Deep House Sound Design and Mix | Aaron Carstensen | Skillshare

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Deep House Sound Design and Mix

teacher avatar Aaron Carstensen, Keep making music

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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

7 Lessons (46m)
    • 1. 1

    • 2. 2

    • 3. 3

    • 4. 4

    • 5. 5

    • 6. 6

    • 7. 7

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About This Class

This class is an in depth look on the popular deep house, future house synth. First we create a three layer Bass from scratch using NI Massive, then continue onto the processing within the DAW. Hopefully this class teaches you a ton about how synth layering works in a practical way and gets you that fat sound you hear in most EDM tunes.

Meet Your Teacher

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Aaron Carstensen

Keep making music


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

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

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

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

Keep making music!

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1. 1: What's up, guys? Aaron here. I'm going to be doing a deep house slash future house. Ah, sound design masterclass. I'm gonna play this loop for you real quick. So this is the synth we're gonna be making. Don't. All right, So as you can hear just that big, um, base that, like, plucky phase kind of bell kind of hit base. Um, it's really popular right now. It's actually four cents threat for me for what I have. So I'm gonna go and do all of them. I'm gonna give you the downloads to. So I'm gonna start with the main base sub and then two textures. That way, we'll get really fat. And then after we do the sound design, I'm gonna show you how to mix it all together. And, um, because there's a lot to do outside of the actual sound design. I know a lot of sound design tutorials. Air kind of stopped at the end of the synth, but it's usually just one piece of the puzzle. Um, So if you you're gonna need massive native instruments, massive, um, and then you're going to not necessarily need, um, able to in, but some sort of D A W If you have a Bolton. Great. Because I'm gonna be using their features and their stuff that just easy Shout out to Joel . By the way, Joel hit me up and said, Hey, man, um, can you teach me how to make a deep house slash future house sound? Um So thank you for hitting me up, man, because I didn't have a lot to dio and you gave me something to Dio. You're actually the first person to hit me, so shut out to Julie. You're the man. All right, so I'm going to jump right in. Next video is gonna be the main bass sound. 2. 2: What's up, guys? Here's the main bass sound. I'm gonna open up. Massive. So what I did here was I turned off all my, um, filters in processing and groups stuff. So this is gonna be the bare bones sound, the main base. So around 100 this kind of, ah. Fills up the 100 to 1 K area frequency. Sounds pretty different. That's okay. That happens. So I'm gonna turn off all this stuff and what we're gonna do. I'm gonna explain the oscillator and, um, main envelope first, So I picked a smooth ah wave. This is set on this smooth square slider. Um, wave table. So I pitched it down 12 to get in that That lower register. If you start sound designed to high up you lose a lot of the character of the sound and everything kind of sounds the same. So what I'll do is even if it sounds kind of low for what I want to make all usually, um, work with the high end on a low pitched, um, oscillator and then pass, uh, high pass that stuff out to make for really thicker, better sense. So, anyway, um, main base sounds started with a smooth, square wave table. Sorry. Keep doing that on set on. Smooth. Uh, the filter envelope. Sorry is going to be quick attack. Um, relatively long decay. Kind of make him go into each other cause we'll adjust that later. I said it toe one shot mode. If you usually on gate. So one shot mode means that you don't have to hold down the note. You can just press it once, and it'll and it will pluck it out. It will do the whole filter. Um, keep in mind you don't want to start making super bright, bright. Um, sounds right at the beginning because, uh, this is going to you want to fill up this low area we can we can make it will make the next synth be really shiny and and cool sounding. So remember, where What kind of focus? On one section at a time. So we're gonna go smooth, square modulation, honor oscillator is gonna set to phase. This is kind of that deep house sound Kind of said it. You want to hear it right there so I wouldn't set it up there just because, Like I said, we're dealing with the lower register once you start, um, I'm gonna actually open a filter real quick once he start. Um, once you start pulling this phase up, the focus of the sounds shifts and it gets up into this high one K area, and we want to fill on this. We want that fundamental. We want to keep it nice and low. So that's that. So where the sound is going? Um, one seconds. I forget. There we go. Um, so this sound is gonna go to the filter next? I did. Um, uh, oscillator one sliders all the way to filter one is going directly to filter one. This the filters air set in serial mode, not parallel. So it goes from filter one to filter to to the effects. Not split between, um, filter one of filter, too. So filter one is going to be a low pass. So as you can hear, it's going. It's pluck. That's where we get that pluck sound. So that's we start. I bring in another, um, filter and make it pretty sure Also one shot. Um, it's going to give you more character. It's gonna The pluck will be more realistic. it's not gonna be this this really fast cut off. You kind of get more of the pitch in there, which you want low pass for low pass to. I'd pick low pass for for this because for those you don't know low Pass for is more aggressive on the roll off and I'll play the difference. So this low pass to that's what passed for the easy roll off on two makes it less plucky. It's good for, um, more natural sounding things that are kind of easing. You want you want transparent filtering, but, um, low past four is good for that Like toe like thick, quick pluck sounds. So you get that transit in there, it plucks hard. So this goes from the low class because because it's in Syria, we go low pass to, um, comb, which is our 2nd 1 This is kind of where we get more of this deep house. Kind of like what the phase did so that, um, that's a big part of these sounds. Is this comb kind of. What the comb is doing is is kind of sticking out and raising some specific pitches to give it that kind of like, um, metallic. You kind of get bell sounds. You get like, I don't You kind of filter through and pick a pitch, so you'll notice. You'll notice when you, you, you and you track through that, you'll find some pitches that you're like. Oh, that sounds like deep house. Or that sounds like future house. You know, that's good. So pick those. Um, I'd keep the feedback kind of low. Um, as you can hear it wants to. Much of anything is going to sound weird. And it's going off. Put that that deep fundamental that we want down in, like, the 100 herds. So pick a spot. You know, that's up to you. Pick a spot where you like it. Damping is kind of like a filter for the new pitch you're picking. Uh, it's fine. Just leave. It's already pretty low. So that's not gonna be filtering much, you know? So, um, next these go to, it goes like this Tiu the effects. So first effect is going to be a classic to have you here. It's audibly distorting. Um, but that's okay, because what this with this style, at least I personally wouldn't pick. Um something so aggressive. But with this style, you really wanted balls to the wall. A good way to test your, um you're distortion is just turned up the driveway all the way, Way too much. You're like, OK, I don't like that too soft, you know, pick And they say, OK, that's good. And then dial it back. You know, pick how much you want that in the sound so you can really dial it in Next effect. To mention expander nine day thistle is a great one on bases and massive. This part of the reason massive is such a powerful thing is just this dimension expander, um, turned up the dry wet, Uh, not quite halfway. I'd keep the size down to you start getting that delay which I would wait and put it on the higher stuff because you want the base to be tight. If there's too much, um, flubbing around in the background, um, it's not gonna sound good, but we'll get to that later because there is a certain amount of reverb and delay that you want in the background, and that's gonna be more in the in actually able to do so Finally, e que e might actually pull that down a little bit. I just took a bit right there. E took a bit of that out because I know we're gonna have another sent up there. Um, actually put a clip on to its Really subtle just it's that extra is pushing that wall. Um, so this is the main sense. Um, this is the body. Ah, Like I said, I'll supply the since in the in the description, but I want you to build it from scratch so you can learn, um, play around with the knobs. Um, most of this stuff is taste. So make your own taste kind of discover who you are as an artist. All right, Sweet. Next video is going to be the sub base, which is pretty quick. Peace out. 3. 3: What's up, guys? Um, this is the second video, um, second layer of the deeps deep slash future house base. There's just gonna be a sub, so I'm kind of this is gonna be, like, two minutes. Um, basically, Stubbs down 24 if you can't hear it. Um, that's okay. I'll show you on this spectrum because, um, just look around here. It's gonna be below 100 but not down all the way. So just a sine wave. So what I did for the, um, the envelope is going to be It's not a super plucky attack because it's going to start to click, would you Don't want You can play with the release a little bit. One shot again. It doesn't have to be as plucky as the at this pace. It's just kind of that low. Like when you play it through speakers or a sub system. It's gonna like punch. It's basically just it fills it out, and you're even if you can't really hear it. Um, you kind of you feel it more. You feel it. It's not really like Oh, yeah, Obviously, as it's up, it's kind of like down low below the base to just support it. So what I did after that is put a tube a classic tube. Again, again, we're distorting a little bit, but that's just to give it more presence. Like I said, What this style is gonna be balls to the wall. So here's them together. The main base in this sub. I'm gonna take off this classic too quick, so it kind of goes away. Um, it's still there. That's it without So it's there a little bit with the with Subban and then read Add the tube gives it that that a little boost at its it's distorting it. So it's adding, um, frequencies on top. So I know distortion isn't usually, um, desired, but, um, it can be utilized affection effectively in this kind of PDM stuff. It's just not going overboard. Just use it. Use it wisely. Use it sparingly. So that's the, um, this, uh, base. Next one's gonna be the fun top base. So peace out 4. 4: What's up, guys? This is going to be the final texture layer of the deep house base. Um, So what we've made already is the body of the base right there, the sub. And now we get to the high end, which sounds like this. This is kind of where that deep house sound really comes to life. If you'll notice the other two bases. Ah, sound a little distorted? Um, that's okay. Um, it's how this medium stuff is made. And like I said, just use it sparingly. Try to keep it to a minimum. But you gotta have that energy because thes on these drops the sub base or the base in this deep house or future out stuff is usually the only thing that's going. You gotta have it nice and fat, and we'll deal with the some of the high end stuff later. So here's the third patch, and what I'm gonna do is go back and, um, deactivate everything. So, like what I like to do is start off with the the oscillator and the main envelope. Um, so here's the main envelope, and here's the main oscillator. We just have the square square wave pitch down negative 12. Like I said in the past, even though the synth needs to be up high, um, deal with kind of a lower pitched sounds. So you get mawr texture. Um, And then, um Let's see, the envelope is going to be quick attack. Quick delay. Just a quick pluck. I didn't do a later on one like I did on the main base because I'm not using a low pass. Filter it all. So set it to one shot. I will activate this second oscillator, but I'll do that later. So, um, here we go square to the modulation oscillator. Here's that phase is the fun part. So you can pick where you can kind of hammer on the phase more. Now that cause this is the high end, we already have the low and taking care of Find a spot. You like it? Um, because it's kind of a little bit different. What you can also do is put modulation on. I did key tracking modulation, but you could do velocity if you want more control. Um, you try. Ah, I don't know. Try an envelope on there, see what happens. I like the key tracking. It kind of takes care of the modulation for me. And this is just a quick loop. I'm not making this into a track. So, um all right, so first oscillator goes through modulation office later. Um, here's the first filter. Put a high pass on it. So here, this is what I'm saying. So once we started with, that's pitched down 12 12 semi tones so down an octave, which is pretty low. But once we put in these filters and this modulation office later, we're dealing with a higher sound. We're focusing on the top end of that, um, of the frequency spectrum. So sound kind of metallic kind of cool. So we're gonna put on this comb filter now. I like to put it up pretty pretty high. I write. I like my stuff in a harmonic and bell sounding, Um, And then, once again, I put the key tracking on there. Um, just to kind of do the modulation for me. If you don't want so much of that high those high frequencies, you can change page, change, feedback, change whatever you want. Um, you'll know once you start scrolling three or that you see Oh, this is kind of the sound I want before we jump to the effects, I'm going to take a take a detour to this voicing tab. I'm sure a lot of you know about it. It's really powerful. Um, really good for massive for making this because one of its one of the reasons that this scent is so powerful. So I put this on Monta phone. Monta Phonic. So it's just ah turned the glide down. So what? This does quick explanation every time, Um, the synth place. It's going to play four of the same thing for each trigger. Um, so just turning that up on its own? Not really. I mean, it does make it bigger, but what where this comes in is you put on this pan position and as I scroll, you hear it spread out along the stereo field really good to make really big, like wide since. And then when you start layering them, they sound really nice. Really huge. Good for e g m. Play around, play around with pitch cut off if you want. Maybe maybe put some glide on there, maybe buying that to velocity. I know it takes away from the pluckiness, but I know that it's a good texture. I hear a lot of like glass, quick glides, like do on on the's deep House songs, and it's important to have little bits of variation. Um, turn up the unis. Oh, no, if you want, uh, the higher you get, the more thick it is. But it also takes a toll on your CPU. I usually try to keep it. Four is usually where I go. I have done some sense flu like 16 and their fat. This sounds like seven minds kind of like super size, but that I had to re simply instantly because my computer was like having having some trouble. So that's the voicing. That's where you get these wide sounds. On the top end. I put a Bronner tube because it's kind of more high end. It sounds like deals with I feel Like the distortion is more focused on the high end than the classic tube, which is kind of thick and low because we're focusing on the high end on this one. I didn't put a lot of I didn't want this really audibly distorting because this top end I wanted it, um, one and done. It's important to have like when it plucks it plucks, you know, in the the low end it kind of you kind of lose the low end in the in the below This, like metal, metallic sounding pluck. But the high end should remain clean for me. I think so. It doesn't start. You just get a messy sound when you start turning up that drive too much. And it was OK in a small amount on the base because on the lower ends of the base, because it gives it that energy that we want. Ah, second effect Tiny with a river. As you see, I put it only it, like 3% or something size 50% density, low color low. I don't want a big I don't want a a super thick, um, bright reverb. And I don't want it splashing everywhere first off because I don't want to separate it from these other three of these other two patches. And also I don't, um, thes deep house bases need need to hit hard. And once you put up the reverb, it's going to sound. It's gonna wash it out on the other hand, we do want a little bit in the background, and we're going to deal with the river herbs and the delays in the background in the actual d a. W. Because you need that space, you need everything needs space and that the bigger the room sound, the better with. But you don't want to wash it out. That's where it gets tricky. I'll explain later. All right. E que I put up I boosted, um, kind of low mids just a little bit. It was It didn't have a ton of presence. Um, let's see here. Ah, yes. Second oscillator. Um, pitching it up 19 is is, um, not inactive, not two octaves. It's kind of it's it's a frequency that is pleasurable without it's not out of tune. It's so but I'd ease up. I wouldn't put it a lot, but you hear this upon that 19 semi tones is kind of that. It makes a little honestly, I'm not sure the interval I apologize. Um, but it gives it that nice extra extra thickness, extra fatness, you know, also noise. Put a super sharp, fast decay on the noise. These two are kind of textures on the high end to just make it pluck harder, and we'll actually Phil threw them out at the end. But that is the high end base play around, um, with the oscillators. This is where you can really kind of go nuts and figure out your own sound because this kind of thing that people here most 5. 5: All right, guys, now that we have our deep house patch are deep house base. This guy, um I want you to think of this. This track, his instrument rack is one instrument. Um, that's how you get these really big sounds. As you put together these these pieces, you know, 11 cent doesn't have to be one instrument. You can have that all playing different things. So we're gonna go through real quick. Um, kind of Do these groups individual beacuse so on the sub. I just gave it a shelf. You could cut it all the way, if you want. I've noticed in the past, I sometimes cut too much, and it starts Signed sounding thing thin. Sorry. So but it's pretty safe to say that there's not a lot going on, you know, on the, uh, on the high end on this up. All right. Um, next base body, I put a, uh, hi. Past four at about 100 hertz. I want this body to not really interfere, you know, they're kind of there could be some some clashing. And then also what I did, I did a roll off a light roll off on this to toe leave room for that, um, high end base. And also the distortion on these two bases are is kind of noticeable in the high end. That's where it's like here. You know, these kind of buzzing sounds. That's why we so that I filtered that out on, then filter that high end out and then left room for the texture of the top end kind of glass, glassy sounding base. And I did a little cut it five k. Let's see. It sounds better than more. I would do it at around two K. Find the spot above or below two K. That's kind of gonna be harsh on the years. So that's your instrument rack is done. That's one instrument. What we're gonna do now is processing this a zahovic. So I took a peek. You filtered out some of the five K that high end because it's it's a little up there, you know, these bases are bases, um, and later we'll do more will filter out, um, well put, Ah, lope pass. But it's pretty light. Here's reverb really subtle. There's two types of reverb that ideo the 1st 1 is going to be short decay time, small size, small pre delay, really dense. And then, um, put the scale down. That kind of makes it more noticeable on the fade out. This is a small reverb that that I think sounds better. Teoh. You know, it's it's thick, but it's the small decay. Time just gives it space. Um, and then you can turn this up. You can be pretty pretty aggressive with it, because this is this isn't about the rear, that all that tail end This is not not tail reverb. This is just spatial reverb. So I put a little special reberg on before I compress. And then what I do on this compressor? The 1st 1 I do peak compression, pretty hard ratio, long attack and then pretty short release. So what this is doing is you're getting the long attack. Let's the front through. So it makes the pluck harder. Short release. I don't want to crush the sound because it is a lead on, and then the hard ratio. But it kind of pushes it against that wall. Um, without crushing the front. That's what you don't want to do. You don't want, like, you hear that when we put down to zero um, thistles a crush sound sounds like garbage. You do want to thinking it up. You do want to crush like, um, push it down a little bit, but it should kind of create pressure without putting a brick wall on it. So that's what this is. And then this eyes pretty cool. Um, thistle is a simple delay. Put two time mode, not sing mode. So I'll turn this up through this. Makes it wider. This is sometimes I hear it's audible. I don't really like inaudible. That kind of money is the sound. When you have these small delays on either side, um, it stretches your ear. I would put it like 15%. 20%. It's really small, Um, and yes, you don't hear it right now, But if you improve everything if each, um thing is improving the sound by like a fraction than putting them all together, it's gonna improve it by a lot. And you can't. And one thing isn't going to do it. If you turn this up. Yeah, it sounds fat, but it's not punching anymore. It's this balance. Um, so I'm gonna put on these so after that, this is a group. Um, I'll talk about this synth later. I'm just gonna go directly to this group. Um, this I put so next on the chain. If you imagine thes go and then it goes from here, it's routed to this group. So this group is kind of like next. It's affecting both of these. Um, but it just imagine it comes right after the simple delay. So I put a saturated on. I put this toe wave shaper. Um, it's a kind of different distortion. Uh, one db of Dr Thistle's kind of this is pushing that wall a little bit. It's it's tiny, it's tiny, is tiny, but it I hear more presence in the base. Um, it just thickens everything out. This part is where we get to the river herbs. Um, here is this this chain this is that big. This makes it big here. I'm in play this whole thing. You hear the difference? It's It's insane. It's insane. How different that's It's creating space without washing things out. So what this is is a audio effects rack parallel chain. So the top chain is nothing. It's just the dry the second chain is a reverb. This is the tale re verbs. So this is dry wet, 100%. So this, um, imagine it's split between all these equally. It's a it's a parallel chain. So you only want the river about this chain so you can affect it individually. So what I did is put a lot of pre delay or a good amount Big size. Um, pretty. I wouldn't go too far with the decay time because these notes are close together. Um, not too dense and then turn the scale up, Which kind of cuts off the kind of fuzzy end I'd say on the reverb. So this is kind of like a kind of fades out in the background. This is a lot of space. Um, how we how we change this to keep it from getting too washed out is put a compressor on this chain side, chain it to itself. So you side chain it to your deep house base and then bring down the threshold. You want to do short attack so you can cut so the dry signal is coming through. And then, um, the release is kind of 100 milliseconds. You know, you're you let it kind of naturally faded, faded in the rise in the back, So the the the punch of the base is still there. But the, um you still get that space behind it, which is really nice, That's it creates this really big sounding. Um, it's kind of like almost like big house kind of stuff, but if you want to stay 6. 6: If you want a strong base, this is what you're gonna want to dio. Um, I also did the same thing with a delay, you know? So it's quiet, though. I put this down negative 17 db So it's all about these big re verbs. But like I said, you gotta You gotta crush him down when the base hits. So this is kind of how you get that best of both worlds. Thick sounding, um, bass sound or lead? Sound any sound? Really? I do it a lot, actually. Um, on anything that you want in the in the as the focus kind of of the of the track. After this, I put a rms impressive. And so what this does is the root mean square. This is not a peak compressor. This is not compressing the very top, this compressing that second value down here. So that's the average. So what this does is is I put low ratio low threshold, um, And then quick attack and release. Um, and so what? This does, if you think about it, a slow it, a quick attack. And a long release means you're crushing the sound. Correct. Um, but that's and the low threshold while you're really crushing the sound. So that's what the RMS is. We want to take that average we use back on the ratio. So we're not making it a brick wall. But we take the RMS, which is the root, mean square, the average of the sound kind of. And then we were it were squeezing it down ever so slightly. It's just creating more pressure. Um, as I like to describe it, you know, where we're the river verbs. The tail reverb that we made will become a little louder. The pluck, um, tale and the transient will be a little closer together, and it just it makes it fatter, you know, Um, that's kind of the difference between Peak and RMS. If you're doing are a mess, it's really like it's it's thickening things. That's what we're doing with this compressor were thickening with this 1st 1 We're kind of we're crushing the tales and kind of and getting a a, uh, were accentuating the transient. That's what we're doing. So that so what I did after that was I put aside chain side chain compression on the kick, you know, that's on everything. I I like it pretty subtle. You hear sometimes that they do it like, really far, and it's kind of like instrument. Um, I don't think that's really fit for this style. I would put a little bit on there because it will give the kick energy what you do want. And then last of all I put a is that is that, um, low pass filter? Um, why I did this, I put it. I kind of gave it a boost right before it trails off. Because I want once you start exporting these songs and mastering them, um, it's easy to have too much high end. I hear a lot of tracks made by people who, because they want it loud, it'll be, like, all high end, and it just sounds like garbage. Um, so remember, this is a base, and the remember your track will have other things in there. Um, I didn't you know, this boost. You know, that's kind of a choice thing. I usedto play with high end a lot and, like, tried it boosted, make it sound shiny. But that's not where you get the energy. This boost kind of gives it that presence, you know, in the in the area of our ears that we hear well in that, like one cato 66 of the eight k kind of area where we hear well, without being you'll get distortion in the high end. If you boosted too much and then like down, sample it. So, um, I like this filter, at least for this base. That's preference thing. All right, that was the processing for this deep house patch. So after this, you should have a pretty solid sounding, um, deep house base. And what I'm gonna do in the second this last video is I'm gonna do one more, um, texture thing, which is actually really cool. Do not skip it. The texture is super important, but it wasn't kind of the main focus. So see you in the next video. 7. 7: all right. What's up, guys? This is the final final video, and this is really cool. This is going to be a, um, uh, texture thing. What's really easy to do is when you create your three, your instrument rack, you have your we ever deep house sound. You created three different patches. You're like, Wow, I created all those patches. I'm a champion and I'm done. It's easy to do that because you're like, Oh, that's a lot of things that I made, but it's it's important to remember we made one instrument. We created three patches to create one instrument. That's where you want a layer stuff, though, So if you want to layer on top of the instrument, you're going to start getting some really cool sounds. So I What I do is put one more synth on top of this, and what I picked is a xylophone. So I did its own processing. Not super important. I This is more about the composition, because I went over all the specifics on the the base. So I added a xylophone. That's just I pulled it out able to, and it's legit in the sounds, I said mallets and then xylophone. I layered it. I pandit left to give it size, and then I just copied over the notes. So this is doing the same thing. Oh, dear. Sounds weird. All right. Um, all right. Um, So what I want to talk about is this Xylophone is very natural sounding, and it's going to give your Elektronik base some really nice character to it. It's going to sound really cool. Here's another trick. If you take all of these notes so control A and give him like, uh, legit a couple milliseconds of delay. What that does is small. DeLay creates size and art for our ears there. Still hitting? We didn't ruin the transience. Um, but it sounds pretty freaking cool. That's how they make that jack use near the like one. Um, it's a really cool effect. Uh, this is where I would start playing with different sense. Different styles of sense. Maybe do some recorded stuff. I don't know. Maybe layer like a guitar pluck. Really anything. Once you start putting these natural sounds and putting a little bit of delay on him, you're going to start noticing them like I really haven't heard any anything like that. Um, and I just pulled a random sound out of able to like. You don't have to be Ah, sound design pro. You know, start, you don't have to change the game completely. Start with something like we started with a deep house. This is things like every deep house ever. Even the pattern is every deep house ever way put on his Xalatan. It's kind of like it gives it its own style. I also do that on my drums. Um, if you'll notice, um, here on my my drum tracked, I put my collapse and my kicks like a millisecond difference. And then I put my shaker like a tiny bit off. You know, it's like these grids are there, and it's really nice. But once you start nudging off, um, that you start getting like, you start sounding, it starts sounding like a real musician with sound. Um, so I just want to talk about texture like that. But you know, this just a little bit. It sounds pretty cool. So practice with that make the sound to make the initial sound because I know that's the hardest part. It's really frickin frustrating when you want to make a type of music, and you don't know how to make the main part of it. So, um, make the main sound. You know, I'll put the patches in there, and then I want you start layering different, um, different stuff on top of it. See what you can dio see if you can make your own signature sound. Find something you really like. I guys, I know those long winded, um, and kind of all over the place, But I'm a musician, and that's how it works. Um, thank you so much for watching. Thank you, Joel. Again for hitting me up, man, that that means a lot. And then, um, keep practicing peace out, guys.