FL Studio 201 - Music Production Masterclass | Martin Svensson | Skillshare

FL Studio 201 - Music Production Masterclass

Martin Svensson, Learning music creation since 2006.

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17 Lessons (3h 31m)
    • 1. Introduction

    • 2. How To Start - The Idea Process - Part 1

    • 3. How To Start - The Idea Process - Part 2

    • 4. Creating The Sounds - Part 1

    • 5. Creating The Sounds - Part 2

    • 6. Arrangement - Track Markers

    • 7. The Arrangement - Part 1

    • 8. The Arrangement - Part 2

    • 9. The Arrangement - Part 3

    • 10. Creating More Sounds & Arranging - Part 1

    • 11. Creating More Sounds & Arranging - Part 2

    • 12. Creating More Sounds & Arranging - Part 3

    • 13. Creating More Sounds & Arranging - Part 4

    • 14. The Mixdown Process

    • 15. Checking The Mix in The Car

    • 16. Mastering Stage - Part 1

    • 17. Mastering Stage - Part 2


About This Class

In this class, I will show you how to create a full track from start to finish. We will cover things such as how to come up with an idea for music production in FL Studio to how to arrange a track properly and comparing it to other hits so your production meets the standard of today's hits.


1. Introduction: Welcome to the Efforts Studio Deep House music production course. My name is Martin Svensson, and I'm being using Efforts Studio for over 15 years now, having creating music for a lot of different music producers, and this has been my full time job for five years now. Everything I make is made straight in the box on my Mac book pro in Fo studio. In this course, I'm going to show you how to start out with your music production in an effort studio. How to get ideas to create your first chord progression, even if you don't know anything about music theory at all. If you're a complete beginner and want to start out NFL studio, or if you're already familiar with the for studio, this course is for you. My goal with this course is to teach you how to create a full track from nothing to the finished product. We'll cover everything from how to find sounds get inspired to create different sounds, how to arrange a track, even though we don't have a clear idea how it will sound like. And then we will also create mixed outs while producing, and you will even see me go to my car and take notes in the mixed on process. We're also going to create a quick monster for the full track so you can sit in your tracks to labels. I'm also going to show you my own secret tips and tricks that I've been using with Effort Studio for years and years in the first parts. You will see me going through the most basic things in effort Studio to get you up and ready to produce. We can easily skip this if you're already familiar with the for studio. With this course, you will also get a bonus off free sample packs with a library that is exclusive for you. To me students, all for free lifetime. That sample back library contains a lot of different sample packs, and new ones are added every week. You will get free access to them. With the purchase of this course, you will also get access to the project, file it with this finish track that you can use exactly how you want. You can copy the music samples and style. It's Royal to free Alright guys. So I hope you're as excited as I am to dive into this course and start making music with efforts studio. So see you in the course, - but 2. How To Start - The Idea Process - Part 1: okay, Yes. Welcome to this first chapter off this course. First of all, we're going to look for ah, reference track and this is very important to use because when you're trying to produce a track, it's very easy to just get lost with different ideas and different stuff like that. So the best thing here is to have a reference track available for you. So a reference strike is basically attract that you want to create the same style off kind of. So let's say that I want a track that it's similar to something progressive house or let's say, an E d m track. Then I go search for my favorite track that I want to create a track like and, ah, just try to recreate that track first and see what's going on there. And from that you can then borrow different elements and stuff like that and create your own track. So that is something that we're going to do in this course. So, first of all, I'm going to, um, take my reference tracked that I found that I we going to create the track around. So this ISS this track, it's called GDX. Stay so you can find it on selected channel here. But you can also just search on YouTube for this. You can see that. DDX stay here. Let's take a listen to this track and see what's going on here. Honorees Pain. Do you think that this is okay? Well, your stay way. So you can hear. It's a very basic, deep house kind of track here, and we're going to create the same kind off style here. So we're going to do first is to just look up the BPM. So we have the same temple that this track isn't. So the easiest thing to do here is just Google the track name and the search for BPM afterwards, and you will find some side kind of like this one. You can also go to just to in about the com and search for a track. I can see that this track has won 25 bpm. It can also, of course, count that on your own. But the easiest way is to just go to Google and search for the track. So first of all, we're going Teoh create. Ah, this is the basic sense that we're going to use for the course and that I always use for the like first ideas that I have. And I also always use the three times oscillators here. And I always go for the Sawtooth. Here is the easiest kind of sound in this synth, so I'm going to use it just like that's very basic. Sounds like this on its very easy to use, so you can create different courts with just round them like that. But what we're going to do is to use a filter on this one just to get the kind of idea that we have in the reference track. So if you take a listen to the reference track here in the beginning, just listen very carefully to the sounds that that is going on in the in the background here in the beginning, So we're going to do now is to just play something over this. We're going to use the scent that we're using and just play to the track until we find the right notes. And for that I'm going to filter this sounds. So I'm going to use that, say, the next warm in the Mixture Channel, which is the fifth channel. So insert five. And now we're going to use a basic food filter and just I'm going to take away some low pass and all of the high pass here as well. And I'm doing this show, so we're not getting a lot of base and I don't want any kind of high frequencies going through. So I just want to basically filter out the high frequencies with this one. So it sounds like this. Okay, so now let's play the track again and they around with notes, the volume here in the sin so we can hear what we're playing, the way that is the basic notes for this track. So I'm going to actually use this one. So what we're going to do here is to go to the piano roll and let's hear it. So let's just set this to 1 25 1st Is this a G sharp? So let's play this compared. This sounds good. So we're going to do and now here is to make accord. So as you can hear in the beginning here, it's not playing single notes. It's playing a chord progression, so let's take a listen to it. If you listen carefully. It sounds a lot fuller. The sound it doesn't sound like this sounds kind of boring, so you want to make the sound fuller. So what we going to do is to use a basic rule. It's just Teoh. Make a double note off the note, but that we already have, and this is going to go either to send my notes up or three. So we're going to do here is to basically create the same note, but to up. So you count 123 like that. Let's take a listen to this. - Let's compare this now. Okay, stay way. It's pretty similar, right? So this is our corporation, and we're basically done with that. So now we're going to do is to go to our one shot depots samples that we have in the music dash product calm. So it's a free sample pack. Of course, you can download with this course, and we're going to do here is to youth one of the samples. So, yeah, I wanna based sample that sounds exactly like this one. So let's take a listen and see if we find some. Let's try this one, so let's just drag it 3. How To Start - The Idea Process - Part 2: I'm here to the empty space below this three oscillators here, and I can see a track is done for us. So let's just play around here. So it's just use the same notes here we're going to use. Um all right, so let's compare this. It sounds exactly the same. Almost. So, um, yeah, okay, we're going to What we're going to do now is to basically create our own corporation. We don't want to copy the exact same courts and exact same base notes and everything. So we're going to make our own track now. But this is a very good start. So we have our sounds, right. So from this, we can just go and start make our own corporations. Um, this ever basic track is can see. So we're just using basically the snows here and just, um, with a double notes here. So it's it makes a corporation, right. So it's different notes in each note, basically, but we're going to do now is Teoh create our own courts. And for this, we're going to use the courts pact that we also have on the music dash product, com websites, and you're also getting this of course, with the course. So we're going to use a G sharp court because this is what we're going to What is being used in this track? So G sharp is basically let's go here to G sharp minor one, because we're going to use minor chords and you can check this. Of course, with the same side here. You can see it's this e flat minor. But let's see here. If you go to know, Terry can see that this is G right is G sharp. This is a and it says e flat minor. So on e flat minor is basically and the sharp and, um yeah, this is them and the sharp. So, um, we can either create a D sharp minor chord or we can create a G sharp, minor chord. Um, okay, So because this track is saying or this side of hair is saying e flat minor. So, um, let's actually go for an E flat minor instead, that is, we're going to do so. That's the same thing asked. Let's hear. If you take a look at the piano, you can see E and E flat is basically down. So that's the same thing as the Sharp because the e flat and the sharp showing at the same key here. So we're going to use the D Sharp minor folder he will have. The first ones were going to do here is to just create different clips for the different courts here to create a corporation So you can find a whole video on this on the court's back sites. How you do that. And I'm not going to explaining the exact steps to do this in this course. But you will see me do it anyway so you can follow along the steps here. So let's create a new pattern. Let's go in, just create like that. Now we have the first court hears. So we want to dry this toe our sin sound that we created before. So let's take a listen to this. Okay, so let's go with the 3rd 1 It's great. 1/4. Okay, so in this we had let's see it. 12345 different courts to create a corporations were going to do the same thing. It's four right now, so let's create 1/5 1 Okay, so let's take a listen to this how this sounds like it's not Just click the patterns here to get against year. If I select the second panel, you will get the second pattern out to the arrangement and so on. So ah, let's go with this pattern 2 to 6. Let's go to song here and played. So we can do now is to just select all of these patterns here and merge them to one merge pattern clips or command G. If you use a Mac just like that so we can double click this to get our cords to the piano roll here. So now we can see all of the courts here that makes our corporation. So from here, I'm going to use the same length at the notes. Ah, like in a reference track. So if we take a look, we can always take a look at this on this. Looked like you can see it's basically six steps here on 23456 off the squares. Here, um, besides this one that had eight squares to go into the same thing. Ah, let's go here. So this is six steps straggle this to here. So this is six steps. Six steps. So no, it sounds like can. And the last one had eight steps. So I feel that this thes court sounds a bit too dramatic. Some thinking off, getting read, rid of these the bottom notes because now we have four notes on each chord, which is kind of lots. If you compared to this one. We only had two notes in each chord, so it will sound a big difference. We can also delete all of these patterns here now because we don't want to use them. Just do that's too. You can just select all of them like that. Go to the elite. Now we have our two different patterns here. Let's try and get rid off the bottom notes are just leading them. 4. Creating The Sounds - Part 1: Okay, So what are all ways do when I produced my tracks and that I don't feel like the corporation sounds good at us. I wanted to sound I always bring up my courts and this is basically my court's list. So what I do is to go to the project info and I have I always have this information here in the common section you can copy paste this from here. You will have this in the resource file as well in the course weaken. Just basically copy paste these this text information here and just paste it into this box here. And you can always go back to this here to see what notes you can have for each and every scale. So as we using the D sharp minor scale, we can just look at the d sharp minor here. And here is the notes that we can use for this scale that is basically we can use in the corporation. So if I go to, let's say here we have f sharp d sharp in a shop, I can always go and annoy active eso. Let's say that I want this to be in a stand off on a shop for I can have in a sharp five. Okay, so this sounds almost the same. So let's try to go down with the lower note here. So we have a d sharp so we can go. Here's Teoh that CRT sharp A c sharp. Is that one? Same. So let's try this up. Maybe. Let's go down with this to a B. It's not good at all. Um, it's here g sharp, f It should sound good, but it doesn't, so that happens as well. Ah, say we can use f f sharp to show. - Ah . Ah. I mean, I'm not happy with these courts at all. So what I'm going to do is to scrap this idea here and just remake this whole cord. Um, this is something that I do as well. I I want this sound to sound great. So I'm going to go with the second folder, that d sharp minor to folder. And, um, basically, basically going to do the same thing here. Let's create a pattern. Um, with Okay, fourth. Uh huh. Uh uh uh uh uh uh. I think that can sound good, but I want to also want to do is to go with this The same thing that we had in the pattern one. So even though it says on the website, that is a D sharp minor. But when we did the courts, we can see that it starts with the bottom note that its g sharp. And so let's try the G sharp minor instead. Um, I'm going to try these ones, but I also want to try the g sharp and sound. See how this sounds. Um, Okay, so let's create one more pattern. Uh uh uh uh Uh huh. Uh uh uh. I like this one. Not that one. I just tried to replace it straight to replace it. Yeah, that's what I'm looking for. Um, groups Syria. You can change that afterwards. No. Uh huh. Try from the second full year. Uh huh. Oh, and that's great. Uh oh. Uh, you can also, of course, play with the piano. You can do that as well. This is just to make the courts easy. And I'm using this even though I know how to create courts as well on the piano. But this is just for the inspiration. You can find different. Very cool courts by going with the folders here instead of just playing around with the piano. But I prefer that sometimes as well. So that's here. Uh huh. Uh uh. Uh huh. Almost. Uh huh. Ah, like this one better. Okay, so, um, let's compare These now can sound good. I'm going to use these patterns. So, um, now it's basically just drag it out. It's going to change this. Okay, let's first just create the full court progression here. So we're going to do the same thing as we did before. Just selecting them all go to edit emerge pattern clips s. And now we have our pattern here and now we can just select everything from here. Um and, um, you know, let's just resize them as we did before. Yeah, it's going to be easier. So it was six. Ah. Yep. You had everything with us. So that's here if we drag this there. And it was eight squares in the last section eight. So now it sounds like this groups it's played from the beginning. Okay, So I'm happy with all of the courts besides this one here, Besides this one. Uh ah. So let's take our project info. And let's see her at the G Sharp Minor instead. So you can see thes are than those that we can use. So here is the G sharp use of short Didn't song? Yeah, Sounds great. I want to just get this morn active down so we don't have too many jumps. You can see we started to hear in. And that's six. And that is way too many jumps in the corporation down to D Sharp and Asia. Same thing here. Ah, enough sharp. We have the sharp here is already so I'm going to let it be like that. Uh, I noticed this a sharp sounds. That sounds pretty good. So I'm going to make the same thing. You're going to go with the sharp three on a sharp threes on the shot free 5. Creating The Sounds - Part 2: perfect. And now we have our corporation. I'm going to use this corporation for a track here. Eso Now we can Yeah, we can delete all off the rest of the patterns and every not going to use so still eat them . We have our pattern mine here, So yeah, let's get rid of everything besides our reference track court that ever had before. So now in our corporation was still have four notes and each chord. Um, we can try to get rid off the last note in a corporation and see if it sounds good because you don't want too much sounds in a corporation in these kind of deep house tracks that they should sound very basic and simple. So let's try and get rid of this. We cannot can always undo this if we feel like the sound or the corporation sounds too thin . So I'm going to delete the bottom notes off this corporation. You can see that this court in this court it's the same. So one some kind of difference here. And let's try to move this f sharp note, um, to let's say catches. Yeah, this can be a bit frustrating sometimes because you want to sound You wanted. Sound good, right? I guess I'm going to just play around with the base here and see if this sounds good or bad . Let's see. So what would you want to do now is to just basically play the lower notes off the corporation as your based on, So it's going to be going to be a very easy basis. It's just going to be D sharp f sharp and G sharp. So these three rights sounds too boring. And thus, yeah, it should have some more variation. I feel like, um So let's try something else. Let's go with the D sharp here and tried. See, Sharpest. No, it doesn't sound good at all. - As we're going to do here is to just, um, make this sharp. Yes. We just take this up here. Ah, uh ah, yeah. So you can experiment a lot with this. You just basically take a look after notes you can use and just play around with the different notes here. It's very easy to do. So enough a studio. The only thing I was that bugs me is this one here because it sounds exactly the same, like in the beginning, and yeah, that is the one where they were going to use. So on this, a corporation. And let's create a new pattern here, so I'm going to, um, just make a new pattern like this. Okay, so it's compared balm. See around G sharp f sharp. Be a sharp and B issue of f sharp. Be a shop. Okay, Sharpie. Let's try this now together. Yeah, it sounds pretty good. Some going to trying it read of the top notes off the corporation here. So we only have two notes in each chord. Lets you that how that sounds. Yeah, a lot better. That sounds really good. So it's, you know, this sounds scene. Okay, so let's go in the nation sharp. That is two eyes. I'm going to leave it on a a shirt are This is into the original. This is a listen, tours. Maybe we can bring down accords. Um, they sounded way lower. And this one here, we had it at three. Rising up. So, um well, let's see here. Ah, uh uh. You want something to sound a bit higher here. Ah, - perfect . So I'm going to use it acid is. So now we have our basic idea Here, off the track, you can see you can do a lot of different things with the idea. You can play around with different corporations, different bass. Sounds different. Things in the panel is so easy to just get lost in this different kind of notes and corporations you can use. And yeah, e I can sit here for hours and hours and just create courts. Basically, um, yeah, This may be a bit off long videos for you, and there's a lot of things I'm going through. Okay, so in the next video, we're going to start the arrangement. Yeah, we're going to do it. Arrangement already. And from there, where we have arrangement going to also add up drums, eso kick drum and different drum samples. Drum loops as well. Um, so we're going to make our kind of skeleton track. This is the kind of start off the arrangement, and then we're going to add on more and more sounds if we need them. Okay. I so see you in the next video. 6. Arrangement - Track Markers: Okay, I So now it's time to create our first arrangement. So this is going to be very simple, basic arrangement that we create with their sounds that we have. We only have two different sounds, so there's not going to be a lot to arrange here. But you will see that as soon as we start out with the arrangement, we will get to add the different necessary sounds that we want to use in the track. So first of all, let's just make some small kindof organization here, So we're going to delete the first pattern here. I'm going Teoh this because this is the reference track pattern that we had. Just delete that I'm also going to delete or disabled the Metrodome here. So now we have our first pattern. This is the corporation that would it, and there's the base home. So let's just rename and the patterns here. So I'm going to just go with the name and color. So this is going to be our, um, see, accords that lets color it. Let's say green and the next one is going to be our base. But its name this main base. Yeah, I was I want to color it. So let's do that. It's going something like that. So now we have two sounds, right? So it's the cord and the main base Some. Okay, so now we want to create the arrangement. So I just want to make the playlists in full screen like this because now we're going to focus on the arrangements. So first of all, to make a very nice arrangement is to basically copy off the arrangement from a reference track. And you can you can do this by just listening to the track. This is the easiest way to dio Just listen to the track and create different markers, so you know where different parts off the track should be. Okay, so now we're going to create the time markers here, So it's very easy to do. You just need to listen to the reference track and basically copy off the arrangement from the reference track to your track. We'll do that together. So the easiest thing here is to just start with intro and just listen to the track and, yeah, just create the time markets from there. So we're going to create the first time worker which is the obvious one, which is the intro. And it starts on in the beginning here and from they were going to listen to the track. Do you want? We're going to listen for the next part of this track K. So it starts at 26 we have the first drop. So now we should see the song position here, which should be minutes, seconds, so you can just click it to change it to the minutes seconds there. So from here, we want Teoh. Yeah, Let's just create a random pattern like this so we can see the time here. So we had It's at 26. 27. So it's going to be here, so you can see it should be at the middle, off each foursquare. So if you have four squares here, should be there. There there are there are whips there or there. So you shouldn't do it like this or this. It should be at least at four steps each time when you create a new part off the track. So here we had it at 26. 27 so it should be around there, and then we have our time marker and this is going to be our drop one. Then we have the next part. 1 12 1 13 um recites this obits. Okay, so it's going to be there on that. We have our time. Marker on this is going to be our bridge section. You can hear this in the track. It's like it's still going on. There is, like a drop, but it's a light drop and then it's going to be a break section. Then we have our break. So the break comes in at around 1 28 1 29 So let's go here. Should be there. So that's created time. Worker on this is going to be their brain. No whips and not bridge. This is going to be a break section. So there have that. That's Reese ice. This Abed's okay, so now we have a break section and let's look for the second drop section. Okay, so 28 Some around there. Yeah, because it says to six almost 27 But in the track, it's rather there. At around 28 to 9, they can see that my theory about four different steps doesn't add up here. It's going to start their on. And this is done because sometimes in tracks, you want some kind of difference in the second drop section or before the second rough section, just to just to make you just to make a kind of difference in the track. Um, and if you can, if you listen to the reference track, you can hear that this it should start there. But it starts there instead. And this is because you have the, um you have the vocal parts starting here, and then you have the drop section. So it's supposed to start here, but it's going to start there. You can listen to it in the track. So it's just observe. It should start at 26 72 but it's going to start at 28 64. Instant. Yeah, so that is what's going on in Distract. But we're not going to use any vocals in our tracks. So I'm going to basically stay with how it should be, some going to create a time marker here, and this was going to be our second drop. Then we have groups that have the next section just going to be our ultra section 2 54 to 50. Fire just there. Yeah, you can see it's there, but it should. It should be there. So I'm going to do the same thing here. True. And then we have the end. So we want to create a time worker for the end section as well. So then section is basically where the track ends. It's around 3 10 Same thing there. So we back off one square and it should be 38 So that's great scripts. Let's create time working there as well. The end. So now we have a full arrangement here. Ondas. You can see it's very easy now to just create or the arrangement because we know where we should put different sounds in. So now we can work with the whole track. Basically, you see, it starts at zero, and we have end parts here at yeah, 38 So this is what we're going to work with now. So from now on, we're going to start to add on different drum sections and different sounds, but we want to create the arrangement first. So in the next video, I'm going to just create the intersection than the video after that would be the drop section or the first drop section. They were going to work with the bridge break and the drop to because we're going to copy a lot of the sounds from the first drop, so we don't have to redo the second drop. You basically copy over from the first drop to the second drop with some variations. And then we're going to create the Outro and the end section, and after that we're going to have a mixing part two makes the whole song. I'm going to go to my car just to check if, if the track sounds good, if we have some levelling issues, if it's too much bass or if it's ah, loan based. For instance, on day I was doing this in my car because I listen to music all of the time in my car. But let's say that you're listening to, like most of your music. Listening is through your let's say, airports or beats Ah, no beat system or some kind of sound system that you're listening to music like a lot. You know, there is where you should like listen to your track before mixing and then, after mixing and compared it, and then you should, like, switch over to your regular songs that you listen to. And if it sounds the same sound Weiss, then you know that you're going to You know what you're doing, right? If it black, if you're switch over to your track and it's way too much based on, you know that it's too much bass. So it's very easy to do so. But if we're going to cover that in the mixing section, then of course we going to end with the mastering section as well. So we have the full track completed. Okay, I so see you in the next video. 7. The Arrangement - Part 1: Okay, I So now it's time to create the drums and the intrasection. So first we have the intersection as we had before on. Do nothing changed here. But I'm going to use our depots drum loops, sample pack that comes with music. Dash probably come as well, and he would have a different drum groups. We have 30 of them, so we're going to use them in the track. Okay, so first of all, I'm going to use the reference track. So now let's just listen to the inter here and see what we ah, what we find in the intersection. So here is a basic kick drum that IHS low cut so you don't have any base in the kick drum. And then we have a very simple kind of drama appear as well. So it's ah, clapping Hyatt basically with a kick drum. So we're going to use that as well on and it starts basically in the intersections. I'm going, Teoh, delete the base from here. Our main days. We're going to use the chords in the interest section here. So exactly So I'm going Teoh, choose a very, um They're simple Drum loop. Yeah, Let's try that one out. So instead of this just dragging this out, I'm going. Teoh, Right click. And she was open in New Samper Channel. So now we have the track here with the drum loop as well. So, first of all, let's just go to the mode and shoes stretch. And from here, we're going to choose time. Just right. Click here and choose four bars. So now it should be in sync with, um with the project. So first, just before, let's go to the channel right here. I'm just going to select one here. So it's going to play. Yeah, and we obviously need to create in your parents. So you want to delete that first, create a new pattern? It's going to be drum loop one. And now create that one single note here. So now if we have this pattern out here, you will hear the drum booth. - Yeah , we can have that. We couldn't switch out the different drum lips as well. So if you click the middle? Yeah, the middle section off the scroll wheel. If you have that on your mouse, you can browse around different samples as well. You have to rightly the time here and choose four bars each time I'm gonna go with the 1st 1 here. Yeah, that sounds great. So I'm going to add a kick drum here as well. So let's go with a kick drum sample. Pachter to have let's go with the kick tool box now at sea for Have something. That's if we have something deep here. We obviously want to use the same note, Um, in the kick drum here, as well as our Asami projects. We have that in G sharp. I think that it's way too. Um, how do you say way to Basie or not necessarily basic, but it does have something in the beginning that I don't like. I want a very clean kick drum. Yeah, I really like that one. So we're going to do here is to just right click and shoes opening new fruit agree Analyzer channel. So now I have this as of one. And from here I can just go to the channel wreck now and a new pattern kick drum. And here I can either just feel its four steps like that. And now we have a kick drum. So now I can just put it like that you can hear is way too much bass. So I'm going to create a local here. So let's go with the Six Mixture Channel on Dumb. Yeah, let's create fruit to parametric eq you and let's get rid of the base Going to use the second ICO. That's the better one. Okay, so I'm going to have this the drum loops here in the seven Mixer channel. Um, have that e que On as well. My knots. Okay, the only thing that it's missing now it's ah, it's our site chain just to get that swing kind off feeling in the beginning. So, um, what we want to do here is to have let's say we have sent on her fifth general. Let's make this our eighth or let's yeah, let's make that eighth. So when we have our fifth and eighth channel, okay, so we're going to create a side chain for, um for the court section there. So we're going to do now is to just go to the mixer and just have to make sure that we have all of the difference instruments in their channel mixer channels here. And, yes, So we're going to do now is to basically go to the kick drum furs. So we have a kick drum at the sixth mixer channel here, and then we want to add the fruity P controller plug in to that. So, um yeah, we can I can redo this because I already did that. So if you go to fruity Pee controlled er just here and now this is very, very easy products process. So what you need to do now is to go to, um, let's here to go to the court section. So I have the court section. Andi, this is the 5th 1 And as you can see, ah, we should rename these. So let's do this. So we're going to let let's just delete those tracks that do it don't use. This is an old thing. It's here. Okay, so now we only have difference sums that we using. So as you can see, here is the sin. So that's her name. This I'm going to rename its to this to a synth. Let's see if it's here yet. It's a sin sound, and a C six would be a kick drum, so kick have seventh, which is our, uh, Let's hear. Yeah, drum loop. So let's see it drums to have a loop. Yeah, let's call it loop. You don't have the bass sound here. So its base you can see here. Just just going to the same mass? Yes. You basically name those mixer channels here. You just basically choose the number in the mixer. Channel two s. So here's the 5th 1 So this is going to the fifth channel. The 61 which is here is going to go to the six channel, so that's how we do it. So if you add a new let's say you had a new plug in here, you can just feel free to just do like this, so I'm going to have it at the sixth. Okay, so we have the kick drum here, and we have the pee controlled around there. So now we're going to do is to, um, create the side chain to the right sound. So we wanted to be at since on. So it basically do now is to just right click here on the volume meter. Just right. Click here, go to link to controller. And now just go to this non here and just peek. And from here, choose this one and choose inverted. Except that so now and it's accepted you, if you will very well here. A sideshow compression. And that is too small. So I'm going to go back to the kick drum to the P Controller. And from here, we can now create side Jane. So, um, let's do that. - Perfect . So now we have our side. Jane are synth, so that is for the intersection and 8. The Arrangement - Part 2: and what we want now is some kind off effects here as well, eh? So let's take a listen to our reference track. Yeah, And you can also hear that some high end is taken off from the drums here as well. Um, you can hear that. The drums. You can't really hear the high frequencies, um, in the intrasection, but you can hear it in our drum loop. Yes. So what I really want to do now is to take the drum loop here and taking off some high in the air. Okay? You also want to get rid of some base as well, so I'm going to back off off the base. And this is a very easy rule to think about when you're producing and you want to get rid of all of the base section here as soon as your you have a instrument that you don't want any base in. So let's say, a drum loops section with which doesn't contain any kick drum. Then you should get rid off the base because you don't want too many based sounds in a track that will make your makes very muddy. And that will make your mix down very hard in the later states. So, um, some kind of mixing we're going to do in the producing stage here, So Yeah. So just get rid of all of the basic that you can. Obviously, you want to have the base on bass Sounds, but let's say for drum loops, let's say for sin sounds you should get rid of all of the base with Yes, let's do that. I'm going to take off some basic perfect. So knowing also going to add some some some reverb, I think just to have some kind off. Yes, some movement in the sense on. So it doesn't sound like static and the same all of the time. Do you think this is Okay? Well, your stay. All right. So let's see what? Okay, So let's take a listen again at the intersection and see what was missing there. Yeah. There you have. Ah, kind of crash in the beginning. We want to have that as well, so I'm going to go for him. Transitional elements affects pack and see if that contains something. Yeah. Let's take that one. Just going to drag this out here as an audio sample have a snort of always. Okay, let's take a listen again. Pain. There's a very nice clapped there that I want. Or maybe let's put a different drum loop here. I'm not sure about this drama Poor. Let's go to the clappers. Marital box prices. Okay, let's try this one. So opening new Pretty Granna Leiser Channel the rabbits. And now let's create a new pattern. No, we don't. We wouldn't want It's like this. Yeah, let's try without the drum loop here. Okay, so I want the drum loop eras. Well, it sounds better because now the clap goes through the mix better. You can really hear the clap. You could feel the club as well. Um, no Try maybe maybe a different drum loop. Let's go to Fo own on different sounds. If you go to packs here Drums let's say you have Yeah, let's try that one Same thing here. So, um way need to create a new pattern, of course. Ah, that American also just feel each eight steps Should work. Doesn't let's to it manually. - You have way too much bass in the kick drum. So let's go back to the kick drum and okay , So from now I'm going. Teoh, go to the loop here. I'm going to add an O T T plug in, which is a free plug in that you can use from expert records dot com. And this should be in the resource is filed for this course as well. So going to go with an O t. T. And I'm going to go for death around around 20%. This gets the drums? Yeah, the drums. You kind of gluing the drums together now, so they sound us as one drum loop and you get kind off analog feel to the sound as well when you're doing this, going to do the same thing with the synth, so I cannot so just search for two tea. Actually, I'm going to use it on the master as well. Um, it can put it on instrument's individual instruments. You can also put it on your master. I usually have it on my master and some off the plug ins. If you overdo this without it, people again, you will get your sound like thin. Like very thin. It sounds. Starts losing its character, you know? So yeah. Okay, so let's try something perfect. There's some something missing here. Uh, I think that's Yeah. This is, like, very, very, very tiny bit. But you can really hear that collapse. And the hats here. You can really hear the trouble or the higher frequency sounds. Um, here you have them kind of flake off. I still I have already cute it off here so you can see it's I rolled off the trouble. I can do it more. And of course, it sounds better. So, uh, anything The kick drum here in as well is too much is too much high end in it. So let's get rid of that as well. Awesome. That sounds way better. Okay, So what I'm going to do is to rename this and call a kick low. Do you think this is OK? 9. The Arrangement - Part 3: Okay, so let's create this interest section kick, drum collapse and hats. So let's take a listen to the next part in intro. This isn't okay. What? Your stay pain. Okay, so let's say that we haven't at eight seconds, so yeah, there would be perfect from here. We're going to add the base, so the base is gonna go in this section, and the base is going to be filtered so we won't hear the base in the beginning. It's going back to the mixer. Here we have the bass sound. They want an e que Here as well. Um, I'm going, Teoh, um, I'm going to have the eq us of this and adding a filter instead. So fruity filter. And from here, I'm going to just go with the cut off frequency, and this is going to be automated, so just right. Click and creates automation clip. So now you can see you have the animation clip here, so I'm going to move it up. Um, to where the base is. So there. Okay, So now we're going to automate this. Going to just bit zoomed in like this. My that maybe bend it a bit. You hear that the bass sound is coming through here. So, um, let's see if that if it thus in the reference tracking Theo? No, not at all. The base. The base in the bass sound is gone there in the intersection. So we're going to do the same thing. So we're going to automate the e que. So the basic shin had a e que Here. And let's automate this one, um, at sea. Ah, yeah, That storm e was going to be this this second money or so, uh, created animation clip. And, um, in the intersection. We won't have any base, so the base will be from here, So we're going to be full on in the drop section, so this should work. And obviously we want our base to be side chain as well. So we're doing the same thing just right. Clicking on the base volume perimeter here and just linked to controller. Just go with peak inverted and accept. Yes, And now we have in conflict. So you need to do it back in the synth here and inverted and de select the removed conflict . - Okay , so last time, just listen to the last section off the interest intrasection. Okay, so the court section is disappearing here in, um, the last section off the intersection. Same thing goes with the base, and, um, same thing goes with a kick. And so let's just get rid of everything. Or is there something? Yeah, it's disappearing. There is something going on in the background as well. Yeah, there is a sound going on. So we want to find something that makes it sound like it's moving like the sounds is moving all the time. And this is the weird kind of sound finding her Arps are always good, So I'm going to just go with G sharp and try different sounds A with. So let's we can lower. So I want this to be very low in sound and let's go with a mixer channel. They want to have some me que. I don't want any base at all, everyone to cut off the high, - so I'm not really sure about that sound, but I'm going to create a new pattern. Just call it AARP background like that's and it's creates a G short. That's now we have our background sound. Let's cut that, Uh, you sure about that? Yeah. We really need Teoh. Such India's as well. So, um, what's her name and color nous To have an art background? Yep, My habits there. And, um right click care linked to Controller Peak Inverted. Except you're no. - So it's already disappearing there, so I'm going to remove that. But I'm going to have the AARP there. And from here, I'm going to add right. See here as make this arrangement full and let's go back to the sample packs. And from here, let's make some. Yeah, let's have the reverse two river verbs pack. So from here, I'm going to choose the G sharp. It can't barely hear them. And I'm going to add this year. Okay? So it's not snapping. That's to this. Like this? Yeah. Let's select this. - Yeah , we'll definitely have Teoh make it lower in volume way. Want to have a snare over here as well? So let's go to the snare role. Let's see, here we have this narrows. There it goes, way files. I want some for, but one. A very simple one. So So that's filter as well. - And let's try this. That one out. Yeah, this is not in time. So let's make it like this. Yeah, and it doesn't It isn't. So what I'm going to do here is to go to the time section and just see that its lineup. You hear this part is lined up with this line? Yep. So now we're going to resize this one. We only want this narrow in this part that we don't where we don't have any instruments, and we're also going to filter this narrow. So, um, let's go to the mixer here on going to go to the channel rack. Uh, I want this to be at 10. Name Colon. I come. Ah, snare role. Let's make a filter. We don't want any low end to be passed here. We want to automate the kind of frequency. So from here, you can basically just make it something like this. Yeah, that would be good. Yeah. There wasn't filter all. Let's see what I did drawn here, huh? Yeah, I know it sounds better. What do you want to step? Do you want to stay so right in the part? Let's say in this one, this parts going to take it away. And this is the vocal parts thes two squares here. So I'm going to leave it, like, just empty there. So now and let's take a listen to our intrasection. I want our base to be sound so we can hear it. Um, on. So we're going to move the automation for the cover for the base here. And I'm going to have ah, transitional element before this. This section here. So this Hmm? Yeah, Let's try that one ounce. We're going to line up the highest volume here where you want the section so that that's not where we want it. We want it here or let's take a listen, Teoh the reference track and see what they put it. Yeah, continues to to this part here. - Great . So we have our intersection now. Okay, So in the next video, we're going to start to put to work on the drop section. See you in the next video 10. Creating More Sounds & Arranging - Part 1: Okay, I So it's time to create the drop section. So now let's go and select this side here. Just going to and from now we're going to just see what they do it in the reference track, Of course. So let's go back here. So here we have the drum loop and the cake. We have the base. Um, besides, yeah, we don't have the sin sounds here, so that's arrange it. Going to pain and outs. Yeah, it's not even perfect. So they would have the courts. And as you see now, I, um, made some cleaning up here in the arrangement. So I'm going to do that. You can just go with the tracks here. It's very easy. Just right. Click here and choose her name, and it will rename from the regions that you have here. So, uh, on the name? No, in the name, Um, yeah, on a name that's going to make a lot easier to see what we have here, so Yeah. OK, so now let's go. Here, take the main base to the same thing. Yeah, we don't have the course. Of course I'm going to delete that for now. We have the kick drum. So, um, slight kick. We also have the collapse and hats, and I'm not going to use our background. Mm. Yeah. And I want to use the the drum. Lupus. Well, so let's see. We will have the drum loop, have it there. There's a drum loop. Must place it here, and it waas four bars long. So I'm going to use like, this Way. Wants the kick to be to not be located. We want to kick drum to be sounding as it should know it. So what? I'm going to do it always to just go to the channel rack, going to clone this kick drum here. I'm going to make a new pattern. That's just naming kick finish four steps. So I'm going to take this kick off here because this is the kick low. Um, on. Let's make that in this one here. So this is our kick drum. I want this kick drum to be at 11. Does the next one that is available for us. I'm going to go to P controller here to get the side. Jane. So be controller. There. This I guess I'm going. Teoh, delete this. I'm going to use the same kick drum. Um, I'm using this kind of silly method off side chaining by going Teoh. Yeah, To have the volume is going up and down all the time and that is not my preferred way to side chain. My preferred way to surgeon is to use the gross beat plug in. But not everyone has it because it's only included in the more higher price f a studio of studio versions. So that is why I'm using this method. It's a lot easier Teoh to use it. But you you got to use the volume meters and for this you only you can only have one kick drum that it's linked to all of these volume meters here. So the kick low will actually be the same kick. So I have to automate the base basically. So I'm going to have it like this and see if it's any base in the beginning, in the intersection. - I'm going to automate this one here. So, um, see what our animation ISS there does. So I'm going to move this. Yeah, I can happen here basically. OK, so that's making like this. Can I have it here, so, yeah, there would be no base in the beginning. It writes, because we don't want any base in the kick drum for the intersection. Um, at sea kick. Yep. Okay. So it's easier to just use the kick that IHS from here. That's a lot of base. Um, I have a subwoofer here, there, So, um, and it's putting a lot of base. So I'm going to you sit somewhere on there? Yeah, way too much bass, I think. The kick drum iss Yeah. Contains too much based. Yeah. This cake drum is better A Z. You can see you can switch out different sounds in the middle off the making of the arrangement. For instance, it's very easy to do, so it's just dragging it like this. Oh, yeah, of course. It sounds way better. - Yeah , it's still too much based on the kick drum. Um, some going to do something else. I'm going to add a new e que, um, on the same track. So let's make a mother e que can make this system with Theo. That's the main base that has too much bass in it. So that's creates one more. Thank you. Here Okay, so for the main base here, I'm going. Teoh double click here to go to the piano roll and make some variation here. Did it? Yeah, way better. So it's not Just get rid of this kick here. And, um, I think this drum LaPierre needs some. It shouldn't be that high in volume. Okay, so in this, that's the first drum loop. - Yeah , let's take a listen to the strike and there's a drum loop added. That's I think it's 42 seconds. Right. Okay, So we're going to add one more drama, Pierre, consider the same thing. Um, Theo. Third drum loop, going toe the fourth here. So just opening new Samper channel and going to stretch it out and make it four bars. So from here? Yeah. Second drum. New pattern. Of course. Theo, that's the same one. Okay, so, yeah, let's switch it up. - I think it sounds too similar to this one. So now let's create some transitional elements to introduce this section, - and he would have a second bass sound. So I'm going to look for a different base, own, um, just to introduce something new happening in this section. So one shot deep our samples. Let's take a listen to it. Why not? Let's try this one out. Um, just going to go and make make it like this and Ah, yeah, I want to use the same notes. I'm selecting all and copying it. Then I'm going to create a new pattern. Main based, too. Yep. And now piano roll and paste it e . I want to link this to the same mixture Channel ass we had here in the main base one so through something. 11. Creating More Sounds & Arranging - Part 2: I want to add some some reverb to the bass sound. Actually, um, usually don't do that. You don't want, um, reverb sounds in the base. But if it's subtle, then it works. Yeah, and I want to eat you out the base here. Um, So what I'm going to do here is to have an eq you on? Because I want the base to only being heard in the main base sound, which is this one. And the main based to sound would be actually, just to double up this sounds, we don't want to have to base sounds playing at the same time. So I think instead of doing this, I'm going to link it to a separate channel. So, um yeah, let's go with channel 11 here. Yeah, that was for kick Drum that we didn't do anything with. So let's just get rid of that. And now I'm going to put on not see here. I'm going to put on an e que first take out the base, so just get rid of that now. I want a lot of river here. Ah, this may might be too much. Um, yeah. Let's see. Going to just rename this that case. And now we have our main base sound too. It's gonna go here, and I'm going to filter this. So same thing goes here, Um, for a filter. Yeah. So create automation clip Bennett obits. - Yeah , Sounds great. So let's take a listen to it. I think that's acquired. Maybe. Let's see. Oh, yeah, it's filtered here. Yeah, that's a cord. So, um, that's speaking like this. Perfect. Sounds great. Let's get back. Okay. So from around 103 there's one more notes added up on the cord. So I go into this same thing here. So from here, Um, yeah. Let's actually make it. Let's see here, huh? The kick should be there as well. Uh, let's make it from yeah, from here. So this will be a new pattern. I'm going to make it main base. Three. Mm. Went on the main based three here, Kate. So let's just have a thing of the main base to I'm going to copy it over to the main base. Three. Um, not sure why the piano roll doesn't want to show up, but let's do it like this. Now I have this in the main based three. So now it we're going to do is to add up one notes on top of these courts here. So how you do this is basically just to go by ears by There's, you know, just listen to how it sounds. Is it that if it doesn't sound good, then just take it. One note upward down. Case of from here. Yeah, to the bridge section. The kick is going on there as well, but it's low again. Um so going Teoh? Um yeah, let's automate this cut off. No, the cut off. It should be open up here, but we want maybe some kind of reverb to be automated here in the main base. So I'm going to go back to the main base to have the reverb here, and I'm going to automate the wet signal. Um, so have the What level here. Going to come on out? Yeah. So I want to have it like this. Everyone's automated a bit. Such a spend it like that. I want some kind of things going on here as well, So fx are great for that. I'm going to borrow defects from from here to this section. Just to introduce the bridge. Yeah. Now the kick drum should be, um should be without base. So let's automate that again so he would have the automation for the kick low. So let's go to here. Yeah, I automated the base. Okay, so now to here. Yeah, that's great. There's only the first main base here, so I'm going to use that as well. But the drums are there. Still, so it's put them back. Yeah. We don't want the complicated drumming up to be there. We just want easy things in the bridge section, Theo, base from the main base. So should also be yeah, should be way off. So I'm going to making automation for that's, of course, to get rid off the base on Theo, get rid of the drum loops here. Yeah, and here we want some kind of piano sound. I can hear that the piano sound is being introduced from the bridge to the brake, so I'm going to create a new track on the new pattern. So, piano, I'm going to go to the channel rack on Let's creates, um effort keys. Yeah, Perfect. So from here, I'm going to have the same courts, as in the chord section, dried in the beginning. So I'm going to just double click here. Um, yes, electro copy. And then we're going to go back to piano and, um, Penna role and just paste. Okay, so let's hear the piano, because that's not the piano sound. Um, I think it did it too fast. Yeah, let's get rid off all of the's notes here. Every want that to be in the piano in their full keys. So that's open up the piano here for the piano. It's very it's a very nice trick To do here is to just take the lowest on make the same notes, but just one active just like that to make it sound more fuller for the piano sounds I always used to t plug in. And with that one, I do. It's kind off harsh, so I do it like around 50% of that you see the difference. Great. So from here, I'm going to, um, rename off course this the piano. And now we want some. Um we don't want any reverb for now, but we want filters. We can automate it. Um, so I'm going Teoh like like this. So there isn't any base going around. Yeah, way we're going to automate it. So, um, create automation clip. So, um, say I'm going to have it here so we can have the piano sound going from? Yeah, we're gonna have it from the bridge. Yeah. So from here and once automate it here, I want to have it lower. So something like that, maybe. Let's try it out. No, that wasn't at all what I was thinking about. So And someone e que here as e que outs the base from the So I'm going to go back to the filter. The low pass filter. That's better. OK, but the piano sound is very subtle in the mix. I'm going to lower it. Go today. Hair to volume. 12. Creating More Sounds & Arranging - Part 3: So the piano sound is very long. Let's make it the same way here. So I took away some D k. But that should be like this. Thank you. Yeah, I know. I want to are to be back. Here are our background Ah, yeah. Sun drums we need to have here is well, yeah, and they're ghosts again Saying we want to borrow a lot of difference Transitional element And he would want to AARP to be sounding That's way too dark. Yeah, I'm going to create a filter here, I think. Ah, I'm going to use a filter here. Um, so I'm just going to have some high pass on it instead of using the Q I'm going to do is like and I don't know about the appreciator. Still, um, yeah, that is a hard decision to make if the art sounds good, Um, sometimes you need to do, like that commitment. You know, um, just to get, like, on with the track. And, uh, yeah, but I want to try out some different art now. That's not the right one. Okay. Okay. Do you want to stay? There's something else we can do here instead. Off the Arps. Um, I'm thinking of doing a manual AARP instead. So let's go with, Ah, site tress. Okay, We can use the same one because the same one here, just delete that notes, and I'm going to go with an AARP. Ah, no, no one are. I'm going to go with a pluck that may work. So what I'm going to do now is to just take the, um Now we can take the main base meaty. Um, we can take that and just copy it, not create a new pattern. So I'm going to go and creates. Um, we can use the AARP. We can use the art background pattern. Yeah. So, um, we can have the Arps or four darts, and then I'm going to use Yeah, the piano roll and just paste than those from the base. So we're going to do now is to just borrow these notes here. So we're going to you something. You're going to see what I'm going to do. Um, e o Theo. 30 sharp thing. Yes. That should be way faster. So I'm going to do like this instead. We owe Onda. Um, copy them over. May work. I'm not sure, but let's see how it works. Uh, - and now we need to do the same thing in the intersection here as well. Okay, so now we have it here. Want some reverb, and I want some delay here. - Yeah , that's exactly what I wanted. So, Mrs, in here do you want to stay? Okay, so at 1 32 we're introducing the base on again. So I'm thinking of going with main base three here That aren't too yeah to. And this is going to be automated. Yeah, there's that one. Yeah, we have a long way to the drop here. So, um, going tohave That's I think the main base to will be that Onda um Smith Automation Obits Higher. It has some base in it as well. Here. Um, yes. So let's automate the base here as well. We can do it with the low pass here. So that's what I'm going to do. Automates the low pass filter. Ah, that's for the art background. And that's not what I wanted. Maybe Stewart. There this for the filter. Lopez here. Create automation clip. So now we should have yet there's the filter and ah, yeah, going to place it here if you want some base here. Um, yeah, we don't have any base here, of course. So, um, they won't automate this instead. Going to take that off. Yeah. Main base to permit Iquique you. So this one is going to go away? Let's try something crazy like this. E Do you wanna stay? I really like that kind off growing sound there. So, um yeah, let's maybe try and make a new sound here. Um, Cyprus has a lot off those kind of sounds. If you go to on this one here, we have a lot of different sounds. Basically, have a filter inside of this waken Try here is to basically take the bass sounds or based media down here. Um, copy it over. Make a new pattern. Call it, um, lead bass. And from here, we can have the piano roll on the new site tress Copy it over me. Too high. Let's say g sharp three fixes here because there's too much reverb. - I don't know. Um, - yeah . Let's try that out. I'm 13. Creating More Sounds & Arranging - Part 4: out. I'm just messing a bit here with a different settings. Just basically experimenting a bit. Okay, so this is gonna go at the same makes her China's main base to so mixer, Channel 11. Let's see if it sounds good or bad. Wait. Citrus, Uh, seer, the Cyprus filter. So going to automate this one leading Furneaux. So something like this reason is going on when it's filtered here. So I'm just doing it out of its e. Think, Theo, that sound that I want. So I'm going to look for something else. Oh, this is perfect. This is really great. Exactly what I wanted. So we can do here is to think of some release. We don't want this to be too long. See what happens if we take this one knocked up tournament. This one here have a sustained off this lead here. Okay, So is this something like this? Maybe sounds pretty good. So, um, I also want Teoh cut off the base from here at 1 58 They're introducing some drums, so from there, and I'm going to go with the second round up, I think. Or maybe some hats. Ah, yeah. From collapse and hats. It's trying that out with the second drum loop here. So I'm going to use that instead, and they will have the snare role. Ah, let's see. What? Didn't have that one yet? There iss no hopes going to have it here. Uh, see, Fairness filter, Of course. Um, filter for this. Narrow. Yeah. You can always just look at here. There have it on its narrow frequency. We can even do it this way. Or you can just make in your clip. I prefer to do it this way. Okay, so from here, I'm going to There's something this someone is way too loud. Um, yeah, I want some base still there. Main bass sound. Yeah, and there's some really nice because they're added some more notes to the lead based section here. Yeah, we're going to be perfectionists here, so let's do it as well. Could take these notes. Go to lead based, too. On duh. Piano row. Copy. What do you want to stay? Because they will have the in the break. So I'm going to just short not everything. I'm going to still have this narrow here, even though it's not present in the reference track. Um, and ar as well. I think we have everything there. Uh, now we have want some transition elements and back to the base. So we're going to do now is basically to just copy everything over. Um, so the main base, it's going to be to the Outro. Um, now we cannot said the cords in the break section That one's not being used way better. So if we say, let's see here we have, uh, cords courts. Where the cords. It's the base. I didn't do any cut off. Maybe we didn't know. OK, so we're going to do that. We're going to dio filtering off the cords so the sins sound here. Pretty sure we do that and did that, but yeah, we didn't. Okay, so for the break section, I'm going to Makesem Automation way. - Yeah , So now we're going to use everything that we did in the first trump. The cake is going to be ah, with base. Of course. So not that much. So we want the bass sound to be back on the low frequencies. Of course. So yeah, and we have the the next basis. Seemingly we had those so the main base sound too was here as well. - And then, of course, the drum loops. Eso we're going two years the first drum loop here. We have some arts as well. So I'm going to go back to these Arps. Really? Good. I think I'm going to use it dropping off the kick there. Theo, - I think we don't with the track. Um, that is sit for this track. I think it's, um it's all done. We had a lot of different instruments in this track, but yeah, As you can see, it's not that organized at all. We will fix this in the mixing stage, will organize it a bit, and that's going to be the next section of this course going to go over the mixing process . And then we're going to go over the mastering process as well. OK, you guys to see you in the next video 14. The Mixdown Process: I saw in this video, I'm going to show you how to make the mix down off this track. So first of all, we're going to organize this track here because it's ah Messier. As again see Andi? Yeah. And we also added some courts here. Just so you know, this what I did here is to get the courts and on this part here also added piano sounds here. Um, yeah, it's just because I felt that it's it had to be some more melodic sounds until it just dies out to the or true in an ending. So but you can see this in the full project file. Of course, if you're unsure how I did it. But essentially, what I did here was just add the's five patterns and these five patterns here. So that is the only thing that I did. So, um, no, we have to do something about the mess here in this project. So what I'm going to do is to, as always, just create all the name. This is the easiest thing to do. Um, here, yeah, on the name and there's a lot of short custody is different things that I did in this course. Um but I always want to show you how to make how to do with the kind of longer way. Just so you have the time to see what I'm doing instead of just clicking away different stuff. Um okay, so now we have some kind of for we're kind of organized here in this project. Now we know where everything is. So from now on, it's here. Yeah, just like that. So for now, I'm going to just export this track as it is. So first of all, I'm going to use a master channel, and I added an e que to distract. I lowered the base of its And what I want to do here is to because I'm kind of unsure about the base in this track. If it's too much or if it's two less so, what I'm going to do here is to have an EQ You on the Master Channel set it to around like this. So just so we can have the base lower. And then I have a fruit limiter on with the preset that I took Max loudness except noise. So what is going to be is very, very loud mix. This is as loud as ever. Suited can push it without having, Ah, the sound being distorted. So I was back off this a bit just in the mixing process, because we're not in the mastering, um yet. But I can already tell you that the master processes basically just have a limiter on some e que, um, and the compression, which will be the O. T. T. And it's basically just to get the loudness right. If it's too much of bass sounds going on to the master or to the limiter here, then the master was sound awful, you know? But if the base is balanced on the other sounds in the mix are balanced. Then you can hire the gain here in the limiter, and that will make the master sound loud, but still very clean. So, um, this is what I'm going to do, and now I'm going to export it. Then I'm going to export one more with the base where the eq You actually just disabled like this? So it's the base that that the track has that we produced with. So for the export, I'm just going to go to file exports. I want to export this as a way file because that's going to be the most clean version that we can get. So from here, I just want to make deep house. Um, let's say less base like that save. And from here, we want to have the full song. Um, not 150 bars. So we will We will have to have this. We can select it like that. Um, just go to export here less space. Now it says 103 bars and this is some Taylor and section here. Um, yes, I'm going to do with that here. We can have it like it is for now. We can also have high quality. Slowest. Um, So what I can do here is to put it on 64 points and say no markers off the same blind trim . PDC silence. We don't want anything like that. We wanted to be sounding exactly like we have it sounding in efforts. Studio enabling, sir. Fix animal masturbates. Yes, everything like that should be on. So now let's just start. And as soon as it is exported, I'm going to make the same export. But with the cue off that I'm going to compare these two different versions. Of course, I'm going. If I did, the Mixing writes from the beginning, I'm not going to have as many issues. But most of the time I have some issues in some sounds that some different or strange. And then we're going to make a list off. Ah, what sounds and why they're sounding bad, you know? So that's what I'm going to do in the car. So now I'm going to export these tracks. Then I'm going to jump into the car, listen a bit and then come back to the computer and make the mixing. Then when we don't win, the mixing is basically, as I said before, just to, um, have exported mixed down. And then we're going to make it louder. That's the only thing that we're going to do in the mastering stage. Most of the times that you're only things that it's done in the master stage. Even the biggest tracks you hear on the radio is done the same way. Um, obviously some of them has a lot of different small tweaks in the mastering stage, but this is not something that we can do inside of it for studio. So if if we're only working in the box, this is the only thing you need to do. It's to have a nice limiter on compressed but not over compressed. And ah, the EQ. You should be done right. You don't want to have too much bass. It shouldn't sound boxy. And you don't want to have too much off the highest, highest high frequencies. Okay, guys. So see you in the next video. 15. Checking The Mix in The Car: Okay, Ice. Welcome to my car. Here I have the less base. Yeah, the deep house course. Less based. Sound it up. And, uh, yeah, let's just, uh Let's just play it. See how it sounds going to take some notes here as well. - Way . Okay. So here, at 1 30 I will add some bass sounds here as well, and this is going to be for the part that comes right before the next drop, Basically. So I need to have some kind of Bassong's there on. This is only because I feel like it sounds empty here. Yes, I'm already know some notes here. So 1 30 I would add some base, and I would also have back about 5% of the overall base in the master. And yeah, because I feel I feel like the base is kind of good, but, um, compared to my other tracks, like, regular tracks that I play and use all of the time. Um, yeah, it sounds almost like that. So, uh, yeah, the base was way too high. It would be way too high if I would play the regular version with the cue off. Basically off the master, but with the EQ You on the master when the base is down, it sounds fine. But still, I have to back off a bit with the base, so or I need to put back some base. Okay, guys. So I will get back to the studio now, and let's just make the few fixes their Andi. Then I would head up to the mastering, then we don't with the track. Okay, I so see you in the next video. 16. Mastering Stage - Part 1: the ice were back in the studio sewn ongoing Teoh fix the first thing. It waas that in the break section here. I want to have some bass sounds. So let's take a listen to it. Some around here. I want some base, so I will add the main bass sound. Ah, just zoom in a bit. That's I don't the bass sound to be there as well, so I want the bass frequencies to be there so we can feel the base way . It sounds like it's Mike. Stop playing immediately, So I think there was some better. So we'll leave it as situs like that. And now I'm going to go back to the base here so you can see this was supposed to be mixing stage video. But as you can see, all of for mixing is done when we're producer track. So, um, so there's not much of mixing left there. You can obviously do some different effects. You can dio, let's say stereo widening. Um, you can do some different echo different river, different panning as well, but I find that if you do that, you will get a lot of different problems with your mix? Um, a swell. As in the mastering state, she will have to fix those problems. Most of the tracks nowadays doesn't have too many crazy like effects going on in the mixing stage. Ah, it's more about the simplicity for the tracks. Um, so yeah, and it sounds better like that. Um, you can, of course, use different effects like, let's say, ah, they say, like, more like creative kind of tool. But to use it just for the sake off, like someone tells you that you have to do that in the mixing stage, for instance, you have to go crazy with their effects. You don't have to do that. Of course, Andi, that only creates problems. I was like that in the beginning when I was started to know start to producing a lot off. People told me that I should put on different crazy effects because you should do that. But then I started to analyze different tracks, and there's not too much off effects going on in the big hits right now, so you can, of course, try it out off if you want to. On there are a lot of different effects in enough a studio. So, um yeah, As I said, you can do that. Of course. But I would say that stick with this and and Yeah, I would put back to back the base on S O. I would just put on some like that. Maybe so if we undo that, See? Yeah, Something that would be good. Awesome. I think I will leave it like that. And let's hope onto the mastering states. So see you in the next video. 17. Mastering Stage - Part 2: cases where you can do for the mastering stage and what I usually do is to export the track without any limit. Iran and what I always do is to take them mixer here, go to the Master Channel, and then I make sure that I have output that goes around like minus 12 decibels. So let's play it when it's there's much sound going on. Come. So let's this plate here because he now that it's hitting the zero point because we have our limiter on. If we take that away, let's see how this sounds. Yeah, it's hitting somewhere above zero. So it's clipping, actually. And if you want to make a proper master or mastering off the track, you want to have some headroom in the mix. So what do you should do then is to basically just get plug in. That lowers the volume before the Master ek stage. You can do that with, um, it's a fruit to balance, for instance, weaken, just lower the volume here, so let's go. This makes ourself a lot of headroom. So what we want to do here is to basically reduce the the peaks because you can see that our track is something around here. The limit is with ceiling is somewhere around here, but it's still jumping out a bit of a single. So the single hits somewhere around around six decibels. So with the limiter, you want it to be a ceiling, and the signal doesn't jump out off that ceiling any time. So that is basically what you want to do with the mastering. But if you want to create some headroom and the headroom is basically for the mastering or the master plug ins to breathe a bit until they get to zero decibel here. So if we have around from 90 decibel, the limiter can work a lot within this base here on this is very important because you don't want any limiters and other stuff like that in the mastering stage to be overpowering because that will make your track to sound distorted. And you don't want that. So that is why you want to create some headroom and ah, leave some signal for the limiter. So I'm going to do that. I'm going to put to the fruit of balance as within here, and then I'm going to enable the limiter again. And then with the limiter, I'm going to just hire the gay in here and yes. So what I usually do is to disable this limiter exporters track and then imported back. But just the track. So just away file and then do the limiting stage. And this is just because you get some additional control for the track so you can create, like, automation for the volume, for instance, um but we're not going to do that in this course on this course is just about creating tracks and be more creative. And there will be other efforts studio, full track courses where I go more in depth for mixing and mastering, for instance. But honestly, I feel like this mixed down ists Pretty good is maybe the best out there, But it sounds OK to be like, created within a day, so OK, so what I do now is basically just Teoh put on the game here. So, as I said before, we're using the priests that called Max loudness except noise. And then we're going to just hired the gain on git should be around zero db here. You don't want your track to be overpowered Here. You see, the colored senior here is basically how much the limiter is taking down the signal. And if it works too much, it will sound the store then. So what you want to do here is to be as close this ceiling here as you can. So you don't want to be too much signal going over here. But at the same time, you want the track to sound loud. And you can basically here, that by comparing different tracks with each other, I'm going to go pray aloud with this track. So I'm going to go somewhere around here. But actually, let's play this. I feel like the track sounds very good now, so I'm going to live it. Us it is. It may sound too overpowered on the limiter right now. I'm going to test this out in my car as well. But the thing you want to change here is basically the gay knob. So if you like its weight to, like, overpowered and it sounds distorted in some ways than just back off the gain nabire bits. If you feel that more energy could be put on here, just make it louder. So that is it for this course. Guys, I hope you enjoy this course and I will see you in the next one.