FL Studio 101 - Learn FL Studio in just a day | Martin Svensson | Skillshare

FL Studio 101 - Learn FL Studio in just a day

Martin Svensson, Learning music creation since 2006.

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69 Lessons (9h 35m) View My Notes
    • 1. Introduction

      1:17
    • 2. How To Try FL Studio For Free

      4:36
    • 3. Which Version Should I Get?

      6:28
    • 4. The First Steps in FL Studio

      1:57
    • 5. Brief Overview Of The Interface - Part 1

      1:39
    • 6. Brief Overview Of The Interface - Part 2

      6:00
    • 7. Brief Overview Of The Interface - Part 3

      7:24
    • 8. In-Depth Overview Of FL Studio - Part 1

      8:00
    • 9. In-Depth Overview Of FL Studio - Part 2

      8:00
    • 10. In-Depth Overview Of FL Studio - Part 3

      3:37
    • 11. In-Depth Overview Of FL Studio - Part 4

      8:00
    • 12. In-Depth Overview Of FL Studio - Part 5

      8:00
    • 13. In-Depth Overview Of FL Studio - Part 6

      4:41
    • 14. The Channel Rack - Part 1

      8:00
    • 15. The Channel Rack - Part 2

      7:08
    • 16. The Mixer - Part 1

      8:00
    • 17. The Mixer - Part 2

      6:00
    • 18. The Playlist - Part 1

      8:00
    • 19. The Playlist - Part 2

      8:00
    • 20. The Playlist - Part 3

      7:09
    • 21. Creating a Project Template - Part 1

      8:00
    • 22. Creating a Project Template - Part 2

      8:00
    • 23. Creating a Project Template - Part 3

      7:53
    • 24. Programming Drums - Part 1

      8:00
    • 25. Programming Drums - Part 2

      6:17
    • 26. Grouping Tracks in The Mixer - Part 1

      8:00
    • 27. Grouping Tracks in The Mixer - Part 2

      6:03
    • 28. Create Sidechain in FL Studio

      7:31
    • 29. Setting up Your MIDI Keyboard in FL Studio

      5:47
    • 30. Automation Clips

      7:46
    • 31. Shortcuts You Need to Know

      10:40
    • 32. Creating a Full Track - Part 1

      8:00
    • 33. Creating a Full Track - Part 2

      8:00
    • 34. Creating a Full Track - Part 3

      8:00
    • 35. Creating a Full Track - Part 4

      10:33
    • 36. Creating a Full Track - Part 5

      8:00
    • 37. Creating a Full Track - Part 6

      8:00
    • 38. Creating a Full Track - Part 7

      6:37
    • 39. Creating & Handling Backups in FL Studio - Part 1

      6:00
    • 40. Creating & Handling Backups in FL Studio - Part 2

      6:47
    • 41. Autosave in FL Studio - A Lifesaver

      2:12
    • 42. Organising Samples in The Browser

      3:44
    • 43. Creating Presets for Plugins FL Studio

      4:13
    • 44. Maximum Velocity Through MIDI Keyboard

      2:01
    • 45. Piano Roll Workflow Tips & Tricks

      5:14
    • 46. Q&A Session - FL Studio DAW

      20:03
    • 47. Playthrough Of Finished Track

      2:52
    • 48. Idea & Reference Track - Part 1

      8:03
    • 49. Idea & Reference Track - Part 2

      8:03
    • 50. Idea & Reference Track - Part 3

      12:46
    • 51. Time Markers

      8:07
    • 52. Arrangement - Part 1

      4:10
    • 53. Arrangement - Part 2

      10:01
    • 54. Arrangement - Part 3

      10:01
    • 55. Arrangement - Part 4

      10:01
    • 56. Arrangement - Part 5

      15:18
    • 57. Small Audio Fixes

      2:13
    • 58. Arrangement, Drop & Break - Part 1

      12:01
    • 59. Arrangement, Drop & Break - Part 2

      12:02
    • 60. Arrangement, Drop & Break - Part 3

      12:02
    • 61. Arrangement, Drop & Break - Part 4

      11:37
    • 62. Finishing The Arrangement

      13:36
    • 63. FX & Prepare for Mixdown

      33:39
    • 64. Export For Reference Listening

      2:30
    • 65. 3

      5:33
    • 66. The Mixdown

      26:14
    • 67. Adding More Sidechain

      6:44
    • 68. Mastering

      27:19
    • 69. Post-Mixdown

      6:59
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About This Class

In This FL Studio - Learn Music Production in FL Studio for Mac & PC, I will show you how to manage FL Studio in just one day. Did you know that FL Studio is now supported by both Windows & Mac?

We're going to cover everything from how you download FL Studio, to choosing the right version for your needs, as well as going in-depth to the software. This course is perfect for beginners!

We will end the course with a music production stage where we re-make a song from a well known released song. We're also covering arrangement, mixing stage, and mastering stage as well.

This course is created for the absolute beginner as well as advanced users who want to expand their knowledge in music production. We are covering all of the techniques that the biggest music producers are currently are using as well as limiting ourselves to create music. Everything that is done in this course is made in the box only - so all you need is a laptop such as MacBook Pro or a desktop computer such as an iMac.

This Course Includes All You Need To Create Music Production in FL Studio. Everything that you need to use is included in this course.

We are also including 10+ Sample Packs that will improve your productions as you can use them for free in your own tracks - all royalty-free.

This course is designed for every skill level from Beginners to Advanced. If you never used FL Studio before, that's totally fine as well. This course includes an introduction section where we will download FL Studio and show you how to manage the most basic functions of FL Studio to get you started.

Improve Your Music Production Techniques and Start Making Professional Music With Quality in No Time!

Regardless of what your level of experience is or what type of music you are creating, this course will take your knowledge to a whole another level. I will show you step-by-step how to create a full Music Production with FL Studio with Mixdown and Mastering included.

Unlike other Music Production courses, this course will cover everything from scratch and improve your overall music production level as well as getting you motivated to finish your music instead of letting your music ideas die within your project file.

About the instructor:

Martin Svensson started producing music since 2005 and teaching since 2016, and now has over 23,000 happy students learning music production and other related topics viewed from a Music Producers perspective. Martin has been working with different producers around the world as well as co-created a few very well known tracks with other musicians. Martin is based in Stockholm, Sweden

Transcripts

1. Introduction: Hey there! And welcome to the Learn Ephron studio for Mac and PC Course My name, Miss Mona Svensson, and I'm a music producer. I've been using several digital audio workstations like efforts, studio logic and able tone, all of them in combination. For over 10 years now, I've been creating music for a lot of different music producers, which is how I make a living, by the way, and everything is made straight into the box on my laptop. In this course, I'm going to show you how to quickly get to know the digital audio workstation called FL Studio, and we're going to work with ever studio version 20. In this course, my goal is to teach you how to go from knowing nothing about that for Studio to create your first full track. In just one day, we'll cover everything from how to purchase and down on the effort studio, from the website to the layouts to the different sounds and plug ins that comes with it for studio toe. All of the different settings automation, piano roll playlist, arrangement mixer, section key commands, the file browser and, at last, how to create a full song from scratch. I'm also going to show you my own secret tips and tricks that I've been using with Efforts Studio for years and years. Alright, guys. So I hope you're as excited as I am to dive into this course and start making music with Effort Studio. 2. How To Try FL Studio For Free: All right, guys will come back to the course. So in this video, I'm going to show you how to try out f a studio for free. If you're not decided on, if you want to purchase ever studio or not, or if you just want to try out the product with this course and try to learn if a studio, you can do it all for free. So first, let's narrate to image dash line that come and you will come to this website. You can see a for Studio 20 is diversion off. Now you can see this button here download trial. So let's click that. And here you can see you can choose between a Windows version and a Mac OS version. So Effort Studio always had a Windows version available, and ah didn't support Mac OS until recently. So it's very nice that both Windows users and make Os users can use efforts to you now. So depending on what version you have, you just click on it. You will download on the Staller. You can see her full installer and trialist dollar. So what you basically do is to Donald a. Staller collect that you want to try the product out. When you do that, you can do everything. But there is. There are some. Try a limitations here, So as you can see, you can save it for studio projects. So you can do that. Ah, but reopening, save project. It's not possible. Some functions that use save load capability don't work in the trial. For example, clone channels and the same preset asked menu options you can export to wave and MP three files. So basically you can create a project. You can't create a full track and they can export it to wave and MP three. Thank you. See the trialist equivalent to ever studio plus all plug in bundle so you can test all features and plug ins. So in next video, you will see comparison between the different efforts studio versions that are available and you just choose whatever version you want to have a Mexican. See, this trial here is basically the biggest every shin you can have. So let's say that you're using it for studio with the trail version here and you see that you you're always going to one or two or several plug ins and do you feel that you really, really want the's plug ins that you can decide on what version you want to purchase? So it's really nice that image line has, Ah, you can try it out with the old plug in bundle you can see here. Free trial test. All feature since extra plug ins Time Unlimited. No registration or account needed one installer for trial and full versions. So it's very nice, Um, as well. You can just purchase it, and it can unlock the trial as well. So as soon as you unlike the trail, you can use the full version there as well. You don't have to, let's say, install the program and then uninstall it and reinstall every download and stuff like that . You just basically get an access code and then unlock efforts Studio With the trial that you have installed, you can do almost everything with the trial version here, but you can't save in a first studio project and then open it. That is the big limitation that they have with the trial. So let's say that you're working with a project and you save it. Then you can't open it up again. you, you have to start all over again. So it's not relieved that good to just stay in the trial of the time. Ah, it may work if you're working really, really quick and want to just get out some tracks with one sitting in one session. You can do that, of course, but let's say that your computer crashes or something that you can't open up a swell. So ah, I really recommend you to just start out with a trial here, just Donald. Try it out and just keep watching the course. We're going to create a track of full track later on the course. So just hoping into the course. So, as I said before, you don't have to pay for the first studio to wash its course. You can get this trial and watch the course with the trial version. Alright, guys. So that is it for this video. Let's see you in the next lecture 3. Which Version Should I Get?: Alright, guys, let's take a look at image line dot com, which is Efforts Studios website and the image line as the manufacturer off the effort studio program so you can see under first. So it against see on their introductory webpage here you will see a brief description off if a studio, um, as seen here, and you can also download the trial version. So let's say that you're not really sure if you're going to have a first address, your digital audio workstation or if you want to just try it out with this course, I will strongly suggest you to download the trial first before buying. It is going to work as the full version, but you can't really save projects where the trial version, So that is the only thing you can, too. But if you're taking this course and you're nuts owning effort studio, as of now, they can just down at the trial and fall along this course. No work really good, so you can also buy efforts. Studios again see here. So if we click here will go straight to the shop here. And as you can see, there are different versions off ever studio. You have the first fruit edition, as they call it, and is again see supported operating system. This is we know Semak, as I explained before, and and then we have. So we have the food edition, 1st 1 which is 89 euros. And then we have the Producer edition, which is 189 years seen as your bundle. So 100 years more and then you have effort studio old plug ins, which is significant Any the price here. As you can see, there s Oh, this is the main reason for this one s and why it's priced a lot higher than the previous version here is because this vision contains all of the plug ins that image line has and that some of their plug ins are really, really powerful. So um, so yeah, they're I mean, if you got the money and if you really investing into your music production, I would say go for the dispersion, because you will have basically everything you need to have. Um, there are, of course, some different third party plug ins that you maybe want to own. Because some of the third party plug ins that can find out there has, Ah, nice sound to it that you want to have. Or let's say that you found a plug in with really nice sample, Let's say really instruments. Um, yeah. Then you can go with the Fruit Edition and then just purchased a plug in, for instance. So the main differences between this this versions here is Let's see here in this little box here, you can see that the fruit editions is no odor clips, no audio recording, limited playlist features. So I would not recommend the fruit Edition because you can't even do all the eclipse. So let's say that you have, ah, beat or let's say, did you have some audio samples? Which is a very commonly used nowadays that you create your music will exist in audio loops or audio files? Then I wouldn't really go with this fruit edition at all. The Producer edition is, in my opinion, the best bang for the buck because you will get all the recording and full placed features pollutes. It's extra plug ins as listed, and, um yeah, so you you won't have the VSC plug in versions. We will still get the plug ins that comes with effort students. So what this means is that you can't really use all of these plug ins that comes with a for studio, the eight extra appliance. Um, you can't really use them with other digital of your workstations. But if you're going to stick with it for studio, there's most like sense to, um, go with the VSC plug its anyway, so you can also always, like, add extra plug ins and instruments. So let's say that you have a plug in that you really like. Or let's say that you watch this course and you see that while this plug and I really need to have it. But I don't want to own all of the plug ins that comes with this price, Then you can just She was one by one like this. You can also download samples like that so you have all of the different sample packs that image line creates. Um, like this, you can read all about them and ah yeah, that is all they have on the image line sites. You also have the signature bundles. So what? This is's basically just more plug ins. If you want to compare? This is different versions between them. You can go to another section. I just want to point out here that this is in euro. You can also go with the U. S. D. U S dollars and yeah, this is the prizes for that one. As of now, when I record this course so if you go to here, you can go to additions. And here we can see all of the differences between thes pretty producers, signature and old plugging spinal. Switzer said before this producer version as the best. If you want to produce music and your and creating most of your tracks, um, in the box, So meaning that you don't have any other external instruments like that. Then I will go for this version. But you can still you can still do all your recording with this against their use different external instrument with this as well. You can read all of the differences between them A so you can see here. So I strongly recommend you to go through this and see what type of version you will need. So, um yeah, and just choose division that you find is suitable for you. Alright, guys. So let's see you in the next lecture 4. The First Steps in FL Studio: All right, guys, welcome to this first video in the FL Studio 20 course. So in this video, I just wanted to let you know that, um, effort studio has been doing some different changes between the versions. So version 11 or 12 for instance, they differ between them. So even though you're very familiar with, let's say you're being creating music with efforts Studio version 11 and now you're taking this course for version 20. I was still think that this course is good for you. So even though you'll be using if Astrea a long time but not this version 20 I still think you should take this course. I'm gonna go through all the new stuff as well as a brief introduction to F A studio. So if you're never been using it for a studio, or let's say that this is the first time you were producing music at all, I think this course will fit you as well. This course is suited for all the people that has never bean creating music with that for studio. But as I said, I still think that he should take this course if you have been using the previous versions off Fo studio prior to version 20. And as you can see, my version of effort Studio may look a bit different than yours. You can see here at the close, minimize and maximize. Ah, buttons here on this is because I use efforts Studio on Mac, but they are exactly the same on Windows operating systems as well as Mac operating systems . So if you're using Windows 10 or Window seven or or Mac OS, for instance, it will be exactly the same. It looks the same as well. So let's see. With the next lecture, we're going to cover the basics off efforts Studio. Let's see you there. 5. Brief Overview Of The Interface - Part 1: Alright, guys, let's take a look at the interface off efforts studio. There's against the first. We have the close minimize and maximize buttons on the left hand side here instead off the usual case when unusual case windows is that these three buttons here are on the right side . But yeah, I'm using Mac for if a studio for discourse. But it's the same thing for Windows or for Max, so all of these buttons will be on the left hand side. And if you're using my cois, your buttons for close, minimize and maximize are always on the left hand side anyway. So this change is only going to effect Windows users the different buttons on this side that you will open and close all of the time when you're working in a for studio. So let's take a look at them. I will close this playlist we know right now. So just closer like that, this is the mixer. I'm gonna close it as well. So here you can see first bonus the playlist to be open and close it by just clicking their players button here. Next one we have is the general. Next one we have is the channel wreck, which is this one. Then we have the mixer and then we have the browser on bullion picker. 6. Brief Overview Of The Interface - Part 2: All right, guys, welcome to this lecture when we're going to take a look at the Interface Off Efforts studio . So this is how it usually it looks when you load up ever suited for the first time. And as you can see, there are a lot off different buttons here. There are a lot off things going on here already when you start ever suited for the first time. So as you can see here, I have the clothes minimize and maximize Spartans. And these are the only buttons that differs between the Windows version and the Mac version . Um, on that we have the menus file edit, add patterns, view options, tools and help. So we will cover these menus in the late, later lecture. Um, for instance, you have all of the regular open and save important export. Um, the edit, this just cut. Copy. Um, Then you have add, and this is all of the plug ins that we can add into your projects. And, um yeah, so you have different plug ins here, but also effects on. We will cover all of these plug ins in a separate lecture later on patterns. Also, we will also do Ah separate lecture about that. Then we have the view options, so there are a lot of different options Center for studio, but we'll cover that as well. Then we have the tools. There are different tools in our studio, and we have the help section as well. And in this course we will not cover efforts. Studio in depth because we want to learn that for studio in the day, basically. So I will cover all of the basics and after studio and everything that you need to know to produce music. So you have a lot of different options enough for studio, since Efforts Studio is a massive program to create music and audio editing, media editing, another music production related tasks that you can do in F A studio. But in this course we will cover everything you need to know to produce music. Um, all of the different artists and producers out there that's uses if a studio, they know this, that I'm going to teach you in this course, and we also going to have a separate course, which is going to be a lot longer than this one, and we recover everything in depth, but I think it's very important to learn you're digital audio workstation very fast so you can get starting to to use your They did all the work station and produced music as quick as you can. Um, yes. So instead of just watching a course that IHS, let's say 20 hours long or something of that Ah, where we like a learned that you're not really going to use at all in the future. Instead of that, we're focusing on what you need to know and also how to start to create music, because this course is all about that. Okay, so next thing that tohave here typing keyboard to piano keyboard. So if you have this enabled, then you can play your keyboard like, um, your physical keyboard on your computer with the media keyboard. So as soon as I play something or as soon as I type something on my keyboard here, then we will have ah, some sound outfits here. I'm just pressing my keyboard physical keyboard on my laptop here. So if I disable this, I can't really play with the meaty in fl studio at all. Um, yeah, but when I have this enabled Isis played like that. Next thing that we have here scrolls to reach time, my markers. We go back here to the left. This section here is our transport sections. So here we can basically go to let's see her song position. So, um, if you want to get forward or backward in your track because we don't have anything here in the track right now, so, um, you can't really scroll through the track right now, but this is the way to go. When you have a lot of different clips inside of the arrangement here, they can just scroll around it with this here. Then we have next one here pattern or song song pattern mode. So if this is enabled that then you will play the whole song. If you have this, enabled that we only play the selected pattern, we'll cover this as well. You will see that in the production section. Um, so we'll see how this is going to work live later on. They have the play, and then they have the stop here record, and this is the temple. So you can just select temple a dragging like this, you can also to it more fine. It like that as well. If you go to them this section with the three zeros here. Now let's take a look at all of these buttons here. So the 1st 1 as the view playlists. So this is the playlist which is going to have arrangement in then. Yeah. And you can also enable or disable it by just clicking and quick and and again. Then you have next one p general. So you enable in disable the piano roll here, Then you have the channel rack, just a name of unstable it mixer, browser and plug in picker. So you have all of your sounds. 7. Brief Overview Of The Interface - Part 3: sounds and plug ins here. Then we have something called open project plugging Picker Don't have Temple Tupper and then you have touch controller. So the two last buttons here. I'm just going to cover this really quickly because I won't cover this later on in this course, but a temple Tepper is basically when you want to find a tempo and ah, you just tap this here. And this will take the tempo if you're tapping basically and I'm you used Teoh produce with a temple around 1 28 ppm. So it may be why this sample is here. Then we have next one touch control and touch controller here they will have the next one here, Touch Controller, There's like a meeting keyboard. But with the's touchpads here is that you can also see that tonality off all of these touchpads here as well. And here is launch content library. So if I click on it here, they will load up a browser with image Alliance websites where we can find their own content library that we can download and then you have online contents and events so you can find difference on news about efforts. Studio here they would have next section. So patterns you can load up different patterns that you're going to create. So the patterns are basically just like clips that you can, um, just brows out like that. And here we have the pattern selector so we can select the different patterns that you're working with and with patterns. Um, if I clicked something on the arrangement here, let's see, let's say that I want, um, some meaty data from five year. Let's say I just click it like that. I can resize it, and I can delete it by just right click my mouse. So I left click to create it and right click to delete it. And that is basically how you do everything enough for studio eso. If you're creating the media that I am piano roll, for instance, you click the left Teoh, create a meaty let's, say, a meaty section or meaty data, and then you in the new right click to just get rid of it. So let's say that I, um yeah, this is just the first pattern, so you can see if I click here and there or let's say that I click as much as I want. All of these is going to be linked to Pattern one. So Penan one that's get rid of all of these here. Pentagon is just because we have selected Pattern one in the Panin selector. So what patterns? ISS ISS that they contain some media data, or sometimes even audio as well. So let's say that we have a pattern one here. Um, and we have that selected here. I can go to the piano roll. Now I can write out something. Let's say I have it like that. So now we have the pattern one here So soon as I click somewhere, I get the same pattern because we have the pattern one selected. But let's say that we have We want to create some other kind off Let's say kick rhythm here because I have it created like the pattern one here. So if I just go to pattern to so I go up or press just, uh Plus, I can also create the name there, um, or I can go here and I can find next empty, for instance. So, like that's and I was that it's the pattern three. Um, so now I can go to the piano roll. I can write out something else. Let's say want that kind of pattern for the pattern. Three. So now if I click here, you will have the pattern three with the same data that we created in the pattern three. Never going to discuss later on when creating a track. Ah, maybe it doesn't make sense for you right now and that it's totally fine. Maybe you're just out there thinking, What is this guy talking about? And I will tell you everything you need to know about Pattern sort of creating music because ah, that is going to be the easiest way to explain how these parents work. Good to note for you that you have this pattern system introduced these buttons here, as you can see, undo, Open, new or the editor. I think that one click all your recording, you can get more help. You can save as new versions. So say ass, then you have render as audiophile, and then you have you project info. I see all of these buttons here as shortcuts on you. I don't think you will use them that often. Um, I don't do that. So, um yeah, but it's good to know that they are there. And if you want to, let's say render as audio file and then you have that shortcut here. So that is actually really nice to have didn't have this song position. So, um, you can see the some position or it can see minutes, seconds like that Don't have bars like this. Don't have the monitors. So you can see all of the audio that is output ID. You can also click on it to get a different way spectrum. And you have the peak meter here, a swell there have the CPU load so you can see how much your computer is actually working. When you're creating our work on your project, then you have the memory uses. So this is will show all of the Ram RAM memory that effort suit is using right now CPU load history. So you can actually see, um, where or when the spikes off the CPI or the processor in your computer is happening? Then you have the amount of voices being processed there as well and CPU panel and then we have some more buttons here. So typing keeper to be on a keyboard that explain before have scrolls to reach time Workers step editing mode. Enable notes You have multiple into controllers that can actually control different stuff that is happening to Emilie Controller there. Have a Metrodome wait for him put to start playing count on before according Blend recording and loop recording. So all of these functions here are pretty self explanatory. But I was still use some of them in this course, and I read the functions that I think are really the most necessary to, um to feel comfortable using when you're creating music. That is a brief overview off the interface in Efforts Studio, Let's see you in the next lecture. 8. In-Depth Overview Of FL Studio - Part 1: Alright, guys. So let's take more in depth. Look at interface in Efforts Studio. So the most important things that you need to know and that you re actually going to use day by day is Teoh. Switch between the pattern and the song so you can do it like that and I will explain in a moment what this does this song I'm pattern mode. You can also change the tempo here, social before you can also right click and choose different tempos. Or it came to go to set here introduce she was the temple like that by um increasing and decreasing like that if you want to, you can also go to typing value here and just type in the valley that you want Like that. And as you can see on all of the things I hover here. You can see this though window here and or this little section here in fl Studio where everything is explained. So as you can see, it tells you that this is the typing keyboard to piano keyboard, for instance, and this is scrolls to reach time workers, for instance, and so on and so forth. So you can also see the different key commands for that, Um, yeah, for the function that I'm hovering over here because he won't be there, Francis. And here we have all of the recording and editing buttons here and here, all of the windows buttons, and there's the pennant selector as well. It can also rename the pattern here. So let's say that we want to rename it as test, and you can also drag up and down here to select the different patterns. So as soon as you can, As soon as I do that, you can see that it's adding apparent to the playlist. Um, it may not make any sense to you right now. What, this These patterns thus and why it shows up in the playlist. But I will explain that more in depth in a while, I will also create a full track. In this course, you will see how I use the playlist and used a different patterns as well. So I think that will make a lot more sense to you when you're watching me create that track life the way it works. Whatever studio in creating songs, study, creating patterns and then you're taking these patterns or clips and just arrange them in the playlist. So that way you arranged a track. So let's close all off these windows here like that. So, as you can see here, first section we have NFL studio is the browser section, and here you can see all of the different samples and different files you have on your computer, as well as the different plug ins that comes with Efforts Studio as well as different plug ins that you have as all the units on Mac or V S t on PC on. And this is the third party plug ins, such as native instruments, plug ins or other plug ins that you may have on your computer channel rack. Here and here are all of the different samples that are stored in this project. Basically so creating patterns within this channel rack, And after that, when you creating the pattern, you can insert that pattern to the playlist toe. The channel rack contains all of the samples that you have in the project, and here is also where you create the patterns that you will have in the playlist here to create the track easily. Explain your creates your patterns within the channel wreck. Then you dragged the channel wreck into the playlist. You can have as many patterns as you want in the playlists. Then you will chop them out. But you can copy paste the movie. You can loop them. You can arrange them wherever he wants. You basically painting out the patterns here in the arrangement or in the playlist here. So that is how you create the track, sir. Section here. So here is the mixer all of the different channel tracks here that goes out to the master, as you can see. And I will explain a lot more within the mixer. What it what it does and how you work with it in a separate video. So just we know that, and I'm going to have all of the different sections here, all off the channel rack the playlist mixer, section, the browser as well as separate videos just so you will know what they do, Um, is good to know exactly in depth what they do before working with it. I still don't believe in, like explaining a very, very much in theory, behind the different sections. I mean, all of these different sections are basically the different elements that you need to have to create your track. It's just that it works different than I for studio comparing to other digital audio workstations. So I need to know how to do that in after Studio, and I will show that by creating a full track, I think you learn efforts studio the most when watching me creating their full track. So let's close all of these windows here. We're going like That's all right. So now we have everything close, so I will explain you exactly how to how the single flows through here in their first studio. So first you have the browser and you can see all of different files, browser and all of the different files that we have the plug ins as well as you can see here. This is the current project, so you can also search for different patterns, effects generators on the history, what you have done in the current project here as well. You can also see the plug in database so you will just get the plug ins here so you can find all of the fo steals built in effects and generators here as well as they installed effects or generators. So let's say that I have some different V S T plug ins here third party plug ins so you can see all of them here as well, and you just double click on the plug in to load it up as well. So we have to go to the browser here, and you go to all so you can see the same thing here as well as here. It can also create a new snap so you can create your own view off the different things that you need that you want to have in the browser. But if you go back to all, you can also search for different samples that we have here in the browser as well. If you want your own fully, as you can see, there are different presets folders here you can add them in. So let's say that I have assembled back folder on my hard drive. You can add that Teoh to the browser here as well. So you do that by go into options and file settings, and here you can see browser extra search folders so here. I can just press the folder and just finding, let's say, a sample back. All right, so I want that sample back. Or let's say that I want a full sample back Fuller. So I'm opening up like that. I can also choose a folder inside of the folder. So let's say that I want deep house top loops for here as well. So now I can also, she was a browser name here if I want to call it something else down the folder. But let's have it like that. And now we can see this is that can expand them like this like that. So that is very nice to use. And the browser in the MFS studio is amazing. It's very fast. It's very quick. It syncs with the tempo. If you're working with Loops and their other stuff like yesterday is very nice. The way the Single Flow Works and Efforts Studio is that you choose your samples here in the browser. So let's say that I use I want to use this sample here. Okay, such is click just right click and opening new channel, and that will load up this interface here and This is basically the sampler in efforts studio. You can see the sample. You can probably like that. You can also drag it like that. You can reverse the sample, Norma. 9. In-Depth Overview Of FL Studio - Part 2: normalize, have a lot of different things. You can do it. You can also 80 s and are so you can choose your attack time. You can juice release time off the sample and a lot. Lot more pitch range is very nice to have you here as well. You can also automate all of these things here so you can choose the pitch range to go to say to at 12 which is an active and then you can automate the pitch That's a from here to here and you will have two octaves they can pitch up, for instance. You can create a riser by that so you can be very creative with these things that ever studio has. They can also choose the route notes there. Here you have their written upset to see five, but you can click. Let's say right. Click here and you can also choose the zone here So you can choose how many keys you want there sound to be affecting. So I can now only play from C three to us. ABC seven here as I chose um, you can fine tune the different route knows as well. Um, so yeah, you can do with that as well. But this is a drum loop, so I would just leave it like it is. And now, as soon as I created a new channel will go to the channel rack here. And you see, we have that sample I just imported twice so I can delete one of those. Okay, so now we have this drum appear in the channel rack. So we can do here is to place the samples here, but since this is a drum loop, I don't want to do that. Goes from the channel rack goes to play list here, then do the mixer out to the Matter channel. And that is what you hear. Two through your speakers. So let's go back and create a pattern. So I'm going Teoh, close these windows here. Let's see. Let's do it like That's and China Rack and that one as well. Let's go to the channel rack and I also want to play list to be like this. So as you can see, as soon as I put the playlist, that channel wrecked disappears in the background, so I have to click to get back to it and As soon as I work something in the playlist, it disappears. So what we can do by that is to go to this drop down menu in the channel rack and just choose detached like this. And now it will stay here so I don't have to worry about this disappearing all the time. Otherwise, you can just click here on to make it disappear and to make it go back. All right, so let's import a sound that we want to have in our project. So every time we load up efforts studio with the new project, you always get the cake, clap hat and snare loaded up as per default so we can do here is to go two packs. Let's say, here we have different sounds that comes with efforts studio, and I want some drums. So let's say I want a kick drum here. I can click to preview them like that. So let's say it. Everyone ate away cake and just take from here and drag it onto this base here. Don't create a new channel for us with this sample, loaded up different instruments or, let's say wants an instrument here. I want to guitar. That's a classical acoustic guitar. And I could just choose one of these and just driving me like that as well. So if I click on one of these instruments here or the samples that I we have in this project we get at this little window that I talked about briefly previously and this is the rapper as a cold, as they call it in I first studio, I can preview the sound by clicking here as you can hear And yeah, as I showed before we can do different stuff 80 s and R and stuff s so that is very nice to have. And, yeah, you just click on the sound to get the respective wrapper off that sound more stuff in the channel rack. So as you can see the dial buttons that you can choose the pan here for all of the different instruments that we have and the volume here as well. And if we open up the rapper, you can see that if I choose the volume here, it's linked Teoh to the rapper here as well like that. Then we have this little dialog box here that iss the number for the mixer track that we want to have. So if open up to make, so you will see all of these channels that we have in the mixer. So let's say that I want this the kick drum to be assigned to Channel 10. Then you go and do it like bets. Anyone also see that this selected instrument here iss actually blinked or selected here in the mixer as well. You can browse through them like that. You can also go and right click here and choose copy value. You can also do that as well in a lot of difference things enough a studio that instead of just browsing through like that, you can just bright click it and then we will always go and get this little menu here as well. And they're very handy. You can link to control it to automate stuff, but just for the basic stuff. Right now you can copy and paste values, for instance. So let's say that we want to copy this value here and want the same value, and this one it could just based value, and you will get exactly the same thing. They can do that with knobs. Let's say you can do that cup about here and you can paste the value here, for instance, So that is very handed to have their andI. Yeah, as I said before, you can browse around them like that. You can also type in value. So it's a woman to be assigned to mix a track 20. Just do it like that as well. All right, so let's create on actual pattern here. So I'm going to close thes windows here. And as you can see, I'm on Pattern three here because we did a test pattern before. But let's go to the plus sign here, and we have the pattern two names. So let's create our first track. I'm going to do a kick drum here, going to choose a color. So let's choose that color for now and just confirmed that. And yet we have the kick here, and I'm going. Teoh change the color of this kick drum as well to the same color or kind of the same, just so I know that the kick drum in the channel rackets linked to the kick trump in the playlist do or program the kick pattern in the step sequence of here. So let's do that. You can just click or left click. They knows that you want to have in the channel wreck. It can also delete them by just right clicking on them like that. You can also drag all of these like that. You can drag it with the right click to get rid of them. So let's program my basic 1/4 kick drum pattern here, and it's just played and there is our pattern. So now we have a pattern here, and you can drag it out to the playlist like that and you can listen to the arrangement with this pattern here. So that is how you create a pattern in natural studio. It's very easy to do that. Play this pattern here and just go to the mixer. You will see that since we chose this kick drum sample to be linked to the Channel Track 20 . Here in the mixer you will see that the audio up it will come out through the Teoh makes a track number 20 and now it I think you will see the difference between the path 10. In-Depth Overview Of FL Studio - Part 3: pattern and the song say Selection that we had here in the transport control. You can see the song, then we're just going to play what's in the song, What's in the playlist or arrangements? That's the same thing here. So let's say that we have this cake here. We can actually just go like that. We can create some different more here and now if we play the song, then you will play all of these things that you have here in the playlist. So that is our patterns. Times three, basically. So if you go toe play here, you will see that we will play all of the's parents in the playlist. We have to go to the pattern mode here that you will see that the select selected pattern here will be played. Actually select the patterns here. So if you go to test here, we don't have anything there, so it would not play anything and the kick and you can also browse through the different patterns here. You can also create new one, as I showed before, and you can see different as settings for this basically, so you can renaming color. You can select a debate in the playlist. You can clone one that is very nice, want tohave. You can also delete and moving up and down. But I think this view is better to do that for another option in this channel. Rack here with step sequencer. It can also open up something called Graph editor, which will generate a few different options for the selected knows that you have here. So, for instance, you can pitch the notes here. You can also put some different velocity, so there's a lot of different things. You can do it. You can also panda different individual sounds here as well, and you can just play around with this. There's a lot of different things. You can do it. Take a look at the play less here, so let's close to Channel Rack and the playlist is where we going to arrange a track. So I'm going to take all of the's pattern clips here and just over them like that. And as you can see, you add a new pattern by just left click and you delete it with the right quick. You also have a lot of different tools here, says you can see, we're now at the paint tool. You can also choose draw tool, which will allow us to just put one and then move it. You can't painted like with the pain, too. Like this. There are some different tools, so delete you just click it and the lead it. But that is, I mean when using the paint or draw mold that will actually be built in by just right clicking on the the pennant. Then you are mute so you can use an individual pattern like that, and you can also enable the sound my back. You can put all of these parents here in whatever track you want, so you can actually do it like this if you want to, but just to stay organized and delete all of these to have one individual sound per track. It's very nice to just rename Color and Aiken the track itself. So let's do that. I'm going to go with cake, puts a similar color there as well, and just make like that 11. In-Depth Overview Of FL Studio - Part 4: All right, guys, welcome back to the course. So just to recap some things here, we're going. Teoh, recreate this project. So let's quickly creates a kick drum here. Quick drum pattern. Or instead of just drawing that out, we can just right click here, fill each four steps and now we have a keypad in Cool. So we're gonna do here is to rename this pattern here the name and color kick, and that's calorie bread. So now we have the kick drum. So let's create a new pattern here, and we're going to call this collapse and snare. Oh, yeah, we can also, uh, cholera it as well. And by the way, if you don't like no the color that you want for each instrument, um, you can just right click here in this pattern random color. That's it. You can do it that way. So now we have a new pattern ear, and I'm going to create a crap like that in a snare like that. Thereis so let's go back to the kick drum here to just select it and having it on the playlist and select this pattern the clapper snare, and have it that there as well. So I'm going Teoh rename the playlist arrangement here as well like that. And, um, that would change color. Yeah, and we want the same collar, basically just too. So we So we're not confused. So this is that color, and we have a red there as well. Greats. You can also change the icon here. So let's say we have a kick drum that is a kick drum collapses, Snares. Let's do that, for instance. Very nice. So we can play the song and there is our song. For now, let's create a new pattern. So, parent three and we're going to call this hats. Let's go with Connery as well. Something yellow would be good. I want to feel each two steps and now we haven't had tears. Well, so let's play the pattern. Nice. So I am the hats here, and that's renamed Color, and I can this as well. Two hats. I want the same kind of yellow there as well. And now just place the hats pattern there so we could choose son mode. Full drumbeat. Now, today's very nice we can do here is to group these tracks these three tracks here to one track. So what do you will do here? Is Teoh, right? Click on the track that you want to group with? So let's say I want to group these two tracks with this first track here. I just go to the track that I want to group with Group with above track like that and they're the same thing us as well here on the hats track. So now you can see the cake collapses now and hats track are grouped together so you can expand like that for this whole group here, through there. Nice. He can just do it like that and you can minimize things and organize things this way to group a lot of tracks. Here. You can just right click on each track. Press the letter G like that. I know we can group a lot of different tracks here. It's very handed toe have here when organizing stuff in your project is to just go with other color group that will call her all of these tracks that you have grouped together. So now it's it's a lot more organized. You can see the red background here on all of the clips here that you're going to use in the arrangement in the playlist here we're working with a channel rack here, and working with the step sequencer we can do here is to open up the piano roll, and that will give you a lot more flexibility Well, when creating on notes. So, um, you could just choose whatever instrument you want here, let's see what have the kick clap and had and sneer. You can just right click on one of them and she was piano roll and that will take you to the piano. Roll off the instrument that you quick so you can also see that piano and the kick. So if I open up, clap here, for instance. That's going to open up the piano for the clap. And here I can create notes a lot more precise notes. Eso like we have now Frances in the, um in the pattern off the collapse and snares here. So let's go to that pattern like that. And now let's go to the piano roll, and now we can see the notes that we created here, so it's basically the same thing as a step step sequencer. But you have a lot more flexibility within within a piano roll so we can do here. You can say well to resize that note, for instance. You can create new notes, you can pitch notes. You can also delete them by just right clicking the mouse I met and you also have their control here. So here we can control different velocities release. You have a lot of different things you can control here. So you're actually controlling the note that you're riding out in the piano row. So if I want to like but say I want a lower velocity on one of the notes, let's say this note here I can just lower the velocity like that and has taken more in depth. Look off the piano roll. So to create a new instrument here can just go with the plus sign here. Or you can also go to add. And here we have all of the plug. It's let's just go with the plus sign here for now, and I'm gonna go with fruity or fo keys, and this is a very basic piano plug in that comes with Effort Studio. I'm just playing that on my keyboard here. And as you can see, if I let's just create new pattern here and just call it piano, it's collar it as well. Great. So now if I just go with this step sequence of here, it will only play the middle C off this note. So let's play that on. I can't really do anything here, so let's get rid of that on Open up the piano like that. So now we have the piano here. You can also make it full size like that just by double clicking the title bar here. So now if I want to create ah, let's say a court here, I can just draw out Accord. Let's do that. Well, enough of Studio is one of the best piano Rose. I think out there claim on all of the digital audio workstation ounce out there, for instance. I've been using logic a lot, unable to live a lot but f for students by far the best piano role when it comes to flexibility and how to work with different notes. And there are a lot of different tools you can use here. Um, I'm not going to go through exactly all of the tools because that would make the course like a year Hong or something like that. So I want you to explore a lot of these different functions by yourself. I'm going to use a lot of functions when I create tracks, so you will see how I use them. 12. In-Depth Overview Of FL Studio - Part 5: But if you go to this menu here, you can see all of the different things you can do here in the piano roll. So, for instance, you have transposed up and down, which is very handed to have or one octave up. We want opted down, for instance, you have all of the to Syria can create quickly kado quick want ties Can our page e eight, for instance? Um, you have different views you can use, um, such as key labels. For instance, it can have all notes showing up here like this. This is very handy as well. Um, you can zoom in and out. You see all of different kick amounts here, just on the side off the selective thing. Here you have time workers as well. You can create time markers within the piano roll. Um, yeah, you have a lot of things here, but we're going to focus on the creation off the notes here. So you have all of different brush to append to select tool and zoom to a friend's us. So just to show you very quickly, what I use is the draw to so with the drugs to weekend Great nose like that, and you can also delete notes by just right click. So you left click to create the notes and right click to delete that. It can also lead multiple nose like this. And if you want to create notes like that or multiple nose like that, then you go to the pain, too, and that will make it like that. So let's go back to draw two here and when I use very often let's say that I create a court here and I want to create a corporation so going to use the same thing here as well. So instead of just drawing out notes like that, each and every note you can just use control is just hold control and drag with your mouse like this. You can now select the notes. If you have a Mac, you're just going to hit or on hold the command key and do the same thing. So now I can just do it like this, and I can basically I can basically copy and based its Now I can just drag it out like that , and I can do the same thing with all of these notes. So Let's say that I, um and do it like this, I could just move them Very boring corporation. So let's zoom out a bit. You can see you can zoom it like this, and you can also it's close the channel rack here, going to create a new corporation here. So still like this, go to lower the temper bit. All right, so now I want Teoh use the same notes here, but I'm going to change it up a bit. Yeah, And instead of doing that, just select them all here. I just tried him them like that. All right. So we can zoom a bit here, as you can see, and I'm going to copy these as well. And now I'm going to do something else here. So let's say I select these notes, - not the best masterpiece. I don't but just to show you how to quickly create notes. So let's take a look at the transposition here. So if I have a lot of different notes selected or one note, let's say I can just put shift and just go with up and down arrows on my keyboard. And now I can just transpose it by no tear or by going to control up and down or command up and down the Mac and I can go on a whole octave off, up and down. Let's take a look at the mixer. Now I'm going to close the piano roll here and now we have a pattern here called piano. So let's get it out here as well. Going to rename and color this track here and call the piano. And, um yeah, we have this such a brownish green kind of color. So let's do that as well. So now I have the piano track here, So we want to assign this piano track and the kick track as well two different mixer channels. So to do that, we can go to our channel rack here and here. You see a little field here that shows you a number. So the number one here IHS linked to the mixer and the mixer Channel number one. Or insert one here so I can just let's say that I want to kick, clap and the hat and snare to be linked to the same mixer channel. Then I can just go and selected to number one here like that. So now all of these tracks here will play in through the mixer, Channel One. So that's the same with the piano track. For now, all I can do that by just clicking there. Now you can see it's not lit up like that. Like that the tracks here. So let's just play it and take a look at the mixer. Of course, we need to change it to the song. Mom, you can see it's playing through the mixer Channel number one because we set all of these two mixer Channel One. We don't have the piano sets here to any mixer channels. So that said it to number two. And that's enabled that as well. It's very low in volume. Okay, so I'm going to chain up the velocity here. So what I do here is to just draw it out like that. And now we have full velocity on all of these notes, and this should sound a lot louder. Oh, that was a lot loader to our mixer here. You can see that here we have. Ah, no pan dial here. So this is for all of the different mixer channels then We have reverse polarity so you can reverse that in the mixture. Anger gets swept left and right channels so you can 13. In-Depth Overview Of FL Studio - Part 6: swept the difference audio that comes from the left to the right and vice versa. Then you have stairs. Separations. You can separate exterior from the audio material X Coming up through this Mr Track, There have the volume meter. Here you have your different insert track laid and so you can see that as well. Yeah, arm disc recording. So that comes Teoh. When we go to the recording section, you will see what that is all about. Let's take a look at a different insert you can use in the mixer. So let's go with this piano section here and we have It's makes her section selected here. So when we have that, we can go to this section when you see can see the different slots. So what you will do here is to choose one of these slots on the singer. We will actually travel through these slots. So if you choose one plug in to be, for instance, on slept one that will travel through that plug in and then come to deploy again that you have said onslaught to and so on and so forth. So let's say stuff one here I can just go away. Let's see it. Delay Plug in here like that. And now we will hear the delay coming through or the signal coming through the delay and then back to the master track here. And then you have different presets as well. But this is just for this plug in here. So let's close that, and you will see that we have this insert. You can also push how much you want off the effect to be routed through this track here. So basically how much output you want off the effects here. You can also enable in disabled as well. And one more thing that is very nice to know where the mixer is, the different view section. So you can actually have it like this set up like that and you will see the big overview off all of your tracks on Yeah, you have a lot of different pre style views here. I like this view very much. You can see all of different inserts here, and yeah, as you know, with all of the things and I for studio can just right click rename color, and I can. So this was our piano rights and we have Ah, green color. So now we have this set as well in the mixer. So we're done with a very, very, very short track here for now. So I'm just going to show you how to export and save this track. You could just save it like he wants. And you can just choose a location on your hard drive, so you just save it, rename it, and you have it saved on your hard drive us on F o P. File so you can just open it on efforts Studio. If you want to explore the track, you can do it by Go to export here and you can choose Wave MP three and all of the different files here. So let's say that we want it to be a wave file. I can just do it like this on. Did you say this is a Mac, as you can see here? So it may look a bit different on your computer. If you go to export. Let's say that we wanted to be an MP three file. You can do it like this as well. So if you passed through that same window, you just go and save. You will get this in the window here, and you will see all of different modes. If you want Teoh export just a pattern or their full song, and you can choose if you want to tale to be leave where if you wanted to be cuts and then So let's say you have a lot of different reverb is at the end. It just you can just tell effort Studio Teoh lets the river tale to be played and recorded in exports or if you just wanted to be cut whenever the Panthers are ending in the play. This arrangement, even though there may be a like a reverb tail or something that so you can choose, wave them. Three. All of these different outputs here as well. You have quality and you have different stuff here as well. So we're going to go through the export settings in a later video in the course, so you will see that as well. You can also see the laying theory. This is very nice toe have and the disc space that this track will will take up when you're have this exported. Alright, guys. So this is a very, very brief introduction. Jeff A studio. Let's dive deep into efforts studio in the next lectures, so see you there. 14. The Channel Rack - Part 1: All right, guys, welcome back to the course in this lecture. I'm going to talk a little bit about Channel Rack in Efforts studio. So the general contains all of our channels in our project. So what I mean by channels is basically all your samples. Obviously, plug ins, effects or automation, different sounds and instruments to the channel wreck. It's very easy to do that ended in the browser. So if you just browse for some, let's say sounds, you can just drag it in like that. You can also choose your own samples and just try the main like that to the channel rack. It also press the little plus time here to add a plug in. So all of these are efforts studio built in plug ins. They can also go to more plug ins here, too. Open up your third party I V S T and audio and plug ins. Also delete one of the tracks here by just going to the track and press delete. If you want to modify the sound itself that the track contains, you just left click on the sound and you get this rapper here as they call it in effort studio, and here you can modify a lot of different settings within the instrument or within the sound. So the wrapper contains the represent basically a sampler for audio files. So if you have an audio file imported to the channel rack and click left, click on it, then you will have the rapper here. So the rappers, basically, I like I said a sampler. If you have a V S t plug in, for instance, you just left click on it, and that will open up the VSD plug in besides the channel rack, so you can add in more steps into the steep steps sequence of here. So if you re cited by this, you see will get a lot more steps here, you can also resize it like this. If you have more channels here, you can also recites it here if you have. If you have a lot of channels here and you wanted to this channel wreck window to get bigger, you can do that. You can also press here to get different groups off channel racks. You can also Reese ice the name here. So you see Now I can see it, says classical acoustic care, which I couldn't do before. So you can resize the whole track name but a near by doing it like that. You can also play imports this pattern by clicking this button here and here we have the main swing parameter. As you can see here you have the graph editor so you can modify the different parameters off each notes in the selected pattern here. So you see, you have notes, velocity release, find PAN and other stuff like that. Then we have the piano overview so you can just switch between the different views off, having it like a step sequence there, or have any more like a piano row. So if you have it on like this or if you have it on like this, but you can see the piano roll view in the selected track, you can always just right quick to get the piano roll out like this. Now you can just edit different stuff and just close it by pressing the right click here again. So let's say that I want to edit the cake here. I can dio very simple things like that, and I can enable disable the tracks here. So let's disable the keys now and just having the kick here. And let's say that I want to create more advanced kind of notation here. I can just click here. I get up the piano roll right click here and now I can see my notes. I can also see the nose off the other track that I have here. But they are great out, and this is just because it's a lot simpler to create notes when you can see your other tracks notes as well. For instance, if you're creating a chord progression and then you want to create a melody on top of that , that is better handed to use. So as you can see here, I have a corporation now, and I can just drop some melody if I if I would want to. But in this instance, I'm just creating a kick, so that wouldn't make a lot of sense. But as you can see here, I just right click on it and it's open and close it, so it's very handed tohave as well. And then I can go back to this view if I want to. So just left click to get notes writing up and just right click to delete them as well. And that's a shorty. Before you can just feel each two steps like bad, you feel each four steps on. Let's get rid of that. Then we can enable and disable the track. Here you have the track pan and you have the track volume, and then you have the selection off where you want to sign your track to the mixer. It's great a new pattern to go to a plus sign here and let's name these drops like that. All right, so now I have a drums pattern here and I want to create Kick Drum. Finished four steps, of course. And then I want to feel each eight steps hats. I want to village two steps, snare each eight steps as well on and want to move the clap ensnare too. These positions, All right, so we can do here in the Channel rack is to group different things together. And what I mean by grouping is to basically sort the tracks in the challenge rack to having them listed here in the list. Because let's say that you have hundreds and hundreds of different tracks in a general X and different sounds. You will be scrolling through the channel rack all the time when you're producing your music, and that can be annoying because you maybe you just can't find that the instrument that you want to work with or let's say that you're just focusing on the drums, for instance, then it's a lot easier to create groups here. So let's say that I want to group all of these four instruments together or these tracks here together. You can just select them here with this little you can see here, this box here as soon as they are green, you can just have them selected or that is a tractor is selected. But let's say that I want to select all of these. Four here can just like them like that. And when they are selected, you just go here to the Channel Rex options here, and you can find the group selected ones. So now let's call these drums again. And as you can see, this is now a new option in the list here, so I can just pull up the drums here, and this will only show the drums so I can alter between all of the tracks drums, for instance. Let's say that I want to have more, uh, melodic things or piano or stuff like that. I can just group piano sounds as well and have them sort of as an option in the list as well. Thing that is very cool with Grouping in the Generac is that you can color all of these tracks here, and you can make it Grady in of it. So if I go to college selected and radiant here, I can choose the first color. Let's say that I wanted to be black. Oh yeah, let's choose whatever Call her, Okay, black and then I can just the second color. So let's say I wanted to be green. So now it will actually make a color grading off from the first color to the second color. And that would make it a lot easier to find these instruments. If I colored radiance, let's say from yellow to white or from blue to white, and then you can 15. The Channel Rack - Part 2: can see that. Okay, These tracks are the drums, and these tracks are, let's say, piano sounds or other melodic sounds. You can do it like that. Of course. What I do most often is to just create lists here in the Channel Tractors Channel wreck. And I can sort the different things here as well. But yes, sometimes you just throw in different instruments just to try them out, you know? And it can be very messy here in the channel rack if you're just playing out with different instruments all the time and just throwing in sounds in there all the time. But as soon as I'm away from their creative moment and I want to actually start to arrange the track and, yeah, just create the track, basically, then I always do with like this. I organized all of these instruments and all of this tracks in the challenge rack, and that makes it a lot easier to create mixed downs later on. And then, yeah, I just to arrange the track. Basically, um, there's very, very important to stay organized when you trade creating on track. And, um, yeah, as I said before, just separate the creative process and the more organized process. So you want to be kind of messy when you're just creating, like, training a track, you know, and getting like creative, just don't focus on, like, grouping and listing when you're creative. I mean, for me, that's the most important thing that I want to be creative, and I just can throw in different stuff and try out all of different combinations off sounds. But then you eventually have a nice, very nice idea off the track, and then you want to arrange the track and and actually finish the track. And then this. These different things here with organizing a less and organizing here and coloring and stuff that is very important. But otherwise you can just have thousands off tracks, let's say, and you can't find that sound that you created before because you, because you have so many tracks and you can't different, ate them between because you didn't make collars on group them together or stuff like that . So I have these notes laid out like this, So let's go to graph editor and now I want to modify. Let's say I want Teoh, um, have the clap for instance, I want to shift the notes a little bit forward. Just toe have that more human kind of feeling when you're having the collapse. So this is the note. So I want to shift it just a little bit like this. Let's take a listen to it, just overdo it so you can hear what I'm what I'm doing here when I should. But I'm shifting the the notes. Let's say I want to have the velocity in the Say hi, it's here. I want him to be more kind of like a human is actually playing the high. It's so maybe something like that. All right, it sounds much better like that. More thing that I want to show you here in the challenge rack is that you can go to Let's say that I want to select all of these four tracks here, and I have a long list of difference. Different tracks, and I want to kind of get more space for other instruments. What I can do here is to go to zip selected, and I can see all of these tracks are kind of hidden here. We can still see by the collar what track it? ISS So this saves you a lot of space. If you have a lot of different channel wreck tracks here, you can actually open them up like this. So, um, yeah, just click on them like that and you can also just right click on the track to kind of unzip it as well. So just to get back to how it was thing that I really like toe have. And this is a must for me every time when I produce whatever studio is to go to the channel rack options here and choose detached. That way, if I do something else enough a studio. I always have the channel rack open up like this so I can just but it like here in the lower bottom. And now I can work on my track like that. And if I want to, um, let's say I want to go to one of the tracks. I can just put it up on the list here. Let's say I want to go to the drums and now I can modify the drum sounds or just modified difference notes of that instrument to just right click like that to get the piano and to get rid of the piano roll. And then I can keep moving on with the arrangement here like that. There are some more options here in the channel acts. So if you right click on one of the tracks here, you have the piano. Of course. Graph editor. Then you have the rename color, and I can, which is very handed to use. I just showed you that before, but I just want to mention it one more time here, so you can rename the track and colored as well. Um, let's go here. All right. So we have, ah, change color change. I can You can choose whatever I can you want here like that just to make it stand out more . You can load a new sample here, for instance, I could insert something else so you can insert RVs t plug in, for instance here so I can do it like that as well. You can replace eso. You can replace this and track within BST instrument. You can clone it. So let's say you want the exact same kick here. You can just press it like that when you're clone. It then we have the lead to can delete the track. It read off it. My feature here as well is to cut or copy. Let's say that I have steps here in the step sequence and I want to copy on to, Let's say scarier. I can just go and paste it like this and I get the same information. The media information as I copy here, Well, you can also do is to rotate so you can get them in time the notes in time, but just shifted. So if you take a listen to it and you will hear what I what it actually does so that covers the basics off the channel. Rex, I hope you learn a lot from this video and hope to see you in the next lecture. 16. The Mixer - Part 1: Hey, guys, welcome back to the course in this lecture. I'm going to talk about the mixer in efforts Studio so it open up and closed the mixer. You go to this button near view mixer like that. You can also press F nine to enable and disable the mixer. It's moving here a bit. Okay, so here are all of the tracks that we have right now in our mixer. You can also choose different views off the mixer. So let's say you want compact. You can see all of these different different tracks here. There's a lot of them, and, um, the mixture is basically we would send all of your sounds and create different effects. You can set volumes, you can pan them and you can group different things together, so they sound like one. You can just put on different effects to it. So let's say you want to compress sounds together or you want to create re verbs, delays all of the different stuff, e que, for instance, which is very important to do, and you do that all in the mixer here. So that is why the mixture is very important. And what makes your track becomes live, you know, first track here is the message track. So the message track is where all of the sound will output through efforts Studio. So all of the sound that you hear from your speakers would come through to through the master track. So that is basically the output, the sound of it off efforts studio. All of the tracks combine will up through the Master Channel. Then we have all of the individual tracks in the mixer here. So what you can do to assign these difference tracks to the mixer is to go to the channel rack here and select whatever pattern you you want to have. Or if you want to select all of the different instruments in your channel rack, then you will see this dialogue area. You can set whatever makes her channel. We want that sound to be assigned to in the mixer. So let's say I want my other classical acoustic sound here to be set to insert three. Then you will see the insert threes now selected here, and you can rename Collar and Aiken. So let's say I want this to be so named as, or instruments in the channel wreck our track here in general Wreck and I can just get a color here as well. So now you can see that this iss the track in the mixer and this is the track that is linked to it. So the track in the channel rack classical acoustic ISS linked to the mixer Channel number three here in our mixer. So all of this sounds that comes through the classical acoustic sound here. So let's say that I play this sum it will output through. This makes her channel first through all of these settings here and what I mean by the settings here is all of the things that you will set here, which I will go through in a moment here and and when that is done, it will output through the Master Channel and on the Master Channel. We can also have a set of plug ins here as well. That will affect all of the tracks in the mixer. So let's take a look at this right hand sign off the mixer as he gets here. We have different slots. So all of the slots here is basically space for you to open up different effect plug ins. So let's say that we want this classical acoustic sound to have a compressor. Then you can go Teoh here dynamics and fruity compressor, for instance, which is fruit to look built in compressor. Plug in. And now I can set different effects for this compressor to be affecting only the sound or Onley. Whatever is up with the through mixer child. Three. It can also combine different effect plug ins. So let's say that you want a compressor first and then you want to delay plug it, for instance. So now you have the compressor and the delay plug ins after each other. They can also set how much off the effect you want to be. Output ID through this sound here. So let's say that I only want half off The compression and other half would be not compressed sound. We're not compressed signal, and then you can set the same thing with delay. You can choose how much you want, or you can choose all of the settings here that all of the signal is coming through the settings through these plug. It's so basically what you do here is to just said how much off the signal You want to be affected off this plug in here, It can also enable and disable each of the plug ins here. So let's say you want to A and B different settings. You want to try them out. You can listen to a track and disabled in the neighborhood them that is very handed to use . Then you have an EQ You section here so you can e que your sound With this graphical interface here, it can also do it with these meters here like that and you have different settings here as well. So you can set the different and extend my angles off this EQ. You like that? You can use the CQ. But what I do most often is to choose an e que from the plug ins here and you have a lot of like a very good, different eq you plug ins from FL. This one is pretty good, but we have another plug in air. Lesser place that with the permit IQ EQ u two And this is a very nice it sounds good and it's very transparent, so you won't have your sound be affected or colored by this CQ. So is there nice to use is very easy to use as well. It looks all very similar to fab fail to plug ins, which I like a lot. Eso food lives has this built in, which is very nice. And you can see you have different tonality off the accused as well. Here you can see where the subs should be off the Q base low, mid made Hyman and so on and so forth so you can see what you're actually doing here. So let's say that you have a sound that have a lot of base. Um, but you wouldn't want to get rid of the sub. Then you know that you should go down around here to get rid of this up. Basically, rece ice the mixer. We know by doing like this, and ah, like that. And as I showed you before, you can choose different view settings off the mixer. What I use most often is this extra large because I get, um, yeah, I get a very nice overview off the tracks here. I can see the signal coming through and all of these stuff I'm also going to show in a moment what all of these settings does. You can also see the different plug ins named here in each of the track, so you necessarily don't have to go to the right house high. But you know that they are there anyway, so s so you can just take a look at the selected track here. But let's say that you're out of focus, Let's say or you're somewhere here. You can see that these plug it's are set on this tracks. You don't have to select that track to see the plug ins here. The thing that I really like to do in the mixer is to go to the view here and set the track Inspector on left side. That would show the plug ins on this silence. That and then I don't have to really go to this side. But this is how I prefer. It's got the individual mixer channel track here to first. You have the track name here and track number. Then you have enable and disable. You have the panning here, then you have the volume, meter and volume level. After that, we have track laid and see have armed disc recording stair separation, and you can swept left and right channels. Here. Here you have the amount of stereo separation that you want the into it like that. Then we have the names off the plug ins here. Then we have enabled effect slots so you can enable or disable all. 17. The Mixer - Part 2: But all of these plug ins here and that is it for their individual makes her channel here as well as to let's say I select one of these mixer channels here I can select in the channel rack here I can select. Let's say all of the drums here and I'll go to the mixture here and just right quick and channel routing wrote selected channels starting from this track. So now you can see all of these selected instruments here. Selected tracks in a channel wreck are rooted to the mixer. So now you can see instead of creating, um that we're assigning all of this individual tracks to a separate mixer track that renaming them, color them and so on, so forth. So now all of this is done automatically and by choosing to route these tracks to the mixer , So now they are rename that colored and everything like that. So that is very nice to use, and you will see all of these here. So let's say that I want Teoh put on a reverb on the snare, for instance. So now I have the slots here on the left hand side, so I have the snare makes a channel selected, and I can go to, let's say, here I want a reverb. So, um, let's go to the fruity. Remember to here you can see I have, ah, reverb on. Just snare here. A lot of different options in the mixer Here you can right click here in the mixer and see a lot of different things you can do. The same thing goes here with the routing off the signal. So let's say that we now have all of our instruments here. You can see that on these instruments, A routed to this instrument. So let's get rid of that now. You can see that. Let's say that I am. Let's get rid of all of these here like that. All right, so now you can see that this track goes through through a cable that is kind of invisible here and goes to this track. So what that means is that the sound that comes through this track goes through the master right? So then we have the same thing there, same thing there, and same thing there. So where you can do here is to route. Let's say I want to route. All of the drums signal here. Let's say that I want all of thes Let's say just drum section here. I want all of the drum sounds to be routed through insert one which will make our drum bus here. I can do that by just selecting them, as I did before, with control or a commander click and just dragging them over like that. And and then I can just right click on our track that he wanted to be routed to and just press on route to this track. Only now you can see that the signal is routed through here. So then they forgot to the insert. You can see that the insert itself is routed to the master. So the signal will now travel all of these four mixer channels. Signal would travel through to this insert one and then the signal with travel through things at once plug ins, if you have any, and then to the master. So it'll actually ago. Instead of going through the master immediately, it will go through things of one first, and that makes us of drum bus here. Separate this difference mixer channels so you can see we have drums here. Then we have some classic acoustic instrument and have a piano. So it may be nice to just separate things here, so I can just go and press and create a separator between these tracks that we can create separation between this track like that. So now you can see we have our drum sections here, so these are kind of separated between all of these other mixer channels here. - That is a very basic overview off the mixer, it can see. I just tried out the volume here, enabled and disabled the track. I pandit a bit. I create a steer with here. I can also set the sound to be switched a bit in time with milliseconds, samples or beats. Um, yeah, and you can just create still with here as well. You can enable and disable plug ins if you have any on, like on this track, so it can do that by just clicking and clicking it again to enable and disable the plug. It's to show you here in the mixer is that you can actually change the volume meter here too. Instead of a DB media, you can have it set to away for a meter. You can do it by going to view here and swish it to wave forms. So now if I play here, you can see that all of these volume eaters will show up as a way for meters that is very handed to use if you want to see how bigger for signal we have and where to sing the lace and all of the other stuff that is very handed with wave forms. Alright, guys. So that is it for the mixer. And I think you've got a nice overview off the mixer here in FL Studio and I'll see you in the next section. 18. The Playlist - Part 1: Okay, I will come back to the course in this lecture. I'm going to go through the playlist in FL. Studio playlist is basically where you arrange your track. So when you're creating your channel rack tracks here in the channel rack, you can just create them as clips. And then you take the cliffs into the playlist here, and you will basically build up your whole arrangement with this clips inside off the playlists. And by the way, I'm using the term clips because that is how it's used in able tone and logic, for instance. But in Efforts studio, you call them patterns, so each pattern has their own individual clip. So let's say that I have this pattern one here, and I create this pattern, one that contains this beat off kick drums. Now I can just take this pattern one and just paste it in to the playlist here, and then I can pace it. Whatever I want, how much I want of it, I can do it like that. I can also delete it by right clicking that and yeah, it's very easy to do that. So if we want to create a new pattern you just click Plus here you can rename it. So let's say, um Hyatts here like that. And now I can choose between the different patterns here, or I can just scroll between a patterns here. So to arrange the pattern, you need to select the pattern that you want to range and then just collect simpler into the playlist. Here, too, have that pattern inside off the playlists. So there is very easy to build up your track in efforts studio and I just arranged a track by Um, yeah, but just creating this different patterns and just taking it in into the playlist here and arranged attract by doing that all right, to get a bit of a better understanding off the playlist and after studio let's open up the effort studio DeMann project that comes with it for studio so that just click file here and it can go to recent projects and new stuff that f l p so you can see this is the demo project that efforts to here comes with and it's ah, complete track here. It's a very nice kind of PDM track that that comes with it for studio and you can see. It's made by Adam Szabo and Yuan Ville Boy. And yeah, it may differ between your version and my version. Sometimes Image Line has different Denver projects, but in this case is this track. So let's take a very quick listen to the track just so you can see how amazing tracks you can be done in inside of half a studio so you can see how much of information there is. There's a lot of different audio here. It's a lot of meaty, and you can see how quickly it works. Effort, studio response very quickly to every single instrument here. So, yeah, effort Studio has a lot of potential here. You can see that this amazing track is made inside of a first studio with just some patterns here, as you can see, and this is basically how the play this work. So as you can see, it's just patterns as a explain before how dependents works. So as soon as I click on the partner, I could just double click it here to get the piano roll. And if I select that the pattern here, you can see that in a channel wreck. This is the track that is being used. And here's to plug in for that particular sound. Let's take a look at the playlist, how it works. So here at the top, you can see the scroll bar here you can scroll through the project in time like this. You can also see the time signatures so you can see how many bars there are here. You can zoom like this can see vertically and horizontally as well like that. But there is a much more efficient way to scroll in at the studio. So if you hold all and just scroll, you will see that it will zoom our zone. Italy like this. And if you hold control or command or Mac and scroll, you will see you will get this vertically like that. All right. So one more thing about the pattern selection here you can right click here to get all of the different patterns that you have in the projects. And you can also see the different patterns in this way so you can see this is the patterns which is made by it in the piano roll so you can see all of the different media data here. So if I double click, you can see the media that up. Then we have the different audio samples that are inserted here in the playlist. So you can just basically draggin on audio sample directly into the playlist, and then you will see in this list. So let's say that I use you. Say I want a drum loop here, does you can see it now. It's inserted here, and I can just choose a new track here and say that I wanted on track 58 I can just enable it like that, and it will actually play in beat with the project. We have the automation tracks so you can automate basically everything in f A studio. And I would cover automation in a later section in this course. But this is where the automation is. Will be. So the automation czar basically exactly, um, laid out as a clear Pierre. What a pattern. So you can just take one of these patterns here, and this will be automation information, so you can just have it drag it out like like a normal track. You can actually see that. So his Here's the pad. So the cords is a group. Then we have PAD, which is meeting information that have automation off that courts and patted section. Then you have different section here as well. And then we have automation for that. You can see it by the icon here. So gets the automation here. And as soon as I hold over this I can hear you can see in the information section here what this does. So you can see this is actually a saw tooth and it's ah, synthesizer. So it's a synth with a sort of in it. And then we have automation. Here. Here we have a pools wave from a synthesizer as well, and he would have just melodic score. And by the way, if you're so zoomed in like this and you don't know where you are, basically you can just hold control or command a Mac and just click right click. Then we're just zoomed out into the maximum zoomed out of you possible. Let's talk a bit about the different tools that we have in the playlist. So you can see here we have our little toolbox here, which I call it, and you can see um, draws the 1st 1 paint delete mute. So 19. The Playlist - Part 2: cute slip, slice, select zoom and playback. So there are different tools here. There are very similar to the ones that are in the piano roll, and they work exactly the same here, but with the clips or the patterns here. So let's select the pattern here. I'm just going to select a random pattern like baseline number two, for instance, just to demonstrate how this works. So let's do that. Assuming a bit and, uh, that's just put it there. All right, zoom in like that. Okay, so you have are based on number two. And because we have our pain to enable here, I can just draw out different parents and clips like this. Just delete them by right. Clicking the mouse is well, so let's say that I have the draw tool here. I can just put one of these clips, and if I left click and hold, it's not actually painting out them patterns here. I'm just going to move them. So if I select one of these, I can just move them like that. So this is very handed toe, Havas. Well, then we have our delete, too. So this is basically the same thing as right clicking on the clip like that. But you can do that with the left quick instead. Then we have our mewtwo. So if I click on one of the clips you will see it would get muted. If I click it again, it will un mute it. Do you have a slip? You can see I'm moving the media data inside off this pattern. Here we have our slice too. And this is basically how much and where you want to move or cut a pattern. Then we have our select tool here. You can select different clips like this. So let's say that I want to select three. I can just do it like that. Then I can go to the draw to and move all of these three clips we have the zoom too Can just select what you want to zoom in in like that. You can go even further like this and you can just go to command or control and click to zoom out. They were playback. Teoh. If you click one of these patterns here, you can just play the pattern just like that And to make this a lot easier to do instead of going and clicking here every time you want to. Let's say you want to do anything. It's a lot better to just memorize this different key commands here. So as you can see, as soon as I hold on one of these tools here, you can see the key command for that tool in the info box so you can see, for instance, the drawer tool. If I click P, I just go to the draw to If I could it be I will go to the pain, too, and so on and so forth. So let's say that I want Teoh. Um, let's say I want to select can see. You can also see that if I right click and hold, I could do the same thing here. So let's say that I want to select slice and then draw, so I have P, C and E. All right, so first I want to draw so that just click on P. As you can see, nothing is really happening right now, and this is because we have this on, and this enabled. Right now it's typing keyboard to piano keyboard. So if you have this enabled every single keystroke here on your keyboard will be an actual , like a meaty keyboard playing so you will play if, like exactly like if you would be playing on a media keyboard. And this is for all of the different keys you have on your keyboard on your computer keyboard, you know. So let's disable this for now and now All of the difference key commands that is showing up in infertile iwill work, So p to draw that we have C to slice E to select, for instance, so piano, the draw tool is enabled. Here they will have the sea, which is our slice tool and E to select. And you can just work very quickly by memorizing this difference. Kik months here There are a lot of different things you can do with this clips. So let's say that I want to Let's say, change color on this clip from Francis. So as soon as I just click on the left hand side off the clip, you get a pattern clip options window so it against the you can preview this. You can select source pattern edit pattern and can rename and color change color and so on so forth. So let's say you want to rename and color just this clip here. So let's say that I want to call it cords Alternative because let's say that I changed it up a little bit. So I want to and create a different color for this one just so I can see that that this just this clip is a bit different as I can do it like that. And now you can see this clip which is linked to this 1st 1 here. ISS changing the colors. And you can if let's say that I want to do it with just this one and leave this one alone because they are now linked because they are the same pattern, I can make it unique. So let's say that I do it like this, and now you can see it created a new pattern for us, which is the same one. But this is now not linked with the 1st 1 So let's say that I want to rename and color it. I can do it with this one, and you can see it's doing its own thing right now. We also condo's A is to put the different pattern clips on whatever track you want here. Basically. So it's not locked to the track that you have here, so you can just basically put it wherever you want. Say that I have Ah, a clip put in. Let's say I have it somewhere around here, there, this side, a new track like that and you can see this is named something different. And the track is just named track 50 to track 59 in this instance. So what I can do here is to just rename its. I can go to rename color and I can and I can call it cords Pattern and I can color it. The same mass are clear, Pierre and that will be fine, you know. But we can do is to just go and order name. So now this will be the same name as our clip here as our pattern clip and it will actually do the naming and calling for us all of the different tracks here. All different patterns here are basically group together against me here in the vocal group Kick Troop Group, which contains a lot of different patterns here. So how do you group A track is very easy. Just go to the second track, the second pattern that you want to group with the first pattern. So let's say you have two patterns here. I just go to the 2nd 1 20. The Playlist - Part 3: run and choose group with above track. So now you can see this one Here is the group and this is the so basically, this group is not containing these two patterns here. And if I want to group even more tracks, I can just go to the next one here and choose group with above track because you can see there are now in the same group here. You can also see when the playlist different line Syria consider. It's kind of like a grid. Let's zoom in a bit so I can see what I'm talking about. Here. You can see all of the different lines here, which just tells you the time signature off the track so I can just move this like that and it will stay in the right time so you can change the fine tuning off the timing here. So basically, how you want the different patterns to be set in time by going to this list here, you can see it's now said online. We can change it to sell. It can change to 16 step. Um, so, yeah, so let's say you wanted to be 16 step. You can see, now it's on Lee, um, snapping to each off this green. Serious you can see like that, and we can also go to non. So now it's basically just random Here, Um, you can set it exactly where you want so it can be out of tune, like or out off timing like that. So that is how we do it with a time signature and efforts studios prey list. Let's go back to the line here. Happy about how this different pattern clips looks like It's very easy to customize that. So if you're in the playlist view here and you have the players were no open and just go to this one here and let's go to view and let's go to behind clips, for instance, here can choose. Let's say that I don't want anything in the background like bat or I can choose some different things here. Let's say aqua like that, and now you can really, really see the difference clips. Here. I will go back Teoh how I had before. So let's go to view here and just go to sell. But I really want to show you that you can choose a lot of different things here. You can see great color Reese Isil tracks. You can do a lot of different customization after studio, and this is really unique to UFO studio because different digital audio workstations they have different kind of customers ations as well. But I think ever studio has the most one. There's so much again customizing after studio. It's crazy, we presume out of it in this project Here, you can see that there a lot of different markers here in the arrangement. And how do you do that? You just simply go to wherever you want it to be, just right. Click here, add marker and now we can call it whatever. So let's actually call it whatever and now you can see it. It appears here, so you can do that by just you know, you want to see where let's say our core starts or very starts about. It's really nice to have, but you can do that with this as well is to put a new time signature so you can see the time signature for this part until this part here is 34 and then we have 44 time signature so you can change the time signature off the track in time here by just doing the same thing. But instead of going to add marker, you just goto added time signature. And this is what what is done here. So, um, you can set time signature if you want to change it so you can just change it to whatever you want. We can Listen, Teoh, just listen to this track and you will hear what the dust with this 34 m 44 time signature change. That's actually a really nice track. I really like this demo track, iss Amazing, but still, as you can see, 3/4 and 44 So that is a time signature change that you can do with with the market Basically and do here is to, ah place loop. So if I place a loop here, it will loop to that region. So ah, let's see that I play here and that it will loop to there. So let's delete that loop. So that is a basic overview off the playlist. Enough A studio and I really hope you learned the basic functions off the playlist. But all of the knowledge that I teach you here in this section off the course, you can actually create a track of this. I mean, it's their first studio player. This is so versatile. And there are so many functions that we can really dig deep in. But just to create a track, it's very, very easy to just do it with the knowledge that I teach you in this video In this lecture here, Um, and my like really big pro tip here is to just stay organized, shaken, see, all of different patterns here are very, very organized with how they look by coloring, naming, grouping and ah, yeah, besides what I did here, actually, because I just show you how to do the groups and just experimented a bit. But what I mean, here is with this track here, Um, with the demo projects, you can see everything is so organized named colored, and you can see exactly where everything ISS. So ah, pro tip to you guys is to stay organized when you produce. It's a lot a lot easier to create a very nice tracked by doing this. Um, let's say that I that you're not organized and you placing stuff everywhere and you're just playing your track and you don't know what's going on our why it sounds bad or why it sounds out of tune or something like that. Because you're not organized, you're not staying organized with your track. And then it's a lot more difficult Teoh to just see the error that you that you want to fix . You know, if you were more organized, if you're coloring and naming everything, then you will see where you have this area. For instance. Alright guys, So let's see you in the next lecture. 21. Creating a Project Template - Part 1: all right. Hey, guys, welcome back to the course in this lecture. I'm going to cover project templates in efforts Studio. So this is actually how I'm starting out my projects every time. So to open up a new templates, you just go to file new from templates, and you can choose the different template that effort studio comes with. So why do you use templates? And this is basically because you want to use or you want to start your project each and every time, the same, same way kind off on. And what I mean by that is to let's say that you use some different plug ins every time. You don't want to set up all of the different setups for that for those plug ins every time you want to start a project. Because let's say that you are into that kindof creative statement and just want to create music. So let's say you always want to create chords within with a certain, like piano plug in, for instance, that you can have that piano plug in set up. You can have that routed to, let's say, a reverb or an echo, and then you can have limiters. You can have different stuff on the master, for instance. And if you have that set up as a project templates, you just open up the project template and you're good to go. You can just start to create your court progressions and and stuff like that without having to open up the piano and create the rulings for your re verbs or other things like that. And Efforts Studio comes with different projects templates. So, as you can see here, I have ah, the ADM slash house template open up. And this is a really, really nice project template, I think, because, um, it's already organized within the playlist is you can see there are different colors for different stuff. Here you have the kick snare Hyatt symbols and that it's inside a drums group, for instance. And now it's just a matter of me. Teoh, open up the channel rack here. I can import different Are you to distracts here in in the channel rack? Or I can just create a new one and set that up Teoh the mixer channel. So as you can see here, if I go to the Mixer Channel, it's all of the channels here are already set up, so I can just say create a new instrument here. And I could just group that to whatever mixer channel I want. And let's say that I have a right sir. For instance, I can just take a racer from my samples here and just put it on this track, and it's already routed to one mixer channel and it's already named and colored. And then I can just put that clip into the writer here, which is already group to the FX group. So I don't have to create groups, and I don't have to actually name or color anything here. And you're not doing this because you don't like. Want to rename your tracks, rename your playlist or patterns or anything. It's not that you you want to have your project tempered because you want to start your project as fast as you can, because let's say that you have a corporation in your head and you want to have their corporation that created in your track and you want to. Let's say you want to create a big, full song out of it, and then you're creating a new project without anything. And you're just you have Teoh, open up a piano roll. You have to open up or choose a plug in for that piano. And in that time you may forgot about your corporation that you had in your head, or you just you just stuck with different technical stuff. That and that can get your creative ideas out of the way. You know, Um, so it's a lot better to have your project template and you don't You don't need to use their for studios built in project templates. So let's say that you have You have all of these templates here, but let's say that you're using some plug ins that you you like, you know? And, uh, they are not in this these templates that effort student comes with you can just create a new templates or a new FL studio project file. If you want to, then you can create your rulings. You can create your tracks like this and that you can set up different mixer channels as well that you can just save this templates or it can save this project as it is without any sounds or anything. You could just have plug ins. You can have different names. You can have colors like this one. You can have it organized like that, but without anything in the playlists. If you have it like that, you can just go to file, save us. And then let's say that I want Teoh create a template. They could just go to temples here, and you can save it as it is. So let's say my own template here, and I save it in the folder off templates which should be in the effort Studio Fuller. So if I create like that, if I save it here so we find out, Restart, effort, studio, as I don in the background here, I can go to file new from template, and this is my own template. And now it will load up with this temperate that I that I created, for instance, so I really recommend you to create a brand new project. Okay, so let's create a new one and we want a new one so we don't want anything else, and you can do that by go to minimal here and just an empty. So this is total Empty doesn't contain anything and first of all, I would set the tempo. So use the temple. That's you're most familiar with that you're creating the most tracks with phrases. I create a lot off progressive house music, and sometimes that creates lower tracks. I create faster tracks sometimes, but most often I'm most comfortable with 1 28 BPM. So I set it up like that, and then I can go to this different playlists and tracks in the playlists. So what I can do here is to rename color, and I can. So 1st 1 would be the kick drum. I always call it a kick drum in red like that, and then we have different drums, so I would just do drums, drum tracks in orange and I would create drums. One drums, too same color like that and drums. Three. So what I mean by this is now that I can I have this set up here? I can just throw in different samples from the browser year. Let's say I want a kick drum. I can just put in a kick drum here. Just drop it there. Same thing goes with different drums. So if I would have to have one more drum section, for instance. I could just create that track, but it's nice to have something to start out with. So now I can just throw in different samples without having to worry about. Let's say that where should I put the drums? Or I put the drums here. And then I put some piano like sound here, and it starts to get not organized, you know. But if you put it like this and you have have a nice, like starting point where you can just organize things, it will be a lot easier than to clean up the project and, you know, create a new, fresh organized project. So I would do the same thing here. Let's say that I want some synth sounds. I Let's do it like this in this color, Um, piano. I always see use a piano sound. No 22. Creating a Project Template - Part 2: like that's maybe a base here. Um, let's go with something darker with the base. Um, what do we have? More synth piano, bass kick drums? And that is basically what I speak will start out with, I think for now. So let's close that. So now I can just threw in my different ideas. So let's say that I have a piano or I have a corporation that I want to create. I can just create a new corporation and throw it into this track here and start to create my simple, very simple short arrangement. Then I can create a kick, drums and everything like that. Then if I create some more tracks, I can just start to create them here as I produced a track, you know, because you don't you don't know what you should use in your project like before you even started project. So this is just a very simple way to start out with your project and set everything up so you don't have to read your stuff like that. And also, what I like to use here is to go to the channel wreck and creates. This is a Sampras. You can see, I wanted to be like that because I can throw in different audio here and try it out. And then I also like the FL Keys, which is a piano. So let's like That's so let's have it in like that as well, then I like to use the three x oscillators, which is three oscillators, like in try out different bass sounds with I can juice a different shapes here off the oscillators and just create some different cool stuff. So I always have that in as well. So never have a sampler effort keys and I have oscillators in here as well. So now it's very easy for me to start out with with a track. So let's say that I want to create FL Keys and I have a corporations that I want to create a congest join different stuff here. All right, so that is yeah, and now I can just create this. So I put it here in the piano, and now I can start to create the arrangement with the kick drum drums and other stuff like that, and I also want to set up something or mixer channels in the mixer section air and I basically do the same thing as I have in a channel rack here and and what I have in my playlists. So let's say I have the kick drum here and I had drums 12 and three. I always want to set up one track for the kick drum, so let's do the same thing. Kick and put it on red. Then I do one mixer channel for the drums, which would be a bus. Basically, a bus is a group off different different sounds and different instruments and audio samples . So whatever I have put in here drums 12 and three shoot, go through this bus here cake and drums, and then I have synth. So let's do the same thing here, since I would call it like that on. This is just to group the difference since together. And as you can see with the coloring here, you have the recent use collars here so you don't have to search for colors. And so let's do it like that. Since then, we have base sons. Okay, so now I have my four different sounds that I want to group them together within the Mixer Channel. And so let's say that I create a piano I create, Let's say, guitar sound, for instance, All of that I wanted to be grouped into the sieve because I want to create a compressor for sounds that are in the mid section off the e que spectrum. And let's say bass sounds where I want to cut everything that is in the higher frequency spectrum. And yet so same thing goes with the drums here and the kick. So what I would do first thing here. So for the kick drum are livid. Asset is drum section. I will go with a compressor. So So let's go with a fruity compressor here and we can do here is to go to the presets that shows up here. And, um, for a nice drums compression. Just go with the drums preset here and leave it as it. It's basically and for the drums. I also want to seek you out the lowest Lohan because that is where we want our base to be. And this is very important when you're creating mixed amounts, because otherwise you will have to have an EQ you on almost every single channel so you don't want that You want different sounds to be grouped to thes four buses Or if you have more buses, you can create that as well. The buses are basically groups that you're grouping different sounds together with and then you're treating them as one. So let's go with the Parametric eq You here and I can just lower the lowest end off the EQ You here, I put it like that. Now we have drums being, as you can see here, just cut it off on the low end. And this is why we have different groups for the kick drum and the drums. Because with the kick basically a kick drum is a drum, right? But with the kick drum, especially in Elektronik dance music, you have the kick drum with a lot of base in it because if you would cut off the base from kick drum, it would not be powerful. And your track was sound like it would not sound good at all, you know? So you want the base to be there with the kick drum, and that is why I have the kick drum left out off the drums group. So I have that for the drums group, and then we go to the since. So in the sense group, I wanted to be actually kind of the same thing. Here. Let's go with a fruity compressor and, um, you can do a full reset vintage makes, for instance. But what I would like to do here is to go to 1/3 party plugging, which is all for free. It can find it in the description off this course so we can do areas to go to more plug ins , and now I can find all of my different targets on my computer. So I was searched for O T T, which is the plug in that I am referring to from extra records. It's for free. So it's just use it like that. And now I put this depth here on to about, um, let's say 12% something that and what this does is, um, isn't downwards compressor. It's a bit complicated. I don't actually know the exact thing that the O. T. T does, and I made some research, You know about it. And there are some different YouTube videos that tries to explain this, but still I don't really exactly know what it does, but it's a multiple compressor and it sounds awesome. So I think it sounds best when it set around here in the depth around. Let's say 1/4 here and you can dio you can use this on almost 23. Creating a Project Template - Part 3: everything, but you should use it on the bus is another on the individual sounds, because if you do it two months, she will sound too flat and your track will sound kind of boring. But if you do it like this within the groups and especially on synth sounds or in drum sounds, that was sound amazing. I don't use it for the base sounds. For instance, because of bass sound. It's kind of low in the frequency spectrum, so I want the base sounds to be to be treated as Aziz one. Basically, because if you do it with the O. T. T your drum section and your since would start to sound like it, it comes a bit alive, you know? So and the bass sounds you wanted to be, you won't have control of the base. Sounds more like that. So I would put the O. T. T as the first bug in here in the sense section, and then I would go with them. Yeah, we have a sin sex section, so let's go with the delay and I will put the red signal to zero. So I will have the dial here in the mixer to zero because now I can automate the delay. So let's say I want to delay for the sense I just automate this dial here to put more delay or less delay. Then I have our Then I want a river beer and same thing goes here I can either go with its signal here up and down. Or I can just put this style here, which I would do so I would go to a zero here. Then after that, I want to create an EQ. You and Parametric EQ you. Same thing goes here. I don't want any low end and I don't want the highest frequencies as well. I would actually do it a bit nowhere because, um, some off the some of the sin sounds will have their like the most soundings elements in around up to 16,000 hertz. So I would do it like that, and I'm also put a bit higher like that as well. So now I have my synth mixer, channel or mixer group set it up like that. Then let's go to the base and with the base. I want almost everything to be in mono here, so it's very important to have your base sounds a mono because you don't want the base sounds to start to rumbling around in different stereo settings and stuff like that, because you will get a very, very muddy sounding sunning track, you know. So for bass sounds create this based track in mono, I'm going to go to a plug in tow. Let's go to the fruity steer shaper and I'm going to let up preset here, which is l R to L o You can see this is basically taking the left single on the right signal and put it to the left. And this is what Mona is. So I'm going to take it like that. And now everything which will go through this based group will be set in mono that I'm going to open up on e que. So let's put this CQ the paramedic equal to just to get some better view here, and I'm going to put everything, uh, let's say above 400 Hertz would be basically cut it off. You can see that in this section here. You can see that the base section starts around here around 2 300 hertz, but I'm going to have it set to around 400 hertz here, and the sub is going to around here around. You can see 38 hurt some around there. I'm going to caught it off there as well. Just Teoh. We don't want the sub to be too much there, you know? So, um, let's do it like that. So now we basically have everything going through the group off the base mixer channel here , and it will go through mono. So we put first that getting the signal to be in mono. And then it will take every all of that signal and cut off everything besides this section here in the frequency spectrum. And if you do this with all of your different sounds you can see with you use eq you for everything now. So let's say we have a base section here in the frequency spectrum than we have since section which will be here around here, and then we have same thing with drum section would be around here, but we living space for the base in this section and in this section and here we have their base sounds. So now we could create a mix down. It will actually sound clean, but we don't have to use their makes down because we already have this set up in our templates. So now when we create our our sounds and our track, you know, and but a different stuff like, say, we have a sampler we can put it to since immediately and effort keys as well, and we want this plug in to be made for different basis. So we created for with assigned this to our fourth channel, which is our base group here. So now we have a nice mix down where it creating art. So you don't have to worry a lot about the different mixing things you have to do when creating a track. You know, because sometimes it sounds amazing when you're in the creative stage. You know when you're throwing in a 1,000,000 different sounds on it sounds great. But then when you start to mixing, you feel like your track. It's getting boring and very thin because you're starting to get rid of different stuff and a putting things in mono and different stuff. But if you do it in within the creative stage, when you're creating the track And you already had it set up like this. Then you when you're starting to Cretier mixed down, it was still sound amazing. So that is why waits Ah, it's really important to do it. And one more thing that I would like to do here is to go to the master. I would put r o t t plug in here as well, So let's go to more plug ins. I will put on the O T. T and I always used o t on my master, but I want to be kind of careful with this one for the master and then I also want to have a limiter on. So I will go to the fruit limiter and just put it like that. And this will make the signal to just go to Syria db And above that, So enough clipping our signal or anything like that and you have to make sure that the fruit limiter plug in is the last Plug it in the plug in chain here for the master and the limit areas. I think the most important thing to have in your master because that will limit the sound to zero db so it won't clip even though you have volumes that are sets, like very, very loud here. So what I would do now I will actually delete this pattern one here. And, um I really like that. So now it's clean. I don't have anything on here. I can just start Teoh, create my track. So now I can just go to hear save ass. And this is my first templates save. And now I can just create my track by just going to the my best template here. Alright, case that is it for the Project Templates section. Let's see you in the next lecture. 24. Programming Drums - Part 1: All right, guys, welcome back to the course in this lecture. I'm going to take a look at how to program drums. Enough a studio. So, first of all, I'm opening up this project that we created earlier in the course, and I'm going to go for the packs and drums. And as you can see here, we have different individual drums we can use for beat, and we're going to produce. Ah, complete beat here can do that in several ways. In a side of half a studio, you can either program it through the channel rack so you can lay out each and every individual sample here in a channel rack, and then you can go with the step sequence of here to get the programming in time. You can also choose the piano roll here instead of the sixth step sequence. Or, if you want to get one that's a one notes in one side or the other side of Francis. All right, so we're going to take this first method here and ah yeah, let's just create a kick drum here. So let's find a nice kick drum. Let's take this one. So going to creates just a basic kick drum pattern here, going to lower the temple a bit to 1:20 p.m. All right, so now we have our kick drum. I want to have higher this wells. So let's shoes and clothes hired for now. She was this one. And we can do it like this or we can just go and feel each eight steps or actually feel it's two steps. All right, let's go with snare. Okay. And there we have are very, very simple basic beat here. So I want to make this high. It a bit more like a human is playing it because now it's the same velocity here, so it sounds very, very computerized. So let's just right Click on the instrument that you want to change and you can see all of our individual media notes. And this is the media knows that we created in the general. So you can also see the control and you have the note velocity enable here, So I can just take each and every single note here and just lower the velocity. A pit like this, you can see each and every single marker here is corresponding to the note that we have here. So let's say that I create a note here. You will see that actually created some a note here as well in the control bar. So let's take a listen to it now. I think it's maybe too low in volume. You can also add notes to this to the piano here so you can just create like this. Maybe we gotta hold shift and just scroll with the mouse to get the note a bit of for the side so you can see here. So there are a lot of different things that can do here in the piano, like it says here in program drums for hours and hours. But I think you will be bored watching me just programming drums. So I just want to show you how to do it is very, very quickly within the step sequence and the channel wreck. So it's explained before in the Channel Wreck video. You can also go here and create the same thing here with the velocity, and you can also see the piano rolled by just clicking here instead of the step sequencer. There are some different ways as well. You can do it. So instead of going with the channel right here, you can just close the channel right here and just drag in the different individual drums into the playlist immediately. So if we just choose this dialogue here, the audio clips in the picker, you can go to kick drums here and let's import the same kick drum. So we wanted to be in the kick drum section and we really, really have to zoom in right now. So let's do that. It's come back here, Okay? Now we have a kick drum, and I we can just paint it out like this. And this is wait to zoom then. So let's do it like this is that so she can hear the playlist stops playing wherever the audio the last audio sample is at. So it's going to be is not going to be in time here. So we can do here is to just bright click and hold for the selection that you want to play , and it will loop that section. So, yeah, this is what you want to use when creating drums in this view here. All right, so now let's go for an high it and let's go for a close one. Same thing goes here, and now we can get a bit complicated. If you have a lot off sounds which is very, very close to each other, they can do with this. You can see that the velocity is now the same. So if you want to lower the velocity, you actually have to go inside of one of in each and every single audiophile here in the lower DiVall UMA bit. And you can see all of this there now linked to each other because we created the same. We're actually just, um, having the same audiophiles playing here, So I can't really do that as well. But what I can do here is to make unique s sample. And now we have a new sample here. So, as you can see, it's number two and number three, as you can see, um, So what I can do here now is to just double click change the volume here on it will stay the same volume in there. All right, so let's take the next element here, and we're going to use the snare there. There lower the volume a bit, so we can do it by double clicking on the individual audio samples. Do the same thing with high yet so now we have are very, very basic. 25. Programming Drums - Part 2: basic simple drumbeat here as well. There is one more method you can do. We can program your beats in effort studio as well, and that is to use it with a plug in. So let's go back to the channel rack here and let's create a new plug in. I'm going to use the FBC plug in here and here. You can see this. This is like a drum machine, so there are already loaded up sounds here, and what you need to do here is to program the drums with the piano row so you can just go to FBC here, piano roll and here can see all of the individual drum sounds. What you want to do here is to zoom in a bit first. That's create that bigger and use Petr. - So is against the This way. It's a lot easier to make some nice school groups with the beat, so I rarely use the FBC method kind of drum machine method with the piano roll. What I use most often is to just take audio samples and lay them out in the playlist like this, and then just select them all and copy them over to, um where I want them to be in the track, basically. So you can do with these all these different ways. And I think you should try all of these three different ways. Teoh create beats. What I mostly off the news actually is to just take loops that are pre made so pre made drum loops, for instance, and then cut off the cut out the different individual elements. So you can do that as well. I'm going to show you one off the drum loops that I use. Let's say we have drum loops that comes with it for a studio. So we can do is just disable all of these tracks here and just listen to this one. Do now with the strong loop is to select the slicer here, and we can slice whatever we want. So let's say that we just want the kick drum here. That's, um to patrol, too. So now we have a kick drum like this. Cool. So where we can do here now is Dio I'm going to just borrow this track here. Just delete that snow there and take the drum loop here again and just used to snare for it . So here's the snare to select that as well. All right, let's take a listen to some other elements that we may use in our drum loop. Here is a clear Hyatt sample. So that's your status. Well, okay, So what we have now is on Hyatt Snare and the kick drum here. So let's use the Hyatt here. Let's move the snared over to here, maybe. All right, So I'm going to delete all of the's and use usedto Hyatts here, and we're going to use the snare here. That's selector area here. So you see how easy it is to just take a drum loop on existing drum loop and remake it to your own, because now it sounds very much different from the original drum loop, but still use some very nice high quality samples in there. And you can get inspired by just just importing an existing drum loop and extracting it like this. And it works very, very easily, and I really love it's a studio about this, that the slicing functions and different functions to just just export different elements from a drum loop and just having it in like this is very, very nice to have. And you can see now how important it is to just have this different pre made tracks here in the playlist. Because now you can use that for the drums, for instance. Of course, it can use it for in the empty track section here, but now we have them organized. So it's very easy now to have our drum loop like this, and it's very nice to work it like this. Alright, guys. So I hope you learn a lot with this video and I see you in the next lecture. 26. Grouping Tracks in The Mixer - Part 1: Okay, Ice. Welcome back to the course in this lecture. I'm going to take a look at the groups and Mixer Channel so you know you can group things together in the mixer. And why should he use groups in the mixer? And this is because one you want to organize your different instruments together. So let's say that you have ah lot of different individual drums. For instance, you have ah, let's say, a kick drum. You have a some high hat samples. There you have snares, you have Tom's and different stuff. You want to group them because you want in your final project. You want all of these different individual drum samples to sound like one you want them to sound like. Like one drum set, you know, and this is why it's very important to group things together. And, as I said, Number one. That's the most important thing to get organized. To have every single individual element off the instrument organized in one place, and number two is to group them together to having them sound like one. So you want to compress and treat every single individual instrument in the group, and then you want that All of those sounds to sound like one, and you want it because you don't want your track to somebody like it's done on a computer . You know, um, it depends, of course, off kind of music you're producing. But most often, in my case, I've always created projects and big productions when grouping things together and you want you want them to sound like, like one basically. So I will demonstrate how I do it in the mixer, how a group things together. So let's say that we create a drumbeat here. So let's go to the Channel wreck, and I'm going to import different individual drum elements here. So let's see. Let's find a kick drum here that want to use. They're nice. So, uh, that's program Basic kick sample there. Cool. So now let's go to a high at here. They want a very quick meat here. Nice. So let's see what the I'm here. Let's go with us, Snare. Let's make this a bit longer here. So going to creates something like this see here, not right. So it's very, very nice and basic simple beat. So what I'm going to do with this beat here is to use all of these individual elements inside of my group that is named drums. So this is basically my bus. Um, and I created this in the templates when we created templates in that lecture. So if you want to remind yourself, have to do this, just go back to that lecture and you will see how I did this. So what I'm going to do here is to basically group every single I'm actually going to treat each and every individual sample here as one first. So I'm going. Teoh creates, Let's see where have four samples. So I'm going to a sign. 1st 1 to number six, 2nd 1 to number seven and eight and nine. Great. So So I'm going to root this channels instead. So you can either do it by the way that I did. But we're going to do it much easier ways. Just select that track. You want to go to the mixer track you want, and then just choose channel routing and root selected channels to distract. You have a key command for that as well, so you don't have to go this way each and every time So let's do it. I'm actually going to rename Color I can hear just so we can, uh, caller this. So, um, let's go with the same kind of collar here for every single individual element here in the drum section. Nice. So now just select that. So let's root this number five ruins like this. Number six. All right, so that is no routed to number six. Then let's go with this track now. Root channel rooting Don't want this to be routed to anyway, for now. And I want this one to be to number six. It's not his number 678 and nine And this wasn't colored or names or anything, because I think it was selected with all of the tracks. You want to make sure that just one of these tracks here are selected when doing this. So I'm going to do this manually for this one. So it was the seven or seven close hats and we had that green kind of color there. They're nice. So now we have the group here with these four tracks, and ah, we could group these together to one single group, but I'm going to use them as a bus. So I'm going to have these four tracks separate. And they were going to route all of these four tracks to this bus here and in this bus. We're going to treat the drum section as one bases do. So enough for studio. Just select the track he wants and then go to the bus here and just click this arrow here. Now you can see it's going into Senior is going here, and it's also going to the master. So we want to delete the master here. We want the sound to go first or drum bus and then from a drum bus, you can see it's it's a cable that goes from the drum bus to the master so the single will actually feel from this channel here, the individual sound will travel to the drum bus through the different drum bus plug ins here and then to the master. So you want to do this with with all of the different sounds that we have here? So just go to that and same thing goes here. So not all of these sounds here will travel through our drones bus here and then to the master has played now 27. Grouping Tracks in The Mixer - Part 2: to select the kick drum as well. So I can see we can treat all of these sounds with just one volume, either here. So let's say you want to, um so set the different volume level off all of these drums here. We can just do it. But one volume fader here, and we can also do different stuff. Now we can just take, let's say, one, the river beer. So let's choose this river beer. We can said it to maximum wet and let's get rid of the dry signal here and now we're going to have this has an effect in the drum. So we can now take this dial button here and just have it set to minimum or maximum. And we can set how much off the river be we want. So, for instance, we can automate this now, Um, we can automate this to let's say, somewhere in the track, we want the drums tohave a lot off reverb, and then we want to get rid of the reverb. Or you can set how much you want off the reverb signal so you can just tell if a studio how much off the river you want on the drums here? Let's try it out. And as you remember, in the previous lecture, we were created the templates for efforts studio. We also created the buses for the different instruments. So you can see now we have a compressor and it's already doing its job for the drums. So we actually don't need Teoh make anything in the compressor here. Otherwise, other than if you wouldn't like the sound of the compressor, of course. But just a preset, just a drum preset for the compressor, and that will make your drum sounds sound like one rather than individual samples. So it's already doing his job there, and you don't actually need to do anything if you have all of these set up in the templates that you're starting out with, so you just you just basically import different samples through it mean there. Then you root that all of the drums to the drone bus here and you basically good to go, you know, so you can just start to arrange your track and work very, very fast within that for studio. But I as you can see her, I always recommend you to have a reverb setting in your bus is here, and you you make have to make sure that you have the wet single to maximum and the dry single 20 here because you only want the reverb signal when you're messing with this style . Bottom here. Singles with the Q. Now we have the kick drum here as well, so the kick drums bottom is going away because we have this. So let's exclude the kick drum from the drums bus here. Let's go to kick drum here and we're going to take away the cable and just routed back to the master basically to know if it disabled the drums bus here. Very basic through. So So that is how you group different things and create buses in efforts. Studio is very easy to do, so I recommend you to work this way because it's going to make your life a lot easier when you're create your track and when you're start to make singing stuff. And I always recommend you to do this while producing and not just thinking of it like, Oh, I will handle this later on in the mixing states, you know, and just throwing that problem away and just getting messy because it's going Teoh, you're going to have a lot of different work when you're going to set up all of the individual sounds. Let's say that you have hundreds or thousands of sounds, even in your project. That's not uncommon. You know, when you're creating big, huge projects and let's say that you have have 500 sounds, for instance, and then you have to set it up. Everything in mixing stage. Let's say you how you want to have every individual sound in in their own, like mixing channel here, then is going to be a lot of work for you, so I don't recommend you to do that. When you're like mixing, you have to do it when you're producing that way, it's going to be a lot easier. Teoh, go to the mixing stage. I will show you when I create the full track, how I work and you will see that the mixing stage is actually going to be very, very short. It's not going to be a lot of mixing, and this is how I notice how other big producers out there that I worked with, how they handled the mixing stage because the mixing stage is very important. You need to level your different sounds. You need Teoh and that it's actually the most important thing in the mixing stage. It's just to level different stuff with the volume level, basically and didn't then just take you off course and compressed compression and other stuff like that. But it's going to be a lot easier to handle the different CQ section and and the compress compression, for instance, and other stuff like that when you have volume volumes already set. So when you produce you group your different sounds together, you set the volumes for them when reproducing. And then when you go to the mixing is just basically e que and compression. And that's all in the mixing. And I'm going to show you exactly how I do that when I create the track so you will see everything off that Alright, guys, So I hope to see you in the next lecture 28. Create Sidechain in FL Studio: Alright, guys. So in this video, I'm going to show you how to side chain in efforts studio. So there are different ways you can side chain enough a studio. There are some different complicated ways as well. You can root different volume levels and link them to a side chain, for instance. So the volume is duck in whenever Ah, some other elements are playing in your project, for instance. So you can do that by a lot of different methods, actually, And but I'm going to show you the easiest method to sigh chain and that I use every time enough a studio. And I know almost everyone is using its as well. So first of all, I'm going to create an instrument. I'm just going to go with the basic three x or Slater's here and just create a very, very basic kind of bass sound. You know, very basic sound. Just you can see what I'm doing here just so we can see how I cite in this as well. And if you don't know what side Cheney's side tennis. Basically, when the volume goes up and down automatically and it's mainly used to duck the sound to get the kick drum in front off the mix. So whenever the kick drum is hitting the volume off, the other elements that are side chain is going down. And it's only going down when the kick drum is playing. And then there's going up again. So that is basically what section is and what section is mainly used for begin usage innings in other ways as well. But the main thing with side chain is to duck other sounds to get there, for instance, kick drum in front of the mix so you can hear the kick drum so it's coming through, you know? All right, so let's just create a very, very random sound here. All right, so now we're going to cite in this. So first I want to assign this to our individual mixer channel. So let's select that and just channel routing route Celia track. So now we have our three x oscillator plug in here in this mixer channel, so we can now go and put a plug in here in this mixer channel. But what I'm gonna do here, and this is also why it's very important to create buses in your project this because you can create side chain for each and every element off course. But that is going to be very, very. You're going to be tired of it because if you want to side chain, let's say almost everything in your track. Besides, let's say the drums, for instance. Then you want to. You have to actually create side chain from each and every instrument and each every audio sample, for instance as well. So this is why it's very, very important to group things together in a for studio in every project. So if he route this, let's say route this channel. Track this three x oscillators to our sins bus here. So let's do that. Let's select this and now just create this and delete it from master. So now it's rooted to our since Channel. Actually, this is a bass sound, so let's create for the base on instead. So let's delete that and just wrote it to our base. Makes her channel instead. So now we have our base channel here and in this base channel that's now create a plug in. We now want to open up the grass beat. Here is against the This is a very nice plug in an effort studio. And what this plug in the US is basically to cut the sound in time. So there is a nice preset here called Side Jane, which is there, and I can see the volume is going to to just duck whenever the kick drum is playing. So the kick drum is playing here so you can see that this signal is going to get to zero and then is going to go up until the maximum. Then the kick drum is hitting again. It's going to go to the lowest setting and so on and so forth. So that is how side chain works. And a very nice thing with this plug in here is that you can actually just break click here , and you can choose how much of this I Cheney wants by this going with career, you can do it that way, and you can also choose how much of the side chain signal you want. So let's say that you only want half off the signal to be side chained and other half off the signal to be just left out, you know? Then you can do it variously with this knob here. So let's just try it out here. Let's just played and you will see how the signal is being affected of this plug in now and now. It's so much side. Jane, it's so much volume. Cut it off here that you can barely hear the signal. So just right click here. But let's create some more side Jane or more off. The signal got coming through, and now we have some different e que Here, for instance, that is cutting out for signals. So because we did that in our template. So let's just get some signal back again. So now we can hear the base more. Now you can really hear it, so we're going to lower the volume a bit. Let's go back to our base channel and now grow speeds. You can really hear that pumping is home loan. You can also set different points here. So let's say that you want to create a new point like that. Now you can make the sites and really, really weird here so you can take off one of this signal here, one of the beats here and then just having the section as regular in the three other beats here. But in most cases, you just want the side chain to be like this basically, and this is how the side chain works. It can also do it just like this, having more smooth side chain. And this is what I always go with. Or this is maybe too much. So you can just lower the Nabiha. So that is how side chain works in FL Studio. Let's see you in the next lecture. 29. Setting up Your MIDI Keyboard in FL Studio: All right, guys, welcome back to the course in this lecture. I'm going to talk about media keyboards and how you use media keyboards inside of Effort Studio. So first, let's go to options and meaty settings. So as soon as you have your meaty keyboard connected to your computer, it should list in this import list here and it's against. See, here is my mini keyboard. It's called I Rig Keys 37. It's a very nice portable media keyboard that I use when I'm on the go. And if you just have your media keyboard listed here, that means that ever studios found it, and you can use it if it's enabled like this. So you should be green here, and if it is screen, you can use it. And some of the meaty keyboards are supported by a for studio and you can use Let's say you have ah, Coreg Nano key, maybe keyboard here if you choose this all of the different presets that comes. So let let's say that the knobs and all of the different things that are physically on a meaty keyboard will be supported inside of a for studio. If you're many keyboard. It's unlisted. Here you can use the January controller, which will make it work, but you will have to set up all of different knob, every single physical inputs on your media keyboard. You have to set it up manually, and it's very easy to do that. I will show you this as well in the in this video. So as soon as you have this input here and it's enabled, you can use it inside out for a studio. If you want to have output signal from her Midi keyboard. And if that many cable is supporting that, you can just use it here in the list and to send Master Sink. That is not what I'm going to use with my mini keyboard, so I'm going to live it as it. It's sometimes if you connect your media keyboard and you don't see it in the list, just hit the Refresh the fight device list, and it should list here. Sometimes you have different meeting controllers connected to your computer. Let's say you have a drum pad that you want the drums to be that you can just play around with the drums and then you have a meeting keyboard that it's more kind of like a piano or piano and different soon sounds to be played. With that, maybe keyboard. You can use multiple media keyboards with an eye for studio. It's very easy to do that as well. You just select the Midi keyboard, just person able, then go to the next one person able and that will work as well. You can also separate thes midi keyboards, so let's say that you only want to play. Let's say one plug in or one instrument for the drum pad media controller and then you want Let's say only piano sounds to be played with your immediate keyboard. You can do that as well. So if we just go out of this settings here and let's say that you want to, um, have this three x oscillator plug in just being playing by your meeting keyboard. You can do that by just rightly care and go to receive notes from and here you will see all of the different media keyboards or MIDI controllers. So now you can just choose the media control here and you can set if you want all of the Media Channel So let's say you want all of the different things you can do on your media controller and be set to just this plug in here. You do it by going to receive knows from and just choosing all here. All right, so let's take a look at the manual Asyl ing off different knobs and different physical inputs on your MIDI controller. You can do that. You can choose what you want. Teoh Operate with physical, let's say, a knob or a physical input on your media controller. So if I open up this plug in here, I do. It do is very random here. Let's say that I want to have this knob here controlled by a knob on my meaty controller. I can do that by just right click here, go to link to controller. And now just move Whatever physics impact you have on immediate control, that you want to have this link to just move it and now we can see it's moving that no up here and I do it physically with my media control. Now let's say I want this knob here to be controlled by another meaty. Not that I have here a media controller. Just go to link to control again. Just set up like that. We can see I have my two physical knobs here, so it's very easy to use as well. And sometimes you can't really right click and see this menu here. Let's say if you're on 1/3 party plug in, so that's actually load up 1/3 party plug in here. Let's go here. I'm going to use my serum plug in, which is a very nice plug in. And let's say that I want this to be controlled here. I don't really see that I can do media learn, of course, but I can't really see this permitted here. So we can do here is to just touch the perimeter, that you want to be controlled by some input on your me controller, and then you go to tools. And last week's Tonight can see the perimeter here Serum B unit blend, which was are not there, and now I can go to link to controller and just link it. Let's say that you want to get rid off one off the different links to the MIDI controller. You can do that by go to the browser here, go to current projects and remote control. And now you can see all of the different links here. So you can just click on one of them and just press reset, and that should go away. Alright, guys. So that was it for this lecture. Let's see you in the next one. 30. Automation Clips: Welcome back to the course, guys. In this lecture, we're going to discuss automation in efforts studio. So automation is basically efforts studio moving different parameters for you automatically in time. So let's say that I have a primary here in the mixer. Let's say that I have the volume meter here and I want it to go up and down. Let's say I wanted to go up when the snares and hats here are introduced. And then I wanted to go down slowly and slowly throughout the track. I can do that with automation, so I don't need to actually manually go and like putting in putting up and down like this. So automation is very useful. You can do it with every single parameter in efforts studio, and I'm going to show you how to do that in this video. So I have a new arrangement here with a very, very basic, simple, kind off track here that I created. So if you want to create an automation off a single parameter, wherever you are enough for studio, you just basically go to the parameter, of course. And ah, so let's say we want effort keys here. I want this Nam to be automated. It's very to do so. You just right click on it and go to create automation clip. So when that is done, you will get an automation clip here, As it looks exactly like the all of the other clips, you can see the difference between them if you go to this list. So you have the automation clips here, and you have the media clips here and all the eclipse here. So let's go to 1/3 party Blufgan hair. I'm going to go to the serum plug in. Let's go to Shannon Generac here and here. I have the serum plug in. So here you can see up just a basic precept that I found inside of serum. And when I want to do here is to automate some presets. So in this particular preset here, I want Teoh automate this rate button here because this is what the sound of this preset thus basic in this instance, I just want to automate the rate. No, I'm here. So if I right click here, I can't find the menu for the automation clip. So I just go to this. I can hear and if you right click on it, you can see create automation clip. So first I have to touch it the knob and then I go and right click. Here you can see Serum Heather for one rate. So let's do that. Let's create an automation clip, produce. And now you can see I have a new clip here and it's it's showing up here, so I'm going to take it down like this. And I wanted to be grouped with the AARP that I have here. The orb, clip and or flip is basically the the synth sound that I have here. The serum sent some, so I'm going to move it up like this, and I'm going to group it. So I'm going to insert a new track here in the playlist. So if I go to synth and just insert one, you can now see I have one new track here, and I want to move this down as well. So moved down, and now I can just move this automation clip here, and I can group them together. So if I go to group with above track, you can now see the automation is not grouped with the scent that I'm using the automation for. And this is just because I want to be organized. I cannot see their automation here, and I can just expand them if if I don't want to see the automation. So just to get organized like this, otherwise you will have automation clips laying around everywhere and you don't know what the automation clips are. Four. So that can get very, very messy. So just make sure to group the automation clips to their respective sound that you're using automation for Okay, so now I'm going to demonstrate the automation here. And let's just play the track first. You will see why. Ah, why it It's so important to create the automation in inside of this particular. Since l. You see, it sounds exactly the same all of the time. So this preset, if I just put up the rate a bit, you will hear it. Speed up and you can slow it down, speed up and slow it down so you can create like a kind of a rhythm for this preset. So let's just try it out manually. So let's play it so you can hear what I mean by that. So I want something like that. So I can either record this with my mini keyboard and link it to that press record. And then you can create the automation by recording it with their meeting keyboard. So let's try that out. I'm going. Teoh first link this to controllers like in first. Just use this rate knob just so efforts would you know what I want to control. Then I can go to tools here last week and linked to controller. And now I want to link. There's no I'm here with the rates. Actually, I wanted to be, um, on a mother, not because this mob is very sensitive and I want to move it very, very slowly. So the native controller again and just override it with this mob. Yeah, that's much better. Okay, so now I can just record it, and you will see what what happens. So if I press record and you can see here what I what I want to record and I actually want to record notes and automation. So let's press that and crisply there it is. So now let's take a listen to it, and you will see the automation can also see it here in the background. So let's create a manual automation instead. They can do it with the formation clip that we created before. But I'm going to create it for this. Cut off instead. Just so you can see Ah, a different way you can do it. So let's get rid of the automation clip that we created first. And I want to automate this cut off knob here. So let's just move. It is right. Click here and you will see filter cut off and create our mission. Clear. Pierre, let's move. It's over to here. And now I want to create, like, a current here. You can see. I want to sound to gradually go up like this with the cut off. Okay, that was a bit too quick. So let's create a new point here by just left clicking and can create a curve like that. Let's try it out now. Okay, so I want to make it go full speed there. This kid rid of that point. All right. Okay, so that is automation in efforts Studio. Let's see you in the next lecture. 31. Shortcuts You Need to Know: Okay, I So in this video, I'm going to show you short cats that you need to know when creating music with efforts studio. So first I want to address the different F keys that you won't need to learn. So first, I want to show you the different F keys that you need to learn. If keys are the keys above your keyboard or the upper side of your keyboard, you can see F one F two F three etcetera. If you're using a Mac, you most certainly can't see them, but you can still use them. Um, a Mac, you have ah kee called FN, which should be in the lower left corner side. You should see the F N key. And if you press and hold it and then press the different upper case, it will see we'll get the F one F two F three keys. As usual, you can also see the F key. Which one? It ISS, and they are numbered just underneath the icon on that key, and it is just for Mac on. If you're on a windows, you most certainly have the F key, the function keys, as they're called. So if you're getting the F one key. If we're pressing F one key here, you get the help section here so you can see if we're now focused on our mixer. This will bring up the mixer functions help. So lets say that I'm in efforts studio here. Let's say I'm in the playlist and I want some help inside of the playlist. Just go to F one here and now it will load up the help for the playlist, so this is actually very, very useful to use. It's not like, um, regular help window that your you have to, like, search whatever and you can't find that and someone suffered. So let's say that you have a problem with something If I go to the browser here. If I'm focused on the browser, Um, let's Sam here. Now, if I press F one that will load up the help for the browser, you see, it's very, very useful to have their all right. So the next one is going from F five up to F 12 so F five will actually close and open the playlist. If six we're closing up in the channel rack, then we have F seven piano roll. Then we have F eight, which is to see all of the plug ins that you have available So you can actually load up a new plug in here and see the graphic like this, the F nine for the mixer and then we have settings for F 10 F 12. Ill will close all of the windows here. So you let's say that you have a lot of different windows open up and you just want to get clean and you go to F 12. Then we have all of the different other key commands that a very useful to use. And they can differ between the different versions of efforts studio and also, if you have customize it in some way. So the best thing to do here and to learn is to actually take a look at the panel here, the info panel. You will see the difference key commands that you should use to to make a different thing here. You can see if you go to the playlist here. You can see now if I hover above the draw to here, you can see it's, um, the key Commendable for that is P B for the paint, delete D and so on and so forth. So it's very important to learn these stuff because let's say that you want to cut something here in the playlist and then you want to draw it out or something that it's like time consuming to just cut it like this and then go up here. You want to draw that out like that, for instance, and then you want to cut something else. So instead of going up to the menu here all of the time, you can just go with the key commands. And you have to make sure to take this off the typing keyboard to piano keyboard because other wise, the piano will play when you're typing your actual computer keyboard. So if you have this disabled and then go to the slice, which is C slice like that, then you have peace. You don't have to go up. It's just for me to show you that the kick Money's P. So now if I go to pee here, I have the the draw tool here, so it's very easy to to use like that for all of the different stuff inside of effort studio. So if you open up the piano like this now you see all of the different stuff here in the general. Then they have their own key Command says you can see here if I hover them over in the info panel. And ah yeah, the most important thing to learn here is the key command for the different tools, because that is going to speed up your workflow a lot. It's a lot easier to create and edit different stuff in the piano roll or in the playlist. For instance, if you're doing it with the KEEB commands here in the on your computer keyboard, one thing that is very nice to use is to hold the control key or if your own Windows or command key on. If you're on a Mac and when you have a draw too long, you can just if you hold it, you can select different clips here like that. So let's say that I selecting here and if I want to de select, just hold it and click Wherever on the empty space here. Be useful for copying and pasting different stuff in the playlists and same thing goes with the piano. So let's say that I want to copy this section here because it's exactly the same here as I wanted to be here. So what I do here is to hold the control key. Orca monkey just selected like this. And now I can just go with control be And now it will create us exactly the same clips here in this side. You can also select them like that and go with control or command, see and control or command V to paste it. And now I can drag it out like this. Next thing that I want to show you, which is really useful to have, is to zoom and you control or command zoom like this or with Ault like this. So you scroll and hold Ault or control to zoom. It is very useful to have like that thing that I want to show you in the playlist is how you create track and group tracks very quickly. So if you want to create a new track, just go to whatever track you want here, just right click on it and press I to create a track above it. So let's create two tracks. And now if I want to group these two tracks, just go to the second track that I want a group with and just wreck, click and press G and that will group them together. So what that does is to group with above track, So you have to make sure that if you want to group something, you wanted to be with the track that it's above it. So let's say that I create a lot of different tracks here like that. Now I can group them all together. So first I and then G to group them, then I can collapse that like that. You can also right click within this group here and just press I and that will create tracks within this group against see it if I go here so all of these tracks will be inside of the group if you press I within the group. So now where the all of these tracks are within this track here. So if I collapse it and just go on another track, let's say this track here and press I that will create a new track which isn't in the group . This is a very useful one if we have a track that we want to assign to the mixer and wanted to be colored and everything as it is in the channel rack. So first, let's just rename it and cholera it to something else like this. And now we want to this keys here to be assigned to the mixer we wanted to be renamed Asset is here, and we wanted us to be colored as well. So what you will do here is to just selected here the case here and you wanted to be on whatever insert channel here. So let's say you wanted to be there. And now we press control or command l and that. Will you see that it's us now assigned to the 14 and it's colored and renamed as it was here in the channel rack. Say, now that we want distract to be moved to this side in the mixer, it's very easy to do that as well. Just hold shift and now you're scroll. You see that Will, um, move this channel here and the mixer taken. Organize your different mixture tracks by doing it like this one is if you want to create a new pattern inside of the channel rack. Then you go to F four and that will create a new pattern. You just name it. So, um, new pattern like this, you can color it as well and just press like that. And now you will have your new pattern. So that is very nice to use. And it will automatically put up the rename and color box so you can immediately start to work on the new pattern. All right, so now let's say that we have a new pattern here and I have, ah, kick drum that iss the beatus like this. And I want to move this this rhythms here just to see how it sounds with the different rhythms. So let's say that I have something like this. And now if I want to move the kick drum here, let's just play this pattern here so you can hear what I do. All right, so now I want to move this pattern a bit, so let's select it, person. Hold shift command and your arrows or shift control arrows, and then we can see you're moving it like this. It is very easy to shift it like that instead of just the leading it and running out like that. And then if we don't like it, we're out like that. It's a lot easier to just shift command, control, command or control. And that little like this. Alright, guys, that's it for this video and we'll see you in the next lecture. 32. Creating a Full Track - Part 1: okay, I saw in these videos that are coming now, in this chapter, I will show you how to re create at least two different tracks that are playing on the radio and just show you how easily they can be created inside off efforts studio without having like a ton of different equipment in the studio, any for just a newbie. It just start off with after studio. You can still create hits on this is very easy to dio. First of all, what I always do when I want to create a track. Let's say that I'm I'm not having any motivation for creating a track or I don't have any idea what I want to create. So let's say that I'm just sitting here in the studio with a blank project like this, and I don't actually know what what to do, what to create. I know that I want to create some Elektronik kind of dance music, but I don't exactly know the Johner that I want to create, and I have a premium accounts, or Spotify that I always used. So if you go to Spotify here, I'm subscribed to this serious exam BPM channel 51 players on This is the tracks that they are playing on Sirius X M BPM channel with which is the satellite radio in the United States. And always when I'm traveling there, I'm always listening to this radio channel and I love the music that playing there. So I followed this playlist here, and there are a lot of different hits and lot off different great songs out here that I always listen to when I want to create a track. And this is one track that they are playing on the radio right now. That is very popular, and it's very easy to do. It's very ends, a very easy, a simple track, and still they're playing it over and over again in all clubs here in Europe. So whatever going to do here is first, let's take a listen to this track and let's see what we can do inside of Effort student. Just a basic stock clients that comes with efforts. Studio Jessica. Listen to it first. Let's just take a look at these notes here because these are just playing notes that are being played. So let's take a look at efforts Studio. What we can do here, too, re create that kind of same sound that comes with that track. So first, I'm always using this project that I showed you earlier on in this course, but I'm going to go with three X oscillators here and just take a listen to these things notes that are being played. So if we take a listen to the track again to the intro there and let's just play on my media keyboard here way, Okay, so we now know what we should play. What notes we should play. So first is F sharp than a short d sharp, and then we have be, so I'm going to start a new plug in here. It's called Citrus, which I really like. It's a very powerful synth that comes with Effort Studio and I have some presets here that I'm going to include in this course for free. So, um, let's take a listen to the different presets that I have here. I think I'm I know what kind of sound I want to use. I want to use some kind of base pad here because I think that's the sound that's used in the original track. I think that maybe the sound Let's take a listen to it again. Way you can see it's exactly the same sound. So I'm going to use this sound. So let's, um, let's record this. So if we click on the court but in here and just go with notes and automation, something like that. So let's see if we double click here, we're in the funeral. So let's, um that's select everything here. And if you go to Ault Q. Here we will Qantas them just accept like that. If you go toa alta que, we will get this window here. And I just want this standard kind of 16 notes. So ah, let's actually snap it to the boar that you can snap it like this or you can go and snap to the beat. So let's do that. Now. You can see every note here is on the greater, so I'm going to use it as it is. Think that So now we have our base sound there. That's it for the base. Okay, so let's take a listen to the next part in the song that we should fine and recreate so you can hear a snare drum there. And I'm not going to listen to the different transition effects or the different effects that they're using in the song for now, because I want to fundamental sounds off the track as off now and then we're going to build up the different effects for the track. Okay, so I have a kick drum, very clean and nice one. And I always use a kick drum. And if we go to my sample pack here, Favorites and I used this progressive kick drum going to use it for this track as well. So, um, just paying out like that. All right, So I'm going to disable all of the tracks and just have the kick drum on. And what I'm going to do here is to go to the mixer and 10 Iraq, take the kick drum here, please it on the kick bus and lower the kick of it. So this is what you want to use. You want to take all of your sounds and assign them to the mixer channels. So I always go to at least from number 10 in the channel mixer for the track and assign it from number 10 and 33. Creating a Full Track - Part 2: and until how much I want for every single sound that I'm using. And then I'm bussing everything out, depending on what kind off the instrument is. So let's say that this is a base pad. I'm assigning the base bad here to number 10 and then I'm assigning the number 10 channel to the base. So and then the leading it from the master here. So now we have the base Paddick going into its own mixer channel, and then it's going to the base bus and from the base bus. It's going out to the master. So if we now enable the track here and it's losing a bit off its sound because we're using a parametric eq you for that. So I'm going to disable it right? So just it's a lower the volume a bit. It's a very important thing to do when you're producing your music is to always lower the volume on all of your new sounds. Because if you have everything on maximum volume like this, then is going to clip. It's going to be too much all of the time, so it's very important to to take a look at the volumes in the mixer, and you always want to kick drum to be the loudest point in your track. And what I do are most often is to take the kick drums volume here on lower it Teoh about minus six db you consider in the Info panel there, so around minus six db and then it makes everything underneath that. So let's say that I have this base bad here and you can see I have this said on minus 50 minus 14. And then I'm going to mix all of the other sounds, depending on where I want him to be in the mixing. But still, I want to the basic mixing to be done when I produce the music. And this is very simple because I want everything to be organized, and it's going to be a lot simpler to do this in the mixing stage. Sometimes when you go to the mixing stage, you forgot, like why you did some sounds. Why you created Let's say why you're important, this kind of sample and then when you go to the mixing stage, you don't know anything about that sample. Maybe you get rid of it. Yes, so It's very important to a sign everything to its mixer channel. Lower the value on it and then move on, you know? So let's close the mixer. And now we have our sounds. Have a kick drum and we have the base. So the next sound that we're looking for is a bass sound again, but it's more like a bass synth more off that, then a base pad that we had here. So let's go to the channel rack again. I'm going to hit up one more site. Chris, I'm going to Let's take a look at these different based sounds that I have here. Take a listen to our track, Theo. I can hear those at a little glides that going on in the base section. But I don't think this sound is the right one to use for this sound. So let's browse around here and see what we have todo see what we gots Tweak the base a little bit so it sounds like this. Now you can see all of the different settings that I have. I'm also going to post this project file here in the scores so you can just copy this prison if you want to, you can use it as well. Okay, so I'm going to draw out the notes for this bass sound. So let's do this. Previously, I recorded the notes, but I'm going to recreate them by hand like this because, um, you can vary, ate the different. No teary. For instance. I'm going one doctor up here and I'm going one active here up, and I'm also going one active up here as well. So this is why I'm creating them notes by hand, here in the piano row. You see, if I collect somewhere here in the Vienna roll in the timeline here, you can see that it's going to play from that moment every time I hit space bar. This is very handy because if you're working on just this area, let's say then it's very easy to just hit the space bar all of the time here. If you don't want to start, let's say here from the beginning, in the piano roll can just drag it like this. You can see this by a ghost era here. So that is how you know that it's set on that point. Okay, so there we have our base soundless. Let's place it here. You can now see, we have our pattern. One here first assigned this to the mixer. So let's go to the channel rack here. And I want this to be placed that Channel 11 and let's lower the volume here. Bits and I also placed on e que here just to get rid off the high end in the bass sound so you can see I have a parametric eq you to ah, and I just get 34. Creating a Full Track - Part 3: I just get rid off the high end here boosted it a bit in the low made and living like this . And this is because I want to layer this bass sound with another Bassong, and that, based on, is going to be put a bit higher in the frequency spectrum. So let's actually clone this track like that. It's now have the same track, the same synth sound, the same preset and everything. So we're going to do here is to take this the piano roll notes and copy them over. So select all and control. See? Then we go into this new track open on piano roll and control the So just paste it in like this. So now we have it the to exact same sounds playing the exact same notes. So I'm going to hit up another preset here. I'm going to go to base and let's see what we have here. I'm going to go with electric. Let's take a listen to this. Yeah, that is exactly what I wanted. Yes. So what I want to do here is to layer this sound with this based on, but this is assigned to mix a channel 11 and in the mixer, Channel 11 we had our e que, which took off the high end. So if we assign it to number 12 now, lower the volume here. It's not a sign. Tiny Q. So now we will have the high in the air. So now if we play these two bases together, you can still hear this bass sound taking over a bit. So let's lower the volume here. Yes, so you can hear this base sounds being group now. So what we're going to do here is to group these together to the base bus that we have. And let's just have this CQ disabled that we had in a template because we already treating thes based sounds. The two bass sounds here, so we don't want any additional e que, because that's going to miss up our sound design here. So let's root thes two tracks. Let's go with this one first to base disable it from the master. Same thing goes with this like Mets. So now let's put on on gross beats here and let's go with a side chain presets. That's too much. So let's say that we want something like this. So there we have our base on, but I think this track is a bit too fast in tempo. So let's lower it and also create a new pattern for a base patio. We don't want any side chain on that, so I'm actually going to reroute this track. We had it routed to base, but let's just really to the master for now. All right? So we have our base pad going to put it here, and we're going to resize it a bit. I'm that So now we have a pattern to, and we're going to have this set us base pad. No, it's colored something similar to the base, but not the same. Just we can may see the difference between them and um, yeah, let's just resize it like that. All right, so now we have the bass sound and the base pad and the kick drum. It's let's take a listen to the other elements that we had in the track, all right? So we had to have that kind off plucky sin sound melodic that it's playing on top off the base. So let's create that we're going to the sin sound here and let's go to the channel rack, That's it. Up another Citrus. I love this plug in s you can see and let's go to plucked Let's see what way So this sound is definitely not the same sound as they're using in their track, But they it is something similar to this that I want to have. So let's see what we can do we owe No, that is way too off. That was actually our track. I thought that that was from Spotify. I got this pluck three here and I'm going to play the melody from the original track that comes from Digital Agostino. So let's try it here. All right, so we have the plaques on here and let's record the sound. So let's create a new pattern. We have the pennant three here and, um, Nets plates here, and that's 35. Creating a Full Track - Part 4: that's actually the original from G. D'Agostino's original track that this track comes from. So let's record that. And then we going to rearrange the notes a bit, so it fits with other elements in the track. So let's record it. So there we have our pattern. That's choose it like this. Let's move this to the synth. That's double click it. Select all. Now we have to Qantas it so alta que and we want the standard be tear, accept it. So now we have it Quanta iced and ready to go basically. So it's not really Kwan ties in this section here, So let's take a look way it doesn't work. Okay, so we wanted to be beats except till s culture is sensitivity knob and let's make it full, except and now it should be in time. You can see it here. All of the notes are perfectly aligned to the grid here, So let's assign this track here. The pluck to makes her channel number 13 and its lower the volume a bit. Going to root this to the since bus and we're going to we're going to take gross beat here as well, just to make the side chain so signed chain. And instead of just doing this all of the time here, um, you can create a preset for the side chains. So we're going to do that. Let's have it like this. Say, freeze it, us. And then we going to just name it signed chain. So now every time when we go to the grass, be tear. Let's redo that. Let's delete plug in from here. Let's like this. All right. And now we're going to the grass, beat again presets and we have our side chain and that is way too much. So let's lower the side chain. So now we want to rearrange the notes here because this is way too much melody. So we wanted to be like in this track. So let's take a listen to it again. Okay? So it's actually the same thing as in this one, but there are some differences. There is some bending going on there. And with the site truce with a built in plug in here Citrus, I don't I mean, you can do it, you can bend different notes and you can go through the different plug in settings here in the sight tress. Before that, I will recommend some third party plug ins like Serum Nexus or silent. They are amazing for doing this. We're not going to do that in this course because this course is all about the basics. Enough for studio. But I'm going to show you how to arrange the track now and just how to create animations and different transitions and stuff like that. So let's continuing with the sculpting off of sin sound here. I wanted to be a bit more aggressive, so let's do that by going to the mixer and in the Mixer Channel here. I want to create some effects because you can have effects on in the individual channels and individual mix of channels, and there are different effects you can use here. So let's say that we want something that colors the sound so you can have distortion, as you can see here. So let's do something like this. Maybe, Yeah, that is not what I was looking for. So let's replace it with something else. That was exactly what I wanted. So, uh, let's modify the notes a bit. Take a listen to the regional track so It's basically doing the same thing here. So something like that moving to lower the distortion a bit because I think it's to be a bit too much. - Yeah , And I think I'm going to take off some reverb eras. Well, so I think the reverb iss actually in the synth itself. So Okay , I said, that s it for sculpting the sounds. Now I'm going to create beats, so we're going to create kick drums. We're going to create collapse snares and all of that basic drum stuff. Then when we don't with that's we're going to go over to the ranging part, So going to arrange the our little track here, and then after that, we're going to bounce it out. We're going to create that mix down, and we're going to create the mastering as well. Okay, guys. So see you in the next lecture. 36. Creating a Full Track - Part 5: Okay, I So it's time to arrange the track. So first, let's do some housekeeping here. So let's just rename and color these patterns. So first pattern that we have here as take a listen to it. So this is our basin. So let's rename and color it so bass synth Oh yeah, and we want to cover it as well. So let's do it this color or let's do the same as in the playlist here. So let's do a blue color like that. Now I have the second pattern, which is our base. Bad it. So let's rename and color it to base pad and let's put a blue collar on that one as well. Then we have the next pattern, which is the third Pilon. That's our melody. So let's rename and color. It's Medici, and we have, ah, kind of a green color there. Okay, so now we have the kick synth bass and bass pad, and a kick sample is actually in this list here, but I'm going to keep the name acid is because I know that this is the kick drum, but we could potentially rename color, and I can it as well So let's do it. Yeah, let's do it. So now we have a kick drum here and the sample named Kicked, but we can't really see the name here. We have to zoom in. So now we can see the sample is renamed to kick here in the playlist. Okay, so now we have everything colored and named. Okay, so let's take a look at the different drum loops that we can adhere. So we're going to create a beat now. So let's just take a look at the different drum samples that comes with the for studio. So you go two packs here, you can see drums, and now you can see symbols, hats, kicks and everything else here. So because we already have a kick drum, I'm going to create a snare. So let's take a listen to the original track, so that's kind of like a clap and snare. So a kick drum is going on in the beginning, and then it's a snare with a crap that it's I think there are layered with each other. So let's take a listen to Ah, nice snare here. - I'm going good to go with this. Clap here. So um, this one and also this'll one as well. So I'm going to layer these to collapse here and zoom in a bit. They could see their muted, so let's enable them. And I'm going to assign these two sounds Teoh Mixer bus. So let's go with Makes a bus 15 and just lowering the sample here so we can just layer it out like this, and I'm going to do it. So, um, the clap is it's here going to go with setting the clip there and there. Okay, that's a bit low in volume, so let's lower it. Let's make it a bit higher. I'm going to separate these two collapse because I want one clap to be louder than the other one. So let's go back, torch anorak and let's move. The other clap, too. Makes the bus number 16 and want this clap to be louder. That's the number 16. So let's make the number 16 a bit louder and number 15 um, lowering that a bit. Yeah, and we can perfect this a lot. Like for this purpose. I'm just going to show you how to create a basic track, so I'm not going to Ah, sit with a clap and perfect it and do other stuff, so I'm just going to show you how we can do it. But as you can see, you can scroll through different samples and let's say that you don't like the sample. It can just go to one other sample here and just send to selected channel or focus plug in , and that will actually replace this collapse so they can do with that way as well. All right, so let's arranged this collapse out here just so we have a nice loop so it can loop this and you can do it this way, or you can put it in a channel rack here and said it like that and then arrange it in the playlist. But when I work with audio, I prefer having the audio in the playlist Straily out like that. And this is because I can clip different stuff here. Let's say that I want to slice a clip. I can slice it out one on one moment. If I only use media for the drums, then it's not that flexible to do. And if you're working with audio can just go ahead and slice it like that. All right, so now we have our clap and snare. Let's take a listen to what we have. Maurin the original track. All right, so I have a close tat and let's take a listen to one. So I'm going to go to the hats here and this one. I want to be in a channel rack because it's going to be too much audio here because I want there had to be playing all the time, basically. So I'm going to put this in the channel rack. So let's open another up and go to all. And now let's take a listen to Ah, close at that. I want I think I want this one. So let's just drag it in like this. Create a new pattern. But in four rename and color it and I want this to be kind of orange because the drums here orange and OK, so let's do it like this. It can also fill each eight steps. Of course, sounds very aesthetic. So let's open up the piano for this one and lowered the velocity. Okay, 37. Creating a Full Track - Part 6: Okay, so now we're going to put it here in the Trump section, spinning out. I want to sign that to the mixer. So let's go in a new channel here. Number 17 when I want to do with this one as well, is to create a side chain. So let's do that. Let's go with a grass beat here and put citing on. And we also have our presets as remember. So let's put it that like that. - Okay , I So I think it's time for the arrangement. So let's do it. Let's close the channel right here, and let's create a basic arrangement. So I'm going to select all of these clips here and just move it like that. And now we can freely, um, creates are very simple and short arrangements. So first, let's take a listen to the intersection. All right, so it started out with the base pad, So let's select the bass part here. And, um, it's having a set up like that, and we obviously don't have the vocals, so we can't have the vocal in the project here, but other than that, I'm going to trying to recreate almost all of the elements. What I can do in this track here is to recreate all off the effects because that is going to take a lot of time to trying to recreate exact exact effects that is going going on in the Strack. But I really recommend you is to take one of my other efforts to your courses, which is going to be full production courses. Those courses, arm or in depth with when it comes to productions, were digging really, really deep into the productions and tweaking all of the different individual samples and sounds and really analyzing different tracks and trying to re create our own track with a reference track way. All right, so we want, um, a snare owes. I'm going to go to one of my own sample packs here, and you can find these sample packs for free on music Bash product. Come. And because you go, you're attending this course. You will get all of the sample packs for free. Of course, I'm going to use the snow arrows here and let's take a listen to different scenarios. Let's use this one here. Lets used this one here. So I'm going, Teoh, I would set up like that. Let's see if this is in temple or not. So this isn't 1 to 18 bpm, so we're going to make it in 1 26 The let's create this narrow in the same tempo as the project, so you can see all of the samples here are named by the temple. So the samples original temple here is and want to own a ppm. But our project is in 1 26 ppm. So I want to change the tempo of this one. And you can do that by going to this dinner. I can hear on this clip. If you click it, press fit to sample and now you can see that please select the temperature in BPM. The sample is the most likely to be in or choose to keep. The tempo of the sample is currently assigned to, so you can see it's a sign at 102.4 bpm and that that is not the original temple because the original temple in this sample is and want to win eight ppm. So let's type in the PM, and that's type in once when eight and now it should be in the same Temple ASUs project. Yeah. So what we have here now is this narrow? Let's a signed this. So let's assign this to the mixer. That's doing number 17. Let's lower it. Okay, so now we also want to have, um, up and down lifter here. We want an uplift. Their first before the drop. Its Yeah, I want a very, very basic kind of noise sample. Something that maybe. And now we want this sample here to be assigned as well to the mixer. So I'm going to sign it to number 18 and now lower the volume a lot on this one. We just want this to be in the background, basically. Okay, So let's arrange the other things here in the track. So let's now do the kick drums. I'm going to copy and paste them so I can just work in blocks here. So stuff like this as well as other things I just don't want to clip. As of now, I just want basically the bass synth. So let's I have the basic there. Okay, so that's get the clap in for now. Let's move the other things away. So we have more space to arrange the track basin there as well 38. Creating a Full Track - Part 7: I want to get rid off one of the kick. Trump's here before this section just to introduce the next section off the arrangement. So let's copy everything over now besides the base pad. So let's do some time that okay? Want the has to be a bit louder, so let's see the hats and we have the hats at number 17 in the mixer. So let's go to the mix of here. And I think that was this narrow as well. So let's a sign it to number 19 and now you can see because I didn't name anything in the mixer. Now you can see it's a mess, you know, because you can't really find you don't know what this is, so always have to look at the channel rack to see what what instrument is assigned to what channel in the mixer. And I did this on purpose because I wanted you to show you how messy can be NFL studio if you're not assigning your tracks to the sample. Okay, so we haven't number 19 here for the hats, so let's get back to the mixer. Number 19. This can be to allow let's see. Yes, it is, and we had our grass beat in this narrow, so that shouldn't be there. But it should be on our hats section. So let's go to the gross speeds preset side chain. I think the side chain is too deep for the hats. So someone that it's lower the volume on this narrow if we also want to cut the its narrow obits just before this section. - All right, so let's copy over the last section so we can just move it like that because this is going to be our last section in this arrangement. So it's basically the same thing here. And let's see if there are that on some more besides the hats. No, that's it. Basically. So, as you can see, this track is very, very, very simple. It's nothing that I would like release or anything like that. It's just to show you how easy you can create different ideas just through any in samples, just assigning them to the mixer like that. And yeah, as you can see, it's so easy to to create different ideas in F a studio. The only thing that I think efforts to relax a bit is with the arrangement because you can create different stuff in the arrangement. And I have a lot of experience with different digital audio workstations. I really like the way you arrange stuff in logic pro 10 but that it's Mac only. And, ah, I mean, there are different stuff enough for student that I really like and that I don't like in logic, for instance. So this big digital audio workstation debate that is out there, which which one is the best one, you know? And I think all of the different digital audio workstation has their own, like good stuff and bad stuff, good sides and bad sites and them. Yeah, the piano role in Efforts Studio, for instance, I think, is the best funeral out there of all of the digital audio workstations. And there are some different talks within, like, forums and read it and different stuff that effort studio lacks in quality for some some reason. If you compared to other digital audio workstation and I heard a lot, that logic has the best quality or sound quality or something like that, and I would disagree on this because, you know, there are a lot of different producers that use the safer studio, the Big one, for instance. Avicii that are fortune Listen with us anymore. But he did create all of its monster hits with the first studio, and that is with Efforts Studio with the basics tools that I'm showing you here. And of course, he has a lot off projects that are like very professionally done. And this is because he's sitting there with his computer. And if a studio all day long all night long, that is how he developed his process with producing this monster hits on that for studio. But I'm just showing you that the potential on offer for Studio it is very huge. You can create big projects for a first studio. You you don't have to own another digital, diverse, station like logic or able to honor all the stuff like that. Effort Studio is a monster of quality when it comes to produce music. That's the I think, one of the best out there for bruising music. I like Effort Studio and I like Able Town if you're on a Mac, but still, effort Studio works on a Mac. Now it's a Native Mac application as I'm using mcic and see. It works exactly like on windows. Okay, guys. So that was it for this lecture and for discourse. I hope you like this course and let's see you in the next one. 39. Creating & Handling Backups in FL Studio - Part 1: All right, guys, welcome back to the course in this lecture. I'm going to cover the different backup settings you need to know NFL Studio. So it's very important to back up your projects and all of your audio files on different stuff that you create in a never studio. This is very important because sometimes there for studio can crash. You know, you never actually know when this is going to happen, so it's very, very useful to have backups all of the time. And I'm going to cover different steps here to create these backups and how to make your life easier when this is happening. So first we're going to take a look at the project that a folder. So if you set up this project that a folder Inside Off Efforts studio, this will copy all of the different files audio files and let's say that you recorded different orifices as well. All of this is going to be stored in a location and a folder that you're going to set. If you're not doing this, then everything is stored that default location or the source location where you took the samples from. So let's say that we're using samples inside of this project here. I'm using the kick drum and the hats. And if I'm not creating this Project Data folder, then if I move some of the source files from, let's say, their original location and let's say that I move them from the original location to somewhere else or delete them or something, then if I open up this effort studio project, all of the different orifices that I moved, it's going to be corrupt, so I can't access them and offer Studio is not going to play them. And you can solve this by creating the Project Data folder. So how do you do this? You go to options and then just choose one of these options here. So for many settings, then you go to the Project tab here and you can see that a folder now we can create a dollar fuller. So it's it's set up auto, So this is going to leave the audiophiles at their source location, but we want to set this data folder, so let's go to the folder. Here's my five structure off my computer so I can just create a new folder for this project . Name it and then just press open here. Um, and it may look different on your computer if you're on a Windows computer. But I'm on a Mac here, so it should be Look, something like this. So let's name this my first project like that. Now, let's just hit open and it's going to prompt you. If you would like to save the current project in this folder and this is very smart to do because then you're going to have all of your files inside of this folder and you're going to stay organized instead of having the product five somewhere else. And then you're having all of your audiophile somewhere else. You just want to hit yes, on this one. And if you're hitting, yes, here. You'll see this new dialogue here where you can save your project file inside of this folder here. So it's already set on this folder. So let's just name it as the same as my folder here, and it just creates saved. And now everything is saved inside of this folder. Extinct I want to talk about is how to export two different tracks to stems, and this is very important to do because, first of all, you can share this project file with other producers that doesn't use effort. Studio asked their own digital audio workstation. So let's say that that they're using Able Tom or Logic, for instance, then if you're exporting all of your stems as audio files, then they can just import them as audio inside of there. Digital Audio workstation. And there are some other different positive things when doing this when exporting to audio files. And this is because you can take all of these files and just putting them in a folder, for instance. And when you have that in your folder all of the audio files, then you can just put it on an external hard drive. Or even better, you can put it on online backup, which I will show you in the next video. How to do that. I have a method off creating an online backup automatically. It's very, very cheap to do so, and it will actually help your life a lot. I will. I will show you in the video. I think you will love the solution that I have for it, and it will save you a ton of time. When Let's say your project is actually crash, then you haven't saved it. And yeah, so I will show you how to do it. First, let's create audio stems. So let's go to file exports and then you just choose if you want to weigh fire them three file So let's say that we want way files here, so let's go with save. And now if you go to Miscellaneous here, you can choose split mixer tracks. So now every single track here will be exported as one audio file and you can set if you wanted to be on in wave MP three or other output formats later on. In this course, I will also show you what the best export settings are for exporting all of this audio file . So you see what you should use here because there are a lot of different options here can use. Okay, so when you start here, you will have different audiophiles exported into one location, and that is going to be the Projects folder as default as we set it up earlier on. But if you're not doing it, it will show you a problem for you going, Teoh, choose different location for these older files to be saved in. Okay, so next thing I want to show you is how to export as zip blue package. If you do it this way, you will have all of your project files and you're 40. Creating & Handling Backups in FL Studio - Part 2: your audio being zipped into one file. So then you can share it very easily with your friends or with other. They can share it with all of your friends and other producers as well. You can just send it to, let's say, Google Drive or we transfer something like that in just one file, and it's a lot easier tohave it zipped like that because then the receiver will just get one file. He just unzipped it, and you have he have all of the different files there. Next video, I will show. You are very, very nice online solution to back up your files. So first, let's talk about backup solutions for your computer and what I call local backup. And what I mean by local backup is to have an external hard drive. So as of now, I have all of my sample files stored on external hard drive on. This is mainly because my laptop's hard drive isn't very huge. I have a 256 gigabytes SSD hard drive on my Mac book pro here, and if I would like store all of the samples and contact libraries that I have, for instance, it wouldn't fit inside of that SST hard drive. This is number one, and number two is You don't want your projects or your samples being stored on on SST hard drive, and I will explain why. And this is the hard drive works a bit different than on old 3.5 or to about five inch hard drive or or and spinning hard drive because it says the hard drives can fail a lot more if there are a lot of different read and writes off off the hard drive all of the time. So actually, a spinning hard drive is better for that. And it's cheaper because you can get a one tub terabyte hard drive for almost nothing nowadays, actually, So that is why I use a spinning hard drive for my project files from my sample packs, and I've seen a lot of people using external assist the hard drives, and that's mainly because they're getting cheaper now, and there are a lot of faster than spinning hard drives. And sure, I mean, if you will be working with video files that are huge in size, then I get it that it may be slow to work off of on spinning hard drive but audiophiles in general or are a lot smaller in sites so it can still work with a spinning hard drive with audio files. Because, as I said, the audio files are a lot smaller in size. And then if you're working with a spinning hard drive, you can't really see the difference between an essence SS, the hard drive and a spinning hard right. The only thing I would put on on SST external hard drive in this case is like huge files. For instance, contact libraries that are very, very big in size. If you're creating them off of on spinning hard drive, you will have to wait until that contact library is loaded up. And sometimes I I weighed for like, 10 minutes to just load up a piano sounding contact library because the libraries are so huge fire size. So that is the only reason why I would use this dusty external hard drive for audio production. But otherwise I will put all of my samples, sample libraries and all the things audio related on a spinning external hard drive and spinning external hard drive is the regular to top five inch or 3 to 5 inch hard drive steak and purchase almost everywhere nowadays. So there are different things you can consider here well when purchasing a new, external hard drive for your backups for your samples. And all of this stuff we can do is to have to external hard drives. And I will explain why you should have to and not just one. And this is because if you have one hard drive, you can always play with that hard drive and put samples put projects everything. But let's say that that hard drive is failing, you know, or let's say that you're the heart I have gets stolen or or you lost it somewhere, someone that's something I met. Then you're out off your all of your project, your samples, everything is gone and that it's not good we can have. It's an external raid drive. And what that is is that it's too hard drives inside of one hard right case. So now it will copy all of the different data between the both of the hard drives. But still, if you have it in one case, then you like having that case. If you lost it or it's getting stolen or something like that, then you're out of him anyway. So before that, I always used to external hard drives to different ones. And first, the first being all of the sample libraries being inside of there, the project files, everything like that. Then the 2nd 1 will be just where I connect my ex second hard drive to my computer, like once a month, for instance. And then I just copy all of the data from the first hard right to the second hard drive. Then I disconnected. Put it somewhere, you know, And then I just do it like that every month. And what happened with that was that I actually forgot to do it sometimes. And, um, that was not good either. So let's say that I, um, created a project three weeks in, and then I forgot to make a backup off it. And then let's say that the hard rival will fail. Then all of the project father samples would be lost anyway. So what I do know it ace is to have one external hard drive, and then I have an online backup that complements that on This is very nice because the only backup that I'm going to show you in the next lecture is being taken automatically and it's being taken all of the time. So if I create this project here and save it and let's say that my computer gets stolen or lost, you know, or my external hard drive get stolen and lost or both of them, then I can still go to another computer and just fire up my own line back up and down on everything from their famous system files, sample libraries, all of the things that I had on both my internal hard drive and my external hard drive. And even though you're having, like five terabytes or 10 terabytes or something like crazy, huge amounts off disk space with all of the different sample libraries and stuff, it's still taking back up for a very, very cheap price. I will show you that amazing online backup solution in the next lecture. Alright, guys. So see you in the next one 41. Autosave in FL Studio - A Lifesaver: in this lecture, I'm going to cover the auto save function in FL Studio. This is a very good thing to have enabled in effort studio, and it should be enabled by the fault. But you can still use some different settings for the auto say function. If you go to options and to file settings, you can see here back up auto save and it sets currently on occasionally every 10 minutes. So what this is going to do here is that effort studios going toe auto save this project every 10 minutes. So what I usually do is to take the frequently setting here and is going Teoh Teik also save back up for me every five minutes and before risky operations. So this is very, very, very recommended to use because most often when effort studios crashing on you and unexpectedly quitting just like that, you know, and that's most often because you're doing some risky operations, Esther said. Here. And this is, let's say, opening up a very huge plug in that takes up a lot of computers. Resource is or let's say you're using something that you haven't tried out like Third party plug in that is, let's say it's a very old plugging that you're using. It's not updated, and then you're doing a risky operation. And just before you're opening up, that effort suit is going to take in order. Save it for you. So that is why I use this setting the frequently, and it's actually going to take him back up for you and all to save every five minute as well. So this is the best thing you can have on enough for Studio. And I really recommend you to go through this because it's very important to have this. You don't want to sit there and just coming up with a like the best hook ever or the best beat ever. You're so excited about that, and then you're just opening up a plug in and it's crashes and everything is gone. You don't want you don't really want that. So that is why I really recommend you to go to the auto save and put the frequently setting on here. And then you're basically good to go. Okay, guys, to see you in the next lecture 42. Organising Samples in The Browser: in this lecture, I'm going to show you one more workflow tip that I use in a for studio. And this is a must have for me. And without this, I couldn't be producing any music. Enough of studio. This is how important it is. So it's about adding your own folders in the browser here, and this has spent up my workflow a lot. And basically, what it is is to you that you create a folder, a separate folder where you put all of your favorite different samples that you're using all of the time and then just have it like a favorite folder in the browser. So then, as soon as you're like going into A for studio, you're in the creative mind. You know, you you haven't like, let's say you have an idea off accord or something like that, and then you want to add a quick beat you want to add worked like really, really fast. Then just go to your folder and you can see all of your favorites Here. I have all of my favorite samples like this, and then I can just go. And at this progressive kick drum, for instance, or the percussions. And then I could just lay out a beat very, very fast instead of just going in like searching for new samples all of the time. That can be time consuming, and you can get out off the creative mindset, you know, So how to do that is very easy. Just go to options file settings, and here you can see all of your extra search folders. So if you want to add a folder, you just click on the folder button here and now you can see all of your folders here and you just click on one folder, press open, and then it will show up in the browser section here. So that is what I use all of the time and effort studio. I have a new computer here, so I don't have all of my favorite folders lineup yet, but I'm going to do it as well. So I have ah, few kind of favorite sample pack folders that I always use one for the kick drums high. It's like for every individual, kind off sound and as well as different sounds like soon sound based sounds. For instance, I use that the sample packs that I myself created as well that you can find for free on music Dash product come so you can have them in there as well. You can just browse through different since sounds. So let's do that. Let's go to my hard time here to have the one shot ADM samples that I'm using. And as I said before, you can find this sample pack on music Dash product. Com. You can find it for free if you're taking this course, so just open up like that and now we can see it's showing up in my brows. Extra search folders. So let's close this window here. You cannot see the Fuller here, so now it's very easy. You can just browse around through these different samples here. I say that I want this. Just drag it in like this, and now I can play around on my meaty keyboard. Maybe that's not the best thing to import here, but this is just a showing you how to do this. It's very easy to get inspired with different sounds and efforts studio it. Just basically search for them and just drag it in and I'll play So it's that easy. Alright, guys. So that was it for this video and see you in the next lecture 43. Creating Presets for Plugins FL Studio: in this lecture, I'm going to show you how to create presets for different plug ins in Efforts studio and one common case that I always use presets for. IHS for e que So for the e que? I always use a low cut preset and a high cut presets. I'm going to show you why it's important to create presets for yourself in efforts studio. So let's go to the mixer here, and I always have a kick drum since, and a base buses in the mixer, so I always do is to use a paramedic. Eq you to to cut off different stuff. It's very easy to use, so I always use this as my eq you. Enough for studio. So let's say that I have a lot of different instruments here on all off my mixer channels, and I want to add an e que on each and every channel. So I used that because I want to get rid off. Let's say I want to get rid of low end or I want to get rid of high end, depending on what kind of instrument were working with. So let's say that this sound in channel number 10 here is a base than I have to go to Paramedic e que and I want to go to high pass. And now I can just have this to cut off base sound basically So you can see her that I basically do it like this, But I have to go to all of these settings. So I have to go to Ikea to and then click here, go to high pass and so on and so forth. So it's much easier to just create a preset for this. So we can do here is to want to save this as a preset. You just basically go to the arrow here and save preset as. And now we can call it low cut like that. So I for Goto this list here, I can see the local presets. So So if you just delete this plug in here and now we're reset it here. So let's just go to permit Iquique. You too. And preset, low cut and boom, it's it can just located like this. So I would also create a new preset which is going to do the opposite thing. So we're going to cut off high end. So let's leave it like that. Something that and now just save preset and doing high cut. So now I can go to hike of presets, take off high end or go to look at presets and take off Lewin. It can also do this with Let's say that you want to boost a kick drum, for instance. So ah, let's link this kick drum that I had in the previous video. And, um, let's create a very simple for four beats. Let's say now that I want to base boost this kick drum, for instance. You can also see in the e que where the most energy is coming from so we can see it's a lot off things going on in the sub here. Yeah, that is getting the kick drum a lot more base so you can just do it something like this. Let's say I want to call this a kick drum bass booster basically so kick boost. And now I have this preset as well, and I can just week this, depending on how much base I want. It's a happen, so it's very easy to do it with presets, and you can do this throughout different studios. So let's say that you have some plug ins or its the F four keys. Here you can see the different precepts that the plug in comes with so you can browse through these as well. But let's say that you have something else that's randomly put different things together here and now you can save priests at us and call it something stupid, like my own piano. And now I can find this in this list. Here. My own piano. There we go. They will have the presets. Okay, guys, that was it for this video. Let's see you in the next one. 44. Maximum Velocity Through MIDI Keyboard: Okay, So in this video, I'm going to show you how to output maximum velocity from your media keyboard. And this is a very nice workflow tape that I didn't even know about before. I, um, encountered this problem, and I know that a lot of different producers out there wants the your meaty keyboards output, maximum velocity. And what I mean by this is if you press your media keyboard inside of FL Studio, it always going to play at the velocity that you're playing. So let's say that I want to have maximum velocity when I'm playing just to try out different instruments and not having them on, um, low volumes when they're playing at a low velocity. And I also don't want to, like, hammer my media cable all of the time if I want to hear what I'm playing. So let's say that I'm playing a media keyboard just like randomly. You can hear that the piano sounds. You can almost you can almost hear it, you know, And if I just pressed me to keep it as hard as I can, then it can hear it. But it's not going to work. If I if I want to try out different stuff and I want to have maximum velocity out off my meaty keyboard. I have to always like hammer my Medicaid, but and I don't want that. So there is a nice trick to do this. If you go to many settings and go to link notes on velocity to velocity. If you go here, you can just put this to like to maximum like this and press, except on now is going to play maximum velocity out of from a media keyboard, and you can enable and disable this as much as you want. So let's say that you wanted to to be back as a waas. Just go to this one again and press reset and you will have it back to how it waas. So this is a very nice workflow tip to use. All right, guys said that was a very short video, and I see you in the next lecture 45. Piano Roll Workflow Tips & Tricks: Okay, So in this video, I'm going to show you a different piano roll workflow tips that I'm using all of the time. So as you can see, first we have our regular piano roll here that's showing one of the root notes here, as you can see. So first I'm going to show you how to have every single note here being shown as what note there are. So you can do that by go to view key labels and all notes. And now you can see all of the notes are labeled now. So it's a lot easier now to navigate between the notes, and you can do it very easily. Now, if you go to this menu here and go to view, you can see there are a lot of different things you can customize. Here, you can even do the different keyboard styles. You can have it being shown a bit different. And, yeah, you have a lot of different things you can do here. So I would just suggest you to go through this and customize it as the way you want. And this is the nice thing about that for student. This is what I like point for studio that it's so customizable that they are so much things you can do here. So another thing that I want to show you is the helpers, so we could go to the helpers. Here you can see something called Skate High Lightning, but for this to work, you need first to have the ghost channels on. So let's enable this first and then go to scale high lightning. So if you go to skate high lightning, you can see that right now it's shown at root note, see and minor natural. What this means is that now all of them notes in the C minor natural scale will be shown in white here. So it's very easy to create a corporation and melodies and other melodic things like that because now you just have to watch the lighter sections in the piano roll, and then you can place a note there and it will be in in the same scale. So if we go to, let's say, um, helpers, we want to create, Let's say we want a minor. If so now I can create a corporation here. So if you go to F and now. I just watched the light sections here, the light roast. So I just go with F. Let's say that I want G here and I want they they sharp and I we can create courts on top of that. So let's say that I want something like this. Let's say that I create a corporation now in the F minor scale, so it's basically just to do it like this. - Hey , so now it's very easy to create these corporations. They can create melodies on top of that by just randomly putting notes in the white sections here, and it will sound good or it will sound the right way. So you don't you're not going out of the scale. So that is very important to have enough of studio. I really like the helper section and the view section and all of different sections that there are in efforts studio for the funeral. I think I have tried out so many digital audio workstations out there like you base and I work in logic pro 10. I'm a logic pro certified trainers, so I'm used to logic pro a lot, and I still like the piano role in efforts studio is the best one out there. I think it's so quick and easy to use and you get so inspired by just croup seeing that it's so easy to create corporations by just watching this different white sections in the piano rolls. So you're not blind, or you don't have to actually know piano theory that magic, unjust program, different cool cords and with helpers you can actually create different courts. That is not back Commons. Who can go with minor harmonic, for instance, which is a lot cooler in my opinion. And it sounds, sounds mawr emotional for some reason. So I used that sometimes and yeah, I mean, you can explore the corporations here and one corporation can actually lead to Ah, hold your track, you know. So that is what I like with the piano roll. And this, with the helpers here, has made my work flow to go up drastic. So this is what I wanted to share with you in this video. Let's see you in the next one 46. Q&A Session - FL Studio DAW: all right, Welcome to the Q and A section off this course. So in this section I'm going to talk a bit about different questions and answers that I found on this website called Cora, which is basically where people ask different questions about all of different topics. And I'm going to take a look at efforts studio and just going to basically read the different questions and then read also the answers that people asks for you. And also, I'm going to comment it myself, Um, and see what I think about it. This is just a discussion video, basically. So first question we have here is how long does it take to master efforts? Studio? Let's take a look at the answer here, and this is a very, very long answer. So let's take a look at what Eager has to say. Your I've been using it for Studio for 15 years now. It was only 24 months ago that I began to use it on a daily basis. I learned more in this two years than in the previous 30. Cool thing is, I have learned more in the last six months that in the 18 months preceding these, that is, the more you know, the more you become able to learn. I guess that since it's a door and offers limitless possibilities, which is what made me pick it instead of being in a band, you can never really master it. You will be able to become better with each practicing our with each minute you read articles, forums, watch videos, etcetera. And I really agree on this one here. I've been creating music with Efforts Studio for over 10 years now, and ah, I mean, I learned new things every day. So the best thing to learn after studio is to first learn the basics, and then you also want to create your own style of producing. And what I mean by that. This is to basically create create your own project template first with all of your own settings, and you need to feel comfortable by with the settings that you have. And you want to just create different samples, different piano, different course, different other stuff like that. And when you feel comfortable doing this, you just have to focus on creating music. You want to create full tracks. You want to start with greater intro and arrange your own track and make and complete a Finnish attract, even though you feel that your track sounds like shit. You know, you're comparing yourself with all their big producers out there and you go back to a project. And it sounds bad, you know, And don't focus on if it sounds good or not. You have two more, especially if you're a beginner to efforts studio. The thing I would focus on most is to just finish tracks, even though they sound like bad and very shady. You know you want your track out there anyway or didn't know you don't have to release it. Of course, you just want to complete it. You want to finish a track and then go onto the next one, the next one, the next one. What I did to learn a lot in the beginning, most to create one track a day, and I can tell you one thing here that 90% of these tracks was so bad that I I didn't want to complete them, but I learned so much with that. And then I learned also to have the discipline to finish tracks because that is very important. You can go into this writer's block and yeah, and you wouldn't get any music out there. That is very important. Okay, let's go to the next question here. How long did it take you to get going with efforts studio and producing full tracks? So found a really nice answer here, and Anthony here is saying, I started with efforts Studio Mobile on Android and played with that for about six months. Then I got efforts. Studio 11 for PC. What is automation? How do compressors work? How don't make patterns. How do I sample? So just to clarify here, ever studio for Android and Effort Studio for PC or Mac is very different. They there are, like, totally separate audio applications. Okay, so with help off the mighty Internet, I've been able to learn about 40 to 50% currently off efforts. Studio I started in 2014. It's now 2016 and I can make a mediocre beat in a few hours. I learn new things every day. In fact, I just learn about me yesterday. I plan on using a good 6 to 12 months getting comfortable. The U I and another good few months learning about all plug. It's so I mostly agree with Anthony here. The only thing that I think is that you can learn the basics offer for studio in, ah, a lot faster than 6 to 12 months. I would say you can learn effort, studio or, as least, the basics enough for studio with just watching this course and then creating your tracks. So if you're watching this course in a day, for instance, then you can actually learn the basics in a day enough for studio because the real Learning off efforts studio is when you're going to create your tracks, that is the most important thing. Then you will see, of course, than if you create your track and you see that. Okay, how do you do this? And how do you that that then you will Google on that topic and you will find it yourself and you will learn it. So it's a lot easier to do that instead of having a course that is a week long or something and learn every single deal detail about it, and then you will not use it any time because that is not the way you will produce. So as I said, you want to learn the basics off for studio and all of the basics that I'm going through in discourse. And then when you're done with it, you should create your tracks, even though you're not feeling like, very comfortable with the software. All right, let's take a look at the next question here, which is easier efforts studio or ableto live. And why? So the answer from Karl here he's saying, There's a lot of to consider when you're trying to determine the differences between Able Tone versus Efforts studio. Both of thes dos are very powerful and are able to create beautiful music. The best advice every God is to stop thinking about what systems use and instead just dive in by one and try it. Ever studio isn't going to make you the next Porter Robinson enable Tone isn't going to make you the next bl three are. So what Karl means here is that you have to focus on the digital audio workstation and this word door here. ISS, basically digital audio workstation is standing for that, so you really need to time into the digital audio workstation, and you will see if it fits you or not. And I use both logic. I use able tone, and I used efforts studio all in combination. Why do I do it? Because I like to use able tone to create different sounds and sampling different stuff. I like create arrangements and mix downs in logic, because that's the way I like it. I like the graphical interface. I like how the arrangement blocks works in logic, and for me, I like it for studio as on experimental kind of thing. When I'm out of ideas, I can just throw in samples very quickly, never studio and create different melodies. I love the piano roll inside of their first studio, so sometimes I'm just ending up creating a corporation and a for studio. Then copy that corporation over to able tone and then copy over samples with the corporations to logic and finish the track there. So that's just my own preference off working. And, you know, there are a lot of different big producers out there. There is using efforts studio exclusively for just for like, creating samples, creating corporations and all of the different stuff there and then creating mixed amounts and masters as well enough for studio. So basically, from the beginning to the finish project, still, you don't have to focus on which is easier, which is better, which is, you know, everything like that. So just go with one digital audio workstation that you like graphically, if you like the interface of it, if you like, how it works. So as Carl says here, you can buy one and try it. You don't actually have to buy one. You can try able to infer, freak and try ever suited for free. You can try Cuba's for free and can try Studio One for free as well. So I would suggest you to download all of these digital audio workstations and just trying them out. Okay, so the next question here, what famous music was made in efforts Studio. So you can see Morning Garics, for instance. He's using it for studio sequencing the background here, and he's using it exclusively. So all the way from producing an idea, a beats to arranging and mixing and mastering. So from the beginning to the final project. And I know Avicii is using it off course than we have. Ah, after Jack, which is another ADM DG. That it's using it for studio and effort Stood is very popular with a lot of idiom producers. Generally, you can see other artists here that has listed as well and yeah, if they're using it. And there had super big carriers, then I mean, if you learn after studio and creates music productions, full music productions all of the time, you will learn it as well. I promise that. Okay, so next question is, what do I need to learn to produce? ADM tracks using efforts Studio. So here, Ryan here is listing up all the things you need to know. And this is a very nice list that I would suggest you to take a look at. So the track you needs to learn how to create courts, melodies, plucks your drumbeat, sample vocals, baseline and sub base. So you basically need to include not all of this, but this is a very general rule toe. Have their inside of your track. Then you want to have an arrangement where the intro buildup, drop, breakdown, buildup drop can be different from the 1st 1 then braked um, andan or true. So as he says here, this is the most common one. So this is the way, basically, and what I will do is to not follow this rule every time I will go with them. So every time I produce, I always find myself a reference track. And the reference track is basically attract that is very similar to the one that I want to produce. And from there I can analyze that tracks arrangement and see how it works. And I can actually copy that tracks arrangement. That is what I do most often, and it works out very good. But it's a very general rule toe have here. Okay, so in the mixing, you will have to think about compression citing compression, e que limiting Otto filter, reverb, delayed distortion, pan and levels. This is the most important things to have in the mixing, but I would say that levels are the most important in mixing. You want to have the level set up than everything else is going to be very easy. Then we have EQ Ewing as well as I'm showing in the course you need to set every single instrument on every single element in your track in their own e que space, so they won't fight with each other. Basically, then you have sounds. So FL has very good soon sekem a decent sounds with only site tress. As I showed in the course here, then sound design is not required, as I also show you as well. You can create your sounds with just sampling different sounds as well. If you using spice, that's a very nice tool toe have. There are a lot of different samples you can take from there and use in your own tracks and yet, but you can do sound design as well. It can fire up different sins. Different third party sins such a silent or nexus or massive. For instance, Serum is also a very popular cento have there, and you can try them out on supplies dot com. You can try out a demo version, and then you can also rent the plug ins for a amount per month so you don't have to purchase very pricey software since. Okay, so software as I just talked about here. Fab Filters Good mixing the ST's fab filter plug ins is the most I used them all of the time. They're very good Third party plug ins for mixing. They have very nice limiter e que and yeah, basically other stuff as well. So all of the fab filter plug ins are great to have in the mixing, but you can use the built in A for studio mixing plug ins as well. They are the Orent as good quality as the fab filter runs. And you will hear that if you're creating big projects with a lot of different sounds going on. And then if you compare on building F for Studio e que with a fab feel Tariq, you you will hear a difference, and the difference can be subtle. But you still you would still hear it. It will sound more professionally for some reason. You if you come maybe compare the fab filter plug ins with effort studios built in, I would I think he would hear the difference. And some good sense are silent. One massive serum and samplers. And yeah, there are different things as well. Simple backs, vengeance. I use them a lot. Sample magic. It's a great sample pack company and K s H M R Samples, which is a producer, Edie and producer. He has a lot of different Nice, very nice good sounding samples, and his Sampas is actually out on spliced Arqam. Serkin purchase the individual samples for a very cheap price and he should also add music dash product calm samples, of course, but we have samples and they're free with this course, so you can use them as well. And you can use them freely inside off your project and you condone release that track and get paid for it. And it wouldn't matter for me, of course, because they are royalty free. Then you have the hardware section, so you want to have a PC or a Mac screen. So or a laptop, obviously, and keyboard mouse speakers. All of this in this inside off a laptop, of course. And that's all you need. But if you want to look like a pro, yeah, so master keyboard and that this is basically a meaty keyboard, and this is a must have for me. I can't really produce with just the like programming in your notes in the piano roll. And this is because I want a feeling when I play something and I want to experiment with sounds sometimes, and I also want to get the rhythm in there. I think that it's pretty difficult to have a nice rhythm inside of your different notes. And if you're creating notes inside of the piano roll, it's for me. I can't really program this rhythms. I have to play them in manually on a keyboard. But I mean, there are producers out there that does everything, like programming in every single detail inside of their project, with just their mouse. So you can do that if you if you like it on. And yeah, So, as he said here, you don't have to have these things. You only have to have basically a laptop. That's the only, um, hardware thing you need to own. You know it's a laptop basically, then are going to face so on. Audio interface is recommended to have if you start to create your big projects out enough for studio, but you really don't have to have the ordering to face. I own all the interface, and this is mainly because I want the speakers to be connected to that. I have some very nice monitor speakers here, and they you can't really connect them to your laptops. Stereo output, you know. So I have the Orient face for that, then also as well. If you use rre interface that will take off some load from the CPO processor will work a lot less when you have your ordering face there as well. But I ate a B did this a lot, and I can't really CME like a huge difference with performance off efforts studio if you have an audio to face or not, the most important thing if using a PC is to have a CEO for all. So it's spelled like a CEO for all like this. Anderson Universal, a CEO driver for WDM audio. So what? This is basically it's an all you driver that is virtual it sign of your computer, and that will take off a big load out off the built in sound interface that you have inside of your computer. So this is acting like a separate audio interface that you will have if you would buy an audio interface. But this is inside of your computer, so an end soul for free, of course, as well and in effort students. When a this is built in as well, you can choose it with a different sound interfaces that comes with it for studio. You can do this if you go to for studio here options, audio settings and here you have the device. Then if you choose some other device here and because I using Mac, I don't have a suit for all. And a super all isn't supported in Mac. But you would have the issue for all if you're using Windows here. And I mean, if you're not using any external audio interface, I would choose the issue for all all of the time and have that's enabled because Started will take off some load from your computer. Okay, so then we have the monitoring headphones, and it's basically a payoff. Nice headphones they can work with. So let's say that you're at home or something, and you don't have any sound treated, um, rumors and have bad acoustics, or you don't have any nice speakers to something that or you just want to work at a Starbucks or something of that, then you want to have despair off nice headphones. I really recommend you to use Bayer Dynamic DT 770 which is very nice because there are They're kind of big on your ears, so they're not sitting on areas around your ears and they have a nice when I sound as well and you can have it on on your head for hours. Basically, you can live with them and not feel them like that. Then you want to have a Mac. Quit proof. This is not that you need to have. I'm myself using a Mac book pro. I'm really I really enjoy the computer because they have. I really like the Mac OS experience, basically. But still, if you're not a Mac user or Apple user, you don't have to have it. And even though you're Apple User can still purchase another like PC Windows laptop, and you will be all set there as well. The most important parts with the first studio is to purchase a computer that has very nice processing power, so the processor should be, ah, very nice processor. Then you want a lot off internal memories, so Ryan memory should be very high. If you want to have f a studio in performing very well, you know, Then you want an SST drive with a lot of space in it. The store are of your samples on. This is where, like Mac book Pro, because the new MacBook pros have s is the internal hard drives that are so fast and you can't really find Are they racist ease than the Mac book pros built in once they are so fast, so and after studio will work faster. Just by that, you Okay, guys. So that was it for the Q and a session for this time. Let's see you in the next one. 47. Playthrough Of Finished Track: We'll see in a day or so. Although one on one on one setting, when solving started falling. Hold on. So. 48. Idea & Reference Track - Part 1: Okay guys, welcome to the first lecture in this course. In this lecture I'm going to just cover reference track that we need to use. We always want to have a reference track when we start to create a track. And this is very important to just so we know what kind of sound we're looking for and not just browsing around different sounds and playing around with, with our program because that will make the process a lot longer. So first of all, find a track that you really like and produce something around bat. So that's what we're going to do here as well. So we're going to, first of all take a reference track, listened to it very carefully. We're going to copy the arrangement from there as well so we know how to arrange our new track. And we also want to create some similar sounds out of that reference track that we have. So I found a very nice reference track and it's played on the radio all of the time. I think worldwide as of now. And it's the Medusa track. Look here, it's Medusa with loose control, as you can see, 52 million views as of now. So that is very, very big track, very huge track. So first of all, I'm going to just copy the sounds over the main sound here, and I'm going to do that, but I'm going to create my own version of this track. So just seeking Get the idea here. I found, yeah, let's just play this track first and let's see how it sounds within your body and our attention. So you could see me play the sound, main sound in the end there. So it's very simple. It's three notes, is like this. And that is repeated all the time. So the sound that I'm using for the same sound as being used in the Medusa track comes from this preset Packer and cubic math. So the preset, that amusing, it's just basically that you heard. And I'm, you use some delay, some reverb here just to get that kind of feeling of the sound that you hear. If it just play one of the nodes and it just has some tail with it. So what we going to use here is the same sound but a different notation. Yeah, and since this is FL Studio 200 one course, it's a bit more advanced. I assume that you know that this is the Flex plugin that comes wherever studio of course. And you can add it here. Let's see on my channel rack here by going into plus and choose flex here, as you can see. And for me I can just choose different presets as I did here with cubic math and add some delay and reverb as I did here. And you can also see the exact things that I did here. See, yeah, here it is. And you can just copy over the all of the settings here. And you will get the exact same sum. Or you can just get the project file. And from there you can just exploit the sound so you can save the preset ass. So if you open up the project file, when it's done, I can just go to the arrow here, Save Preset ass, and you can save this preset of course, and make it your own. Okay, so now I'm going to just add, I'm going to play some different nodes here. And I don't really know exactly what I'm looking for here, but something similar to the Medusa kind of style. So you have the original one, but okay. So the easiest thing to do here is to use our accords pack and just choose a nice chord to use. With the notations here, I'm going to show you exactly what I mean by that. But as you know, if the original track here is played in G. So I'm going to go with G minor chord. So let's take a, listen to one of those. So first, let's go and create a piano sound. Some going to go with a four keys. The easiest thing, just search for FO keys like that. And now we have a piano sound. So I'm going to just drag over one of those midi notes here. Yeah, okay, so let's go to the channel rack instead. And so from here we have, let's see, four different nodes. So g, so rootNode to have G, D, and a sharp because this is also a G. So we have three different nodes. So from here I can, I know that I can use g, use d and a sharp. So something like that. But I can also, and see, let's create a second pattern as drag this over here. Let's listen to this. So here we have an a sharp as well. We have GSC. So now we have also a c so that we can use. So we have a G, d, c and a sharp, Something like that. So now if we go to the flex some 49. Idea & Reference Track - Part 2: Okay, so I'm going to use that one. Very easy to use. As you can see, you will get all of the notes that you can use if we use our courts pack here and just copy over different notes from our courts. And yeah, basically know what notes we can use for these kind of sounds. So let's create a new pattern here and let's, yeah, let's make some notes. I'm going to go back here. Piano roll. And then we had, let's see d here. See. So I'm just using the same steps. Let's see. Yeah, so the easiest thing here is to use the metronome. Yeah. And that is not correct. So you going to delete that? Okay, so I don't like that C1, I'm going to use a sharp here in sturdy. Maybe G again. Let's see how that sounds. No, that sounds too repetitive. So I'm going to so I'm going to use one more of these. Media pacs. See what we've got here, see a, okay, so we can also use an a. Let's go back to a third pattern. So you have an a sharp or we can also use an a. So that didn't sound good at all. So let's see, we can do here. Yeah, that's ongoing. Now I'm going to use it as it is like that. Okay, so now we have the main sound here. It's again c, And I'm going to delete those patterns that we don't use. We use them just to see what nodes we could use. Stele that. Let's delete data as well. Ok, so now we have our main sound, right? So from now I'm going to use our reference track to see what things we should use and what stuff we should add on and so on and so forth. So let's go back to our reference track as play from the beginning. Okay, so a very important thing to know and to think of when you're producing is that as soon as you can hear different things that doesn't sound as good or how should explain it. But if it doesn't sound exactly how you want it, just fix it immediately instead of just thinking of fixing later on. Some people like to just think of it like I'm going to do that later on in the mixing stage or a mastering stage, for instance. But I don't like that. I like to have a mixing stage, of course, where I can mix different sounds and so on and so forth. But I'd like to fix my sounds immediately, so it sounds good from the beginning. And I think that's a very nice thing to use and to practice. So what I think here is that the main sound that we're using uses a lot of bass in it. And I can't really hear in a base in the main sound from the beginning here. It's stripped down. 50. Idea & Reference Track - Part 3: It's stripped down. And we have a lot of bass on here. So I'm going to fix this. So let's go to the mixer. And I'll have our flex Sound Mixer channel one. And I have an EQ here, and I have some treble taken off from here. So I have some high-end taken off and I'm going to take off base here as well. Yeah, sounds better immediately. So I'm going to take back some high-end err. Yeah. Convergent case rehab, some string sound stairs so you can hear a very, very, very subtle string sound in the background. Yeah, so I'm going to add that. So let's add that sound. And for that I'm using flex as well. It's such a nice plug-in. I'm going to delete everything that I had when I just experimented with this track. This serum here, Saron plug-in. Don't worry about that. I'm going to cover that as well. It's the sound that's being used in the track. And I'm going to also show you how you can download the serum plug-in for free and use it for two weeks as a full version demo plugin because it's a paid plugin. But I really recommend you to get the Saron plug-in if you're serious about your music production. Okay, so I'm going to add a new Flex plugin. So let's do that. And from here, let's see if we go to essential strings. And let's choose something here. Let's go with a longer kind of strings home. Yeah, that is great. So I'm going to use that sound for it. So you can hear it's a sea. So you can really hear it's exactly the same string sound. And so for now we can know that this track is made in a C scale. Let's see if that fits our track. We can also try g. I think that sounds better in this case, so I'm going to use a g string sounds, so let's just create that. So I'm going to go way up here. That is to eye doesn't play. And obviously we need to create a new pattern. I miss that, so that's created second pattern. Perfect, so we have our string sounder. And yeah, let's create, let's go back to the mixer. Lets go to the channel rack. And let's place the string sound in our second mixer channel. Angle with some paramedic EQ, takeoff the low end and tick off some of the higher near as well. So now we can arrange the strings sound and we can also arrange our main sound. And let's stick, listen to it. Perfect. So there are some drums going on there. We're going to add the drops in the arrangement section. So now I have a different sound that is playing the same notes as our main sound here. So if you go to the channel rack, I have the serum and I have preset that I created myself. And you can create this yourself as well if you just use the same exact settings as you can see here. And also in the effects. So that is what you need to copy. Basically all of the different settings that I have on all of the knobs, as well as here. And the most important thing is in this section, or you can also just get the preset. You can save the presser, as you know here, say pre subtasks, and then you can open it up and play along. Okay, so it's the same thing here. I'm going to go one octave down. Yeah, so that is basically the same sound. And I'm looking for the same sound as in that tracks. So we can either copy these nodes here or we can create something different as in the Medusa track. So let's, let's just listen to how it sounds if we just copy it over. So let's do that. I can select all copy. And then we're going to create our third pattern, piano roll and we have it paste. Yes, we need to get these notes down. Yeah. And obviously we yeah. So it's not in the flex of course, that it's in the serum. So I'm going to redo this. That is too low. Go into g. Two low as well. Yeah, I think that sounds pretty good. So third pattern we have here. Let's just listen to it. Perfect. I think there's something missing in the end here. It's kind of empty. I'm going to maybe fix that in a later stage. And I just told you that I am trying to create everything immediately instead of waiting and I'm going to still save it for later stage because I want to start to create the Track right? And I want to get the idea out there, and I want to arrange the track. But if we find the idea too boring and a later stage than I might fix this kind of empty thing in the dictionary. Or it sounds good if we add some drums and different rhythmical elements to it. And that might sound good. So it might feel empty now, but if it can be, it can be sounding really good later on. So I'm going to leave it as it is. And let's go back to a track. And I'm just to clarify, I'm looking for a different kind of main elements here that I want to use in a track. And if you have the main elements, we can start to arrange a track, even though we have some very few sounds in the track when the projectile. So I'm just looking for different main elements here that stands out in the track. And it make the track really there's a heartbeat there. That's our main sounds basically. Okay, so what I'm going to do now is to start to arrange the track. And you can see we have only 123 different main sounds. And I'm still going to start to arrange a track is I think the best thing to do if you want to start to finish your tracks, right? Because it's so easy to create some different ideas and just have like say, eight bar loop that you loop all over the time and then you get bored and you stop creating music. And what you want to do here is to start to arrange the track, even though you don't have any idea where it should go, right? So let's say that I think that this sounds good, but I don't really know. The best thing here is to start to arrange a track, get the basic idea out there. When you have the arrangements, you know what you should add and what you should take off and so on and so forth. When you have the arrangement, you can start to also create effects. And you can start to back crates, narrows, buildups, had dropped sections, intersections, outer sections, breaks and so on and so forth. And then you will kinda hear what they're missing and what you should add or what's too much, and you can remove that from the track, right? Okay, so see you in the next lecture. 51. Time Markers: Okay, so now we have our idea out there. Now it's time to start arranging that track. So here, here we have the arrangement. But first of all, I just want to rename these patterns here just so we have everything under control. So first we have our main sound, and then we have our string sound here. Treating some. And yeah, let's color this as well. Just to get some variation we can to random color like that. It's going to do the same thing here. And this was the second main sounds. So yeah, let's call it like that. Yeah, so now we have our three sounds named and colored so we know what everything is and whatever thing R. And let's go to the mixer. If we have, yeah, we don't have the second main sound. See here. Yeah. So I'm going to assign it to the third mixer channel. And yeah, let's just leave it like it is for now. Just so we have each and every sound in their own mixer channel. This is very important to, to use that kind of habit because then it's very easy to create your mixed town. So what you would do here is to do the same thing as we did here in the arrangements. So let's select the main Samir first. Go back to the mixer channel, renamed colon icon. And we have, let's say here main sum. And you can see its name and call it oscillates here. So let's do the same thing with the second one. The string some there. And then third psalm, we would have the second main. Yeah, just like that. So now we should have, let's see here. If go to channel rack system assigned for reason. Ok, so now we have the third mixer, China as our second main sum, which under free go sign in the mixer channel. Okay, so let's delete everything from the arrangement and now we're going to create their basic arrangements. So first of all, let's take a listen to our reference track and let's create arrangement tracks for that. So what I mean by that is to create different points in the arrangement here so we know how the r arrangements should look like. And from here we just going to copy over the arrangement from our reference track. So we're going to create some time markers for that. So let's go to time markers and add one. So the first is going to be our intro. So now we have interior going on from the beginning. To, let's see where we go with this, right? So let's take a listen to a reference track. Okay, so an important thing to notice here in this track is that it doesn't start on the 0000. It does start on a 0 dot 0 to y. Think Yao are 0 dot 01 dot five. So somewhere around there. So this is very important to notice because it went now are we going to copy these different time markers from the track here? You will see what I mean when I'm doing it, but we will have to subtract around a second from all of the time markers in our project. This sorry, this is the intersection. So at 40 seconds we're going to have our first drop section. So let's go to song. I'm going to just pattern just like that so we can make it bigger. Okay, so from here you can see in the song position here, you can see that we should aim for about 40 seconds, right? We should subtract 1 second. But if we do that, we're not going to have it aligned with the grid here. Or yeah, which we are going to have it aligned because you can see here it's 3800 seconds and that would be around one dot five seconds subtracted from the track that and the reference track, right? And you can see this is very important to know here that we should aim for four of these bars here you can see. So you should start each and every section at the beginning of the four sections here, you can see here it's colored differently. So from here we should have our drop section and time markers at one and assisted drop one. Okay, so let's take a listen to a reference track him. Okay. So 127 is to break section. So 12516 would be right there. We'll have our break section. And a sick listen to it again. So 213 would be our second drop. So SIR, two 13s up to 116, that would be right. Time markers dropped two. So there is no outro here, but the end of the track would be at 244. So let's create a time marker for that as well. There should be our ending. Let's call it just the end. Something like that. Okay, so now you can see we have our time markers ready here for the arrangements. And now it's very easy to lay down all of the patterns here to create the arrangement. And we know that the track should start here and it's going to end right, about Eighty-five year. Okay guys, so in the next lecture I'm going to start the arrangement of the track and we would see a first version of the track as well. So see you in the next lecture. 52. Arrangement - Part 1: Ki, So in this video I'm going to start the arrangement. So first of all, we're going to start with the intro. So let's go back to a reference track again, and let's take a listen to the intro. What's going on here again, we listen to this track now for a few times. But still we have to do this because we want to be as close as possible to this song without copying. And of course, we want it to be our own song. But still to get the idea to kind of not reinvent the wheel, you know, and make nice track. Okay, so let's take a listen to the internal. So immediately you can hear the main sound and kind of heart beat thing going on in the background. And there you have a bit of reverse to reverb to introduce the next section where the clap is starting. So let's take a real listen to this. You can hear the main sound first, then I kind of Heartbeat sound. Then we have the main sound and then reverse the reverb, introducing the part with the clap hitting. So that is what we going to do as well. I'm not going to have that heartbeat thing because it's a very short period of time. So I'm just going to use the main sound. So if you go to the main zone here, let's put it out like this. Yeah. And there we have we should have the clap going on. Yeah. And we want that reverse reverb as well. So what we're going to do is to take one of the nodes here and just make a reverb unit. So let's, let's do it like this. Cut this. Yeah, so now we have a new pattern. Okay, so just move this a bit. I think we want the first part there, so I'm going to undo this. Okay, so I'm just going to delete this. Just put the main sound out again. And that's the first part. Just like that we have. Okay, so we're going to select this part here. Just like that. Now let's go to export wav file. And now we want to create, let's say Medusa fx one. And yes, song selection can see ten seconds, which is that selected part here, show fires when completed. So start. And now we should have, if you go to finder here, now we can see our WAV file. So let's just drop it air to FL Studio. 53. Arrangement - Part 2: Okay, so what we're going to do here now is to just export the sound here. So if you go to file and choose export wav file, and let's go with them, undoes, IF fakes and save, we can rename it to whatever we want. It. We can just choose to pattern. So we only get this pattern here and choose Show files when complete so we can get our window off to file. Okay, so now it's exported and let's go to finder here. So if you go like this, and then we have seen Mendoza effects. And there we have this pattern in an audio file. So what we're going to do now is to just resize this. So now we have this part, and let's just double-click here and reverse just like that. So now if we, Yeah, this phi will be like this. So let's resize this way now. And now you can see we have this part which is their reverb is yeah, that is reversed. You will hear what I mean if I just play it just like that. So what do we want to do now is to take off the first, let's see the last beat, which is the first actual beat. So let's zoom in here. We have this part, we want to get rid of the part wet when the sound is hitting. So if we just, oops, if we go to this part, let's choose the slice tool and let's just slice it, but we want to, yeah, let's just go for Nom here. So it can be a bit precise. Yeah, and there we have that. So let's go back to our line. So now we have the reverb reverse. So if you go to, if you go back here to the main sound, and let's take a listen to it. It's not like because now it's reversed. Reverb effect is starting very like suddenly, you know, something to fade this in. So no. So we can do here is to just double-click and automate the volume basically. So let's create an automation clip for the volume. And because the clip is starting here, so we can just create something like this. Yeah, that sounds pretty good. So let's have it like this. And I'm just going to put this here to organize a bit k. So now I'm going to add that collapse sound that is introduced in this section. So if we go to one of our sample packs here, clap and snare tool box, which you can find on our website. You can see all of the different claps Here we have 28 different claps. So let's go for a kind of minimal clap sound. Let's take a listen to how it sounds in the reference track. And you can hear a very simple clap there. Yeah, that sounds pretty good. So let's just copy this over here. And let's add this. Just like this. Yeah, maybe we're just create a pattern for this and instead of doing it like this. So let's go to OK. All just create a track like this. Now I want a new paradigm. And let's go with that random color. Accepts. Oops, I wanted to be like that. And now we have our clamp here. So assume like this instead. We want to hear what's going on in the reference strike again. So let's go back. Yet the string sound is coming in here. So let's take a listen to how it sounded before that clap section. Yet the string sound is coming in very like immediately coming in in the clubs home or in the clap section. So let's do the same thing. So let's go in a string sound and just put it like this. And I think we're going to fade it just a bit in the beginning here, just so it won't sound like it's coming from nowhere. Go put this volume a bit lower. And from here we want to automate volume. I am going to actually put a plug-in for this one. So there are some different plugins for easy tasks. You can automate a lot of different stuff in FL Studio, but if you just want to automate volumes, so I want to automate the volume here. So let's do that. Let's just right-click here, create automation clip, and that's make short kind of fade here. Something like that. Maybe there's a very small base on going on here as well. So let's add that in as well. I'm going to go with the second main sound and just have it vary. A subtle in this section. I want that sound, but I wanted very, very low here. So let's go to this one here. Let's make it a bit lower. And from here I want to automate and to automate a plugin called foodie balance. So here we have a separate volume control it because, you know, if we automate this one here and we want to change it in the mixing stage. So let's say that we want to make some volume leveling and OAC or want to make this these levels crisis go just down RUP where, yeah, when we're doing the mix down, then it's going to interfere with the automation we're doing here. So it's better to have a separate volume knob for automations that you want in the arrangement for volume. So that is what I'm using food unbalance here. So let's just automate this. Create automation clip. And I can see we have two automation for volume here. So let's put something very, very low here. Again, I can barely hear it. They can feel it. That is the best thing within the intro. So that is what I'm going to use. Chest pain and out like this. And let's see how far we go with the interior. So we have it until this drop section. So let's arrange it like this. Just so we're up until the drop section. But let's take a listen to if there's something new going on. 54. Arrangement - Part 3: There's something new going on from this section to this section here. There's a reversed Hyatt coming in here, I think. And you can compare this with the time signature. So you can see 20 seconds here, and you can also see the seconds here and if a studio, so just so you know where I'm referring to when the tracks there's 24 seconds. So remember we had half, let's say one dot five seconds minus. So that would be kind of correct. So here we have hired that has reversed. So let's go to one over sample packs, Syrians. Let's see what we can find. Me. Let's choose something from FL Studio. If you go to packs here, let's go with drums and hats. We want pretty long high hat. We want to open hat. So yeah, let's try that one. So let's just put it out when you're versus an audio and reverse it. So we want this to be, let's choose. So let's see. If we go here. We, we lower. So just like this. Okay. So let's cut it as well. Yeah, something like that. So she was like this for now. You can hear a very nice narrow common on here. So, yeah, so let's create our scenario here. Let's choose smears here. We don't want to hit this narrow, Just want to basics now. Okay. Yeah, I know. Maybe this isn't the best creative time to just watch me go over different samples. And I know that I could easily browse for a snare for about five hours. So I can do that, but I'm don't want you to go through that with me. So I'm going to choose something else. Just something to to see if we can find something to go, go through it. Let's go to the channel AC here. S1, sculptor, a piano roll. That should be quicker and should be a different time signature. So let's go with, let's say 13 beats or 123 step. Actually. Yeah, that's what I'm looking for. So let's create a new pattern for the snares first. So let's go with this random color. There we have it. So the easiest way now is just to put snares like us narrows so every single beat here. So now it sounds like this. And there is not what we want. We want some kind of groove to it, just like in the track. So we can do this by going here and quantize. So now you can see we have template default and we won't template here, and we have a lot of different templates. So let's try out. Let's see, shuffle. That's way too much. Machine swing. Oh yeah, that's that's reenergized. Yeah. That's exactly what I want, so that's accepted. And now we have our scenario basically. Let's put it out to bear. Don't want it to be that. We want it to be a bit subtle here as well. So let's first of all create mixer channel for this. So let's go with the fourth one here. Of course, we want to rename and color everything so we know where we are and let's just lower the volume. I also want an EQ here to go to just lowered the base. We don't want any low and in the scenario. So let's do that. So now we were at 30 seconds. Yeah, the stairs are common in a bit and volumes, so I want to automate that as well. Let's do the same thing with the with the fruit, the balance screen automation clip. So I want to automate that a bit and just make the volume go up and up until we have the drop section. Also, I want to filter this a bit. I wanted to be, yeah, been filtered. Oops, not the one. We want to have the basic filter. And we want to filter the high-pass and low-pass. Yeah, let's take a listen to how it sounds first. 55. Arrangement - Part 4: And we would automate this cut-off frequency here. So let's do that. It's Wanted to me a bit longer and just a bit automated like that. Yeah, now I want to get rid of this section here just before the drop. So we can do is basically just slice it off like this and get rid of everything. So now we're at the drop section basically, because here is the vocal parts. I think it's actually removed here at 34 plus 1.So five of course. Let's see. Nope, 36. So yeah, here I think we're going to drop it off like this just to make some silence here, just before the drop section and interrupts section. We want the main sound. We know we don't want to make someone want a second main sound there, of course. So let's do it like this. Yeah, when also won the reversed highlights here. And so men hear birds. And we don't want that last main sound there. Let's take a listen. Yeah, that is what I want. Okay, so now we want a kick drum here. We don't animate kick drum it. So let's take a listen to what kind of kick drum and need to use here. Of course, a very, very simple kick drum. So let's take a listen and see if we have something in FL Studio here. We want something hitting through the mics. Go to our own sample packs here that C can go to the kick toolbox or Progressive House, kick drums maybe. Yeah, disagree. Kick drum. It's going through. It makes pretty good. So let's go and create a new pattern. Call it kick. Go with a random color, of course. And spit out like this. And they will have a kick drum. Yeah, we want it to be a bit higher in volume here. So yeah, of course we haven't automated, so It's, I feel this kick drum being a bit flat anyway, so let's choose it to, this one is. So let's go with the kick drum and assign it to the fifth mixer channel. Yeah, let's do it like that. And we want this to be, of course, rename colored like the kick. So now we have the kick drum section here. And now we want this to be routed to our second main sound, which is the sun, that we want a side chain here. So let's do that. So that's, yeah, we need to be here at the kick drum mixer section here. And let's create the second main sound and this arrow here. So now we have this linked. So if you go to second main channel now and add a Freudian limiter. And now we can use the preset called side-chain. If you don't have this preset on your FL Studio, you can just copy these settings and just go with Save Preset ass. And then you will find this such increase it every time you. It creates your tracks. Ok, so now let's take a listen to this. Sounds pretty good. So what we miss now is basically a bass sound here as well. So that is what we need to create. Let's go in a new sound. Maybe go for, let's go with flex again. I love Lex plug-in. Let's go with some kind of base on one of very simple based on their let's try this out. So I'm just going to create a new pattern. Bei Song. Okay, so now I have the base on there. I want to have the same notes as in the second main sound. Yeah, so let's go to the second main sound. Now the piano earlier. Select everything and copy it. Let's go to our base home again and just paste it. So let's lower this to g, may be G5, G4. Yeah, that is realized. So let's assign this to mix a channel six. And same thing here as always, based on, we need to have everything clean and organized and this project here, let's go with the fruit limiter to create a side chain, must go with the presets. Let's lower the threshold and play. Yeah, I think I'm going to switch the sound, but I'm going to play it as I, as is always the sound spacecraft. Okay, so I'm going to put an EQ here because I don't want any high-end and this bass sound. 56. Arrangement - Part 5: Don't want any high-end and this bass sound, I just want to feel the base. I want to feel low end basically. So let's get rid of every kind of Treble or high-end. Kinda like That sounds. So let's go with that sound. I'm going to lower it a bit. I'm still unsure about the kick drum here. It sounds okay, but it still sounds a bit flat for some reason. So yeah. It's a bit clicky. The great thing about FS today's stay, you can just switch it out like this. That is very clicking. Snap s L. We don't want that maybe Swedish. Maybe a bit longer bass sound. Among them, the most money. And what we're finding. Yeah, the kick drum is hard one air or no. Yeah, you can hear a kick drum is being played in a rhythm here as well. It's very subtle, they can really hear it. So the kick drum is either played in a rhythm or there's some Tom's going on there. So let's try this as well. And let's create a rhythm air, the kick drum sections. So now I have that marked this section. We just wanted this to repeat while we're experimenting Arabic. Okay, so now it sounds pretty terrible, but we want the velocity here to be a bit lower. On the headset is not at the beginning of because here we have this one, this one, this one, and this one hitting in the beginning of the barrier. But these sounds. Three-year makes the rhythm and we want those to be lowered in velocity. Just to create a rhythm. I want these to be pretty similar. Can irrigate a very nice rhythm now. Yeah, we need the base on, of course, to be routed to the kick drum to get the side chain. Yeah, let's take a listen to the track in the case of 48, will be aware. Yes, there will be the section where we introduced the collapse. So it's going to collapse. There is a sound going on in the background that is extremely sorrow. I don't think you can hear it, but if you really, really listen really closely to it, you will hear it in the section where they collapse or introduced. There is an atmospheric kind of sound. But you don't hear, but you really feel it when it's when it's so few elements playing at the same time and oh, you want something to go in on in the background. So compare this section air when the section at its clap introduces. You can't really hear it, but it's there. So let's see if we can do something about it as well. Going to create a new pattern here. Let's call this MIMO. And let's create a new Flex. I want this to be in C, a, G. Yeah. Like that. Obviously we don't want this to be this. Yeah, we don't want to hear this much. We want to lower it a lot. Let's create mixer channel for it. I want this to be routed to the kick drum, of course, with side-chain. Maybe put it an octave up. All right, let's switch out that sound. Okay, I just put the initial sound when the flex plugin. So let's just do something else here. 010000. And this thing here is to use our sorry, arpeggiator. 10000000000100. Oh, oh, oh, oh, oh, oh. Perfect. So I also want to make and the base on in the Sara Mere a bit longer, so I am going to put up the release of it. Oh, let's have the bass sound a bit longer as well. Yeah, and I, now I have two different bass sounds because the second main sound is actually, there's a lot of low end going on here. So I want to back off a bit off the low end and they want the bass sound to be taking care of the base sounds or the low end. Oh, oh, oh, oh, oh, oh, okay. I, so that is set for this video. I'm going to continue the drop section in the next one. So see you then. 57. Small Audio Fixes: And then learning from that. But Bono and so on. Thank you. 58. Arrangement, Drop & Break - Part 1: Ki. So before we continue with the track, I just switch out the kick drum here. I felt it sounded a bit to clicky still and to, to flat for the sound. So I did a kick drum here. I call it kick Medusa music. And it's going to be available as a downloadable resource in the course. And of course you can find it in the finished product file as well. So I'm going to use this spectrum instead. Fail it sounding way closer to the original sum. Well, let's play it out now. And I want this atmosphere sound to be sounding way more in the background. So I'm going to take off the high-end from it. And of course the low-end as well because we don't want any base in the atmospheric sound. Yep, that's it for this part. So let's create this part now. And let's go back to a reference track. And then we have the three kind of kick drums that are playing together or very close to each other before the next part is introduced. So around 55 seconds. So it's going to be right here, right 54. So what they did here is to take off the last bit here. So I'm going to just two something like this. So 54 minus 1 second would be 53. It might be here as well. Yeah, you can count it really. You can see if you try to play the kick drum in your hand while listening to this track, you can hear that it's four kick drums that is going away when the sound drops here. So when the next part is introduced, there'll be four kick drums that are gone away basically. So that means that we have, let's see here, this part because we will fit for kick drums and this part in this area here. So we can see that if you go to, if we zoom in a bit here, you can see the kick drum here. And because our main kick drum is here, here, here, and there, right? So you can see the four kick travels there are hitting. And you can see on each and every area here. So this part here, free, these selected. And this part here you can see we have four kick drums going on here. Or the main heading kick drums because we added some kick trumps here that are going to just create the rhythm for us. But the kick drum still are playing four different notes in this area. So because four electrons were taken away here in this part, let's just delete everything in this area just like that. And then we going to add a new kick drum pattern here. So let's create a new kick drum pattern. One. And in this one we want to add, let's see here we want to add the kick drum, just like in the song. So it's going to be quiet here and then you go into our 123 on the third is going to be and this, yeah, what were the kick drum starts? Again. Basically, if you go to this kick drum pattern, let's go to the piano. Yep, there it is. And let's see what pitch we had in this one, yellow C5, we can see it here. S5. So we're going to do the same thing for desk kick drum pattern. Mm-hm. Yeah, let's zoom in a bit. Let's create something maybe like that. 1-2-3. Yep. So we need to make the velocity a bit higher. Yeah, that is what I'm looking for. So now we can just add the different sounds again. And we want the full sound there. Onto clap, of course. So the kick drum back again. Now let's see what we're missing. Yeah, we want the string sound to be introduced in this part as well. And maybe the main sound, let's listen to a reference. Track them. Yeah, so you can hear the main sound Just one note when this part is introduced. And not more. So I'm going to do the same thing. So let's go to the main sum. And let's just drop in the first note of the main somewhere here and the string sound is way to hire. So I'm going to lower the volume of that. Same thing goes for, for the main SOM. So let's go to the main sound. Let's put a fruit, the balance, volume, create automation clipped. So I'm going to lower the volume. Oh, yeah, let's lower the velocity a bit for these to kick drums. Yeah, and there is like a hit. I could drum hit here as well in the kick drum section where we introduce the next part of the drop. And you can hear this in the reference track as well. Yeah. So I'm going to do the same thing and you can also hear a lot of different effects us going on can hear some down lifters, up lifters and stuff like that. And I'm going to add on these different effects us later on in the course. And this is just because I want the basic arrangement now. And we can also recreate different sounds or perfect them even more later on in a later stage. But for now I'm just want to get the first arrangement out there and then it's very easy to see what we're missing and what we should add or, or maybe remove, right? So i'm going to those, I'm going to add some hits there to this kick drum sections. So there maybe not something from here, but I'm going to go with fs studios. Let's see if we go to hats. Yeah, we're looking for open hats. Yeah. Yeah. That is the one that I want. So let's go to the channel rack. Let's add this open high hat. And we need to lower the volume area as well. So let's try that out now. Yeah, we want this to be here. Just so we get the first, we get the first note of that because the kick drum is blocking here. So we want to separate these two different regions here. Yeah, and it's very, very short. So we can either make this longer. Now, we can do that with a lot of different things. Either we can go here and make this longer, basically. Let's see if we can do something with this. Yeah, the sound is like that. So we need to put on some effects us there. So let's go to the channel rack. Let's put on it on a new channel. Say a name color NYC and kick drum pattern one. 59. Arrangement, Drop & Break - Part 2: And let's go to kick drum pattern one and put on some reverb, maybe. See what we'll get. The delay would be too much, will make some jump. We just wanted to be sounding bigger actually. So let's try out this reverb here. That is too short. We wanna very massive reverb here. Yeah, it's still too short. So you can hear in the reference track in here that there is a sound common arm in at the beginning of the kick drum there as well. It's like a noise that is common on and just fades out. So it sounds like the heights are like very, very huge. So I'm going to keep the reverb on, but I'm going to also add on down lifted there as well. And let's do that for now. So let's go to our sample pack, transitional elements, effects, and let's look for a down lifter. We want a long one. So let's try this out. And we want to of course, lower the volume here. So we have the drum loop as well. So let's go to our deepest drum loops pack. Once something similar. Let's try this one out. Yeah, we want this to be in a separate mixer channels. So let's create that minds. Let's call this drum loops. And we want to have every single kind of drum loop to a separate mixer channel. And this is because it's going to be way easier to mix and control the drum loops because the drum loops are different sounds together, so it's a lot easier to do it that way. Want to atmosphere sounder to be as well. Let's copy this over until our Bray. Yeah. Secular central reference track yen. And at 111. So should be right around here. Yeah, here they take off the first beat of the new part here. So I'm going to do the same thing and they're adding the main somewhere as well. So let's just take it off like that. Let's try that out. String assumption there as well. And there had crashed there as well. Crashed sound. So let's see if we can find a crash sound. Similar. Let's try it out. Add it to, let's see this part when the kick drum comes in, so right around there, zooming in a bit so we can align those two together. Yeah, there. Let's lower the volume. Should be like this, I think. Let's see how many pick transfer missing here in this part. So basically one. So let's go back to our hard before. Yeah, now we're missing to kick drums. That's not good. So let's come back to how it was. Yeah, there is exactly what we want. So Let's go back like this was some kind of down lifter here. I think this down after that we had here is a bit overkill here. Let's try it out. Whoops. Okay, so I'm going to do a different domain if they're there in that part. So let's go back here. Let's try that one out. So to kick drums are missing in the end section there. It's introduce the next part. So we're going to do the same thing air, but the kick drums are filtered. I think it was the last eight kicks. Let's count that. Yes, eight. So I'm going to filter this. So let's go to the kick drum. Let's go to the mixer section. Yeah, for him, a kick drum as Pramod filter. So we're going to automate the cutoff now. And let's do that. So the eight would be here. Yes. 60. Arrangement, Drop & Break - Part 3: Yes, that's exactly what I wanted. So let's go back here and let's take a listen to what's going on. So let's have a string son back again. And there we have Heartbeat sound. And there's an atmospheric sounder as well. It can really hear it here. Yeah, you can hear the main sommelier, but it's filtered alot. So good to do the same thing here. Let's go to our main sound. Let's put on a filter again. This time I think I'm going to automate it like this. So we're going to have it off. That is of course a string sound. So let's just delete it from there. I'm going to go with a mean Sol, Of course. Fir filter. We want the sum to be filtered in the break section. So just do it like that for me or it's going to drop. This might be too high still. Let's try the second main sound and do the same thing there. So let's get rid of domains on as of now. And let's see if we do the filter thing with the second main song. Going to tick off high pass resonance and just lower the volume a lot. It should really be able to feel the sound. We are not really hear it. So let's create an automation clip. We wanted some b. Suppose in the beginning to delete this frequency that we deal with the main site. Right? So it should be on all the time. So let's get rid of that automation clip. Now we can't hear the main son here, so I did something wrong. Let's see what we did. Let's go to the main, some fruit of filter. Still automated as very low. So let's just make sure that it's at the highest volume. Same thing goes with the second main sound. This was the second. Also corrodes. What's going on with this one here? That's a leap. Forward speed lowering the break sections. And then we have the kinda hired going on there as well. So let's go to the next some more symbols as CO2 hired. And we want a closed heart. It's like a shaker. So I'm going to do the same thing. Exactly like a shaker. Let's try this one out. Yeah, this with the selection of the sounds, can be a bit. Can take a long time, you know. But I don't want this course to be like a week-long. So yeah, I'm going to just add it on like this, like it is. So let's go with something like this. Yen of course, we want to create a new pattern first. My swing. Of course we need to select all of the nodes. I'm going to use that one. Yeah, it's filter there, so it's introduced here, but it's filtered a bit. So it's come saying can really hear it at 130, so should be around there. So I'm going to filter it as well. Let's go to the Shakers. Filter. 61. Arrangement, Drop & Break - Part 4: Yeah. Okay. So the same thing goes here. Let's see, 143 should be fair. 42. Yeah. I think I'm going to go with this one here, so I'm going to start the next part here when the main sound is introduced. And I'm going to use the mains on here as well, but I'm going to filter it out us, we tried to do before. So let's do that for now. It's good to get rid of that score, the cutoff frequency k, So it should be automated here. We have our main Santa Clara frequency. So stood like this. Actually we can do in like bad deleted from there and I start bear. We really want to introduce this sound here, so we want it to be a bit or a lot lower. Before we introduce it there. There's too much. We really want to feel the sound, not really hear it. We don't want that kind of fade there as well. So let's zoom in here. Yeah. It's actually wanted to start there. Ok, so let's take a listen to reference tricky m. Now the club Psalm introduced. Sir. I can just do it like this. And won't clubs to be here. I want the second main sound to be introduced here as well. Make it a bit lower than usual. Let's extend everything until our next drop. You have a narrow again from the intersection. So I'm going to use that. Let's see here snares. Sad that in this part. And eating lower devalue narrow lot. So snares. Yeah, we have an animation there, but we can do it like this. To see it. There. We have our Automation for the volume. Let's automate it. And it's a bit too low, so. Yeah, so nine kick drums is going away or eight because of the ninth we're starting the drops. So going to the same thing as before. So delete everything from there. There. Yeah, it's a lot of kick drums here, so yeah. There was not that we should do like this. Yep. Eight kick drums. So let's just make it like this. Whoops. Make it a bit shorter. They are lower the sensitivity of my mouse here because it's very, very sensitive. So that is why I have some troubles with the resizing of stuff enough or studio because it's such a sensitive program. Ok, so now we have eight key Chrome started dropping off. Yeah, that assert. And let's see if we can use one of our down lifters for the dropped to sway like this. And then we had our kick drum. Let's hear kick drum pattern shell. So the beat is starting at kick drum ten, so that will be here. So let's counting on our tracker. Yannis should start there. So let's do the same thing again. Go for the kick drum, CK drop too. But it's too early or too late. Basically, I'm going to Scarlet. Like this may be. And you can see 123. So the third areas where the kick drum is going on, so that it's going to do with the second drop. And we want this to start. The down left there to start with. The kick drum starts with a main kick drum starts. So lets through this. Yeah, I feel like I deserve some break here. So we're going to keep producing the second drop and the end section. And from there we're going to take it, we're going to export it to an mp3 file, the whole track. Then I'm going to go to my car and I'm going to listen to this track and note everything that sounds off or too high or too low. And then we're going to create a proper mix down. And after that we go into make a master as well. Okay guys, so see you in the next lecture. 62. Finishing The Arrangement: Yes, so in this video, we are going to create the second drop and the end section of this track. So first, let's just listen to what we did here in the end of the Break section. And to drop to section, it can hear the kick doesn't have any base in it. And this is because we took off the base here when we did the first drop To the Break section. You can see it here in automation. So we're going to get back to full-on base here. In a cut off frequency for the kick drum. Yeah, the rest seems like it is as it should. So let's try it out now. Oh yeah, of course. The cutoff should be at the lowest end because we cut off all of the low end and there's a lot of low end in the kick drum. Yes, exactly. So let's take a listen to our reference track again and let's see what they did or less here what they did in the second drop. So we have everything back like it was in the first drop, but it's more full on now. So let's take the atmosphere first. Let's make everything to the end section. Then let's go see if the main sound, the collab. We want the string sound, the second main sound as well. And here we have the shakers. Let's put them on there as well. We want we want everything to be full on here in a second drop. This is where there should be like most of the energy should be there in the second drop to have. Yeah, just to make the end very abrupt. And yet the best thing is to just unload everything. And two, this section here. Let's here we had claps. We don't want the snare stare around the kick drums. Sea bass sound. No. But we want to drum loops there. So this should actually be there. They may want a drum loop there. That should work. Here. We want everything to be resized here because we want to dropout one kick drum here. So we need to do the same thing with all of the different instruments here. So let's do the same thing with everything. Yeah. The main sound is obviously, yeah, we're not having this note here, so let's move this here. And if we move this here, it will move everything. So it's clone this pattern ears. So if you just right-click and here, choose clone, you have the main sum to now. Let's double-click that and do something like that. And say, Yes. So security sensory. So kick drum is dropping out here. So four kick drums are gone here. So that is I assume, yeah, introducing this, this part here. So I'm going to do the same thing. I'm going to take off for kick drums and introduce that new parts. So same thing goes here, but here's a bit different than that. So the kick drum is introduced, but all of the other elements are being kind of cut it off there. So I'm gonna do the same thing. Take the main sum to here. And then yeah, we want to base on here as well because I feel like we're not having a base in the second round. So here we have a really, really can really hear an atmospheric sound that is very, very high in pitch. Compared this section to this section, can really hear high-pitched sound there. So I'm going to add the same thing here. So let's create a new sound. Let's go in new pattern and call this the usual thing here. Let's add a flex plug-in. Again. Let's place something. If you want this to be lowered. I'm going to add this to the seventh. The seventh mixer channel. We want this to be separate because this is going to be too low for or we can automate the volume here and add this sound to them. Atmospheric summit we already have here. Yeah, I'm thinking I'm going to do that. So let's just play something. Yeah, G6, I'm going to use G6. So let's put a piano roll, Scott to G6. Put other long 4-bar sound. Let's add this to this part. And now, yeah, let's create a lens fruit unbalanced plug-in here. Create a automation Club. We want this to be here. So I'm going to do is to lower the volume overall C. Or if we to leave this where if we just put it lower like that. Now it's going to be around 50% lower than we had before. So we need to compensate this on the mixer channel here. And then going to make this lot bigger here in this section. And that is what I'm going to do. Let's zoom in a bit so we can control this. Something like that. Maybe. Take a listen to it. I think we have a tractor. I think it's pretty much done. We still have some effects us that we should add. Some crash affects, some different effect sounds that I feel like there's missing in the track. So I'm going to do that. But first. Yeah. I mean, it's pretty much done. So I think I'm going to add effects us in the next video. So let's just add some effects us transitions, stuff like that. So if we feel like sound like it sounds like a complete track. And then after that we're going to also add some different small compression to the sound before we export it to the mixed on-stage where I'm going to go to my car and listen to retract first. Then when that's done, we're going to go through the mixed arm, like taken off some levels, maybe add base or takeoff, some Hyannis and stuff like that, basic mixing. And this is just what you need to do. Basically, you don't want to overdo the mixing and mastering. I feel like a lot of different people are asking me like how to mix NF2 DO right? Or how to create mixed towns or how to properly separate base and separate, like low end and high end stuff like that. Very complicated stuff. You don't really need to do that. If you're mixes clean from the producing stage, you don't want too many sounds. You don't want to have a lot of different sounds going on at the same time. And basically mixing is very simple. It's just to keep control of all of the sounds that you have in the mixed town or in your track. And it's very basic if you know that your base sounds should have the lowest in the track, and the other sounds should be in the middle or in the high, high-end frequencies, like spectrum of the track. You want to basically divide all of the sounds so they have their own space in the frequency spectrum. And when you do that, you're going to get a very clean mixed on that. You don't need to do a lot of work to it to make it sound good. So that is what I am going to do here. So as I said in the next video, we're going to add on some effects and a bit of compression to make it sound. Like even, you know, you don't want to sound, to sound very even. So we don't want any sound to be a lot louder than any other or stuff like that. So ok guys. So see you in the next video. 63. FX & Prepare for Mixdown: Okay, so in this video I'm going to add some up and down lifters and some effects us to our track. Yeah, I'm always doing this because I feel like some of the truck doesn't sound complete without some transitional elements in the track. And basically what it is is to just put some up lifters to introduce a new section of the track and also some down lifters to make it sound like it's fading out to a new section. Yeah, so we have our sample bacteria called Up and Down lifters. And I'm also going to use the transitional elements affects sample pack that will also happen. So you can get all of the sample packs on music.bash_profile dot com for free, of course, when you're a student of mine. So down, lift her up lifter. First of all, we need to have the uplifted. So I'm going to add some uplifts us to introduce the first drop must go into have an uplifted interests this part, because we can see that there's a lot of new sounds being introduced here. Actually is just this sound, the string sound, but still, and we don't want to add too many up or down lifters all of the time. We want it to be at least let's say this long until we have a new up and, or down laughter. So I'm going to add it there. I'm also going to add it there. But this should be subtle there to introduce the brake section there, there and there. And also to the end we should add on down lifted there. So I'm going to start out with an uplifting. Yeah, we want simple stuff here, so let's go with an uplift are here. And I want to add everything to a separate effects bus. So I'm going to do that with the 11th track. That's called this affects bus. And the bus has basically a mixer channel where you put a lot of different sounds to iterate. So hammer effects bus, and I'm going to immediately lower the volume here because all of the sounds are going to be way too high in volume. So let's see if we yeah, I'm going to zoom out a bit like that. So you can see where the sounds are. And we want the first uplift or to stop there. Here. I mean, to move it one step like that. Let's see if this is too much or not. Yeah, and we also want to take off all of the low end here from the effects bus. We don't want any base to be interfering with the track because. And the uplift there is knowledge. There should be sounds, there are in the background. They should not be like sounds that you really, really hear. You should basically feel them even if they are a pretty audible but still, they should be in the background. Yeah, and this is way too long for this part, so I'm going to move this uplifted to drop or yeah. Where we have this part here. Yeah. Maybe one more uplift to this section. A shorter one this time. That was very yeah, let's try something else. Once, something that ends very abruptly like that. So this looks very similar to the first one, but let's go with that one and let's put it on 11th track. When you want this to be there, of course. No. And then once I'm down lifters here as well. So introduced a new sound. Let's go with that one track. And mostly we can reuse the same down and uplift is because there's basically just white noise that are faded. So there isn't like if you use the same Up and Down left, there's all of the time they shouldn't be too repetitive, but have some variation. Let's see if we do it like this. Maybe. See if we have something else. I like this one, but this might be too much. Too much. Oh, oh, oh, oh. And then something, something else here in the end of the tracks. That might be pretty good. Sounds almost like a firework going on there. It's made me put this a bit up and volume. Okay, so let's take a listen to the whole track from start to end now. And let's see if there's something missing that we want to have in the track. We can work on this track along time here and I can spend hours and hours and hours. But I really want to show you how to create one of these kind of tracks that are very simple to use, very simple to create as well. There are a lot of time putting in details in the small sound, small details. And this is what makes the whole track. And so let's take a listen to the track from the start to the end. Okay, so I'm just going to fix this because I can hear the uplift. They're a lot here and I want to I want to make the shoplifter audible somewhere around here. So I'm going to automate a fader, automate the volume air. This is the easiest thing to do. So I'm going to just zoom in a bit. There we are. Just basically current automation, something like that. Maybe. They may also think This comes into early. I think. Let's see if that is the case or if my ears are strange. Let's see that my software. So we should have the CEO should kick drum pads around that one. Is might sound very weird. No, I'm going to of course, go back to how it was. I'm also going to reuse the reversed reverb here that we did before. Let's see if we have it there. And that's not the one. There it is. Let's use it here to introduce the main somewhere. Don't want that to be introduced that quickly in this, in this part here. So I'm going to create an automation clip off the volume there. And so we have fair. Ok. Let's have it like that. Yep, there it is. And we're going to do the same thing here as wow. They're nervous. So I'm going to leave it like it is. And let's see that assert for that, going to do the same thing here. Murdoch, one of course that we introduced in there. So let's, so man, there is. Let's come back here. Can still hear the the beginning of the reversed reverb. That's better, but yeah, we have this main sound filtered air, so it is going to sound strange because you can't really hear the mains on here. So I'm going to maybe introduce it here instead. Sound strange, maybe here. Must go here stuff. Let's try out the smoke that shorter. Mm-hm. That's something for you in a premise. So that's really sent to retract but from yeah, let's listen from the first row. So that comes in way too early. So still I made to fix that. It's switched the position here I can see. So what was it about there? Okay, so square new points. So so I think this the main Sonya come into too fast as well. So way too fast. So seer for how the main song. Comes out of nowhere and so same thing there. Let's just do something like this. Sorry. We're going to add some compression to our track. And first of all, I'm going to add this to the master. So what I used for compression generally is very easy. It's just one plugin is Safari plug-in from X4 records. It's called OTT. So if I go to more plug-ins here and just search for OTT, I have it installed. And you can use you can use delta t of course. And you need to install and download it from x-ray records website. And this will be in the resources for this course, so you can download it for free. Of course, it's a free plug-in. It's very nice to use. The only thing you should do here is to basically take the depth knob here to around a quarter, somewhere around the corridor to, to around 30%. So that is what I use, and that is basically it for compression. I also use some compression for different drum loops. Stuff like that. Of course. Let us see how it sounds like in the master. With them without salt. You can hear that the difference is massive. It really brings out the lower instruments and brings down the instrument that is too high in volume. And this is, of course we're going to do in the, in the mixing stage. But as you can see, wherever they leveled our mixing air. So so there's not going to be too much of mixing I think, but I'm going to decide that when we're taking this track two to an audio system that I know really well. So I'm going to take it to my car, but I play music in the car all the time and I know how attract should sound like. And if I put this track in my core and it seems like it's way off. Let's say it's too much bass or too much high-end can really hear that immediately because you're so used to listening to that audio system. So that could be, let's say if you're listening to your airports, to a lot of different Spotify music each and every day. And then you put your track there and you can immediately start to hear the errors that you have in the mixing. And basically just to lower and make some levels higher, that is the basic thing there. And if you have too much bass or if you have too much high-end going on, you can really hear that your ears are kind of hurting because of too much Chaim. And if there's too much low and you will also get it because it's too much bass, you know, it will overtake All of the, of the sounds. So that is what we are going to do. I'm also going to put on some limiting air. And you can see there's a fruity limiter on, but I'm going to use the, let's see, I'm going to use this sound. Sound good geyser. This is a very nice thing. And you can basically just put this as much as you want until you can hear there is too much. So you need to lower the volume because now we're going to push the limiter to the max here. There's way too much you can really hear that is too much. And some good Isar wasn't too good for this mix. That host way too much energy for my taste. So I am going to use something else here. I think we're going to go with the basic limiter. So let's just take this off and take this back on again. And from here you can just put the gain up. So delta t might be too much here as well. It really hurts too much energy going on, so I can really tell that it's too much bass going on this track. And it's over powering everything. So let's maybe get rid of the OTC from the drum loops here and see if that sounds better than that. So this is also same. So you can see those errors if you just put on some, let's say some analyzing here, much bass going on in these sections here. So we want to get rid of those. So just put an EQ on on the message channel to get rid of those. So you don't want to get rid of two months because that will make your base. So can we can do is to just go like this. So the central message also. And you can really hear now that it sounds better, but it's still kind of off. I don't really know what's going on here. So this is why we need to listen to this track to a different sound system that we've been working on with this track. And this is why you usually see a lot of studios with different monitors, different sound systems. It isn't there because, you know, it looks cool or some vi that is just so you can compare different sounds or different sound systems with the same track. And I feel like you don't really need to have all of these different school very expensive monitors. You can just listen to the track, to the sound system that you're using every day. So that can be really anything, you know, if you're listening to your tracks through the, let's say, laptop speakers each and every day. Then you will really here as well, what's going on? And if there's some errors, but you might not get too much bass out of laptop speakers. So this is why you need to have some kind of nice sound system that you're working on or that you're listening to your music each and every day too. So a lot of people use the airports that comes with an iPhone or beats, like headphones, you know, if you're working out or if you're listening to music each and every day and yeah, and just listening to music, you know, that is the system that you want to compare this track that you're working on. If you do that, you will really, really hear what's going on in a track. So that is what we are going to do in the next video. I'm going to go to my car. And I'm going to create a video on when I listening to attract, When I take some notes, what's going on in a track. And then we're going to go back to the studio here. And I'm going to fix those problems, create a master. And then we're going to go back to the car again and see if it sounds good and product, right? Ok guys. So that is it for this video. See you in the next one. 64. Export For Reference Listening: So just a quick video here. I'm going to create an export. So what we're going to do here is to export and make sure it is a WAV file that you're exporting. And let's just call this Medusa projects before mix down. Just so we know what we're working on. And I'm going to export this and put this on my phone. And you really don't want to export this to a cloud system where cloud service like some cloud or something like that because will downgrade the rate of this file. You want this to be a pure files. So if you have, let's say an USB drive that you can put two car audio system. Or let's say that you're listening to your iPhone or, or phone or something like that, then you want the WAV file to be there. So you want a pure wave file to be uploaded to the system that you want to listen to. And you don't want it to go through a cloud system or internet service, something like that. So very important thing to export it as a WAV file because that way you were really, really hear the what's going on and the errors that you're doing in the mixdown. So that is very important to you. So let's click save here. And I'm going to have the full song and leave the tales. Of course you want everything to be as it is. You can see it says total time 337 seconds, so that should be around there. So we will have a long, long tail there. But this is going to be fixed in the mastering stage, I am going to show you how to fix that. And when you exporting in a WAV file, you will see that the file size would be very big. So just make sure that you have a lot of disk space in the, let's say USB drive or wherever you want this file to be exported to so you can listen to it. And as I said, WAV file, this is very important. And of the other stuff here, let's just leave it as it is and hit start. So as soon as you have this started, if you have this show fats were complete, you will get a window showing the file and then you can export that file to wherever sound system you want to listen to. Okay, I so see you in the next video. 65. 3: Okay. Yes. So I'm in the car right now and we have the track on, so let's play it. And I'm going to take some notes while I'm playing it. So you can see I have my phone here. I'm going to video when I write something on the notes here, just so you can see. So let's play the track and let's see what we come up with there. Oh. And we know when we when we when we go on. No. No. No. And so that was the track. I have some different things that I'm going to look at, but overall, I liked that mix or the mix down, so I'm pretty happy with it. I think we have to limit some, some things here just to make the overall volume of the track a bit higher. So I'm going to do that. And I also didn't like the kind of three kick drums and the crash sound going on to the different introducing different sections like don't, don't do something like that. And I didn't like that that much. So I'm going to remake that. I'm going to show you what I mean here just so you know exactly what I mean. The part that's coming up yeah. Feels like it's a bit delayed or something. I think I'm going to just move the notes there and make it better. And I want it to be exactly like it is in the meadows as track there. Alright guys, so let's see you in the next lecture where I'm going to just make some very basic mix down because we already did a lot of mixed tone in the, when we created the track. That is my approach to mix down, as I said before in the course. And we're also going to export that track to.wav file. And then we're going to take that track and make some different volume adjustments of the tracking overall. I'm going to show you what I mean later on because we want the break section to be the same volume as, let's say the drop section. And it's very difficult to do that when you're just producing. You need to exploit the full song and then you can just different sections of the track with volume. A lot easier when doing this, I'm going to show you that in the mastering section of the course. Okay guys, so see you in the next one. 66. The Mixdown: Okay guys, so we're now back from the car and let's just fix this different issues that I have when I tried to track out in the car. Okay, so first we had dropped one lower debase on second main sound. So the second main sound is there, and let's just lower the volume of it in a mixer. We know what we, we'll be. Okay and make the main sound higher in volume. So main sound would be that one. And let's just put it up a bit. Let's take a listen to the second main song. I feel like there's something weird going on in the, in this section here. So let's, let's just take a look at it. I can't really hear some kind of distortionary. It should sound like that, but for some weird reason, may have some distortion around. I'd made, might be this bass sound here. So let's take a listen to that one is dead, Such as close Sara Mere. And we have our bass sound which is there. Yep. So that is the one that's just solo it let's see if it is. Yeah, that is set. So I'm going to take some EQ on here. But it's still really hear it. Let's maybe go for something else here. And so again and again and again and so on and so on. Okay, so what we want to do here now is to take off some Lohan from the EQ from the second means on. And we really did that. We have some base taken off, but I want to get rid of more of the base. Because now we want each and every instrument to have their own space in the frequency spectrum. So as you can see, we have two different bass sounds going on. So it's the second mean sum, which contains base information that we want there. And also we have the, the bce sound itself that we, we have the BCE is e, The base frequencies here. So I've been cutting off the base frequencies around 1-10, but I'm going to just go with, let's see 190 here and let's put this up to around 220. So now they shouldn't interfere because now we have the bass sound taken up this space and a second main sound taken up this base. But we don't want any trouble in the second mean sum because that is what we have the main sound for. So if we take up the main soundly queue as well. You can see that I have a lot of information going on here as well, which is the same as, as in the secondary in some. So we now have to decide if we want to use sound in this frequent spectrum for both of the sounds which is shouldn't do. But it's more okay to do that for, let's say from mid to around here. So this space is okay to use different sounds at the same time. It shouldn't aim for different sounds playing at the same time in the low-end section, it don't want that to, you. Usually just want one sound plus the kick drum to be playing there. And even then the kick drum shouldn't have too much of base information for too long because you have the base, you should have some, some bass sound taken care of the sub and the low, the low end frequencies. So what we want to do now is to just compare different sounds. And if I take off some low end from, let's say the main sound. If we find that the main sound is losing some energy or you start to feel like the main sound is Sony empty or different, then you should go back to how it was. So that is basically what I do for the mixing. We want to get rid of as much information as you can without ruining the sound basically. So, yeah, and that will make your mixed hours very clean. So let's try that out. Yeah, I'm going to go back to the Flex again, which is our bass sound. And I'm going to go for a very simple base. That was the one who had this a clean Bass who want that? Wanted to be a bit longer? Let's see if we can to it's here or if you could do it with midi safe, we can just put some release on. Well, it's the base frequencies here are, the base frequencies here are so low that we can't really hear them. So let's try out something else. And this is a part of the mixdown. You just want everything to sound something good in. So we can try is to go one octave up for these notes. So if I select them and just put them instead of a sharp, F3 and F3 and G3. Let's try that with four. So a sharp for. Let's see if this sounds good. Yeah, maybe the d nodes as well. Let's put them to see your d4, d5. Yeah. Yeah, I think that would I think that will fit to a mix a lot better. But let's just back off that. Release a bits. Yeah. Yeah, better scrape. Okay, so let's see now our it sounds like and you can really hear and feel the bass out. Yeah, that is exactly what I wanted. So lets just back off with a base on a bit as well in volume because you can get too much bass in it as well. So I'm going to just lowered a bit, but now it's way, way cleaner in the drop section. Okay, so now we have the next thing, air, which is snare roll, higher volume to drop too. So we have this narrow here. And sphere snare roll swam snares they're going to work for. Yeah, that's sounds so strange. Sounds almost like it's a bit off here. So and I think it's because we should have this like that. Maybe the soap Soap. Yeah, that sounds better. That sounds better. Doesn't sound off. We said, let's have some reverb here because I feel like the reverse story to get too much in the main zone. And there a major really hear the scenarios. Yeah, as soon as I hired the volume a bit, this part before the first drop is way too loud, so and this is only because we have the balance automation or so. I'm going to just extend this automation to this part and make this a bit higher in volume. So let's just zoom in a bit. Yeah, it's being lowered air as well. So that might be the case why I felt like this part of the scenarios before the second drop should be higher. So let's take a listen to it. Sounds better. Let's see if our kick drum patterns sounds good here. Sounds better. Okay guys, so I think we're pretty much done with the track itself. I'm just going to take a look at some high-end frequencies because I can really hear that. Says, the snares are too much trouble in, and this is because you always want to cut off the highest frequencies on basically all of the instruments. You can do this on their master channel as well. But I'm Always doing this on on snares and highlights and stuff like bat. Let's just see. So you really need to listen to what you're doing with the Q and listen to them individually. Instrument in the mix heart sounds. You can solo it of course, but it's way better to listen to the instrument that you're working on when it's in the mix. And in those forums and so on, so forth. You can really hear the difference here. And it's just so we don't have those high frequencies that sounds way, way too much. You know. You don't want your ear to get tired of being Miss, like listen to a scenario for instance. So I'm going to do the same thing for, let's see first shakers and drum loops. So let's go with the drum loops first. And he really wants to get rid of the sub base. We don't want any bass sound going on drums. So let's solo that. Let's go to a part where we have our drum loops. Yet there is also way better. And it's the same thing here. You don't want your ear to bleed, you know, from too much high frequencies. Ok, so we're going to do the same thing with the Shakers. Am I already took up some, some high-end air, so we're going to leave it as it is, but I'm going to take off all of the low near because we don't want any low-end being played here even if you can't really hear and in low end, in, let's say the shakers here. If we go to this part. You can't really hear in a low-end there. And if I, even if I take off the EQ, maybe I'm, I feel like it to go to much higher there. Now. We can also hear the claps being played, and I can't see that I put the claps on and it makes her channel. So that is what I'm going to do here. In school for the clubs there. Yeah, and innocent puts her mixer channels. So let's go with a 12th. See ike that clap, clap, clap. There we have it. Okay, so we want to do the same thing here. We want to get rid of all of the low end, of course, solar that. So if you listen now you can really hear that there isn't any difference at all because the clap sound doesn't contain any Lohan bacon here, a small, small difference here. And this is the lowest energy that you don't want in your mix. You don't want any strange kind of low-end coming from a cloud. That is for the base sounds only that, that space is reserved for the base sounds and for basi sounds, you know. So that is what I mean with placing different instruments in different spaces of the frequency spectrum. And the frequency spectrum. What I mean by that is just the whole space of the track from the beginning to the end, near from the lowest low end to the highest high end. And if you think of it like that, it's very easy to create mixed towns. You want, you obviously don't want to clap to have some low end, as I explained, because that is for the base sounds. But you don't want any like really, really high treble sounds or, or high-frequency sounds. And the human ear can only hear up to about 18 to 19 thousand hertz anyways. So the frequency spectrum is to 20 thousand hertz. So even if we take off, if you go to like this, you can see here we have 18-19 hurts. You can't feel any difference. You can't really hear it any difference. But if you do this for all of the different instruments that you have in your mix, you're going to start like, you can really hear that the mixed starts more. How do I say it? Just like more professional sounding, more like, like real tracks here and the radio for instance, or Spotify or something like that. And this is because all of the mixes are taken away from the highest, highest frequencies here. So if we just make something like this, just sounds better now, we can really hear it. We took off some, some high-end of course, and it starts to make the sound a bit different, but it still sounds very good. Yeah, exactly what I wanted. So that is for the Clap. We also want the affects us to have the same treatment here in the highest frequencies. So let's take away like that and let's do the same thing. Let's drop out at around 18 to 191000 hertz, and so on. And so I feel like I'm very happy with the mixdown. So dialysate for the mixed town. Let's continue on to the mastering stage. So see you in the next video. 67. Adding More Sidechain: So right before we go to the mastering stage, I just want to show you two things that I missed in the production stage, which is, this is very, very important to use when producing music overall. And that is side-chain compression. So I didn't say check compression with, let's see. Oh, for CO2, the kick drum, you can see we use this for the second main science. But we have a lot of sounds going on here and we should have more, more sites, you, and of course, so first of all, let's go to the kick drum and that's a route that to, let's see your second main. Here. I should be routed there. And let's see why we can't do that. Okay. We want it to be routed to the string sound, of course, to see the drum loops. We don't want that to be to the shakers. We can do it too. Fx bus as well. We only want to side chain to sounds that are playing at the same time as the kick drum is playing him. So that is those sounds. Of course, the main sound base should be there as well. And I don't really know why we can't do that, but okay. We're going to do with this as of now. So, so what are we going to do here is to put a limiter with a side chain preset on all of these sounds that were routed the kick to. So if we go to the first main sound, let's just go with a fruit to limiter that's put our side chain presets. And let's just see how much the sound ducks to the kick drum. We can immediately hear that the sound is disappearing and written the mic. So we can compensate that with the game and see how much the sound is dotted into the kick drum here. So basically what you need to do is to play around with the threshold norm, their school, the string sound as well. Score through to limiter side chain. Okay, so let's go look drum loops. So this same thing with the affix class. So some, so now we really want to base on here. I think it's because we already from this to this slick and main. And so let's get rid of that. Now we can know we can do that. So if you go to the limiter. So in some sense. And now we can really hear the atmospheric style. So you want to side chain that as well. Of course, not just saying that for some reason, it's linked to a bit weird. Okay, so now I have that one as well as go to the limiter again, slave chain. So so I, so that is it for this video. Let's see you in the next one. 68. Mastering: Okay, so in this video I want to show you how I create my master's in RStudio. So first, when we have our mixdown ready, let's just go to our mixture to the master channel. And now we only want effects plugin's going on here. So we want to get rid of the limiter plugins and as well as plugins like some good Isar which make the volume higher in the master. You don't want anything like that. You can't or you can keep different effect plugins. So I feel like the multi-band compression from OTT, it could be there and the EQ that I added as well. So we can do that. And we can also just get rid of the queue as well. You can do it exactly how he wants. But the most important thing here is to get rid of the limiter and to make sure that you've got some headroom in the volume here. So I always strive for getting around minus six db of headroom. So the headroom is basically how much volume? Because here you have the 0, right? And if you just play the track, you want to get over this 0. You don't want to clip the master. That is very, very important and you don't, yeah, you shouldn't ever clip the master like that. So the 0 should be like the ceiling of the mastering and you don't want to get over that. So what we going to do and yeah, and that is basically what you do with the limiter, right? You push the volume to the ceiling of 0 just so you can back. It sounds louder, but it isn't louder on the meter here. So what you want to do now before the master is to put the Volume two minus six dB as a ceiling instead of the 0. And I'm going to explain why in a later stage when we have our file ready for the final mastering. And if we just, yeah, we can get rid of the limiter. But M101 to do here is to put a fruity balance. I have that there. And let's just go with minus something. Let's just play the track. We will have the most energy and the tracks, so there will be the second drop in the end this section, let's say. So let's play there and let's see how much we should lower the volume here. So that is actually pretty good. Um, was aiming for around minus 60. That is pretty good. So I'm going to do now is to export this track to one single audio file. And then we're going to create a new project file with that master, like with that audio file, only. And from there we're going to create our mastering. And I'm going to explain why I do it like that. And this isn't the only way to measure. You can do it several different ways, but this is my favorite way because you can control the volume over time in the track. A lot easier than creating it like, like in a project file where creative and we have different things going on at the same time. So let's just export this. Forgot to export wav file. And let's call this Medusa before Master. It's saved. And we want it to be oh, yeah, we want it to be the whole track, of course. So let's redo that. For master. Full song. We want to leave the tail. We wanted to be, yeah, the song would be to the last point of automation. So there, so we will have a lot of silence going on, but that's okay. That's actually what I'm aiming for in the mastering stage. That we would have different tales from the end section fading out instead of just, instead of just some echoing reverbs going on, Events section and track would stop around there instead of somewhere around here. Yeah, I'm going to show that when we have the naughty file In the next project's file. So let's export it as wave. Let's do that. And this would take a while. So I'm going to speed it up a bit, and now it's exported to another file we have. Let's see here we have four master. There were habits. So let's create a new project file. I'm just going to save this now. And let's create new basic wed limiter shore. We're not. That's just disable that. And from here, we're going to import this one. So here is basically our full track in an audio file like this. So now you can see we have a huge tail with no information. So first we can just shorten that a bit. And now we can really see where we have a lot of energy going on a track and where we should maybe lower the volume or we should hire the volume. You can really see that we should maybe Haida volume a bit in the beginning here, then drop the volume a bit, and then maybe have, it's like the same here. And here you see that the sound is very low here. So maybe we should add it up here. Maybe lower it a bit lower, lower, lower, and then back to normal here. So you basically want to have the sound being like sounding the same volume wise. Read the whole track. So obviously using a limiter for that, of course as well. But we still want the volumes to be the same because a limiter just pushing audio and pushing energy and loudness, but the volume could still differ a bit. So first of all, let's create our message channel. And let's go to the mixer. We want, we already applied some OTT, So I'm not going to use that. But now we're going to just put an EQ. This is very important in the mastering. I want to get rid of some of the lowest low-end. So around somewhere like 40 to 50 hertz. Just lower it like that. And I want it to be this QC purveyor. See somewhere on there. We also want to put on the HQ here. So just so you have the highest quality of the EQ. And yeah, let's basically play the tracker and let's see what we're what we're getting here. Yeah. That is a rule that I use, but I felt like I almost lost all of the base energy there when I cut it around 50. So let's go with somewhere around 30 instead. And let's do something like this. Okay, And let's take a listen to this part is ten, where we have a lot of different things going on. So let's get rid of the high end or the highest Thailand. So okay, so I think that's pretty nice sounding. And you can see the low mid here, between the low mid and the bass section, we have a point where we can lower the EQ bit, like lower volume of bit here. Because this is the part of the frequency spectrum where you tend to get a lot of boxy bass sounds. What I mean by that is base that you can like here, but you can't really feel. And I don't like that kind of sound in the mixing or in the mixed hours. So I just tend to lower the bits around here, like between low, mid them based section. And also felt like we lost some energy in the, in the high-end near. So let's back off a bit. And the base sounds way more control when I have the EQ on r. So that is one. I'm also aiming for that actually because I felt like the base was going a bit over the place, all over the place almost. But when I do it like this, we get rid of the lowest low end and it starts to rumble when the base, base area and you don't want that because that is what you're getting in the mix when, when you lose control over the low-end basically. So as you can see here, you have the subsection here. We can see here is empty because this is the area where the basis too low, so it starts to interfere with the mix. And we can't really hear it. You can just, you can just feel like there's something weird going on in the mixed town a