Explaining our latest release on Spinnin' Records (250.000 streams within a week) - FL Studio | Mr. Belt & Wezol | Skillshare

Explaining our latest release on Spinnin' Records (250.000 streams within a week) - FL Studio

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

Explaining our latest release on Spinnin' Records (250.000 streams within a week) - FL Studio

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

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8 Lessons (17m)
    • 1. Intro

      1:31
    • 2. The vocal

      2:26
    • 3. The lead sound

      1:20
    • 4. The bassline

      1:07
    • 5. The drop sound

      2:01
    • 6. How we kept it interesting

      2:25
    • 7. The drumloop

      1:45
    • 8. How we made the radio/Spotify edit

      4:48
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About This Class

In this tutorial we'll talk about our latest release 'Way It Is' on Spinnin' Records. This track got some good support in the Spotify playlists and YouTube where it got more than 250.000 streams within a week. In this course Sam tells you how this project came to be and how we made the radio edit for Spotify. 

In this class we'll talk about:

  • The vocal 
  • How we made the lead sounds
  • How we made the bassline
  • How to keep a track interesting for 3 minutes 
  • How we made the drumloop 
  • How to make a good radio/Spotify edit 

This class will give you all the ins and outs about our latest release 'Way It Is'. After seeing this class you'll hopefully be able to make a (tech) house track yourself and share it with us! 

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 ’Way It Is’ is OUT NOW! ❤️
spinninrecords.release.link/way-it-is


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. Intro: Yo what's up, boys and girls. Welcome to anneal in Studio video. This time I'm going to explain our new track with Rascal calls. Way it is, if you haven't heard it yet, this is what it sounds. So this track is a collaboration with Rascal franklin. He's his name. We bounced over the steps. And this project right here is to final projects. As you can see, they're all stamps. So let's first listen to the first break and a part of the first drop so you can actually hear what the track sounds like. Both of them may be satisfied. In the Spyder. Go. 2. The vocal: So one of the most important things about this track is of course the vocal. And you guys might have already recognized it's, it's a vocal that you can also find on splice. It gets from the, from one of the 91 vocals X. And this is the original vocal sound they, they still wants now. So the focus has been pitched down. And some of the arenas that comes later in the vocal, we rearranged it so that's that's wasn't as airy. So yeah, pitch down and rearrange the bits. I think it's a pretty good focal. So yeah, if you want to work with this vocal as well, and if you have splice or you don't even have to have splice, you can also just go to the 91 vocals sample peck page on the Internet and downloaded there yourself. Habit. Yeah, it's a pretty decent folk. I think it's really drives this whole trek. And I think one of the big, There's OFF this drag. Why I think it's a, it's a, a good track is because it is kind of Tegea. And OD intros pretty long. And instead, the drums are already tech house oriented, I think. But the vocal is keeping the track accessible. For example, like when we go to the drop here. So we just have a park where you can just dance, was kinda style. Or how she leaves and then a vocal comes back already. So I think it kinda differs widths normal house, he tech house tricks there because, you know, with tech house you often getting to this train, you know, to check out strain. And it doesn't really stop with that. But I think there's enough elements here that keep the trick interesting and entertaining throughout the track. 3. The lead sound: So the other main elements in this track is of course the M1 Oregon sounds. And I think this is one of the most used sounds in dance music. Does sound tried here. To M1 organ sounds. It's, it's from a synthesizer or a Japanese synthesizer company. As you can see, it's a stem here, but you can literally take the the M1 replica. They made like a pc vc version of it. And it's depreciates. Yeah, you can go to the browser and then Oregon, and then M1 house split has two sounds. And the organ base is this sounds that we're talking about. So it's later-day. It's literally the sounds. It's already well-known sounds, but it works well. I use it all the time in slightly different versions. By, for example, the Lets all chance leads is based on a organ sound as well. And somebody, if love is, of course an organ sounds. What else? Well, I think that's about it actually. Well, say I use it a lot. 4. The bassline: Then we have to baselines here. They're both pretty aware, it's because they are both Saudi. And those tree iostream makeup for the entire sounds. And of course, like to similar sounds. Working the same frequency spectrum is kinda dodgy because you'll get phasing and stuff. But I can't really hear it phasing at all. And if you play only one of them with the entire track, kind of loses something. So yeah, my tip in this regard would be to if it sounds good, you know, even if you are using to similar basis that are both sub-e, if it sounds good in the ends, why wouldn't you do it? You know, it really, I think it adds something to the low ends. So I think it's necessary in this strip. 5. The drop sound: Another big thing in this track is the sounds at the drop. This sounds right here. And the way that's made is also pretty basic, but a cool technique I think, is you take a sounds. So in this instance, I just took the, so in this instance you take the, the, the sounds and you put it in, for example, direct wave. But it could be any sampler that is capable of looping sounds. I think in the sampler from fruity itself, FL Studio itself, it's not really, it doesn't work that well because you have to work with these and these are not really automatable, are an AR, but it's difficult to get it right. I think anyway, you'd throw a sample in the direct wave. And you can see the sample right here. And then you set it too looping. So as you can see, it's looping like forward. And then you automates. That's knob, right, Aaron, that makes the, the end of the loop go further away from the beginning of the sample. And that's makes up for that sounds. And that's a way that is done. Another really cool way to use his technique is to use, USE IT technique to introduce a vocal, for example, in a break. So you take a part of your vocal. I did that already right here. Detroit in just one word of the vocal. And it break. It only works in breaks. I think you start out really, really small. And then a vocal starts. I think it's a really cool way to introduce your, your focal. So that's that technique. 6. How we kept it interesting: So earlier I was talking about that this is a tech house track or it's a techie track at least. But it remains interesting because of the amount of melodic that are going on. So we have to vocal, hence, later on in the second break, we have to piano. So that pattern is also coming back later in the track and the second dropped to make it more interesting. This is the pattern. And yet those kind of melodic, along with a ton of other stuff is what's make this trek melodically Interesting? I think. What's also difference in the second drop in according or in comparison with the first route is that the baseline is good. It's changes just as small bits here at the second row. So that change off the baseline where it goes up is just to make it possible, that's the piano is doing. It's failing right there. Because as you can see, the bass notes of the piano, it started the bit they go to an F at the second repetition. And if you would do that with the same baseline pattern as the beginning, it will sound out of tune, of course, in a break you don't really have that because as you can see, it only takes mysterious notes. In the last couple of there's no notes here. So if we take this and put it there as well, very opportune, basic stuff. I think that's all the interesting melodic in his track. 7. The drumloop: So let's start with the kick. Basic kick. The clamp, however, is not really a clamp. I think it's more of a rim shot. And these are all high end, high ats ands then these two percussion stamps are really a, a sounds that's out there. It's more like, yeah, it's kinda meshes with the high head. So I think this one maybe is what? What is interesting about this, this drum loop? I think it's fairly basic, but they are good drums, good samples. This goes little. Good ghost Luke. Well, I'm obviously not using it as a actual kick ghosts channel because that's what this is, this I chant gig. But this was some kind of mistake when rescaled bounce out the stems from his sides. And I think it's like it gives some kind of suction effects to it. I have no clue what it is and how it's ended up sounding like that. But if you listen to it on its own, and then in combination with the kick, it kind of gives you the suction effect. And that's suction really adds to the crew of, I think like the cake is getting sucked in all the time. So I think that really adds something. So I kept it in. And yeah, I think that's about it for all the drums. 8. How we made the radio/Spotify edit: So since this trend can be explains pretty quickly, maybe we can talk about the radio edit 4-bits. So while this project loads, i'm talking about radio edits, but nowadays it's more of a streaming edit because not everyone wants to listen to a 44 or five minutes, six minutes rank. Normally to extend that makes up a track, especially in this Shomron, the Morehouse he genres are shakes. Sometimes 5-6 minutes. And of course, if you're streaming something, you don't really want to listen to a 3045 seconds intro or outro. So in a streaming editor, radio edit, you cots out most of the unnecessary stuff you just want to get to, to just off your track as fast as possible without without doing injustices through your extended mix, through your complete track. As you can see, how we cut off a lot of the intro stuff, loves the outro stuff like this, and this red bar right here as the entire trick. I think the original track is 4042. And the radio edit is tree 12 showed there's around one minute and 30 seconds cutoff. And you know, one of the reasons, of course, is that you want to get to the gym if you're track as fast as possible. But why do you want sets? Well, first of all, you have to the group that doesn't really want to listen to a long intro. I get that. But also Spotify for example, works widths and algorithm. And that algorithm gets fats data. It gets fed data. Unlike if people skip your track or not, how long people are listening to your trick. And that all makes up for if your track is going to appear in play lists for example, or in, it gets suggested. And people. So, you know, as a musician, you don't really want to pay attention to all this technical Spotify stuff, but it is really necessary, I think, to make your music earth. So keep, keep that in mind. So for example, a couple of things we did to make this track more accessible for streaming audience is to cut off this whole thirty-seconds of intro right here. It does, starts with a beads only and base only. And I just did that because I still wanted to be a techie track and the anti don't once the extended makes to be a tech house track. And then all of a sudden the streaming edits is a poppy song that will be where the fink. So that's what we cut off. The second break starts immediately with the piano, and normally that would starts here, bits with the streaming edit, it starts earlier. So that makes this whole second break, 15-second shorter as well. And then of course the whole altro is removed. It just ends at the end of the second drop. So I felt that was a pretty nice ending as well with the echo on the vocal. So yeah, those are my tips on making radio edits. Another thing we actually did is we started out with the snare SSH. And I think that's a pretty good touch as well because that makes its stand outs from a lot of other tracks. You know, a lot of other tracks starts straight with the HUC or straight with a beats or, you know, it doesn't start out with a film like that most of the times. So it was a pretty good thing as well, I think so. Yeah, I'll buy all radio edits are streaming edits. Make it as short as possible without doing any injustices through your trek. And go for maybe 23 minutes. Second sip tried to start your radio streaming edits with something that catches the air immediately. You know, something that's not everyone is doing. So, you know, people who are first listening to your track for the first time, that they are, you know, invested in it right away. So yeah, I think that's about everything I can tell about this trick. I hope you guys learned something. I hope you had fun. And I hope to see you again in a next video, right.