Creating Organic Beats in FL Studio | Riley Weller | Skillshare

Creating Organic Beats in FL Studio

Riley Weller, FL Studio Teacher

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27 Lessons (1h 37m)
    • 1. [PROMO VID] - Organic Beats Intro

    • 2. How to Ask Questions + Leave Review

    • 3. 1.1 - Course Overview

    • 4. 1.2 - Tools + Plugins Used

    • 5. 1.3 - Beat Example 1

    • 6. 1.4 - Beat Example 2

    • 7. 2.1 - Recording Overview

    • 8. 2.2 - Record Our Piano Note

    • 9. 2.3 - Record Our Guitar Note

    • 10. 3.1 - Create Music Folder

    • 11. 3.2 - FL Studio Browser Set Up

    • 12. 3.3 - Edit Recording Notes in Edison

    • 13. 3.4 - Label Our Note for Long-Term Use

    • 14. 4.1 - Clean Bass + Piano Vs. Guitar

    • 15. 4.2 - Set Up Note

    • 16. 4.3 - Frequency Masking

    • 17. 4.4 - Sends - Parallel vs. Series Processing

    • 18. 5.1 - Beat Building Process

    • 19. 5.2 - The Drum Loop

    • 20. 5.3 - Main Melody

    • 21. 5.4 - Bassline

    • 22. 5.5 - Lead

    • 23. 5.6 - Filler

    • 24. 5.7 - Stabs

    • 25. 5.8 - Additional Stabs Tweak

    • 26. 6.1 - Song Structure [BONUS]

    • 27. 7.1 - Closing + Recap


About This Class


Organic Beats will teach you how to take a single note, which we record together, and create a full composition out of!

Nowadays, a lot of producers are trying to achieve that 'EDM sound'.  Well, not this course!  Organic Beats is a very unique music course.

With my teaching style, I always fill you in on off-topic goodies to keep you educated and aware of why I am applying certain techniques.  [You will understand what is going on even if you have limited audio production knowledge.]

I love how this beat turned out! [Just watch the promo video to hear the end result!]


Who is this course for?:

  • Aspiring music producers eager to further their creativity and productions
  • Producers who want to get away from current trends, and be original!
  • Beatmakers looking for that video to help them create high quality beats


Course Process:

We start this course off by actually recording a piano and guitar note together!

We move into editing this note, showing my personal preferences to achieve the best quality in your recording.

I then show how to sculpt and mold this sound for optimal use!  When playing by itself, the note isn't too usable, but after applying the techniques shown in Section 4 'Sculpting Our Sound', this sound becomes a deeply emotional element.

We then get into building our beat, all while you are shown how to mold, shape, and carve space for each new instrument we create.

You even learn complex mixer routing, which is beautifully labelled, and gives an amazing workflow!

I've also included a bonus video getting you started arranging your song for that professional sound.  [Arrangement is just as much a factor as the actual composition!]


1. [PROMO VID] - Organic Beats Intro: all right. Hey, what's going on, everybody? My name is Riley Weller. People around the audio industry know me as gratuitous. I've been active in the audio industry since 2011. I have worked with a Grammy nominated artist as well as running a popular sound kit website called Sound Pack Fire Back in the Day and welcome to my newest course called Organic Beats to the idea behind this course is to take a single recorded note, which I record with you both off of piano and a guitar, and we bring that into FL Studio. I show you how to edit it. I show you how to create multiple instruments off of this one recorded note. And the end result is this. As you can hear, the end result is amazingly powerful. So we end up taking the course. I will see you inside 2. How to Ask Questions + Leave Review: all right. Hey, I'm gratuitous. And thank you so much for taking the course. The reason why I'm making this video is that I just want you to be aware that I also have other music production courses. Currently, I have 16 music production courses. They're based on FL Studio. However, the information does apply to all music programs. There's the odd video, which is FL studio specific. But for the most part, I teach the fundamentals which relate. Oh, everything to do with music production. E que compression sampling. So I just want you to be aware that you guys could be leaving a question as well as leaving a review. Okay, so I want to show you how to set that up. Okay, so let's start with how to lead. Ah, question. Okay. Soto asked me a question on skill share. All you have to do is click the community tab and just click basket question. And that's that. You guys can ask me a question. Post it and I will receive an email from you. And then I will come and answer your question. I'm really active with this stuff, and I want you guys to learn Okay. In addition, to leave a review, all you do is click the reviews tab Now. Skill Share says that you have to watch a few lessons before leak. Leaving review, Which makes sense. So, you know, after you're done watching, of course, just click the button here, leave a review, and I would really, really appreciate it if you would leave a review. All right, Now you know where to leave a question as well as a review. Again, I really appreciate the review. You know, it's gonna help my courses get to number one, hopefully help grow my online course business here. So again, I'm gratuitous, and I hope you guys enjoy the course and learned a lot. 3. 1.1 - Course Overview: all right. So welcome to this music course called Organic Beats in this video, I just want to go over a little overview with you showing what to expect in our future videos. As you can see here, this is the actual end beat that I create with you. You get to see step by step everything that I've done. Even that the arrangement things like with, like, the filter here and the symbols and even techniques such as, like, these drums here. So as you can see here we have guitar, bass, lead villain stabs. These were all created off of one note that we record and you get to see me record that note. So I'll just play one note from each instrument. Now I'll play the actual beat for you, letting you hear you know what you can actually create just from using a single note to create a full composition again, this is the guitar that's the base that lead sound, the filler and the stabs all from a single note. - So if this video is making you excited to create a full composition out of a single note just like I've done here, then keep watching. I'm gonna be showing you step by step, and I hope you enjoy the course 4. 1.2 - Tools + Plugins Used: So in this course I will be using third party plug ins. I just prefer them just for a workflow and and efficiency and stuff like that. They just allow you to do kind of cooler things. But by no means do you have to go on by them to be taking this course you guys could be getting away with, you know, for an e que you guys could be using the parametric eq you to, ah, for a compressor. You guys could be using the fruity limiter. There's just one thing to note with. It is so if you watch right now, I'm on the limiter section and if I increase attack, um, it makes these clocks go yellow, and that means that late, etc. Is being introduced, which will make your sounds out of sync, and it sounds absolutely horrible. So if you are going to be using the fruity limiter as a compressor because if you go to the compressor section now it's a compressor on the limiter section, just make sure your Attackers all the way. Zero. Now, if you see down here, the yellow is gone from the clock's. Now you can come over here to the compressor. Now you can use this as a compressor. And the reason why I do like, uh, the fruity limiter is because it's visual. And then for Rick a distortion plug in, You guys could be using the fruity blood overdrive. I actually use this distortion quite a lot, but in this course, you will see me using, like Camel Crusher. And, um, you don't maybe some other plugs, ins and stuff like that. But it's just a personal preference you guys could be getting away with, like the stock plug ins that come with fo studio. 5. 1.3 - Beat Example 1: all right. So I just want to make an additional video showing track that I have actually personally released using this technique. So for those that do not know me, I release beat tapes. I call them free beats by gratuitous. And on my most recent one, which is Volume six. I actually used this technique on a couple of the tracks on that beat tape, and one of them is called Love Shall Prevail. So again, here's what are single note and this is what it sounds like. Okay, um, Ali, listen just to a few of the melodies that I've created with it, and then I'll let you listen to, like, a little bit of the actual beat that I've created. This one's really, really powerful. It's really, really emotional. So here we owe case. That's one part of this track. Do you? The one and then I have another part, which is kind of like a bridge, kind of like a bringing so in this truck. I didn't try to take that individual note and create other sounds out of it. I just, um, changed up how I played that note at different parts of the song So you know, one part. I played this at one part. I played this at one part. I played this. So it's all the same instrument. I just changed up the notes to make it sound different, m except for the intro here. So that the very, very intro I ah, took this guitar and I distorted and kind of did some cool effects, which you will hear, So that's kind of what it sounds like. Okay, so if we listen to the actual beat, this is what it sounds like later gets into this bridge part. Okay, so I just want to create this video showing how have actually used this technique in real world practice for myself. Um, and the sound it could be giving your tracks. 6. 1.4 - Beat Example 2: all right. So I just want to give you one more example of how I have used this technique again in real world practice. Um, again, this track is on my freebies. By graduate is Volume six. This one is called Showers of Love. This was kind of like a dance track. So the other track in the in the previous video is called Love shall prevail. And again what I did was I just took that single note and I didn't change up how it sounded . You know, I didn't try to create different instruments out of it. I just changed up the progression or the notes that were played to make the tracks on different But in this track of actually taking the sound And I am manipulating that sound to sound like other instruments, you know, so that you'd never know that it actually came from the single notes, such as, like, here in body taps. Here's our note. Sounds like this. Okay. And, um, as we go through, you'll hear like, I have routed them to the mixer. I have have I have ah, kind of molded them and sculpted them differently. Um, things in, like the high taps to once we get into, like, the envelope area, I kind of did things with, like, Mark X and Martin y to make it sound like this. So listen. And Gallic, that is from this sound. It's just how I have affected it to, you know, make different instruments out of that single note. So first of all, that you listen just to the beat first. - Well , we'll just fast forward over here to this lead taps area because in this lead taps, I'll show you quickly. So right now, if we zoom in on Lee taps, I have a filter on it. But then if we come down below, I have, ah, blood overdrive mixed level on it. And so what that means is that once lead taps hits the chorus, I apply this distortion on it to give it a different sound. So all the little I'll let you listen to that to sold out first. Okay, just to give you an idea. But this is just all about being creative in your track so that you can kind of create different sounds out of that individual sound. So we'll listen to from a boat here and again. Once this playlist marker goes past blood overdrive, you'll hear that the distortion kicks in and it creates a different sound case in the context of the full beat. It really makes the chorus really, really energetic. So will this without it. Okay, so let's just go over these instruments just kind of quickly show you, um, you know, the different sounds, and then you guys will move further on into the course case of lessons, like the first instrument here. Body taps. So I just applied to store shit onto it just to make a set kind of stand out better in the mix. So I'm just gonna meet one of them things, like, kind of like the normal one. And this was that The affected one cake on our baseline. And then we got a lead sound click on this. I'm pretty sure I, uh, so put mono on. And that allows you to kind of get like, the sounds. Okay. Kind of gives you like, a little, um, you're only allowed to put, like one No, at a time and slides notes into each other, and then you, like, account early. Then again, um have mono on there to just to kind of give it like that slides out, and then I have a different melody of that. So this is the 1st 1 theater melody of the same instrument thing. Okay. And then we have a car, tops. The ones that you heard was normal. And then once it hit the chorus, um, the blood over jobs slowed, The distortion kind of went in, and it made it sound different. So right now it is distorted without the decision. So again, this is all from, like, that same note, But just how I have affected it, it allowed me to kind of get, like, a little kind of more of a sound out of it. That's it for the instruments. So they listen just to the track one more time, just quickly. All right. So in our further videos, I will be showing you how to take an individual note and how to manipulate it to different instruments and create, you know, compositions like this 7. 2.1 - Recording Overview: All right, So in this video, we're going to be recording one No, off the piano. And I think I'm also gonna record one No, off a guitar, just in case. I don't like how the piano sounds, because the trickiest part about this stuff is making sure that the note sounds good with your baseline. So for this technique, I have tried it with mono and stereo recording techniques. Um, and for the sake of this course, I'm just gonna be using a mono recording technique. We're just gonna be using one microphone. I think I'm gonna lift up the piano here just so we can kind of get a little bit of a brighter sound and then later on to create that stereo sound weaken, Just apply stereo reverb, or we can actually start to e Q R. Sounds differently just to create that stereo sound. Um, you know, just so everything isn't dead center. Also, when you are doing this technique, I would recommend recording at least 4 to 5 times before you bring it back to your computer that we have multiple takes and you kind of listen through each one to pick the best one you know that suits you Also, you can record any note that you would like. But for myself, I do like to record the same note for the same key that I am playing. So, for example, in this music course with you guys, I will be playing in C minor. So I will be recording the C note. And the reason why I'm doing this is because if I ever wanted to use another V S t because those are all digital it there, like perfectly they can tune that way. I can still use V ST's with, you know, a real piano, which is out of tune, you know, a little bit because it is physical. It's not, you know, it's not digital. Also, the microphone I will be using for this is an audio Technica 2035. There's something special to this microphone. It's quite affordable. All right, so I'm just gonna set this up, and then we will start recording or note. All right, so I have the microphones set up. Ah, probably try and record like this a couple times. I might bring it back a little bit record a couple times there to again just to kind of get different flavors. So as we listen through later, you know, we don't have to come back up here to record. It's like you just can't take a whole bunch of takes now and then you can kind of listen through what you like. 8. 2.2 - Record Our Piano Note: Okay, So just to give you a little idea of how the piano works, there is 12 keys, purr active, and so pretty much it just keeps repeating a B C D e f g. And I was saying 12 notes because, you know, if you go 123456789 10 11 12. And then it will will repeat. 123456789 10 11 12. Okay, so I went over that fast with you guys, but this course is not really teaching you about a piano. It's just we're gonna be recording. See? Okay, so let's record see, And I usually do hold him down just for a little bit. Not super long, because you don't really need your key that long. You just need just a little bit of the sound. And then inside your music program, you can edit it. So here we go again. A few things to keep in mind is you want to make sure that your volume level that you were recording at is ableto handle. How hard you're hitting on the keys. As you could hear. There I hit some that were louder and also hit some that were softer That would just give me a different Tambor a different sound because you know, the initial attack on the hard hits that will make my sounds on a little plucky er I'm brighter. It will cut through my mix a lot more Where, as you know, when I hit it softer, it was a lot, you know, a dollar again, Just giving a different sound to my music. It doesn't mean that it sounds better or worse. It's just a different sound. And I'm doing that so that as we listened downstairs, we have mawr toe work with Okay, I'm gonna record down here a little lower. Uh, and I will go an octave up from middle C. I'm not going to go up to the super high just because that's going to be hard to work with , like baseline. Oh, and I'll do one more really hard 9. 2.3 - Record Our Guitar Note: for tuning. I have tuned this guitar to see middle C of the piano. That way, maybe we can actually use this guitar with the piano with their beat. And then also how you, Mike, your guitar will give you a different sound too. But again, that's kind of out of the scope of this course. So here we go. We're just gonna record, uh, see here. There. All right, so now we're gonna hop over to the computer. We're going to import thes. We're also going to label them so that we know for future if we ever want to use these again later. And, um yeah, so let's go on the computer. 10. 3.1 - Create Music Folder: Okay, so this video is a little bit off topic from where we want to be going in this course. But I do just want to talk about your folder structure, as I do feel It's very, very important for you as a producer to have a solid, you know, folder structure to be organized for the long term. So this is gonna be like a little bit of like a plug to one of my other courses. It's called a specific music production folder, and in that course I show you my music production folded like how a set things up for with the long term, because I have had situations where you know I create a song today. But three years later, I opened up that song, and also there's like missing files. And that's just so annoying. And especially if you ever move to look a new computer, you want to be labeling your files. You want to have, like your folder structure in a certain way so that you're never gonna be having missing files. And even if you do have missing files, you know where to find them really, really quickly. So with that said, what we're going to be doing is we're going to create a folder here. Okay, So this is this is, like, your music production folder, and this is what I would do if I was you. So I'm just gonna call it like music course, Okay. And inside music course, we're gonna create one for songs, which is where, like, you'd store all like, your f l P files. If you use FL studio. Really hear music file and inside of here. So for each song that you're working on walks, you call this organic beats because that's the name of the course. And inside a here, you know that you save your f l P, and then I would go like obi sounds. And then you can back up your sounds into their That way you're structured. You're good to go. Now. You also want to create a folder for your sounds. And inside the sounds, you can go like drum kits and to create a folder really quickly in Windows 10. You just press control shift in end and I'll create a folder for you. And I'm just gonna go v ST's, so I'm not gonna be adding any V ST's into this folder. But that is how you know I would structured if this is, like my own personal folder. So now, inside a drum kits, I would create a folder for each kind of vendor slash company for their sound kits that have. So if I had sounds from like sounds and HD, I would create a folder for sounds and HD same with exclusive audio. So I do this exclusive audio and then inside of here, I'm just gonna drag organic drum kit. So there's organic drum kit. Now, what I would suggest to you is inside of drum kits. I would also create a folder, and I would call it personal and inside a personal. This is where I would create a folder such as, like, instruments and inside of instruments. Since, ah, you know, since we already recorded the piano guitar, I would go piano, and then I would also go guitar and then inside of here. When once we actually go and start editing are sounds, I'm gonna be labeling the file with the microphone a use and then also with the key that was played. So that is the folder that's how it structure it. Um, that way. You know, you have all your your music files here. You have all your sounds here. 11. 3.2 - FL Studio Browser Set Up: All right, So now that we have our music folder set up, what I'm gonna do is it's gonna click and drag this into FL Studio. So right now already had efforts. Did you opened up something? Click and drag and drop it into the into the browser here. So after you've dragged in your folder, you come up here to a snap. Okay, So in this case, I'm gonna go stop five. Just because that's like my next available open one. And so what I'm gonna do is up here on the arrow. I'm gonna de select show on the open folders, and then I'm going to de select Show only one for their content. Okay, so we're gonna open up the music course, we're gonna come back up to the arrow and go show only open folders give us, like that clean, kind of minimal kind of look, and then, ah, I'm also going to select show only one folder content. And the reason why I like this is just because it only shows one folder at a time. So, as you can see, when I open up sounds, songs closes and when open up songs, sounds, closes that way. You're not getting lost in tons and tons of folders. That's just like my own personal preference. Feel free to kind of choose whatever you want for your settings. Now, here's a really cool trick NFL studio. So right now, since roast at five, you can click the arrow, go rename, and I'm just gonna tape in music course. We're going to give it a color. So just give it like a red or something that now, before you hit, enter or like the check mark. Click this arrow and you can select an icon will just site choose a little chat comment icon, and when you have enter, you're going to see that it gets added up here. Now it looks like super nice and clean, you know, and your nation organized. But then, if you want all your files and you just come back to all and then you can like work accordingly 12. 3.3 - Edit Recording Notes in Edison: All right, so now we're going to get into actually editing our note out of our recorded audio. So what I would suggest to you, if you were to do this is pretty much almost each note. You can record that in a separate take, and it will just be easier to edit. But for the sake of this music course, I was just recording as I was talking to at the same time. So you're going to see, like, the recorded audio of my voice. And then, um, you're gonna actually set the No at the same time. So write down here. What we're gonna do is just into any insert into FL studio. Doesn't matter which one you select will just to seven here. And if you press control in E, it will open up, Edison. That's a nice little shortcut. But if you want to know how to actually open it, just school onto the arrow and wherever you have stored it. So I have actually organized my plug ins into, like, my own folders. So down here to miss miscellaneous effects. I have Edison. So that's how you'd open it manually. Okay, so here's Edison. I'm just gonna drag in, Um, the audio from our recording from upstairs. And if we listen to some of this, you're gonna hear something is only unlike the left speaker. Okay, so that was just some piano I must've played. There's that. My voice. So since our audio is only coming out of our last speaker, we're gonna click the wrench here. And if you see channels down here, we can convert the left Channel tamano. So if I click this, you're gonna now here that everything is, you know, dead center, which is what we want. Okay, so that was upstairs. So now, as you can see right here is like the notes of what we recorded on also a trick with Edison's If you hit a or click down here that way, so watch if I play over here. And then I stopped. It puts me right back to the beginning. And that's super super annoying for editing. So you can click this and then now when I play, it's just going to stay where it is. Okay, that's a really, really handy trick to have. Okay, so here's one of our piano notes. I'm just gonna double click right here. You can you really zoom in to fine tune? I'm just gonna create a marker here, and then I'm gonna create a marker near the end. And I usually don't like to make my notes super, super long, because once I get into, um, sampler here, it doesn't really allow you to do much with it. The in and out of with the trim. I'll show you that later. But that is my idea behind Not really making the notes super long, but, like, obviously, don't make it too short either. So, well, listen to this. And I'll let you know if this is a kind of a good length. That's probably pretty good length. So what you want to do is you want to hold on control and click Marker. That will highlight, um, you know, in between your two markers, you can move marker if you really wanted to. But what I'm gonna do is I'm gonna click over here closer to market one, and I'm gonna go to Marker to, and I want to fade out the end just a little bit, just so that there's no click, sir Pops or anything like that so the shortcut for that is altered F. And as you can see, it faded out the end or you incorporated the wrench and you can see fade in and fade out. And that's just where I got with that shortcut. And then I'm gonna press control and click again, and I'm gonna press control End to normalize. Okay, so now we have a nice loud signal, but it's not distorting. Well, listen to this again. Ah, OK, so that's perfect. That's usable. So we're going to click up here and drag this over into piano, And there is one of her piano notes. All right, so I'm just gonna finish editing these on my own. You don't just be doing the exact same thing for the guitar, and then we'll have more variety, and then I'll see you in the next video. 13. 3.4 - Label Our Note for Long-Term Use: All right. So I just want to quickly go over with you. How I would actually label thes sounds just for long term use. So again, inside your sounds and said your drum kits inside your personal and instruments were just going to the piano folder here. I'm just gonna highly all of our single notes F two and grow 80 2035 which is the audio Technica 2035. That's the make we use for this. I'm just gonna go piano and artist type C Simmons guitar, So Ah, just press control a highlights. Everything you have to 80 2035. But I actually do have a couple different guitars that laying around like my hosts. So I'm not just gonna write guitar, I would write like, ah, Yamaha. And then again, see, like I'm saying, it's all organized. We could use the's at a later date. We know what, see, and we also know the microphone we used in case we ever you know, just want to know that 14. 4.1 - Clean Bass + Piano Vs. Guitar: All right, So for the next part of this course, we're going to be looking at sculpting our sound. Okay, So a few things I want to talk about is, First of all, we want to be thinking in terms of using our whole frequency spectrum. So, you know, you have, like, your low end. You have, like, your high end. And since we're only using one note, we will be wanting to use different octaves to be taking advantage of the low and high end just to avoid frequency masking. Also, I want to talk to your boat testing your sound for clean base. So whenever you take one of these sounds here, you always want to be playing on like, the low end just to hear how does the bass sound And do you feel that it's workable with for, like, your baselines and stuff like that? And then also, you will want to test for cords and stuff, just to hear you know how it sounds. Is it like the sound that, like you're going for, Do you kind of find that you know, the cords, that kind of clashing a bit too much or whatever and These are all just things that I have found as I have practiced this technique and as I've created beats using just like the one note. So, like, for example, if we ever a piano sound here we go down lower lower can go down an octave lower. Okay, one more. Okay, so that's getting pretty low. Uh, when this is the reason why I recorded the guitar as well is I usually find the guitar gives me a much cleaner sound, especially in the low end. But then also, when I'm playing like my melodies and stuff like that I also find that the guitar this could be a cleaner, a fuller sound. Where is that going to record? At the piano. I usually find that, like the baseline is a bit hollow sounding and I have to do a lot were queuing and processing not just for the low end, but just in terms of like the whole piano sound. I feel like I have to kind of process it a lot more. So, for example, I'm just gonna clone this because I set it up in a way Ah, that I will show you later by using at the envelope and the in and out knobs and the trimming stuff. So I just clone that just so that, like, the same settings go onto each instrument here. So we're just gonna take a guitar here. And now if you listen to let the base here know that based on the guitar, so up a little higher, I usually find, like I said the charges because we like a bit of a cleaner sound. And that's the reason why I recorded multiple sounds just to choose one that we want. Because again, some of these are brighter. Some of them orbit dollar, and that might suit the sound you're going for in your track. 15. 4.2 - Set Up Note: All right, So in this video, I'm gonna be showing you how we could take our single recorded note and we can mold it and shape it to how we want and give us a nice foundation toe work with, You know, if, like, the rest of our track So out of these three guitar notes e like three the best. So I'm just gonna click and drag this in. You know, if we open up the window here, we're just gonna first go to lengthy envelope section because if you listen right now, it sounds nice. But it's not really usable in terms of coming to light the mix. Because if you have a couple of these instruments, you're gonna have lots of different notes overlapping, and it's just gonna make your mix really muddy. So again, we're just going to go to the envelope section here, go to the volume, which is the default in click envelope, OK, and then on the attack, just bring it to zero and the release down a little bit, and this will give you a really usable sound. Okay, Now, if we add effects onto this like reverb and delay, you will see that it creates such power, warmth and like, a motion to your track. And then for these other parameters like, this is 80 s r. I personally find it a bit confusing to explain, but your attack is usually where you can get, like, the plucky sound. And if you increase it, it kind of softens it. It gives you like a nice little swell sound that you hear, like in a lot of pads. Okay, the release is that when you actually let go of your note, it will continue to play for that hold will hold, like the volume of, like, your note until it hits like the decay. And then once the decay hits, that's how long it will take until hits like your sustained and then this is like your volume for when you're actually holding down the note that would be like your sustained And then the release is how long it takes. Four. Ah, when you're no. Is that like the sustained volume to get to zero? Like I was saying, I find it confusing to explain. But you guys could just look it up on, like Wikipedia. What 80 S. R. Is but to get yourself set up and mostly just fine. It's like the attack and release that I like to kind of tweak with this to kit like the sound I want. And then you can also, um, work with your sound and shape it through this, to which I will be showing you later. Now we're gonna head back over to, like, the main window here. And so I like to use the trim knob and the out and in nubs very, very often for sound design. And that's just not for, like, this music course And this guitar. No, Um, this is even for, like, the end of, like, the clap. It has a background noise or something like that. I could easily increase that the out and it will cut that stuff off or, if you enabled, normalize and you use at the end of you can see it kind of cuts off like the in, but it allows you to create different sounds, have to go back to the end all the way to zero on. So if our trim knob wasn't up full and then we increased the end, you'll see that we have dead silent space there. So if I hit the note you're gonna hear, it could delay. So who, which is the reason why? If you increase the trim, you're going to see that this dead space goes away and then, like, the note becomes way more responsive. So this is a tool that I use very often again not just for this guitar note, but also in sound design if it more to kind of tweak a clap or something like that, or even like a kick drum. If I feel that like Thea, the kick is too long at the end. So I'm just gonna decrease the end. And a few more things I want to show you before we go to the next video is if you come up here to like the wrench, there is this Arpege ater, which is an awesome tool, Okay, and then, you know, depending on how you set it up, So that's something to keep in mind, you know, for sound design purposes, because since we're only using one no, we have to be creative and try and use different techniques and tools, you know, to create different sounds. And then, uh, this polyphony. I will be using this a little bit too. It just lousy to slide your notes. So that was extreme. But just to show you. And then also we go to the main page again. So if you remember what we were actually editing the notes, I normalized it there. So therefore, we really don't need to normalize. But I am just gonna leave it enabled just because in case I want to use it Thean knob. Then it will increase. But watch this. If I turn off normalize, we're going to get this right. So the whole point of the normalizes that puts it raper low light distortion right below, like zero. And then, yeah, you're able to kind of work with your sound and it's nice and loud, and then if it's too loud, you just turn it down. 16. 4.3 - Frequency Masking: so again, since very only using one note here we are going to be dealing with frequency masking and clashing and sounds not really cutting through the way we want them to cut through. Which is why I like we will be wanted to take advantage of, like, our octaves and like a keyboard using, like lower octaves and higher octus to make different sounds. Stand out more also, once we actually start getting into, um, you know, building our beat. And as we create more instruments off this note, you'll see that I'm gonna be using, like, a lot of distortion, and that will allow me to create frequencies which didn't exist there before. And then we'll also be doing quite extreme e que carving t. You know, cut and boost to allow different sounds to cut through and not just, you know, allow it to cut through, but also to shape a sound that sounds a lot different from other sounds. And also panning is very, very effective as well. If you want to, you know, create separation and sounds too 17. 4.4 - Sends - Parallel vs. Series Processing: Okay, So in this video, we're gonna be talking about sends and parallel and Siri's processing This will allow us to create such a powerful sound out over one note. So right now, again, if we're gonna listen to our note now, if I wrote this just a sick track. Six. There's nothing different as you can see. Ah, this sound is on insert six. But now if you look down here like the cables, what's happening is, uh, the guitar is only going to the master. But if we click on like a reverb now, you could see that this guitar is actually going to a reverb and it's going to the master, OK, And if we quickly reverb, reverb is also going to master. So what we've done here is we have now routed this guitar in parallel with, like, the reverb a swell as going to the master. So if we listen and so how this works is on this guitar insert, insert six. Any plug ins that we put on here are in Siris. So what that means is, as the audio goes through each slot, it gets processed more and more and more, so it's in Siris. But now when you hear the word parallel, just think of multiple past for like your audio to go. So right now it's being sent to the master. But then it's also being sent to the reverb. So what that allows us to do is it allows us to manipulate this audio on a different insert with O affecting the original audio. So, like, let's say we had two guitars, okay? And we put this one to track seven. If I wrote that to the river to now What we're doing is both guitar one and guitar to are both using the same river because reverb is known to be very ah, CPU hungry. So in other words, like, it's very hard on your computer. It takes up a lot of processing power. So what we're doing is we're actually using one river to manipulate two guitars, and on top of that, we can also blend in only what we want for each instrument. So Guitar six could be getting lots of reverb if you listen here and then if we go to Qatar , never to you know, one has a little bit of river no middle increases love it. More seeking here. Okay, six again. All right, so, as you can hear, were able to use one reverb for multiple instruments. Plus, we also don't have Teoh work with, like, two different rivers because, you know, you're gonna be tweaking this river that you come to this river so you know, only safe time by not having to, like, manipulate to plug ins. You also save power on like your CPU, So you're only using one plug in, and you're also able to blend in on lee the amount of the effect that you want. Um, so this is really powerful West. We get into things such as a using distortion are used in like delay on each instrument. You could only blend in like what you want, and you can really mold and manipulate your sound. So I'll quickly talk to you about how to set up these sends just to give you an idea in case you want to set them up for yourself. Because I will be using them a lot through this course. So any of these inserts could be ascend. It doesn't matter. So right now, let's just choose nine, and we'll just say new sand, okay? And we'll give it a color. Now all you have to do is because see, if you look where it's being routed, new send is being routed to Bastar and that's it. So if we take Guitar seven and just click on it, you know, just like the arrow down there now guitar sevens going to reverb and it's going to new sand and it's going to master. But now if we follow these cables, so if we click on new send new sends going to Master So what's happening is seven goes to nine and the nine was a master. Same thing here. So seven goes toe 11 goes to master and then seven also goes to master. So we have, like the dry signal. We have the wet signal and then we have, like, a duplicated signal which we could do anything we want to Now. The important thing to mention about setting up Ascend is if you're going to be using, like, a reverb or delay on the actual effect, you want to set the dry signal all the way to 0% and then you've set the wet signal to 100% because you can then blend in what you want because you don't want to be duplicating your original signal. You just want the effect. Same without the delay, the dries, that zero. Then we use like the effect. And then, as you can see here, I haven't e que on both the river and the delay and why I've done this is so if I go to seven here and I wrote it to the delay to So if you listen, the delay is gonna be very, very overpowering way how we could make the delay not so overpowering is with e que. If use a high cut filter. If I cut this to like, let's say 2000 which is a bit extreme, you know, maybe I go to, like, four or five or some with that, But if you listen, Okay, turn that off. Listen, OK, one more time kind of pushes it into the background, it still has it that warm delay. It's just not, um, overpowering the original signal One way. How you can get around that is you can actually set up sides in compression on this, so that whenever your audio plays, it will actually reduce the volume of the delay toe. However extreme you've set your compressor. And then whenever the stops playing the delay will come back to normal volume. Um, if I do do that, I would usually set up a separate send for that instrument just because this delay would be for multiple instruments. And I don't want it to duck the delay for other stuff, too. Okay, so that's like the basics of Sands at how they all work. So you have, ah, series and parallel processing. So if we're on Qatar number two here, any plug ins that we put on here are affecting the audio in serious. Okay, So let's say put another e que and then like another e que. Right. As the audio goes through, insert seven. It keeps going through each plug in, and it keeps getting processed more and more, more. So the audio is like in Siris, and then once it hits the master, that is the audio at the end of all your plug ins. But if you wrote it this to the river. The river also sees this audio after it's been fully processed. So something to keep in mind is you know, you might just want to, like, gently work off of your dry signal, and then you can send it to these parallel tracks and then you can, you know, do really extreme effects and then, you know, only blend them into what you want That way. You know, this audio isn't being distorted. And then you're not sending distorted audio to the reverb. You're sending a dry signal to the river, which, you know, sounds pleasant. And then you're sending the dry signal to the distortion which you condemn just crushed super hard or and then only they blend in like what you want. And so I'll just continue talking about my different sends. I have set up here So again, with the river, this just allows, like that Nice, warm tail, the delay. You know, it's kind like that echoed your sound. So stereo separation This creates that kind of like a false sense of wide Nissen your sounds. It just delays. Ah, one side of the speakers by however much you've set. And then it kind of creates a false sense of wide nous because, like you here, like one side before you hear the other side with the stereo separation stuff. You want to be careful with cancellation. The distortion. I've just used fruity blood overdrive and still like. If you're new to audio production, you may be thinking like distortion is bad, like in terms of like, Well, you never want to go in the red and stuff like that. But we has produces. We actually use distortion very often as a creative effect, it creates fullness. It also adds frequencies which were not originally there in your signal, which again is created in that fullness. It also allows you to create a different sound. And then parallel compression is just a technique used to again create kind of fullness. You'll also sure it being called New York compression. And for that I have just, um, no set my threshold quite low, and then I haven't set my ratio super hard. Don't make 4 to 1. All right, so that's just like a general overview of sends, because I will be using them a lot in this music course, and I felt that I should, you know, introduce you to them so that you can be aware of, you know, how I'm processing audio and different techniques that were using to manipulate our sounds , too. Make each sound kind of fit in its own spot and as well as have a creative effect to manipulate, are single no into many different instruments. 18. 5.1 - Beat Building Process: all right for this section of the course where we are actually gonna be building our song. What I have done is they've actually pre made a drum loop, and I've also pre made our instrument loops. Reason why I've done this is just to save time so that you're not watching me, you know, build the drug move and edit that he knows the stuff like that. That way we could actually focus on what I want to teach you in this course, which is how to use the one note and how to create multiple sounds and kind of instruments out of that note. So in her next video, I will be going over the drum with you guys just to kind of fill you in on how a created it and give you a little background of you know what, like my mindset waas. And I'll also explain, um, you know why I have drums and then drums number two. Same with, um, you know, percussion one and progression number two. And why have also kind of given them, like, a lighter color and stuff like that 19. 5.2 - The Drum Loop: Okay, So in this video, we're just going to be going over the drum loop that I've already created here. So you can see, you know, I have drums, drums over two hats, hats to again, just kind of explain. Like my mindset. Um, you know why I chose this sounds and how have laid the moat and stuff like that. So right here, This is just kind of like the drums ing and snares. So what I've done is I've actually used three different drums. Um, I like to have multiple drums for layering. As you can see here, I've used, like, three drums in one hit, but I also like multiple drums for filler drums in between. So especially like this drum right here. So if we listen to this loop again, just listen to this drum. It just allows the loop to kind of flow in a little more and sound a little fuller. And then from my snare hits, I actually have five stare hits, and, um, some of them are hitting, you know, on every second beat. But then I've also chosen on Lee a few to hit on. You know, every other kind of hit. The reason for this is just a kind of give your listener a little bit more to listen to rather than just like that same snare hit heading, you know, over and over It might be like stare, hit and then stare, hit layer and snare head. So just listen to each of these. Then you'll also notice that some of these hits, they look like they're a way out of time. And what I've done is have a right click, go to the piano roll is have actually nudged some of these sounds over. So if we start at our first they're here, you can see that all these ones are actually on beat. Okay, But if I go like the next year hit, you can see when I do that, some of them shift. So it look at this one or here when I go to the next one. So what I've done is I've actually nudged the no over, and what that allows for is like a looser feel and kind of like a more like organic feel, you know, everything This doesn't selling so robotic and how you do that. NFL studios, if you just hold on shift and your scroll wheel. You can nudge notes over just to kind of give you, like, an idea of how I've set up my snares and why they kind of look like they're off beat. But really, I just nudged him like before and after the actual hit just to kind of create again, like that looser feel as you can see, I have drums and then drums. Number two. So what I did was this right, clicked on drums. You also want to make sure that it has a hand so right click and go make unique. And what that will do is it will create a duplicate pattern for you. So it's the exact same pattern, but it's like a clone of it, and why I did that is, if I go to the next pattern here, drums to you can see that I just added just a few notes in the drums. That's just like for listening purposes. Just let the loop isn't so repetitive. The first part of, like, our loop, you know, our drums school like this, and then for the next part of the loop, our drums change up and also unlike your number pad. If you hit the minus and the plus, it allows you to go through your patterns really quickly for the next leave. What is having some hats here? So we'll listen to those, you know, nothing really special going on with that. Um, so if we listen to just those by themselves and then Trump's number two here and then they go off to our next hat loop here, should I just call the hats, too? My mindset behind this was just, um I kind of felt that the green pattern hat sort here just wasn't fold enough in terms of hats. So I just created another hat loop. So this is what it sounds like all together again. Okay, So onto the next pattern. So we just have some bongos here. Um, and as you can see, I do have two different patterns of Bongo's. But I lay this 10 a little bit different on the piano roll. It's not just like one pattern to pattern. One pattern to pattern. I did it. One pattern, one pattern, one pattern to 1112 just to kind of spice it up a little bit. So this is what, like the bongo loop sounds like by itself and then bongo number two loop. So as you can hear that sounds, you know, a little too too much of a too overpowering. Which is why I've only allowed that to play on you at the end of the loop. So listen to the loop with the bongo. Now. Next, I have a percussion loop here, and ah, this is what it sounds. Expect self. And then I have a percussion loop. Number 21212 kind of thing. And all I did was just added just, um, a single note in here, right here. Okay, so this is like what it sounds like altogether. And also here are like that midi notes we will be using for our instruments. 20. 5.3 - Main Melody: So in this video we're gonna be working with our main melody, which is, uh, this pattern right here. We're just gonna kind of create a new pattern. I'm just gonna hit, like, the plus on the number pad. And I'm just gonna paste this into the guitar right here, and I'm gonna push in the middle scroll wheel, Just a label it and I'm gonna go guitar, okay? And I'll just give this, like, an orange or something. That and then also on the actual pattern since some pattern 10 have to again and ago guitar again. And this is just so when we placed it into the actual playlist has guitar, and it has a color. So let us and just the guitar by itself here. So as you can share like, that's, like our main melody. We're gonna be working within this track. But if I just play the actual you know, single no for you. You know, that is the note that we have designed with our 80 s r and stuff like that. So if I click on it, this is our sound. You know, I have the trim it full, have the out up a little bit just to kind of trim the length of the sound and then in her envelope. This is how I got, like, molded the sounds so far, and we haven't added any effects on or anything. Nothing's been routed to our mixer. And what we're going to be doing later on as well is I just get a right angle clone, and that is how we're gonna keep creating new instruments. So after hit clone there, I'm gonna go like base. And then I would clone the guitar again, and then I would go like lead, and we'll just kind of work off of it like that. So what I'm gonna do is I'm going to wrote the guitar into track number six and I'm just gonna hit control and l Okay, so two important things you want to make sure it's highlighted, Then just click on your mixer track control l or you can right click on it and go channel roading. And you can go wrote selected channels to this track. The first thing I'm gonna do is I'm just gonna fly some river bond to it. It's a little bit of delay, not too much just for kind of like fullness. But if we listen, the river was gonna be way too much. But I guess we'll just dial that down just a little bit. A Z can hear it start to get more and more powerful again. This is gonna be like our main melody of our track. I'm just gonna add some distortion on just to create kind of, like fullness in the sound and also applies in parallel compression just to add some thickness to so way Listen to this guitar in context of our whole drum loop and stuff Now, so on the sound, I'm just gonna bring a unique You were gonna eq you it just a taste And then I'm also gonna compress it just to kind of make it more even and level of the sound. There's gonna take up some of like the low end just because we don't really need it for this sound That would be like for our base. Um, just gonna kind of maybe cut out some like mids on it and really bring out some brights on it gave. So listen tonight and concepts of the beef on and off, and when I'm using that. The compressor here, um, a mainly thinking in terms of leveling out of sound. So sometimes when I have this recorded no, like, the lower notes could be louder than, like, the higher notes. And by compressing it, um, it just kind of makes all those sounds a little more consistent. So when I'm dialing in settings on my compressor, um, many times will think about what I want the sound to sound like. But once you actually start hearing it, you know, was a hit play and dialed in the settings. Um, I'll usually kind of tweak it. And tall, I just feel that it it suits the track compressions kind of one of those things that it's very hard to explain and teach so hit play. And I'm just gonna kind of find too in this until you know where I like it. And also another thing that's very, very important before we continue is with your sounds. You always want to be a and being them at an even volume. So if one sound is louder, it will just sound better to us. That's just kind of known in the audio industry. So if something is louder. It will sound better to us whether it is better or not. So always just keep that in mind. So whenever I am turning the effects off and on, I want to make sure that like I'm level matching. So with my compressor, if I turn on the effects, you know, I might turn this down, but like a db And then again, just turned often on just to compare, um is what you're doing actually making a difference. And now that I throw in that the same playing field, you know, it's just a lot more fair to make accurate judgements. Also, one thing I want to mention before we go to the next video is when you are using these sends. I especially like the distortion and, like the parallel compression is gonna be boosting the volume of your actual, um you know, instrument. Which is why I've lowered the volume of the guitar here. 21. 5.4 - Bassline: All right, so now it's time to get into our baselines. So, um, again, like I'm saying, with this single note, you always want to be testing your baseline before you start getting into it. Because, you know, if you start making a nice melody and then all of sudden you go and test that baseline and you find out it's super, super weak sounding or, you know, it's really hollow sounding, you know, it kind of sucks. So you want to be testing for that baseline? Um, prior to, you know, moving forward. So what I'm gonna do is it's gonna right click on guitar and go clone. And I'm just gonna go to a new pattern and f two. And I'm just gonna call his base K. And we just give this a a color, give it like a blue, and then understand, push a middle scroll, Wheeldon and type base again. I usually the label stuff in capitals that kind of stands a little better. And then again, blue. So I'm gonna come over here to my instruments so instruments and we'll take the baseline. So when sound designing the baseline using this, you know, single note um I'm gonna go to the envelope, and I'm just gonna make sure that the release is quite a bit shorter. That would just give us a cleaner base. It's not gonna like overlap, Er, And if you think that because if you ever overlap bass notes, it sounds really, really bad as, like, a horrible wobble sound to it. Which is why I have lowered, like the release, you know, not all the way to zero. But I've given it like, a pretty short tail in case ever like Liko and, you know, it overlaps also for let the hold. I'm just gonna increase that to, like, full. Pretty much that way we can actually push down, are no, and hold it foot the full length of, like, the actual audio we've recorded. Um, sometimes you may want to come here to get the out knob and turn this down for that. The baseline. Uh, you know, just so that the note connection play for, like, it's full length in case you ever have to, you know, play it that long, you know? So, for example, what I'm gonna do, is it gonna wrote the base to track number seven. And really, I should have came here and hit control L. And that's the benefits of labelling and coloring in fl studio prior to bring into your mixer because now you can see I have guitar and I have base, and it's beautifully colored for us. Okay, so I'm gonna add the baseline into our piano roll, and I'm just gonna play the guitar and bass together just for you to hear how it sounds, OK, A zit sounds by self like I actually really, really like it. Like, I don't really feel that we need to do tons of processing, but I think we're going to just so I can show you in this course, You know how you can really manipulate your sound, But that bass sounds very, very clean again. Which is the reason why I've chose the guitar over the piano, cause, like I was saying before, um are usually find that the piano con's kind of sound hollow sounding if you didn't really record it right, Right now we have the base, wrote it to track number seven. Uh, we're gonna play some distortion. I usually find a starting on the baseline really helps it cut through the mix. So let's listen to that. So we'll keep listening. Well, applies a parallel compression for some more thickness into the sound with them off. And I know that's not like a fair comparison. Like I was saying that the A and B but usually, like the distortion, does nothing but really help, like a baseline. You do want to be careful how much you add, like you don't want it to sound like, actually like horrible distortion. You just want to be using it for fullness of character and helping it to cut through your mix. So on the baseline, we're gonna open up in E Q. And then again, I'm gonna open up a compressor to and on the baseline. I'm just gonna cut just a little bit, and you're like the end here. Just so it's not like flabby sounding. Okay, so I'm gonna you be using a high cut filter here, so just got dollars in just a bit, and I'm just gonna cut some mids out here, too. And also, this is like a rule of thumb. What I'm doing right now is bad. So what I'm trying to say is Usually you will be wanting to mix in context of your beat. So if I'm actually soloing out the sound and working on it, I have no idea how this sound is gonna sound in context of my actual track. So from here on out, I probably should be playing it with the guitar and you know, the drums and stuff like that. So we listen to the baseline with what we got so far So you will see, be at times, go ahead and just kind of start tweaking and stuff like that, and you could just watch. But I will be stopping and kind of going over what we just did. So if you open up like the e que here, as you can see like, this is kind of extreme, like I was just really kind of cutting and boosting and kind of designing to sound, too, Where like especially in context of like, the mix, um, also to know on your e que adjusted like the steepness of like your slopes for, like, your low cuts and like, your high cuts stuff like that, Um, that can have a really nice effect, too. And like in the case of at the high end, It will kind of, you know, make it less harsh. And then with the compressor, I just kind of used it again more for, like, levelling and kind of keeping things, um, you know, more consistent. But as you can see, I don't really have a super low threshold. I have a bit of a harder ratio, and then with my attack, I've just said it a little bit longer just to allow, um, you know, like the initial transient to kind of pop through a little bit more. And then while listening, I actually decided just to add more distortion onto the actual sound itself. Will listen to this in context of the whole beat here, and we'll turn the effects off and on. Okay, so So again, I think this is a good starting point to allow us to add our next instrument. And again, You know, once you start adding and more instruments, we can always come back and start tweaking these, um, to allow for the other sounds to stand out mawr or vice versa. 22. 5.5 - Lead: Okay, So for our next sound of the instrument pattern here, and I'm just going to cut this with the control X, come on the base and then hit Plus to go to the new pattern. And what I'm gonna do is I'm actually gonna clone off of the guitar just because we've affected the baseline differently when we went into, like, the envelope and we adjusted it and stuff like that. So I'm just going to kind of keep cloning off the guitar, and then we can tweak it off of that. So here's a trick. If you hold on Ault and the Down Arrow key, you cannot move actual instruments around in the step sequencer pretty easily. And I'm just gonna hit control V just to pace that in. And right now, you know it is being routed to track six, but we're just gonna labeled as something else. And I think this is like the lead. So Khalid and will give this like a purple or something. So lead again. You'll see pattern 12. Change case will add this in and will come here to eight. Press control l And so this is what, like the lead sounds like by itself, s So what I'm thinking to do for this sound is inside the wrench here with this polyphony, it allows let that slide sound. So if we go extreme settings again right off the bat X, giving us a different sound, Um, then the original guitar sound. So if we listen just to the pattern again, maybe it's not so drastic, but in context that the actual beat it's a lot different than soloing it out like I already told you, which is what I shouldn't be doing. Okay, so we'll listen to it. So as you can hear, some of these notes are being masked. Were not really able to hear a couple of them. And that's where distortion will help us and as well as, like, other effects such as, like maybe chorus. So we'll play this again, and we just gonna watch for some notes just to hear where that the clashing is happening. So right here. I didn't hear this too well. Everything else is pretty good, though, so far, so we'll continue. Okay, so you know, that's kind of mold and shape our sound here. So right off the bat, that's getting e que again. Let's get a compressor again. These are just kind of my basic tools that I use just for, um, general shaping this would be even if I was doing, like, a normal mix without trying to sound design. So this is open of the EQ. You here again? Take out some low end that we don't need. So start from the beginning, Okay? So just even that those minor e que or I guess, really not minor, as you can see here. But as you can see it, just the eq you alone has is helping it to stand out with the compressor. I'm actually gonna, um, squash this quite hard. Well, listen to again. Okay, so just start off designing this sound. Let's just apply some river and this a little bit of delayed Tow it again. It's a little bit of distortion and just like some parallel compression. So we listen to that in context of the mix again. Maybe on this one will apply stereo separation. I'm actually gonna apply some distortion directly on it that will allow all the notes to sound a lot more consistent on issues. Camel crusher for it Democrats is a pretty cool plug in. Okay, so now let's actually, you know, really change up the sound. So inside my delay folder here, I'm just gonna go through the chorus, So So just a little bit too much distortion. I'm just gonna dial this back a bit, listen to it, Sold again. So listen right here. This is a good indicator of, like, where distortion is at. So I just find again. It's just a little bit too much case in context. Of what? The whole track again. So the reason why I put the chorus before the compressor is just ah, um, you know, make everything more consistent, cause usually find, like, a chorus. Sometimes, um, there's some notes that are louder than others. What I'm also going to do to this lead is I'm gonna wrote it to, like another, I guess, send but just specifically foot the lead, we can use the send for other instruments to, but just for the time being, I just want to use it like the lead here. Just pushing him a middle scroll wheel. And I was gonna go lead and then par for, like, parallel, like a parallel track, and I'll give this a purple too. So on here, what I want to do is I'm going to take on e que. And I'm really going to boost the highs. And what this allows me to do is it allows the sound to be very, very bright. But I can only dial in what I want, right? So if we keep listening to this and we will distort this too, you used a different distortion, like the fruity fast distortion or something. So and it will apply a delay directly onto this track. But we're not going to use it so much as like a delay, but more as kind of ah, in effect. So if we make the time of the delay very, very fast, uh, it kind of creates a thickness in a wide nous. I'm gonna lower this down to, like, let's say 30 1 thing that I was doing wrong here is the dry is up. So if I turn this all the way down now, we only get like the delayed signal. - So I think that sounds pretty decent, will leave this instrument here, and we'll move on to the next one 23. 5.6 - Filler: All right. So on to our next sound here. Ah, this one is gonna be called filler. So I'm just going to go lead and ah, according the next pattern here have to and his cause. When filler, Just give it a color. Give it a read on a right click guitar go clone Push the little scroll wheel in ankle filler again. Give that a read. Hold on, Alton. Like the down arrow key And there's gonna hit Control and Vaeth and that will paste in our instrument from guitar was gonna right Click will file and save Mixture State As and a f two and I will remove the label And then I'm gonna highlight filler, come here and press control l And that will just kind of over it. It's color and a sign our label to it. So I'm just gonna paste it in here, and we'll listen to it by itself, just so you can hear it. Okay, so nothing really special with that melody. You know, just like the label is just kind of a filler in the background. So let's gonna sound design to sound a little bit. Let's go to the envelope. and, um, bring the release down quite a lot. And the hold down a lot too. Same with the decay and sustain. You know, we get something like this, make it almost kind of like a guitar like Chug. Let's wrote that to some reverb and some delay, some distortion and parallel compression. Maybe a little bit of wide nous e maybe a little less later. So now one thing to mention is this filler and as well as our next instrument, which will be called stabs on the way. How I wrote these Midi loops is this section of the loop is different from the first section. And I just found that, like they didn't really suit the next section, which is why I'm just going to be highlighting this area and we're just gonna work off of this. And then once we actually get into arranging our track, you know, with, like an intro and the converse and stuff like that, then we'll be able Teoh play with this stuff and build our be OK. So let's listen to that in context of like the actual mix. Okay, so let's ask him distortion on this just to add some character to it. Take out the fruity lead overdrive and will the story quite hard, Actually, school times 100. You want to be careful with times 100 because it's very, very extreme. So before I listen to it, I'm just dialing down three gain and even the distortion, too. Using like this, the oldest increases just just a little bit. - Like what a difference that was right there. So all I did was from the filler. I just added it onto, like, the parallel track from it, the lead. And so this is the difference, you know, like that, right? There is just kind of night and day in terms of not release fitting into where want to Just fitting in perfectly. Kind of like in the background, which is what it is. Kind of a filler. Okay, so I'm probably actually gonna leave this instrument just as it is. I like how it sounds. Um, listen to one more time, Okay? So we'll move on to the next one, which is called stabs 24. 5.7 - Stabs: Okay, So onto our last instrument here. So I'm just gonna press control X to cut it. And you can also, from the drop down menu. You can also go like, fine, next empty. And that will create, like, a pattern for you to instead of doing it. Like how I was showing you were just gonna call this stabs and we'll give it a color, and then I'm gonna right click go clone push a middle scroll wheel in, go stabs again. And give this the color too. Hold down, Ault and the down Arrow Key Control V to paste it in again. I'm probably going to right click off of guitar ago file and save ecstasy as click it hold . Okay, so I'm gonna add this into the playlist here, and I will listen to it. Here we go. So those two things I want to talk about with this sound So the 1st 1 is we have to be thinking in terms of our frequency space for our notes already. You know, we've used a baseline. We have, like, our main melody, which is kind of in the middle. We have her lead, which is kind of in the middle to, but it's more of just like a single note. Therefore, we can kind of get away with it. The filler, um you know, it's just kind of filling in the background, pretty more fullness. And now for the stabs. I have played it up higher on my keyboard, you know, with a higher octaves. And so that by itself will allow it to stand a lot better in the mix. And the second thing I want to say about it is when I was writing these Midi notes, I found that stabs was the instrument that kind of completed this beat. The first thing we'll do is enormous. Add reverb and delay just like we've been doing on every other one. Ah, we will add some stereo separation just for wide nous, since this is gonna be pretty much like the lead, you know, I know this was labelled lead, but this is the instrument that I want to stand up well by just distortion and paler compression on Listen to it. That's not the sound that I want. So let's go and open up another ah distortion plug in camel crusher and I'm going to open up the patch. American high gain. And Ah, yes, if we just listen to this, Okay, so that's something a lot more powerful. So I'm gonna sculpt this a little bit and turn it down. It's bit loud. - Okay ? So I'm gonna compress that quite hard to. Okay, so now to really top off the stabs here, let's again Let's wrote it to this lead parallel. And let's create its own send like we did for, um, the lead parallel track. So I was gonna click here and wrote it, uh, special in middle scroll wheel. Call us a stabs par for stabs Parallel. Give it the same color. And on here. What I'm gonna do is I'm going to apply a delay. But here's ah, trick that I will show you is we're going to apply side chain compression onto this parallel track because earlier I showed you on the delay. How would you play a note with your delay? It could be very, very overpowering, Which is you know why? When you filter out some of the high end, it kind of doesn't allow it to fight for the space. Yet the delay could still sit in there, and it sounds nice and warm, but it's not fighting for that. The original sound, another way around that is to use side chain compression. So the first thing you want to do is you want to turn the dry signal all the way down just because, you know we're using it as an effect. We just want the wet signal. Um, so I'll let you listen to it just by itself. Soludo Okay, maybe. Let's cut. Take that one. Let's actually compress that quite hard, but even little harder. So Okay, so now those notes are more consistent. We don't have notes that air kind of sticking out. So if we listen to this in context of the mix way too much delay going on. But what we can do is I'm gonna open up a fruity limiter. And so since we have road stabs to this channel, the fruity limiter will see it as a sightseeing input stabs. But again remember, Like I said on the limiter, you want to make sure that the attack is all the way down because right now he's air, yellow and watch. If I turn it all the way to zero it goes away. Okay, so we go compressor session input. We want stabs. So what this means is when stabs plays, this audio will lower. But however much we set by the threshold and ratio amount and so when stab stops playing, then the delayed audio will come back in volume. And what this allows for is that stabs can take front and center and then went, stab stops playing. It will allow the delayed audio to come, you know, into full effect. And therefore they won't clash and kind of fight with each other. So what I'm gonna do is and is gonna put down the threshold quite low and the racial quite high, just really extreme setting. So you guys can hear you know how it sounds risky. Solo it out. But so as you could hear when stabs was playing, since we have thresher all the way down in the racial privilege all the way up, we didn't hear the delayed audio at all, So I'm just gonna bring us up just a little bit, and in that way it will dock it just a little bit. We could still hear the delay, but it's just not fighting for the space. Okay, so this is what it sounds like right here. And then in the next video, we will be getting into some arrangement. 25. 5.8 - Additional Stabs Tweak: All right. So I wanted to make this additional video. I'm actually making this after I've edited and completed the course. But as I was editing, I realized why I wasn't able to get stabs to fit in. Because if you noticed, when we were working with stabs, I kept having to, you know, tweak it and especially like the distortion. I just couldn't get it to sound right. And so what I did differently when I was first creating the track for myself before made the course with you is actually adjusted the in knob on stabs, giving it a bit of a smoother sound. This is what it sounds like without the end. I'm just gonna copy his value. And that sounds great, Like as it is and also play it for you on my keyboard here, just like the single notes. Now, if we increase this in pace, the value originally had here, so Okay, kind of sounds a little bit warmer, especially the more you increase the end. Okay, so it's a lot smoother. And this is what I didn't adjust as I was making it with you. So I wanted to make this video showing you how? Yes, I do actually use these in and out knobs to manipulate my sound to make it fit so that you listen to it with this now. All right, so I just found that that was quite important. I really wanted to share this point with you, so don't be afraid to use it in and out knobs to sound design your sound. And as you could hear, it just created a lot smoother and even like a fuller sound to the stabs here. 26. 6.1 - Song Structure [BONUS]: right. So this video is kind of like bonus content. But, you know, since we're so far into this course already, you know, I thought showing you how to like I arranged the track and get you going would be awesome. Kind of content for you. So, like I was saying this guitar here, um, and the base in the lead, this section over here, I kind of find that these did not match the filler and the stabs. Okay, so what I'm gonna do is we're gonna press control and click, highlight those and then press control be he is involved, and it just duplicates it. And I'm just going to right click and go make unique and right click go make unique and right click and will make unique Now on guitar are gonna have to And I'm just going to go to the plus, and I'm just gonna make it us a little bit later. That way we can tell the difference. Same with base. And then I'm gonna be removing some of those midi notes. Um, out that way, we can have two different patterns and keep them separate, so I'm just gonna make it later the purple, too. Okay, so now inside a guitar, just double click it. And then so everything from here I want to remove. And it was control A and highly All that stuff over. And then base, just double click it. And everything here was gonna delete press control. A move it over case a double click and was going to all that stuff again. Delete control a Slide it over. Okay, now for the guitar here. Uh, just everything from here forward. We will delete, and then just double click base again. Everything from here forward. We'll delete press escape of the booklet, lead here, and then from here and press control and right click. It kind of focuses everything on your screen control, and I will highly, everything over here and delete. Okay, so now we actually have, um, are parts that we can now arrange. I'm gonna highlight this stuff, and I'm just gonna drag it further away because I feel that that's kind of like the bridge or something. We're just gonna bring that in only at special times for us. Control and click. How did it all press control? Be a couple of times and Now, what I can do is I can just kind of delete stuff out stuff like that, I that we don't really need, because since this is going to make the intro, we just want to kind of start off slow, whatever. So listen to this. So it's a little aggressive. Take this 10 they will just keep this one in. What I'm gonna do is I'm just gonna highlight this area right here, and we're gonna come down here to guitar. We're gonna open up another e que here and then now we can apply a filter onto here to create an all powerful intro. So, um, I always test. Do I like a low cut filter or high cut filter better. And so I'll show you what I mean. So we'll start with a low cut. I'm pretty sure we're going to go with a hike it, but I just want to show you the low cut. - So also, I found out why I was having troubles making Stab spit where I wanted, and it's just because off this send, I just had way too much distortion. Okay, so let's listen to, like, the low cut filter here. Okay, so let's now try the high cut filter. This is this one's usual Lot more powerful. So Okay, so let's just go with that one. So I'm gonna push member the scroll wheel. I'm gonna label it. I cut, filter and or just give that a color. And so now, whenever I create out of basic lips, I usually to highlight the area I'm working in. So as you can see there and then ah, fourth e band here, I'm just gonna put it full. And I'm going to right Click, go create animation clip. And so if you hold down Ault in the scroll wheel, it kind of ah gives you height in your playlist. And so now what we can do is we can lower this. And as the song plays through No, it'll do this for us automatically, you know? So that's too much, but or what? Do you do something like this kind like this? So back down this little bit case, that's just to give you an idea of how you can kind of create intro even here what we could do. So watch this weaken. Just do something this maybe and I'm gonna hold on shift and click, click and click. We do something like this. So if we listen to that, maybe tickle it the hats here since I have that snare like I showed you Ah, in the beginning, uh, like the drum loops. So we'll let the drum loops and we'll go. So since I have some of these snares which are nudge before and after its allowing them to play right there, I don't really like it. I don't think so. I'm just gonna hold on Ault and just trimming back just a little bit. So Okay, so that's one thing you can do now. If we go back to the organic drum kit, drum kits and exclusive audio, we're gonna get some symbols. This is a cool technique that you could use for intros. Maybe we'll go with that one. So I'm going to click a dragon in here and then hold on shift and click. That will allow you to duplicate it, right? Click and go make unique. So now you have a copy of this symbol and on the duplicated one, you can just reverse it. So now, depending on the snap, your on. If you click on like the magnet here. Um, it kind of locks in your actual pattern toe, whatever it is, So you can't really line things up. Very good. For example, if I wanted this to be lined up like here and here, it's like, Well, how do you do it? So what you want to do is you want to hold on all and then it allows you to break for you like that. Snap. So well, check this out. And also, before play this you want to be very, very careful of symbols. They're extremely loud. So I'm dialing this down like a lot, and you'll hear it's like that will actually sound quite good Also, Sometimes I dio make the symbol that is normal, that is playing forward. I do increase the volume of that one just a little bit, just to add that little extra impact. Okay, so let's build a song a little bit more so, like, let's say we bring it right into the chorus right after the chorus. We can ah, you don't take out some of this stuff and some percussion elements released some hats in. So listen to this. So maybe we'll take like the baseline out there. Maybe this too. You'll actually trying to Qatar? Maybe just both of these. And then again, or so it won't like that Snare out care. So we'll try it again on. And then maybe here we can add in that stabs. Maybe so, actually, on this stabs by itself. Let's add some river onto it. Castle. Listen, Teoh, can you go with the lead instead? Sorry. You know, just because, like, this isn't mix this stuff like that certain sounds air kind of bugging me, as you know, as we listen through, because usually if I was just like my own time, that's kind of like what I do as it start to build it. And as soon as the search, I kind of hear something I don't like going quickly fix it, and then I'll continue building, You know, as you see me, what I'm doing here on then. Here. What we can do again is we can take these and paste them right here. You can press shift in Q and that Will Kwan ties those. And so now we can come back to it. The chorus with the symbols. Okay, put that in there. So listen to that. Okay? So before we use these and other notes, let's ah, break it down to something a little more simple. So take a look. The base and maybe something like this. So and then even right here, we can, um, add in just a couple drum hits read before. So instead of maybe using those again, we could just kind of, ah, use like, the originals. And then does that make this so hopeful that this kind of gives you a rough idea of how you can kind of start to build your track? It kind of, ah, cool techniques you can use to really? You know, add that kind of professional touch on to, you know, unto your beat. 27. 7.1 - Closing + Recap: All right. So thank you so much for taking this course. I just want to do a little recap with you and go over some, like the fundamental points of this course. So once you actually record your note, just make sure to test the base. Make sure sounds nice and clean, nice and tight before you move on. And then after you test the base, you know, test the mids, test the highs, See how you actually like the sound. And in the next point is you want to be thinking in terms of, like, the full frequency spectrum. So, again, since it's only a single note that we used to create, like the full composition, you want to be thinking in terms like your low end, your high end, your mids. And when you think that way, then it's a lot easier to make other sounds cut through the mix without doing the rial extremely e que cuts. All right, so I just like to say thank you for taking my course. I really, really appreciate your support. And if you have any questions regarding this course, you know, feel free to contact me, and if you'd like You know, you guys can check out some of my other courses. That is this course. It's organic beats. Thanks for checking it out and maybe I'll see you in the next course.