Explaining our first official release 'Atlas' (2014) - FL Studio | Mr. Belt & Wezol | Skillshare

Explaining our first official release 'Atlas' (2014) - FL Studio

Mr. Belt & Wezol, DJ/producer duo from the Netherlands

Explaining our first official release 'Atlas' (2014) - FL Studio

Mr. Belt & Wezol, DJ/producer duo from the Netherlands

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5 Lessons (21m)
    • 1. Introduction

      3:22
    • 2. The drumloop

      4:10
    • 3. The lead

      8:35
    • 4. The build up

      1:52
    • 5. What do I still like about it?

      3:10
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About This Class

Checking out your old projects can be a great way to see how your productions evolved over the years. We thought it would be fun to explain our old track 'Atlas' and talk about what we would change if we had to remake the track in 2021. In this class Sam talks about how he made the track 6 years ago and what he would change if he would make it in 2021. 

In this class we'll talk about:

  • The drumloop
  • The lead sound
  • How we made the buil-up
  • What do we still like about it?
  • What would we change? 

After this class you'll hopefully learned how we evolved our skills over the years and how music has changed over the years. Let us know if you have any old projects on an old computer you could share? 

More info about Mr. Belt & Wezol:

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Kingsday were celebrated with four appearances throughout all corners of the Netherlands. But if you really want to see the guys in their element, you should visit their "The Cuckoo’s Nest" hostings and clubshows. Here they play long solo sets or invite all of their DJ friends for a huge back2back frenzy. The ADE editions are traditionally sold out and new editions will be announced all year round.

www.mrbeltandwezol.nl

Our new track ’One Thing’ is OUT NOW! ❤️
spinninrecords.release.link/one-thing


Youtube: www.youtube.com/mrbeltandwezoltv
Twitter: twitter.com/mrbeltandwezol
Instagram: instagram.com/mrbeltandwezol

Meet Your Teacher

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Mr. Belt & Wezol

DJ/producer duo from the Netherlands

Teacher

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Ki... See full profile

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Transcripts

1. Introduction: Hi, welcome to miscibility weasels college. I'm Sam or weasel. Today I'm going to show you guys how our first ever official release, once mates, it's a projects from 2013 and got supports by Duke due months. Any MC? Steve Lawler, if you haven't heard it yet, this is what it sounds like. So without further ado, let's dive into it. So as you see, I'm using the old version of FL Studio because if I'm using the new version, just too much Files and plug-ins are correct, corrupted. So yeah, as you can see here, it's mates. These projects made in November 2013, and I spent a total of 13.5 hours on it. So it's a really old project file. And right off the bat, if you just see what this playlist is looking like, it's one big cluster fuck of either no Watts. There's absolutely no structure to it whatsoever. There's well, there's audio files on top here with automation underneath it. So that's kind of a structure, I think, but that's about it. There's side-chains. But only once every Wow, so that's also really weird. So yeah, let's dive into the project. Maybe let's just start with listening to the intro. So right off the bat, what I would do difference nowadays is that I wouldn't start a track with so much melodic stuff right off the bat. So there's actually a pretty good effects loop going on. It's this one. It's just a sample as you can see. And that's a pretty good starts. I would just, you know. So stay with that and not adding all this melodic stopped like the intro base. And I just wanted to add that right there because it's really complicates how DJs are going to mix in your trek show yet nowadays, all my intros are really much more basic. Almost no melodic stuff going on, maybe a part of a vocal or something. And that's it. It's, you know, and this intro is also its going on and on for a whole 60 seconds. I will cut that in half, I think nowadays. So it, it's already the first thing that I will change. What's also really standing out to me is the entire mix of the entire trick. But maybe let's start with the actual drum. 2. The drumloop: So if we listen to the drum loop where you can see it's almost all drum loops with no creativity or whatever going on. The only thing that I'm drawing in myself are the kicks, are the cake and the claps. This is a loop. This is a loop. This is a loop and this is then drawn in. So nowadays I wouldn't really do dads just because I, I wanted to be creative with loops and that's just throw them in. Of course it's fine if you do. Yeah, I think insurance. I just didn't know about the existence of, for example, SLI sex or fruity slicer. You know, it will be so simple to just take this loop, adds a instance of slice x and then just throw this in here. And they'd be like cut this differently. And maybe play around widths with this pattern for a bit so you can make your drum set a little bit more interesting. That's what I will do nowadays. But, you know, using loops is fine. You know, a lot of foods there's always kinda make a problem of that, but it's the quickest way to get a solid group going. So don't shy away from using loops. So if you're a university students, you get all these drum samples for free. And I also throw in the actual intro paths, which is this one. So you can just throw it out into your project and, you know, screw around with it. If we return to the drum loop, you can see that, well, it's, it's a pretty solid dominant by fink, But the processing of it is really bad. So I think that the mix is really bad. Like they collapse. You can barely hair to clap. And if we look at the volume, it's really low in volume. Nowadays. At least throw to clamp at the same volume of a kick, something like that. Because yeah, you just want the captain we noticed, of course. And if we go through the actual processing of some of these mixer tracks, you can see that these drums are barely being processed. The snares are being cut into high, in the low frequencies and that sets the high hats have absolutely nothing going on, only some upside chaining. So, you know, on the, on the one hand, you could say that if it sounds good, it's why would you process it? But I think in this case, it's just a big mush of drums. There's not really, you can't pick apart the different elements that are going on in this track. Like that. Close hires for example, there's a close hi-hat loop going on. There's just so much stuff going on that it's just a big mush, I think, of DOM elements. So all these individual loops are fine by itself. But if you can't make them pop out or make them noticeable in some way, maybe it's better to skip them because most cases less is more. So I will change that. Just process some of the collab for examples show that's there's more high frequencies being noticed there. So what I will do nowadays is I will put up the volume of the kick till minus two dB. So right now it's at minus 13, as you can see here, I will put it all the way up to minus two dB and then mix around that. So the clap would go at almost the same dB level. And Zen the heights are on their own custom level. But that's usually my, my my basic drum volume pattern. Kick on high volume, clap on high volume, and not above two minus two dB so that you still have some room to work with. 3. The lead: So if we continue to later on in the intro, there's a lead coming in right here. So the first thing I notice with this leads is that it's being drowns in reverb and delay. If we solo the leads. You can hear that the lay and the feedback on the delay going on and on and on. And that really makes to the track kinda airy and I don't know, nuts. Normally you want a house track to just be really dry and stomping. And the more wets you get with reverbs and delay, the more transients are going through sounds and see, you know, how does music, if you hear it on the dance floor you want to, and to be dancing hearts who as you know, and all kinds of reverbs and delays that are not needed so are going to minimize that effect, I think. So. What I will do differently today is just actually, well, maybe even completely removed the delay here. And I'll show maybe remove a lot of the reverb necessary that the way so why would you have but that's a choice I made. I don't know why, but I did. What I'm also noticing is that I'm solidly using samples. There is, well, this is corrupt. There's almost no synthesizers going on or whatever. Then it will. This is using one instance of silent here, two instances, okay? So mostly samples. And nowadays I'm still using a lot of samples, but I'm trying to use more synthesisers. If we actually go to delete right here, you can see that it's also a sample. So if you're a university students with us, you can get this sample for free as well. I'll just throw it in there. So if we continue to track the actual PUC off the track is coming in later here in the break. So this pattern right here, that is the most important hook of this whole track. So what I will do differently today is this whole section right here, where it's like a minimized version off the main hookah track is parts. Or skip that or completely moved out to the intro of the trick. So there's a pretty long intro. So I can just throw this here. So you still have thirty-seconds of just a beat Intro. Then you have the introduction of the main Huike. And then you can throw in the actual HUC here at the beginning of the break. And right now I'm using some kind of bridge to introduce the whole HUC, but that's not necessary. I think it's just that it complicated stuff. So this is actually one. And if we skipped to the drop right here. So the drop is exactly the same as to break only with a base on an effects. That could be totally fine. But for my preference, I would always wants a different sounds in the drop then that's being used in the, in a break. If you listened to our latest tricks, like the remakes sinner from a cleaner. For example, there's the exact same PNL being used or to the exact same BNO pattern being used in build-up or into break. But the actual drop has a slightly different pattern or a slightly different piano sounds. And that way you keep the drop interesting or else it's going to be pretty repetitive. And in some cases, you can do that and it's fine. Bots. Yeah, my preference I will always try to find something different for your drop or for your brakes. So another thing that I think is really interesting about this track and something I wouldn't do ever nowadays. If we just skip to the second break real quick, there's a completely new melody being introduced right here. So there's a completely new melody being introduced error. And I wouldn't do that today because I think dance tracks should be simple. Like the entire story of the track should be, be, be communicated in the first 60 seconds of the trek. And everything you're adding after deaths is like maybe some slight changes like an extra little sin layer that's hoovering over your second drop or something. You know, that's maybe at most what I will change, maybe like another layer of sounds following the same melody us in the first drop, minor things, you know, but with this second metadata being added, I think that's just you're asking too much of your R&D center. So I will change that. But it's a, it's a nice melody go, which way? It's a nice Amantadine. Which one would you choose? First-order sick of one. That's a good question. What I will do? I think So this second part of the song actually has two melodies. It still has the old melody underneath there. It's this one. So there's this base metadata going on. And then there's this second melody going on. This one, which is sounding pretty opportunity. But that's totally fine, but it's where it's to introduce it in second break. So I will maybe implements that melody already in the first break, for example, or minimize this. Dismantle the show deaths. It doesn't get into each other's way. You know. It's, it's not a bad melody on itself, but it's just, yeah, you're asking too much if you're a listener, I think. But you know, back in the days it was all good fun, you know, and you could all just do whatever. And nowadays it has to be produced in sanely with its say coke, which catches your heirs for the next 100 years. Back in the days in 2013 when you guys were all little babies. And I was also a little baby. Things for our simpler, I think. And I know maybe not. 4. The build up: So there's one card in this song which really shows the, the mindset I had back then. And that's this part of the seconds buildup. Just listen to the amounts of different stuff that's going on into second buildup. Function. Total job. And only the one melody too precious, the late risers crashes. That's too much. If you needs such an amount of elements to get across a certain buildup or something, your hook is just not capable enough of creating a crescendo on its own. I think. So my, my mindset back then was just, there's something missing. Let's add something else, you know, and you just continue that process till your complete track is I'll certainly cramps with a million different elements. And I wouldn't do that today. Instead of doing debts, I will go back to my main idea, like the main HUC off the track and improve on that. So that's you could actually implements the less is more rule, which almost always is true. You should always try to work with that rule because in this specific case, there's just I can't even follow it then I produced this or I can't follow it, but I, I'm not happy to. So to sounds for this second melody, it's discounts. You get that in the university tier or higher as well. Just throw it in there so you can play around with it. 5. What do I still like about it?: And next up, I'm going to talk about everything that I do like about this drag and that I'm still using today's day. So one of the things I do like about the strike is the way I'm using crashes. So if we actually go try and find the crashes somewhere in this project, somewhere here, I think. Yep. So the crashes you here at this bar, for example. I think it's a really cool way to work with crashes. And I'm still using today. What I'm doing today is more like I'm just throwing trash in here. Then making a second crash unique. And I'm pitching this crash down to kinda introducing new section, you know, like that's on the lower volume. So I'm doing debts to, I'm doing that to this day too. Be creative widths, my drums, I suppose another thing I'm doing to this day is the skipping of beats to puts emphasis on a certain beads. So if we just listen to that part of the drop, just by the laying dead crash right there for one step that actually, you know, you kinda expects the new section through start there. But by putting emphasis on that second beads, you kinda surprised to listener, I think. And yeah, I think that's just a really cool way to playing which your drum switch or crashes. You know a lot, a lot of people also just at like an extra cake there. So I think that's the stuff that I can take from this project that I'm still using today. It's not a lot, but it's something at least. And just mainly if I'm looking back at district, I think the biggest things that I will change about the strike is just to clarify, to hook a lot more. There's a melody and that's cool, but it's being introduced very late and the trick, and in a second break there's suddenly a whole new parts being edits. So I will take all that information that I have tried to morph into one big solid idea. And that's probably fits the whole trek on. It's now longer than six minutes of the track, I believe at maybe three minutes or something. So that's everything I will change about this trick. I hope you guys learned something about its, I hope you had fun. I hope you learn something. If you have any ideas for tutorials in the future. If you liked this idea of me dissecting 3D old tricks, please let me know in the comments. I'll check it out. We'll check it out and see if there's some cool ideas in there. Thanks for watching. I'll see you again in the next episode.