do something with them. So take this information that I'm about to give you that you're about to learn and please actually do something with that being said, Ready to level out. Let's get it. 4. Course Project: an important note. Before we jump into the course, I want to let you know that the stem files while I'm making this course are available for download. I will also have so many resource is available for you in the resource is section of this course in. If there's certain things that you see me using in the course that I mentioned, you know you can find them all there as well. That being said, good skills don't happen just from watching that happened from doing so. Please download the stems, follow along for the course project and make your own hip hop track doesn't have to be the same his mind, but we'll see how I lean. My now don't give you all the samples and the stems necessary so that you could make your own hope. That makes sense. If you already have some fun, let's dig into it. Peace 5. Working With Samples: in this part of the course, we're going to start with the main melody. And with this melody we're gonna learn about how to chop samples and able tin and refined those samples as well when it comes to hip hop and boom BAP in particular. Ah, lot of this is sample based. This doesn't have to be old. Al Green told samples or anything like that, but you can get samples from spice of the police online and then worked them and chop them into away. So you take a sample, but then you learn how to make it your own. And I'm gonna teach you how I do that when we're jumping into it right now. 6. Chopping The Sample: All right. So you're in the land in your project like this. And the first things first is since we're unable tonight, I guess you could do this in any doll. But I'm gonna be teaching, unable to earn. You can come in here. And this is a sample I got from SLICE, which means royalty free, which is pretty sweet. And it's gonna be 90 bpm. So you set your BPM 2 90 is well, now, when he first drag it in, it might be out of time. So you're gonna want to click this work by it says war. You can work the audio if you're in another Daw, just make sure that it lines up so that when you play it back, it's on timing. So we turn on our metronomic, make sure it's on time sweet, and you're gonna want to make sure that you have gained staging Done meaning that doing drink, bring your trek in. It's gonna be negative. 10. Somewhere in there if you want my template able to in temple like this, have everything already set up for you and download that in the resource is section. And that way you can pop in like this have already set the levels. Everything in native 10 for you. And so when you first jump into a boom bat track, I like to serve the melody. Some people start with drums to each their own. You'll figure it works for you. But for this, of course, this walk through, we're going to talk about doing it with your melody first. Because I find that that is the mood for the track, at least for me. For all of my drums I build them around my melody And so in this tutorial I wanna walk you through How I chop up samples for a boom bap trap. Well, for a boom bap track. So I'm gonna play first. You got a lot of good stuff in here going on. Uh, and the way that you chop up samples and a bilton is when you have something worked like this, right, it's warped. You're gonna come in and you see these little gray things above each of the they're called transients. So able 10 has already told us where it thinks that we should chop up the samples because it's told us that there is a sound being triggered here in each of these gray areas. Excuse me, Great arrows. So the way that you trap up a sample enable tune is you can come in, you can stretch audio. That's why I love able. Then you can stretch audio, You can drag you back. Whatever. And in each one of those little the spots that you put it is called a work marker. You double click it. That's where you gonna you can chop your sample. That's we're gonna tell able todo I want a chop. So I'm gonna play the sample back and start looking for the different chops where I think they might be fun to play them back is if I was gonna play. If it's ah boom bap track. I like to think of it playing on an NPC In the other types of beats that I make. I don't often use midi and chop them up, but since it's boom back, we're going to stick with the boom bath style. So let's see where we can find some chops. No. So right now there's no exact science to this. This will also come down to your personal preference. Where do you think there are certain aspects of things that you might want to chop later in the track? Also, this doesn't have to be set in stone. You can always experiment with this askew Go. But this is just kind of a rough idea of where these air different elements. I think I might want to put into MPC style chops. - So once you've got kind of a rough idea, some rough shops in there you can chop up every much you want. If you are using a different sample, you wanna make sure that loops correctly. So these are on time, and then you're gonna come in here and unable to new right click on one of the yellow wort markers, and you're going to say slice to new mini track and you have a bunch of these slicing presets. But there's one that I've built for you called MPC style slices. This will also be in the resource is section and doing this you can, uh it makes it easy, something I've already built for you, so that it plays out almost like an NPC. You're gonna hit. Okay. And if you play back, you'll see that each of these little drum pads almost run NPC is going to be triggered where we told it, Teoh, which is pretty cool. But since this is a mini truck we want to create our own. We're gonna delete this, And now that this track is triggered, as armed means it's read, this means that we can then trigger these different slices with our keyboard either on our computer or are keyboard if you have an external keyboard like some sort of a MIDI controller, so that's pretty cool. And so, in this MP style slice thing that I've built for you, you can turn up the velocity, meaning that I don't have to hold If this is down, this means that I have to hold down the key. And whenever I let go of the key, it lets it go. Or, if I turned all the way up, it will play the whole sample just with me clicking at once. So this is me just tapping the button. Does that make sense? I hope it does. And then here, if you want to really get fun with it, you can transpose, meaning you can pitch it up. This is like the Kanye West type. He picked it up. You want to get like those squirrel voices like chipmunk voices? Kind of pitches a lot of samples, so that could be really fun to a lot of this comes into experimentation, but what I want to do is keep it regular just in the zero. For now, if this If this part's not showing up, you come over to this part of your drum rack and you click this show High Devices. Now that we're in these show how devices we'll see each of our different, um, slices. You click This sample part we'll see are different slices in here, which is pretty sweet. So now we can adjust these if we want to to get recon. Fine. Tune them. No. Which is why I was talking before. Even if you mess things up, you don't have to worry too much because you come in here fine, tune it. So now what I'm going to be doing is just toying around with sample and seeing how it sounds. Another thing that I might do is I can tell so much going to rename this, uh, chop sample because I can tell that they're different sounds in here like a base and things of that nature. I'm I might do a little e queuing and add some effects to these chops. So that way, as I play them out, I have a better idea of how it will actually sound. Once things are in a more final versions, you know that you have are rough chops down. I'm going to show you the effects that I add, and then we'll jump into really making the chops more precise. 7. Making Your Melody: So we've got the effects on the rack. Gonna come in here and start chopping up these samples and get something going. So right now, this is what we have if we just play it forward on. So I think what I'm going to be doing now is toying around with this sample to try to get some sort of a cohesive loop. That just makes sense to me. So this is I like, I personally like it. If it goes, I think that that's something. We have something there. This is a sample that I've chopped up a long time ago, and I remember that there's a certain flow to it. And so what I want to do is come in here. And so I like that. And if you play back the Metrodome, we'll see how it sounds Cool. So we kind of have something. The starting point there. I do think it's a little delayed here. Bump the sample up a little bit, and that could work. Except I don't really like that much like these next ones. New CEO in the sample In the sample that starts with a there's like a bit of a snare sound in here, so I'm gonna start exactly on the downbeat. There you go. Sounds better. This'll also kind of starts a little bit late. I think someone is boost up. This kind of like that ending. I feel like it needs something else in there. Something, something. All right. So what I'll do is I'm gonna play this in, and then we're gonna figure out we're in a Toyota. That last sample that last bit to see what we can make with this four Bar Lou. All right, let's see how he did in here. So I guess you have to played out. Exactly. Perfect. I'm gonna come in here, see how we did. And since my notes are a little bit off, I'm gonna do control all and hit Kwan ties. Samples are on point because I know this is our one end. So this is the part that I've got to figure out is a bit of a puzzle. But now that these are starting to line up, what I'm gonna do is I feel like it's a little bit off time from coming here and just chop my sample a little bit more precise or not. chopped them but mess around with their transience. There certain ends to really get down a beginning and an end. That sounds more natural because this samples ending a little bit late, I think Way go. So this is just experimenting with the sample seeing which one kind of fits playback. So it sounds so again. These have to be super perfect. Right now. You can always come back and told with ease, but we're gonna keep it moving and move on to the next part of the beat. 8. Intro To Drums: after you have your melody, it's important to jump into the drums and boom BAP. Often the drums are going to be from a loop, which then you can chop up and include or play this out on Mitty. But because of the way the I teach and my style of production, I don't love to play out my drums on a MIDI controller. So I do all of mine through audio, so that's what I'll be doing. So I wanted to give you that option, though, if you prefer to chop out your own drum samples and chop them up like a melody, also have that included for you as well, if that's what you want, a role. But when it comes to hip hop, drums, to me are the most important part. I like to start with the melody because it kind of starts the mood for the track. But feel free to start with the drums if you prefer that being said, now that I've shown you how to manipulate audio and chop the sample, we have a basic idea of how the sample is going. Now we're gonna jump into the drums, get really into the meat and potatoes the heart of the track. Let's do it 9. Drums That Knock: I said no. We're gonna pop in here. We're gonna mess around with our drums. So now we got this little loop going. We're gonna worry about that too much. We just want to You can always come back again and change these later. And we have our little loop. We're gonna come in here and start adding some drums. So I've given you in this sample pack a bunch of different snares and things to choose from . So, therefore, different ones. You can choose whichever one you like, and I'm gonna lay in some snares first. I'm not sure I like that one. I like this one. - Feels like it's or something. Maybe rushing a little bit in here. So we're coming in and message these way. Go now. If he was a bit more in time, - Coolest . If he's going to duplicate the snares duplicate, see it. And maybe in these I like to maybe switch up a little bit of a different kick pattern in the second couple bars, but we'll see how it goes. And then these, like kicks before the kind of kicked before the kick. I'd like to turn down just a little bit just to give it a little variation We got our snares, We got our kicks. Let's add a high hat in here, something simple. It's boom bap. So we're gonna do anything too crazy. You can either load in the loop like a high hat loop alive hat and chop that up. But since we're keeping things moving, I'm just going to keep it simple and go in a couple different paths to choose from. I like this. I like This is this is like a straight up old school hat. It's got that great to it on again to keep a dynamic, uh, like the tune these If you want to get really j deal with your drums, I'm gonna have some elements on that later. You can really mess with ease coming and slide them off the grid. But just for some pretty simple, high pat patterns, for now, we're gonna tune this one or turn this around a little bit cool. That's a regular high hat. And then let's add an open high hat. I love open hi hats, and I gave you a couple of cheese from a swell like this one. Oh, that could be fun that wasn't even intentional. Oh, I like that. I think I like that open I had on the kick. Except it's a little bit off times. I'm gonna gonna work it so it fits. Better e like that. You know what? I'm gonna add another high hat. Open high hat, open hat. Moose open Here, too. Bring this one down. And again. This is just a rough mix. For now, with my pain that a little left my panties a little bit to the right just for now. We'll come back mixes later. But just to kind of get a rough mixes. We're going all right. And they were gonna come here, grab another open. I really like open eyes at the end of bars or the end of measures that CMS goes so that doesn't sound too hot for now. So what I'm gonna do is I want to duplicate this out, So I'm gonna keep this. I like to keep this on my project just because you never know when you might need it, but I'm gonna drag it way out here where I'm not gonna bump into it for a bit so I can have room to play when he's going over there just doing this thing so we can mess around in here . Let's duplicate this part out. Yes, we have more of a loop to play with. There you go. You have to duplicate that. I duplicated the whole look by accident. What? You wanted to just duplicate your drums. There we go. It's coming at the end of the measure and lets you know sweet. Drag it out. I'm pitching down right now. This is just the experimentation phase. This isn't a science. This is just kind of messing messing around cool . And now that we've got these drums down a little bit, what I like to do this will be, well, this would be more parent in a low fi song. But I like to drag things off the grid a little bit. So they're coming here to my high hats, and I might drag ease off just a slightest bit off the grid with the track will play the track and just kind of this is not a science again. This just comes down to a fields to give it a little bit more something sloppy. I like. I like those jaded kind of sloppy drones you could probably even drag goes off a little bit more and then the snares. I might drag these off a little bit late or a little bit early, depending on how I'm feeling. I feel like this is not I don't have this pan, but it still was only playing. I feel it is a very hard left pan open hat. What lessons have been more down the center for me but actually panel over here stereo. So those are drums for the most part, super simple for boom BAP. You won't do anything too crazy will get to the spicy stuff in a second. 10. Intro To Bass: now, once you got the melody down and you've got your drums. Next comes one of my favorite parts to any hip hop track that's gonna be your base and this walk doing tutorial. I'm going to show you how the base add some nice low end your track. But you also don't want that base to completely take over the low end, and that can sometimes compete with your kick, which and hip hop track. Since you don't have a ton of elements going on with your drums, it's really important that that kick comes through, so I'll show you how to mix those later on. Right now, we're gonna jump in, comfort the simple melody and then get that to kind of fit with both our sample and our drums at the same time. Let's do it 11. Crafting Your Bass: Now we've got the drums ready and rockin. We're going to start with the base so their four elements to any boom backtrack You're gonna have the melody You're gonna have the drums, the base and then Asian FX arm or melody Sort of the extra sauce on the top, but the base in the kick basing the drums is gonna be important part of every track. Now, this is a part where I will be using this mini B three base because there's a base that that's a pretty solid to standard sounding base. Nothing super crazy. Special If you are in a Bolton, another one. If you just have their stock instruments. We've been under their instrument rack and go to base, and they have a pretty, uh, chill standard hip hop sub base that will work. Just a swell is the standing or whatever base you want. If you happen to have those plug ins, you're welcome to have at it for boom bap. I like to keep my base pretty of vanilla. I don't do too much crazy stuff to him. So something simple and what I'll do now is I'll play around with the keys and try to find a try to find what key it's in and also try to find different notes that work. So this is just gonna be experimenting, finding what notes that I find that I think sound good. I'm gonna turn my base up and just have fun of it. See if I can find a different pattern and see some find some notes that sound good. The reason soloing them, Mr make it a little bit easier to hear. And I'm also going to come over here. This is a free plug in. Also, being the resource is came a pressure. Turn this on. This is some intense distortion. Ah, uh, just to make the base easier to hear while I figure out the notes. So I think I've got um But I might have some distortion on this just to bring out the highs Little bit. I love some distortion. That basis would be tutorial in another time. But, uh uh, uh just gonna hear it all the more and what I might do with this bases well is leave this on for now. Just that I can hear it while I'm playing. Also my turn, the sample down a little bit. So now I kind of have my four notes that I want. And then I'll pitch it down and, uh, try to find some sort of a little melody that works with this. Nothing. So it's just four notes and do anything too crazy one to keep it simple. And another thing that you can do that. The technique is to play your base sometimes on your kicks. So I'm just gonna toy around it and see if I can find a pattern that it works. You see, that? Sounds quanta izing them there. And I think these were just a little hold there. Hold a little bit too long. - Your base doesn't have to. You have to be Katrina at the base, especially with these boom bap tracks. The bases go back to listen to some dilla tracks, man like they aren't super crazy and complicated. Always come back, get more funky later, Ron. But I'm gonna keep it pretty simple and standard with the base for that for now and keep it moving 12. Intro To Textures: hip hop. I don't necessarily believe has to have a ton going on with the crazy melodies. I like to keep it relatively simple in structure, like one main melody, kind of playing out and having that be the main source of inspiration for the mood for the track. However, I think that you can fill up a lot of those other frequencies with too much if you aren't careful. So instead, what I like to do is this. They're having some crazy lead. Since going on. I like to incorporate different textures and effects, but then fill up that space in a way that still allows a vocalist to come on and inspires the mood but doesn't get. It's not distracting. It doesn't get in their way. So one element that I include our vocal stabs include these a lot. I use a ton of vocal effects. I might take a little slice of vocal and then throw on a ton of reverb and a ton of delay to get that to really fill up the space. And in this tutorial, I'm going to show you how I use one simple vocal stab and then some simple effects toe add some character to the track. Keep it interesting without taking up so much room that there isn't enough for a vocalist, a rapper or singer to still do their thing. So how did that make sense? Let's jump into it. 13. FX & Textures: all right. Once we back in action, we've got this little loop going, are feeling good. We're going to now start adding in the fun stuff. So this is the basic. This is the meat and potatoes what we got. But now we're going to start the layer stuff. We're gonna start to make it really fun. Where else we're gonna delete stuff that we don't need. So I'm not gonna be adding any extra instruments to this track. And I'm not gonna have any eight awaits so we can start to look at how things might line up . All right, so the first I'm going to do is add a I realized that we have a look going, but I want I need I might add a little something to to give us a more character. So this is a stab. I like stabs that dropped the different parts. And this is one that I gave you, and I've already added effects to it, so you have to worry about it too much. But most I love adding vocals of my tracks. That's one of the biggest textures that I always add to. My attract is if it's something of an FX or a texture. It's gonna be a vocal of some sort that I find now it affects to it. This is one that I've already found in edited for you, so you don't have to worry about it too much. So I've already added reverb to it and some delay. But we can also are reverb it out a little bit. Maura's well, there's something to give some, some character and texture. And then what I'm going to do is play the track and add this stab in a couple times. - All right, that sounds good to me. You don't want to be spending that's like super dominant or apparent, but adds some texture to it. And then the next thing gonna add is some more percussion, little things here and there on top of the high hats and maybe some shakers and things of that nature just to give it Ah, little bit more swag with the drums, these air you can get carried away in this part. So I'm hesitant to go toe go to recommend this too strongly, but just something to break up the measures which I'll show you when we're actually tracking out the beat. So I'm gonna just little things here and there to add some character. So I gave you a couple choices for percussion. This shaker with a shaker. I like this one. - I think my ad is instead. So this is gonna be shaker my ad in another high hat just to kind of give it I like the shaker, but I don't love it. So now I'm just experimenting with somewhere. I had again to give it some character and possibly, uh, just feel the beat out. And since that these high hats and dragged off a little bit, I'm gonna take these and drag these off a little bit as well. So they line up with their other high hats. - Theo , all this is just experimenting. Right now, I'm just I've got a kind of a bopping my head and roll with it and throwing stuff in, checking it out and then taking out it doesn't work. Cool. So at this point, I'm feeling pretty good about it. We got our basic stuff. We can throw in some extra bells and whistles, but I'll show you what When these actually come into play here in one second after we mix the track down 14. Mixing, Mastering, & Arrangement: Now that we have our main elements down, we've got our four main hip hop elements to our track. Now is we're gonna mix it. We're gonna master it can show you how to track it out. And arranging the key when it comes to hip hop, because you have so few elements is really dialing in the mixing. When it comes to mixing, you'll hear me say this time and time again in the tutorial. It's not about effects, it's about EQ. You throw getting your levels right, so really focus on making sure that each element comes through. Each element has space and is able to be heard. Or even if it's not heard, it might be something. So on your drums it's at least felt you don't need a gazillion tracks and elements to make a good hip hop song. You want to really dial in the few elements that you have and make sure that the audience hears them and that in those tracks it still allows room. If you wanted to have somebody rapping on this, so I'll show you how to do first of all, mix your track and then we're gonna master it to really bring up those levels of that way. If your song is mastered and ends up on a Spotify playlist, it doesn't throw the listener for a loop in. It's a middle also sound good if you play in a car or on headphones. Something like that. After we get the mix in the Master, we're going to track the beat out and also show you how to arrange a track. Build it out from an eight bar loop into a riel. Full song of the track is coming along well. This is really where the rubber meets the road. Spend time on the mixing. I'll show you all the tips and tricks. It took me a long time to learn again. It's about simplifying the process, not making it more complicated. You ready? Let's go. 15. Mixing Your Beat: So now this is when we're gonna throw on a quick mix of the track. We've got a little loop that weaken buildup from here. We've got all of our different elements were going to make sure that everything is labeled . So this is the original sample we aren't really messing with. That we don't know about. It is chopped up. Sample are stab transitions. Will talk about in a second open. Had to one shaker he's going to be high hat to I have one. And you know what? We might even throw in some extra snares, um, to give us an extra snap here. Once we tracked the beat out a bit more base and kick coal. So the way that I mixed things down is in able tonight. Then switch from, uh, the arrangement view into the session view, and I'm turning all my levels down. It was like to mix in one element of the time. So we're gonna come in here, gonna make this kick out, and overall, when were mixing, we want to shoot for around maybe negative force. We have some headroom to actually do some mastering and you'll see me in all of my tutorials, all of my courses, every beat on make a shoot for negative floor and my mixing is very simple and standard. I think that when it comes to mixing less is more. It's not about having these crazy effects chains e que getting your levels right. So that's why I'm looking for right now we've got this acute it about negative you can't hear much of below like 25 24. So it was cutting out everything beneath those frequencies. We're coming in at around eight. I like that and I'm throwing on a little bit of compression. The reason that this is this is in my Mableton template, So this is already ready to go. But if you don't have that throwing AGU compressor and this news makes your kick a little bit more punchy on this, I don't know worry about this too much. I'll come back and mix this in a little bit later, once I have all my other elements. But I want to make sure we have enough room for this base. I threw in this saturate or just to give it a little volume, but turn it off for now, I'm gonna mix it in and see if we even need it. A big part of the base in the kick when it comes to mixing is not having them clash. So turning on some side chain compression on that cab on that base to let the kick come through. Uh, if you've seen any of my stuff, you know that I love base. So I like that base in your face. So we're going to see how this is going. I still feel like I feel like we have a little bit more, but more heading was going to start pushing my kick up a little bit. Ah, Uh huh. This is something where I might come back to it again a little bit later. But that base, I think for now I the reason that they're on some distortion is to bring up the high end in the high end, allows you to hear some more basic is pretty low again, rolling off anything below 22 around in there. Let's bring the snare and get get A popping snare comes down to taste. Some people like the snare to make their heirs bleed. I'm not a huge super loud sneer guy. So I kind of rock with this and I build this in as we build up, makes out the rest of the track, starting compressions under the house just to give it a little bob in our pin, those little bit to the right, just that they can stand out a little bit. - The reason I like Japan like this is because it allows you to hear elements a little bit better a little bit differently. Have not. Everything is coming right down this interaction. So this is kind of a loose spot where the drums or bumping? I'm feeling good about that. Let's move on to start to bring in some of these instruments. I think this CQ roll off a little bit of the high end because you can. There's a lot of things going on in the sample. You can hear that base in there, too, so I'm taking out the lows I'm taking at the highs to allow room for our dreams to cut through. We just want the mood from this track. Love in boom BAP. You don't have to throw some compression, citing oppression under main sample. But just because That's the way that I like the role again. I like my kicks to really cut through the mixed. Also in that very influenced by Dylan Flat Low that I like that the kids to kind of bump through some, throwing a little searching impressions to get five coming in at five. That's going a little bit of room to work without about a decibel left bringing the stab. And I can tell when I brought the sample in it because it's sharing some of the same frequencies as my snare. We're losing some of the snares. I'm gonna go back to that. I'm gonna mix in the stab and then go back to this neo. Speaking of panning, I love this tool. It's auto pan. So when this drops, I wanted to kind of go slowly from left their left ear to the right Here. Just add a little bit of motion. You know, it's the little things. A little bit of saturation is to bring a little bit little just not tumble. Just some This will come down to taste. I like my base in your face goes that kind of a rough mix. Now what I'm gonna do is I'm gonna throw on some mastering to the track, see how it all sounds together, meshes once all the volumes are brought up. And then I might come back and tweak Things in the mix were negative. 4.83 So we've got some headroom to master with. Things of feeling good things that sounded good. Let's see how it feels when we throw some astronaut. 16. Mastering: So these are the two plug ins that I used. So I put them automatically in the master chain, the pro Que Tu and the pro L two. But since I'm keeping this all stock for you all, where is gonna rock with the regular e que and the regular limiter? So throw on a E Q eight and what you're gonna want to do what you're gonna want to come in here and skin around for different frequencies that kind of stick out, socio, you're gonna push the queue all the way up and you push the gain all the way up. You turn these headphones and you're gonna scan for frequencies that might be sticking out that are unpleasant to the ear, the cold resident frequencies. And you'll know you'll know when you hit him. Way. There it is right there. There's one. Let's bring something. You're gonna bring the gain all the way down. These were really don't want to open this bad boy way up. You're gonna keep it still pretty, uh, pretty slender right there. You keep you don't want the waves. You want to cut too much out. So you just go looking for those that really jump out at you and are just they resonate. And there if you leave them in there, it's. You can leave them in there, but it's helps you clean up your mixing you're mastering. If you just take out a few of them, there's another one. I'll take him out, but you can do this all day if you won't find a different things. I'm not gonna spend too much time on net because this isn't about just mixing and matching . This is about making banging hip hop beats. And then the next thing I'm going to do is throw on the limiter cause we want to turn this joint all the way up. And so we're gonna leave this auto, and I like to push the gain up booth. The aim of the built enabled in limiter isn't the best. It'll do a decent job, but it's still if you push this thing too hard, it starts to sound pretty crappy. So any time it's coming in, pretty much with your limiters gonna do is bring all your levels up. And so it's a big compressor. And so I thought it on the master chain. But at the same time, I don't ever let it go passive, negative five anywhere in there. And then once I have things mastered, I might come back and turn things over down a little bit like this. Snare. I think maybe a little bit too snappy, Little too crunchy. There's certain things that I think are better felt and not heard in this instance. That would be these high hats. You can't really hear him, but they just kind of add to the track. That's the quick mastering that we're throwing on here. And now. Once we have that down, we're gonna track to beat out. 17. Tracking Out The Beat: So once you've got things pretty well mixing, master, then you're gonna want to come in and tracking the beat out was when you really get Teoh, build out the different sections of it. So you might do this beforehand. Everybody's little bit different. I personally like to build things out after I have this kind of eight bar loop. So this is how I'm gonna just run with it. You're gonna see me track it out. Not not gonna talk too much about it, but I'll duplicate this part. This is where I got the most action going on. Right? So now for the intro, I'm probably have the samples and here and then some sort of intro, uh, maybe first couple bars, where the key, when it comes to building out beats from an eight bar loop isn't necessarily adding a bunch of new stuff. But it's more about just bringing and adding and subtracting different elements at different times. You can build your entire beat out of these eight bar loop, so I'll show you what I mean. So right now and then So I'm going to duplicate this because I want I want at least this money bars before I drop into this hook part with everything. So then I'm going to duplicate this little section that we have and maybe bring in a bit of maybe let's bring in some of the shakers of the second high hats. So every four bars or so I add something in to take something out. The listener might recognize that that might not, but it's just to kind of keep it interesting. Just something for your ears, the oh way. I don't like that. I have tried with shakers. Wait. So I actually going to do is here going to drop the kick out, and I'm gonna do a little bit of automation as well, just to add some spice and then drop it into the hook here. - So what I'm going to do with automation if you don't know about automation, I'll have my other tutorials on that talk about a ton. But with automation, you pretty much get to move different things and create motion throughout your track. It allows you to have more control over with elements as they moved their attraction, gonna bring things to life. So I'm going Teoh, remove this automation all right. So we have only just gonna have the odor filter on for these four bars, and I'm going to do is have the frequency. I'm going to make the frequency A Actually, I don't really like that based their. So I might have the base. I might not even bring the base in here until the hook and automate this on. And then I'm gonna come in here, and I just a little bit of a character to this last bar. This last bit of the bar gonna come into this Midi notes this mini job and was gonna duplicated a bunch so that it feels like it's kind of glitch ing. That's kind of cool, but I wanted to be even more glitchy. Oh, really? Like that. So what do we owe way like that? Something a little different. Bring in another sneer to on. And then also bringing that open hat at the end of the bar just for something to dio. I actually think my do it Do it. A little bit of a double scenario there to troops coming here. Grab it duplicated, and I might turn them down a little bit. On another thing I'll do is add in some transitions to this and drop the beat out periodically. You know, we have a little bit of a hook gonna versus, and I'll come in here in a second and just, like, do some things to spice it up. But first, before we add the spice, I'm just going to take this and I'm going to duplicate it. You know, we have our different parts of diverse where we have our first. We have kind of this bridge section now, so we'll come to come after the hook. I don't All right, So now that we have a little bit of we have kind of a general overview of how the track looks I'm gonna come in here after this and add some spice just to make things a little bit more fun. 18. Transitions & Spice: So when it comes to transitions and spice, a lot of things, then automation and little things like these risers and impacts. So that's what I'm gonna open up my transitions again coming here and in the sample pack, you'll have, ah, transition both the impact in the riser. So let's do impact and a rise. You hear these a lot. And, like TDM songs in the event nature in these hip hop joints and boom back you don't thes are essential. These aren't super huge, but I like to have them just because they at a little bit of off to the track. So these aren't going to be like your huge e g m things or things that I might put in the trap in a trap record. These might be a much more pronounced, but for now, I just keep me a little something. All right, so here, because I like the feel of how it's going. I'm just gonna come in here and just take some stuff out just to make it like, feel just like to add some drops in hip hop tracks, especially boom BAP. You gotta add some drops in different things to keep it interesting, because there aren't that many elements. So you just kind of got to spice it up in little ways way. So I think we're going to do here is cut these drugs out, and I just cut this out. Okay, So another hack when it comes to the samples is when you want. This is a little key, a trick. Uh, this is what you're paying the money for right here is to have a slice that kind of cuts everything off. Like it Israel NPC. So take a slice that we don't actually use in the track, which is way using Paul. So it's that we owe Switch up, Mikey a trick. I'm gonna come back to my samples and make a particular chop. It is just four. So I'm going to duplicate this slice. That on a Mac is option. You click a slice, you hold option, and you drop it. And this is gonna be my phantom slice where I take the volume and turn it all the way down . And so this will be my slice, which will be sliced number 17. There you go. Uh, sweet thing here. I might also add another snare. I have this sneer to open, just in case I want to throw another snaring there, but not sure it's gonna end up working out, but I like this kind of snap snaps near joint. So now I think this will be another good time to drop in your impact. Um, yeah, but then backed here. Sounds with the riser. Not sure if it's good or bad and then just gonna add a little bit more spice right in here . I just feel like to be called to drop it, and then I'm gonna come back in at my little phantom sample chop. Cool. So this is how the hook was sound thing. And then going into this part of the verse would be another good time to bring in the riser s so that people know that you're coming into a verse section. It's gonna work. This instructional bitzer fits the measure. Cool way. I think I might throw in another Just another way. Go. What actually want is nice. I like that. And I might actually throw in this open hat there too. Spice Man. It's just the little things Little spice, little details. But you all that is all that she wrote for the boom path, getting your boom bap hip hop banging tracks on Mastered things or Gucci, and now she had a bounce the stems and we'll get you out of here. 19. Bouncing The Stems: So once you've got your kind of remains on track doubt it's mixed. It's got a loose master on it. You're gonna want to play this in different speakers. So play this in your car. You know, play this on your head full of all sorts of stuff, but then you are going to want to bounce your tracks. But before you do that, um, I like to add a little bit of an outro. You I like to have some varsity end. It's hip hop track. You want that person talk that talk. So I'm gonna take my last hook, these this four bar hook. I'm going to double it. Which I did here and then have just some final bars for people to talk. Talk that talk not allowed to swear. So we're gonna rock with it like this. And then probably at this final piece, take that out. So a little bit of outro, You can throw on whatever outro you would like, but then to bounce the tracks before you bounce, you want to make sure that everything is labeled correctly. You got your low end kick bass. You got your drums snare random, not using sneer to. So we will delete that. How have one to shake her up on that one. Open it to get your risers. This original sample. We don't need that anymore either. So you can delete that and then the chopped sample and the stab. So then you'll go to file export audio video and then all individual tracks export bounced them joints and you're good to go. That is your banging hip hop beat. And I hope that you enjoyed. If it doesn't turn out exact like this, do not sweat it. If it turned out better, please send in my way. I would love to hear it. And I'm sure that many of you will be rock star producers in no time anyways. So that's it for now. And check you soon. A bars up 20. Thank You & More Resources For Beginners: I hope that you enjoyed the course. If you did, please leave a review. If you didn't, please leave a review as well. I'm a grown man. I understand that I am not for everybody. But the only way to improve is to get your honest feedback. If you did enjoy the course and you want more materials like this, find all the resource is either below or at Kia Ryan dot com slash resource Is anything that you saw in this course I have available for free download. I have a built in templates of free, able to crash course. I've got sample packs. I've got free guides, everything that you need to level up. I guarantee that I can help you do it. So that being said thank you again for taking the course. It means a lot few tuning in. And I appreciate you for watching. I'll check you on the next one. Tell me again, keep making beats and I'll see you at the top. All right. Check you in a minute. 21. Walkthrough #2: Drums: all right, so they were doing something a little bit different. Rather than start with the melody Today we're starting with drums first because I was super inspired by the drug dealers Anonymous drums by Jay Z and push a T. So I want toe like kind of make my own key ified version of that beat and when I walk you through it So let's do this thing first. Things first. You got to get the MP three. And so no. Ah, here we go. Got the instrumental, and I think it's set to the proper bpm. Like maybe a thing. It's a 1 53 or something like that. I guess we'll find out. Um, so let's jump in here. Have you ever heard this song before? I just love the drums push. Do you get used to super unique drums? So let's start with our kick first, let's see if there's see that works. Let's get a good look. There it is. - They have a couple different kicks here was more like a one has a little bit more punching, and the others are kind of, um uh so he has a bunch of eight awaits in there too. But for now, we're just gonna take was gonna get kind of the simple thing. So let's find out what kind of a snare that we're working with, - Like a rim shot to me. - Interesting . And then there there's another snare that's really dry. Doesn't have any have any reverb on it. - It was like a really lazy high at I think those are the drums I've come to. The aid awaits later because I want to tune them. Um, but right now that we kind of have something simple, I'm gonna maybe add this Other rooms are just to give him a little bit more beef. And then I might add just a different kind of snaring here like a little bit more. Maybe. Ah, like a modern kind of snare sound. Uh, that's a cool one. Raw hip hop sneer. - Cool . So this is a very simple kind of rudimentary drum pattern. At least for now, I'm gonna try to find some sort of a melody or some sort of sound that is kind of like this drug dealers anonymous joint, and then we can always come back to these drums afterwards and fix them once you have a lot more of a melody 22. Walkthrough #2: Melody: All right, Let me try some. Ah, let me try this loop. See if we can get anything cool with this. That kind of works. That could be cool. Mm. I just wanna mess around with sound a little bit, See if I can see what I can get. Maybe something weird does. Uncle, at least is a place to start menacing, maybe confines and vocals. And maybe I'll try one other melody, because that's gonna is gonna be the same loop. You really want something that's unique and kind of catches your ear. So let me see if I can, um, finds of vocals that might fit this well. 23. Walkthrough #2: Textures: okay. I found a couple vocals that I think could be cool. Let's try some stuff with them. So this is one that's enough that I like more than anything. So, actually, let's take this. Let's let's Ah, let's duplicate all these out. So we have a bit more of a phrase that we can work with we're working with. All right, let's check this physic . It's faster. Me. Stretch it out. No. Um um There it is. - There it is. And in this one, um, had there's one note near that I really liked. Let's see if I can find it. That's it. Mr. Puts on different tracks. Don't just have a little bit more reverb on it. - Uh , cool. Now we're starting to get some more. Is we have these vocal textures coming? Um, I want to add some board drums and some. It'll waits to this to kind of get it. Give it a little bit more of a bop. So let's check that out 24. Walkthrough #2: Percussion: all right, This video, I'm not exactly sure where this was going to go. I'm thinking some eight awaits. I'm thinking a little bit more drums. I want him to have a little bit more kind of action. So maybe I'll be able to fit both into this one video. Let's see how it goes. Let me grab my eight. Await. Looks like we're going to get Ah, let's see how it goes. That's a good one. Let's see. Oh, let's see if we can rock with this one. Turn it up to F because Sonny Digital is the man told us that is enough and let's see where we're gonna want thes own bomb, bomb, bomb, bomb. And actually, let's get thes. Let's get these notes to Oops. Gimme, gimme. Gimme those notes for muddied new MIDI track. Cool. Give me those. Give me that they set up in here. Oh, it's tricky. I might take some financial ing. - Let's see if we can figure out how to do this the same way. There's no sound to go, do they, um, let me try. Let's try. Maybe another eight. Await it up. If it was tuned, maybe we can figure out what else these other notes are. Uh, all right, let's peep this peep. This Pete, this Where's my tuna rat? Get me. Get me! Get me my tuner. What was this one? The school g sharp. That sounds kind of dope. Sophie, like these need to be a little more beefy. Maybe I'll, um uh, no, I already tried pitching him. Let me try patient again. Hey, since there's not a whole lot going on in this track, I'm gonna add a bunch of little percussion elements that I think would be interesting. And also add different sounds for them. Because I think, um, just because it keeps interesting, there's not really that much going on in this track. - We're gonna do that with this near to I'm going to make this second snare. I'm just make it weird, because why not sneer weird? - I don't love it. - Yes , I wanted something more weird. Cool. So I think that's at least a decent place to start. I'm now going to track it out a little bit and do some kind of different weird things with it. 25. Walkthrough #2: Melody 2: Okay. Coming back to live in Iraq. No hat. It's getting hot. The beat is heating up. Let's do this thing. So, um, I think that it would be dope if there was maybe one more instrument in this, and then we could mix it. I don't want there to be a lot similar to the actual track. I don't want there to be a lot of, um, crazy instrumentation, but I do think some sort of, um, one other theory vocal. I love me. Some choirs, maybe one other theory vocal. Or maybe some bells. I think like some Hibel. Something like that would just add a little bit of something, a little bit of swag to this track. So let's see if we can come up with something cool. - There's not a lot in the high frequencies, so I think that would be fun. Do some bells. No ionosphere . You. There it is. - Let's try straight in a lot of times. Ah, lot of this comes down to sound choices. Kind of choosing something. No. Um, and then running with it. I do kind of like me. Some retro instruments. Let's see if the eighties bills got anything on him? No. All right, So here's what we're gonna dio. I liked the I think it was the plink music box, and then we'll just distorted Make this on her own. I like that one. I'm just going for something subtle here. Something in the hook that I can have that just is a little bit of a layering on top and a little bit different. Um, just by the slightest bit to add a little bit of maybe depth in some energy to the track. - Cool . So I'll come back and I'll talk about that later in the mix when we're doing some mixing. But now I think that kind of settles in. We have a bit. We have things in our low end. We have our snares, condiment, percussion. I might come back. That's more germs later on, but nothing about it too much right now. Got our main sample or vocals, and, um, then we have our instrument or bells, so let's mix it and then we'll take it from there. We'll mix it, master it and arrange it, and then see if there's anything kind of missing. Once we finally makes this 26. Walkthrough #2: Mixing & Mastering: This is the fun part. Now we're gonna mix this bad boy, and this is really when the track starts to come together. The first thing that I'm gonna do is I'm gonna leave this basin here because if you actually listen to the the actual track itself, there's a point where it drops out and it just is based. I'm pretty sure. So I think that's pretty cool. Drop the way that that drops out. So I'm gonna leave this base here because I might want to come back and steal that same idea later on in the track. Um, when I actually arranged this out, but for now, we're not gonna about that not going about that base right now. We're gonna turn that off. Um, it'll wait and then just make come through, make sure everything's labeled correctly. Ah, you got my weird snare stair. Once near to snare dry, weird snare. I have one. Hyatt two. I had three open hatch conditions will come back to cool. So when it comes to something like this because there aren't many elements, a mix is gonna be really important. And I'm not gonna lie like I'm the greatest engineer in the world. I'm a better producer than I am engineer when it comes to mixing. But, um, I did learn along the way that I was making things way too complicated. Back in the day, I would come in here to my kicks in my eight awaits and tour under the EAC use for ages. And then I realized one day it really just comes down to getting the levels to sit right in the mix. It's not about fancy plug ins. That's like your your remember the 80 20 rule. If you could get 80% get 80% of it right enough. If I can speak, you get 80% of it, right? That's really all you need. You can worry about the icing on the cake. The crazy things like to run. The key is getting needs to sit right in your mix. The fancy plug ins can help you do that, but for the most part is gonna come down to your levels. So let's start with our kick. Uh, I'm not going to we turn this compressor offer now that one kick, I'm not sure I'm crazy about that, but let's roll with it for now and just turned it down to level it out a little bit. You know what I'm gonna call inaudible, and it's going to dio I want to duplicate this, and I'm going to come back and layer this later, so because I don't really love this kick. But I did want something different for that kick sound. So when actually take this and just give us a little bit of a bop because id rather layer it later and just have all of these kicks be the same. So in the mix, I, um I have to worry about cool. And also I like to turn down the kick like the double kick like this and was turning it down just a little bit. Just gives it a little bit of a bob. It's about the nuances. You feel me All right. Now, this will make it easier to mix this kick. I like to bring this in. Maybe around 7.5. Somewhere in there. Um, Rohloff, Whatever low and we don't need free up some room for the base. I might add my glue compressor now. And I've been a self clippings to give it a bit of bump, obviously. Too much when it starts to sound Whack back off rite of spring are paid Awaited. I'm gonna side chain my ate away to my kick So that way, uh, it frees up some of that They aren't competing for the same frequencies And now I'm going on a project the dogs barking in the background Um, And now they want to do is I'm just gonna e que this So if you listen to this without the e que if it's just the side chain and general the kick, I like a really fast release. But then you get those clicks and you can feed it up a little bit with the attack. But we can help. Is it the acu? All I really wanted? Just the punchy nous of that kicked. So nothing Your news. Just listen to the compressor, because that's all I want. I just want that punch from the kick. But then I went to eight away to really roll with it. Uh ah, for me, kick is everything. So I love the eight awaits as well. Um, but if I have extra headroom are probably gonna give it to my kicking my snare. Whoops. I want this to come in total around for so I know I'm already messing up because it's ah. So I like to kind of mix it in hard and then back off. Whoa, whoa, whoa. - I just I want these drums do blend together. I don't want anything to stand out too crazy right now, so these snares are still a little bit cracking. Um, but we'll see once we blend in the sample kind of how it feels. Another thing that I like to do is, um, maybe add a little side chain compression to the hi hats because I think it's a cool effect . It starts to sound weird. Back off the dry weight a little. You're so that sound is I don't love that. I'm gonna be honest. Should delete those that lead those delete those cool. So they're going to take this, get over here and then just duplicate that cool. She's a little bit of a bop. Mixing is just a bunch of creative little creative choices that come down to what you want in the vision that you have in your head. So I have a vibe of what I'm shooting for. No, there's the choices that are making. There's no right or wrong way. It's just right here in my head. I want the way that I want the drums to kind of mesh in blend together and they aren't quite there yet. - This must be an auto pan on at auto pain. Just give a little bit of, um, movement of these. - I like a lot of siding impressions that were obviously like that pumping Bob that you get from like a fly lower dilla. It was all kind of just kind of blending a little bit more. Let's add a limiter, do this and kind of see where a ghost. Because I can tell my computers already clicking a little bit because she's a little bit old. My babies old. You feel me? Um, I'm just gonna throw in a regular limiter from able to and watch your ears. And then I like to bring my gain up until it it knocks around a negative six. But the limiter enabled him doesn't color it quite as well as some of these other, like a limiter like fab filter. But you work that you got take this open high at and, um you see him as I do it a little more. The's high hats right here still seem a little bright to me. I'm going to take him, see what happens if I tram pushed him down two. 27. Walkthrough #2: Arrangement: All right, now we're going to arrange this and let's see where this bad boy goes. Is that a little bit fun with it? Ah, so we're gonna to arrange this beat. First thing we're gonna do is so I like I like that. This is, um I just like this. I want to keep this here because I would like to see I want to steal that idea of their base, possibly dropped that out. So I'm gonna bring that way over here and forget about it. Nothing gonna do is I'm gonna take these. And before I joined them, I can tell that these aren't quite because when we were in the beginning was running with the idea. Comptel, These aren't perfect. So I'm going to um Actually, here's what we're gonna dio I was So what we're gonna do, you gonna duplicate this? They were gonna delete this. We're gonna bring this back because I don't want the side chains. I could be turned it off, But forget I said anything. I just wanna cross fade those to get a little bit cleaner. Little bit cleaner. It, uh, my super. All right. I love that Seems to be worse than war across faded. There it is. It is the same thing we did twice, right? All right. Yeah, we said the same thing twice. So let's duplicate that, Uh, there it is dopes, and I'm gonna take those. And I was gonna join it. Joyner. And then this loop I'm gonna take and I'm gonna duplicate this. Um, actually, I'm going to duplicate this out. I la it actually didn't lie. I'm going duplicated out. Ah, just a bit So that I have all these little pieces so that I can come back in revenge if I need to. And then I'm just gonna have joined these to make these clips easier to work with. So can you consolidate those? Um, I'm not sure how much intro one in this bad boy. Let's see how it goes. All right. For this arrangement, I'm also going to use a lot of auto filter and rather because it's already auto filtered. I'm actually gonna add another auto filter because we just want to get fancy with it. So let's automate this auto filter device. This 2nd 1 Cool turned this babbling on. All right, All right. A lot. Keep buying the all Only we need to bars of this isn't intro. I think a system would find just there. We're trying to get to wrap it way when it comes to arrangement. The keys is bringing things in and then taking them out in different places. And it can give you some interesting arrangements without having to add a bunch of new things to it. Okay, so let's go like this must come out down here, start adding some transitions. All right, well, spices loading. Let's keep doing this. So Ah, that's if what happens if we take this kick out here just to be weird? Actually, I'm not gonna be. Well, let's go weird without let's get weird with the arrangement. So let's do this. Something. This dude, it's just gonna be wrapping on this. You just snap in. So what I want to do is then I want to take this first part again, duplicate this part out. Uh, yeah, Let's also get weird. Let's add a phase. Or maybe I actually like that a lot. I said that in Hey. Hey. Okay, it's helpful if you automate things correctly. I was like, some don't sound right it's because you needed to be on. - It was way too loud. Okay, let's see how this goes. - That's about it. And then I probably I'll, uh I would duplicate this. I don't want to keep you guys too long in this course, but what I probably do is duplicate this whole arrangement. And maybe after this, I've come back to this hook and instead of having this part where it drops out totally, I would probably then go in and add a base. But you've been patient. You're stuck with me this entire course. And I appreciate that so and said we'll do that next time. Um, but that's probably though, that there would be a simple arrangement, something like this. I duplicate this again, maybe toyed a little bit, but you get the idea. Alright. Hope you had fun making that beat. Remaking drug dealers anonymous until next time Peace