FL Studio - How to Create a Trance Track in FL Studio 20 | Stephen Loader | Skillshare

FL Studio - How to Create a Trance Track in FL Studio 20

Stephen Loader, 10+ years producing

FL Studio - How to Create a Trance Track in FL Studio 20

Stephen Loader, 10+ years producing

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32 Lessons (2h 41m)
    • 1. How to Trance - Introduction

      2:21
    • 2. How to Trance - The Kick

      4:47
    • 3. How to Trance - The Clap and Hats

      5:20
    • 4. How to Trance - Cymbals

      3:12
    • 5. How to Trance - White Noise

      5:34
    • 6. How to Trance - The Sub Bass

      4:48
    • 7. How to Trance - The Mid and Hi Bass

      2:28
    • 8. How to Trance - The Hi Bass and Sidechaining

      3:52
    • 9. How to Trance - Grouping the Hi Hats

      4:56
    • 10. How to Trance - Reverb and Delay on the Hats

      3:46
    • 11. How to Trance - Adding Background Effects in the Intro

      4:18
    • 12. How to Trance - Adding a Pluck

      6:19
    • 13. How to Trance - Filtering the Bass

      4:29
    • 14. How to Trance - Sweepers and Sound FX

      4:19
    • 15. How to Trance - Extending the Intro

      3:17
    • 16. How to Trance - Introducing the Snare Buildup

      4:50
    • 17. How to Trance - Producing the Breakdown

      3:20
    • 18. How to Trance - The Pad

      10:16
    • 19. How to Trance - The Piano

      6:02
    • 20. How to Trance - The Buildup and Lead

      6:21
    • 21. How to Trance - Building the Drop

      7:46
    • 22. How to Trance - Fleshing out the Drop and Buildup

      3:34
    • 23. How to Trance - Creating a Backing Lead

      5:43
    • 24. How to Trance - The Second Breakdown

      5:47
    • 25. How to Trance - The Second Buildup

      5:02
    • 26. How to Trance - Fleshing out the Second Buildup

      2:25
    • 27. How to Trance - Creating a Pitched Whine Sound

      4:38
    • 28. How to Trance - The Second Drop

      7:09
    • 29. How to Trance - The Refrain

      4:33
    • 30. How to Trance - Finishing off with the Outro

      6:39
    • 31. How to Trance - Mixing Part 1

      6:32
    • 32. How to Trance - Mixing Part 2

      6:58
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About This Class

Hello and welcome to this course on creating Trance in FL Studio 20. If you're stuck and need further guidance on how to create Trance, one of the biggest sub-genres in EDM, then look no further. I show you exactly how I create a trance track step by step from the beginning to the end, what synths to choose, what samples I have used, how to mix and finally how to master the track as well.

We recommend that you have a basic understanding of FL Studio - you can get this by watching my other course by clicking here

What will you learn?

  • Create a Trance track from scratch!
  • What synths to use
  • The samples I have used to create this track
  • Reverb, Delay, Compression and EQ
  • Track arrangement
  • Sound selection
  • Automation of synth parameters
  • Audio clip manipulation
  • And much more!

Nothing is hidden here. I show you exactly step by step how I go from an empty Playlist window to a track which looks like this:

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Each step is gone through in detail. For instance, we talk about sound selection, track arrangement, the sections of each track (intro, verse, drop, buildup, breakdown and outro), synth selection, mixing, the effects you need, and more.

We alos look at mixing your track, to make sure the volume levels are well balanced against each other, as well as mastering the track at the end! We add effects such as reverb, delay, compression and EQ, and explain the effect that these have on the overall sound

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At the end of the course, we also show you how we go about mastering the track and upload it to streaming services.

Attached are all the documents that you need for producing this track, although as mentioned in the opening video, completely copying and pasting the track is strongly discouraged, and the workflows and processes that are used instead should be inspirational. This is not intended as a guide to replicate everything that has been done.

Meet Your Teacher

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Stephen Loader

10+ years producing

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Transcripts

1. How to Trance - Introduction: hello and welcome to this course on producing Trance. Hopefully you've already read the description in the first lecture where I've just explained a few things. I just wanted to go over a little bit in more detail. So I'm recording this after having finished producing the track. So this entire course, I actually show you how I produce it from scratch. I don't have any pre made ideas or anything about how I'm going to do it. So a lot of the decisions that I make a creative Andi happen on the go as I'm producing this track. So you'll find, for instance, that a couple of times I will mention that I'm doing something only to then change my mind about it later. So firstly, just be aware of that. Secondly, you do not need to copy exactly everything that I am doing in order to create a trance track that sounds professional. In fact, I actually discouraged that very strongly. I will make mention off the samples that I use and the third party synthesizers that I use as well on any expansion packs or or any sort of DLC, you know, third party presets or anything that I that I purchase is well, but again, I would encourage you very strongly not to just simply copy what I'm doing, but to use it as the inspiration. So when I use a particular preset, I'll explain why I'm using it. But you don't have to use necessarily the same. What? Although I will tell you on, In fact, there is a Lector in this course that explains, that gives you a whole list of the exact samples and presets that I use. So once you finish, you will have a project that looks something like this. But, you know, again, I strongly encourage you not to follow just exactly what I'm doing and just copy it. That's not the point of this. The point of this is to show you exactly how I go about on the thought process that I undertake when I'm producing music and to give you an idea in that regard, you enjoy the course. Any questions? Please drop them in the comments below. I'm keeping an eye on all of my students, and I always answer any questions that you have. If there's anything that doesn't work or or you don't understand ask me and I'll see what I can do to fix it. Enjoy the course. Let's take a look at it now. 2. How to Trance - The Kick: So in thes Siris are videos. What we're actually going to be doing is creating a trance track from scratch. Now, these videos are gonna be quite long. I'll try to speed things up where I can Andi try Andi short cut bits where possible was well, but on the whole, I generally want Teoh. Make sure that it's something that you can see the entire process rob from starts beginning , start, Teoh and so that you can see exactly how I go about building a trance track. Now this is a course in and of itself. So you know, the total amount of viewing time is probably going to be at least two or three hours. But you can have a look and see what I'm doing and obviously skip it if necessary. So what I also do is all title the videos, depending on what I'm actually doing in that particular video relative to the track seek and then see what I'm doing. So without further ado, let's get started in trance music. Generally, what you want to do is you want to have the BPM between 113 140 bpm, although like a mention in previous videos. It can go down lower than that. I've said it 138 cause the kind of trance track that I've decided I'm going to be going for is something like Armin Van Buren, Craig Connolly, one of those kind of artists where it's a lot more driving. So we're going to start off, first of all by getting a kick drum. And for this I use Nick Nicky Ramiro's plug in the kick plug in, which is absolutely brilliant for designing bass drums. What I'm gonna do is go down here to the trance category on Let's just play this back so we can have a listen to this. It's a good, good starting point, but I wanted to be something that's a little bit fatter on slightly longer as well. And I'm just going to start playing through some of these presets before I start tweaking some of this stuff here as well on quite a big fan of see a free already. So I'm pretty much set on the fact I'm gonna have see a three now. The reason you can see that it's such a fat drum is the length is particularly high as well , sit. Usually for most kick drums. They usually have a length off around 1000 milliseconds at most, maybe even down to about six or 700. This is a way up that 2600 because although the pitch envelope here comes all the way down quite quickly because it's so long, it creates quite a bit of a facts of feeling. And the Dr No Piers turned up quite a bit as well. Why might just try doing is just try playing around with this and raising the bending of this, that the pitch doesn't go down quite as quickly, and you'll be able to hear that effect as I play back with this. You can kind of hear now that I really exaggerated that. How it kind of has a sort of almost like a reverb effect right at the end, which is something that you often hear in hard style music. I don't think I wanted to be quite that dramatic, but what I might do is bring that down by actually bring the note itself up. So if I bring it up too much, you can actually start to hear something that actually sounds like a trap Bass drum You can start to really hear at the end. I don't really want that effects. I'm gonna do something like this, and I think I'm going to stick with that. So the first thing that I like to do is I like to create a very basic kick drum pattern. Pretty much. This is how I start 99% of all of my tracks on the reason that I do that is kind of toe acted a bit as as a metre gnomes instead of using the Metrodome built in fl Studio up here . I just like to use a kick drum because it's what I'm gonna be using anyway. So what I do is I click and drag that into the playlist on Let's just play that back. I think that's exactly the sort of effect that I'm trying to go for. So what I'm going to do now is in the next video, we're going to start having a look at some of the other drum elements and start pulling those into this track as well 3. How to Trance - The Clap and Hats: in the previous video, we looked at the bass drum and now we're going to have a look at the collapse and just building up the rest of the drum loops so you can see I've got my kick drop in here from before. Let's just have another listened back to that and just see what that sounds like. So massively big and fat. And now what we're going to do is we're going to bring in the clap and the high hat as well . So I'm just drawing in here the clap. I've already got a sample loaded. So what I'm gonna do is I'm just gonna draw this in on the second and fourth beat. I'm going to drag that in now as well. Investors have listened to that on one of the first things that I'm also going to do here is I'm going to start signing stuff to the mixer. There's something that I like to do very early on on one thing I really like to do. And again, this is not something that everyone does or what everyone recommends. But what I do is I click and drag on pretty much all of the mix attracts that. I have got pretty much right up until the end on what I do, I go, Oh, hang on, Just get back. So I click and drag on all of these on what I do is I bring a love the mix of drags down to about half way. The reason why I do that is, as anyone will tell you in as you'll find out in some of my later courses. You need a lot of head room in your mixing track before your master output before you end up mastering it on, then finalizing the tracks of what that means. Is that in this me too. Here we want really stuff to be peaking at no more than about minus 12 db sometimes a bit lower than that to give us a lot of this head room from here up to zero to play around with increasing the volume in the right way. So that's the way to think about it Is that when you're mastering the track up to its full volume, which is them what it will be when you then you know, for instance, published it to radio or put on Spotify whatever is you want to give yourself enough space that you can make all the changes that you want before you run out of room before you run out of headroom? Quite literally. So you always want your tracks to be, you know, pretty much as quiet as possible when you first start off. So now I've done that. You're here. That this sounds like this. Feel free to turn up your volume now that I've reduced the volume of everything. What we're going to do now is we're going to start drawing in the high hat as well. So I'm just going to create a really basic hi hat Cymbal pattern. So I'm just going to do on the off beat for the time being on just draw lows in like this. Let's just play that back, and you can see that if we just kept on playing that on loop, then it would very quickly stopped Sound boring. So what we're gonna do is we're actually going to start making things a little bit more interesting. We're gonna do something like this and we're going to do the same thing in the next bar. But what we're gonna do is we're gonna do something like this instead on we are literally going to copy and paste that's over now all instead and what I always like to do is I copy and paste this on my then zoom in to stop it from doing that annoying, offsetting things fl Studio does by default and we're going to copy and paste that into the next four bars as well. Now, the next thing we're going to dio and what I'm going to do here is I'm going to create a double clap right at the end off this particular sequence on. One other thing that I really like to do is well, what I'm doing here. By the way, I'm right clicking on the pattern, clicking on making nikh so that I can separate that particular pattern clip out from all the others. Because if I make a change to one of these, it makes the same change toe all of them, as you can see here. Is that all the kick patterns now with same thing which is really powerful when you're changing a loop and you want that change to be reflected across the entire track? If you want to make one change to one particular pattern, it's not very useful. So that's why we do make unique on what I'm gonna do here is I'm going to do this and you're here what this pattern sounds like. Now I am going to click on that right click on this, delete it and left Click on here so that I've got that in there as well. So this is a really common trick that I like to do when I'm creating trans tracks right from the start. So that is the rest, that the basis on the basics of our high hat symbols are collapse and our kick drum, the basic of our off the basic parts of our drum loop on What we're gonna do now is have a look at some of the other auxiliary effects, if you like, look at adding in Cymbal crashes, sweeps and so forth and see what else that can do for us. 4. How to Trance - Cymbals: in the previous video, we added in our high hats and our collapse, and now we're going to add in a Cymbal crash. So, as you can see, I've already got a Cymbal crash sample loaded up here. What I'm gonna do is I'm gonna click and drag on copy all of this, and what I'm gonna do is zoom in here and copy that in there. We've now got a Cymbal crash for the 1st 8 bars here. 12345678 And then the second here. So what we do is we get something like this, so they go got the basics. But one thing that I really like to do, that Cymbal crash it kind of sort of it's there, and it's good as a way of sort of emphasizing the start of that particular section, but then kind of disappears into nothingness. So I've already linked it to the mix. I've got it in mix a track five here, and what I'm going to do is I'm going to go and choose the fruity delay to, and what I like to do is I like to adjust the time up to four So what that means is it will repeat every beat. Essentially, I like to read just this here so that I actually have the feedback slightly higher, but the input a little bit lower. And I like to change the feedback style to Ping Pong. So what that means is essentially what it literally does what it says on the tape. So if we now listen back to this, you'll now see what it sounds like. So we've now got something that's having much more of an impact even after its initial initial Cymbal crash. The other thing that I like to do as well is I always like to add fruity reverb as well. I always like this particular preset to the venue here as well, whacking up the low cut introducing stereo separation, which makes it sound wider. Just bring down the wet level of tired a bit as well. Let's have a listen back to that so you can see that already we are really starting to wide in the stereo field and really fill out track. Now what I'm gonna do is I'm just gonna keep an eye on my lip mixer levels here because although we're not gonna be mixing straight away. What we will be doing is just taking account of initial levels on just adjusting those just so that the track starts to sound like what it will at the ends. If I just play this back again, you can see here that my Cymbal crash levels actually peaking high than my kick drum. I'm actually gonna bring it down a little bit because I prefer it. Sort of peeking at less than my kick drum. My kick drum. Really? I actually want to be the most dominant element in in the entire track on. We're peaking currently. Thief. Maybe a little bit higher than we should. But, you know, between minus nine minus 12 minus 15. That's good. So we can we can keep it there. So what we're gonna be doing now is we're going to be having a look at some of the other elements off your first drum leap will look at that in the next video 5. How to Trance - White Noise: So since the previous video, what I've done is I've just done some playing around with the kick drum, so it's now slightly changed on Duin. With this video, we're actually going to be looking at White Noise sweep. So first of all, let's just have a quick listen back to what we've got so far. Thief. So it seems pretty solid on what we're going to do now is introduce white noise. So white noise is basically it's what sounds like your TV static, although that's probably not noisy actually here on TV very much of these days. Singers. Everything is digital, however, to give you a quick demonstration. This is what it sounds like. I'm going to switch all three oscillators in the three eggs embassy, the white noise, and you get this really annoying noise, which I'm actually going to link to the mixer so that when I play it back, it's not quite as loud and annoying as it would otherwise be. And it doesn't matter what note you select it all makes the same noise. And why is that? Because basically, white noise is every single frequency plate back exactly the same time on they all clash with each other, and it means that there's no discernible picture or anything. So you just get this kind of mess. However, it's very useful mess, because what we can now do with white noise is fill out the track even more. And it's something that you will notice but not consciously notice in almost any music track that you hear. So most music have actually, you know, most music tracks that you listen to, whether it's House trans, whatever the actual elements air really basic. And if they're just trying to fill out the track, even MAWR, they'll use just sound effects or white noise and all these little sort of things to just flesh out the track a little more on. It's actually that which what is what thickens out the track rather than being the particular sound that you're probably focusing on, like the base or the lead or whatever it is. So it's all about tricking the listener into thinking that it's a lot bigger and better than it actually is, so that you can keep the main idea simple and easy to listen to. So what we're gonna do is we're going to make some white noise. We're gonna call this pattern here, which I've just made white noise and we're going to click and drag this in and we're gonna do it for a late bars here. Now, what we're gonna do is we're gonna draw in a full note here, which lasts for the length of one bar, which you can see here. However, this would say I'm pretty boring on its own if we just played it back like this. In fact, it sounds pretty annoying. It just sounds like something's gone wrong somewhere. So we don't do that. This is a trick that I first learned about 10 years ago on git stuck with May brand are pretty much using every single track I've ever made on. What we do is we stick a low pass filter on it and we can create a sweeping effects. So you basically can create something that sounds like this. You get the idea. So it's it's really clever for for using in that respect. So what we do is I turned down the residence. The key factor I like to know, have it sort of be too noticeable in my music on what we do. Is we right? Click on the frequency. Not here. We left click on Create automation clip that drops in and automation clip. I actually did it twice accidentally. So we've got one here already. And all we're going to do is automate this low past, cut off eso that we get a nice, sweeping effect throughout the track. So I'm going to right click here and create a new note. I'm gonna have it sweep down as we come out from the start of the track and sweep up as we come towards the middle of it. I'm just gonna delete this here and you'll see why in a second I'm going to change the curve because I wanted to kind of remain the same and then sort of slowly cut out. So I'm gonna I'm probably actually gonna have it somewhere around here. And then what I'm going to do is I'm gonna click and drag on this, and I'm going to right click in this empty space to create a new node. But what I want to do here is actually wanna have it build up a little bit more sense than having the curve down like this. I'm gonna bring it up like this. So I left click and I just moved this envelope here like that. But now what? You're here. If I play this back and if we watch the fruity free filter, you'll see exactly what's happening now. Obviously, we've not got any white noise playing here. So what I'm actually going to do and this is the reason why short in this clip is because I'm going to select. It'll control copy and Control V on their We've now got it for the full 16 bar loop Onda. Whilst I was listening to that, I actually realized that I want that a little bit high in this little bit low. So it's actually pretty much how it was originally. Let's just play that back. Now listen to the whole thing. You get the idea. So that is the white noise sweep. Let's now take a look at some of the other effects that we can add into our track before we then look at adding in the trans baseline 6. How to Trance - The Sub Bass: in this video, we're going to take a look at introducing the baseline to our Trans tracked that we have started to make. So I have already picked a preset from this using flex. So Flex is one of the default plug ins that comes of FL Studio. It's a new plugging as well, and it's absolutely fantastic. So it's a what's called a Ron plug in So a read only synthesizer, so you can't make any dramatic changes to the source sound for you can do is just make changes to the effect so you can do things like make changes to the filters, for instance, to the basic envelope, and then they give you what, what they call here macro. So basically, you can change certain things that they have categorized on is a a very basic way of just adjusting the sound. The preset I've chosen is from the Base Utopia factory, and it's called fast food. So basically what it is a very sub D base and we're gonna use it to produce our first base sound in this track is what we're gonna do is we're actually going to use several several different base layers to produce the final baseline. Just very common entrance. So I've already picked it. I've already assigned it to the mix a track we're going to start in the key of G, and what I'm gonna do is just start placing the notes on and with trance base. As I've mentioned before, it's always pretty much three notes with the first note of the bar left empty. So to give the kick a bit of room to agreed on, what I'm now just doing is just control C and control being the entire baseline, I might just start playing around with where, exactly what pitch we start off with. I'm gonna draw this into the playlist here on going to start playing it back whilst I then shift notes around. So I quite like the note of e here. I think I'm just gonna stop playing around with some of this. So I'm liking this already. What we're gonna do is I'm actually not going toe control. Andi, click and hold over a with this and holding the ult key. I'm going to mouse over here and I'm going to adjust the length the notes to see if we can create a bit more for Clicky feel to it. So it's already giving us a little bit of a sort of driving feel with With this baseline, which I'm quite keen on, I'm actually gonna try dropping it down by an octave to see what difference that makes. And I think I'm gonna leave it there now. What we are going to start doing is we're going to start bringing some of the other elements off the baseline into into this project. And now on. Once we do that, what will start doing is will start grouping them all into one big master group channel. Where will then change Andi side chain the base. I'm completely so side chaining if you don't know what side chaining is or if you haven't watched any mile. The videos side chaining is basically where you duck the volume off the base every single time. The kick, the kick drum place. So because the kick drum on the baseline occupy a dramatic amount of the same frequencies and because of bass frequencies, take up so much space in your mix, it's really important. The baseline is one of the most important parts of your track that you need to get right. You know you. If you don't get this right, the whole rhythm on the beat of your track just completely disappears. So it's really important to get right. And that's why we take a lot of care to layer our base sounds so that we've got sub base and mid base and a high base so that the baseline really sounds exactly how we wanted to. We'll take a look at those now in the next video. 7. How to Trance - The Mid and Hi Bass: in this video, we're going to look at introducing the mid based on the high based sounds into our track. Now what you can see here is I have already actually drawn in the patterns I've drawn in the notes, and I've already loaded the presets as well. So the mid bass preset that we're going to be using is something called the Brazilian flow . The reason I've just cut out me finding this preset and then changing all the settings is because there was a lot of just experimentation. So a lot of this is literally just trying to find the sound that you want. So what I've done is I've bought in the sound's already into the mixer, and I've linked them already on just to give you an audition of what these specific sounds sound like. I just play them back now. So this is a really common sound that forms a really strong part off any trans tracking. What I did was I high pass it. It's I reduced out the bass frequencies to stop it from clashing with the sub base, which if you look at both of them here together, you can see how they're now occupying mostly different parts of the frequency spectrum. If I just turn this off mute, there we go. We just play those back. So we want to make sure that these two sounds don't overlap of each other, which is why I've done that. I then also introduced a high based sound, which is going to focus mostly on the very highest frequencies of this trans bass sound on I've introduced a camel crushers. Welcome. A crusher is a brilliant distortion. Plug in, it's free, you can download it and I'll have the links to everything in my courses. Well on, let's just play that back with that included as well. So you can see we get a really nice, thick, fat based sound. By doing that, what we now gonna look at doing is grouping all of these bases into a side chain channels so that we can then side chain it with the kick, which will look at in the next video 8. How to Trance - The Hi Bass and Sidechaining: in this video, we're gonna make some further adjustments to the base sounds. I've already tweaked them a little bit on. We're also going to put them finally into that group where we can then signed chain them. So we're going to do that. First of all, what we're gonna do is we're gonna find our three mixer tracks here on. What we're gonna do is we're gonna link them toe one, mix a track on the mixer, so I'm going to select the sub base. First of all, I'm gonna go down. Teoh, let's say Channel 40 Onda whilst the sub basis selected, I'm gonna go down to Channel 40 on I'm going to right click on the insert here on. I'm going to say route to this track only, and I'm gonna left click on that. What that does is that sub base is now rooted only to that channel and not to the master. So what that means is that any sound that comes out of this channel has to go through Channel 40 before reaching the Master. If this wasn't linked to the master than the sub base would then not be played it all What this means is we can now link all of these channels in exactly the same way to the same channel before they then get rooted out to the master. And what that means is that we can now process all of these sounds in exactly the same manner using only one channel. So I'm now going to rename this based group by pressing F two on and then hitting. Enter on. I'm going to change this and move this all the way to the top Bond, Change it to its original position. Why am I doing that? Well, the volume for these three has already been reduced here. If I now reduce this even further, it dips the sound even more so. We actually want to leave this and its original volume, which is what this is on. There we go. We've now got our bases. Andi, there we go. Now we've got bases in there. So what I'm now going to do is I am going to introduce a fruity limiter on. The purpose of this is to side chain the kick through the limiter. So there's deafness. There's multiple ways that you can side chain a kick. NFL studio. But this is the way that I prefer to do this. So the way that you do this is you introduce a limiter into the channel that you're planning on side chaining. In which case, in this case, it's all of our basis. I click on the kick and I then right, click here and I do side chain to this track. And what that means is the kick is now sigh chained to this particular mixer insert here. If I now go on the fruity limiter, I can click on compression the compression tab. If I then change this up to one because it's our first side chain input on change This threshold away, down a zwah has increased this ratio. Well, then, physically see the baseline start to duck as the kit gets played and you can now see that coming into effect here. Now, the great thing about side chaining is it gives us that pumping feeling which we were missing at the beginnings. And now we've done that. We've now got that pumping feeling that is normally associated with trans music. And there we go. We have our basic baseline. So what, we're gonna be doing now in the next videos where I'm going to be basically it's gonna be a I'm not gonna be doing as much talking, but I'll just be restructuring the track, introducing a couple more elements ons, slowly building up this intro to what we wanted to pay. 9. How to Trance - Grouping the Hi Hats: in this video, we're going to look at adding in some or elements into the track. So I've already loaded some high hat samples from extra high hat samples here. High had to and I had three. And what we're gonna do is, we're actually know gonna play around on Just try putting in some high hat sounds. So let's just play around with doing that. One of the one of the sounds in particular actually is something which eyes an open hat sound, which is meant to sounds, uh, let me just do this, which is meant to sound like an open heart sound on a house track. Now we're gonna actually have a girl trying to incorporate that into our track as well. So what I'm just doing at the moment just playing around with the second. I hadn't just seeing what other sounds I can put in, just making sure that those are mixed at the right levels on that is already adding quite a bit mawr to the drum leap. I think. Let's try putting in this on the off beats that I think already that third high hat is already adding a much more driving field to the rest of the track. Andi is amazing. How Just by with transference in particular, just by filling up mawr of the track with things you get a lot more going on. So there we go. We've already got the high hat sounding a little bit fuller. Now, what we're now going to do is we're actually going to low pass our sorry high pass all of these high hat sounds. All of these high hats, they produce a lot of backgrounds or a lot of low frequency noise which we don't really want and we're gonna do the same thing is what we did in the with the three base noises. So if you just follow along with what I'm doing, I'm doing exactly the same thing. That's what I did with the bass sounds. I'm right clicking here, rooting to this track only. So I'm disconnecting it from the master on rooting all high hats to this particular mix. Mix a group here and I'm going to call this hats group on. What I'm going to do now is I'm going to introduce a fruity parametric eq you. So I'm going to cut off all frequencies below 40 hertz on. I'm actually, that's just the name of the preset. I'm actually going toe. Bring it up to more than 40 hertz. I'm going to bring it up to about here, and you'll see the effect that this has. You can kind of see that down here. There's really nothing going on. We start to get frequencies around. This point just accidentally adjusted the levels. Let's just reset that if I just play back again, so there will be noise that's being played back here on the issue is, once you've got 30 40 tracks all doing that, that's a lot of head room, which has just taken away from you, which can be used for actual sounds, which will here. So it's always a good idea to high pass any of your high frequency noises. Just get rid of all of the lower frequencies if you can, so that you reduced any unwanted noise completely from your mix. And that's something I really recommend because you also deem modifies your mix. One thing that beginners find is one of their first problems, and it took me years to try and solve. This is that all of their mixes sound really muddy to begin with. So they sound very dull. Thudded 30 sort of sound on its very easily fixed, as long as you know what you're doing. So we're going to do that. And I'm just gonna play around with this Cut off, Andi. I think we'll leave it there. So that is the high hats for you will take a look at adding some more elements now. 10. How to Trance - Reverb and Delay on the Hats: So in the last video, we looked at editing the hi hats on. Now what we're going to do is actually just edit them a little bit more by adding some reverb in. So just one of the thing that I have done since the last videos I've added in a camel crusher onto the mid base. So let's just hear what it it sounds like now without the camel crusher and what it sounds like if we now add on that camel, crush it back on so you can hear how with the camel crusher, it sounds a lot more digital on. One thing that we're gonna be taking a look out in the second is actually automating some of these features to really bring out the character of the mid base, which is what's really driving the track in the moment. First of all, we're going to add some reverb to these high hats I'm gonna add in some fruity river to I'm going to use my favorite setting, which is the venue the venue preset on. I'm gonna add some stereos separation. Bring down the wet level just little bit on, bring up the low kat low cut cut off point. So we're going to bring that to about 1000 Hertz. The reason being because we don't want any reverb really below that point because it will just end up muddying the base. Let's just take a quick listen back to what that sounds like. Now it sounds like our trackers is basically taking place in an area with a lot of space. Andi, that effect is essentially achieved A through the stereo step of separation here and also the size of the river, the room size that we're using here. I'm actually also going to try adding on some fruity delay as well. We're just gonna have a play around with this. I'm already liking the sound of this, and I'm actually just gonna play around with the high hat mixer levels as well. One thing to really be careful of when you're first creating your track is you obviously don't want to actually be mixing the levels too much because there's an issue that you can . There's a a very riel possibility that you can end up getting called him what's called creeping the favors, which basically means that you try make things sounding does that make you try and make things sound better by increasing the volume and all you end up doing is increasing the volume of one element and then increasing the volume of another element to make up friend to make that sound louder before you know it. You then basically bought all of your favors right up to maximum and and you've completely destroyed the point of bringing them down to begin with. So it's really important to note that when you're mixing your only mixing the loudness of different elements relative to each other rather than to the overall thing. So if it's too quiet, just turn up the volume on your speakers. That's the best advice I could possibly give you because you don't want to end up clipping or making any of your elements sound too loud because it just completely destroys any dynamic, a sense of of dynamics in your mix, and you end up with something that's really distorted and very squashed, So definitely stay away from doing that 11. How to Trance - Adding Background Effects in the Intro: in this video, we're going to be adding a little bit more detail to this track as we've got it going so far. So let's just have a quickness and back to what we've got at the moment and so on and so forth. What we're going to do is we're actually going to add a little bit of background noise. So what I've done in the channel rack is I've added an instance here of harm or so what you would do is you would click on the plus button here. Sorry, harmless on you would go down to harmless and you would load up in instance of it like this on then. The preset that I have chosen that we're going to be using is the D X based one, which you can get by clicking on presets on going to DX base one f g under the basis part of the Presets folder. The only modifications have made to this preset is I've bought the decay all the way down to this point on, I've increased the release and what we're going to do is we're going to create an offset pluck that just happens every so often throughout this intro. So what we're gonna do is bring in the creator pattern here. We're going to call it DXE based one FG. We're gonna go into the playlist and we're gonna paste it in and just listen to what I'm doing. Now. When I add this in, I'm gonna go to the piano run. I'm gonna play this back and added in the note at the right time thief. And I want this to be just a octave down. I forgot to mention as well that one other thing that I've added to this is a delay effect . But actually, I think what I'm going to do is I'm going to turn it off here and I'm going to add in the mixer. So I'm now going to link the DXE based one to my next a window by left clicking on an empty makes a track right clicking, going to channel, rooting on their roots, selected channels to this track. And I'm just going to bring up the mixer level a little bit as well, and I'm going to go to an empty slot here, and I'm gonna add in a fruity delay to and I'm gonna bring them the time down to two and just decrease the import volume a little bit a swell and changes the Ping pong. I'm actually going to go back and I'm gonna increase the decay time because I think it needs to be just a little bit fatter. I think we're kind of getting there. I'm just going to paste this into the rest of the pattern so I can listen to this longer on loop whilst being able to make changes I'm actually going to try and do is split this into two and see what kind of affect that gives us on. I'm going to control, click and drag over them. I'm going to zoom in and I'm gonna hold down the theme and actually shorten all of these notes a little bit. And what I'm gonna do now is alter the velocity of the first note. Just decrease that by left clicking on the velocity bar. I'm gonna go back into harmless, and I'm gonna reduce the release here as well. So all we're doing is we're just adding a little bit more of background noise to this part of the track. I'm actually going to increase the delay effect a little bit, just that it's a bit more pronounced. I'm just bringing down the mix of volume again so that it really settles into the background of the mix. So this is just another sound effect that we've added to the intro. Let's take a look at doing some more to this track in the next video. 12. How to Trance - Adding a Pluck: in this video. We're going to start extending what we've got in our project so far, which is the intro on. We're going to start building it up towards where the track will then break down before then building up into the drop again. So what we're gonna do in order to do that is we're going to create a pluck. Now what I'm going to do Here's I'm actually going to use a plug in called Spire. It's an absolutely fantastic plug in. I definitely recommend that you get it again. The link will be in the course on Dive. Also bought a special additional pack of presets called the Spire Trance Essentials. Volume one, I really recommend you get them. They're absolutely brilliant on. I'm going to start playing around with some off the plucks that come by default with this because this is particularly, you know, what we're trying to aim for here is we're trying to go for Transfield. I'm going to rename this to Pluck, and I'm going to link this to the mix of window, as I always would. Let's just play around with this sound. See what we think of it. It's certainly a good start. I love the echo effect in the background. We're gonna make a new pattern, and we're gonna call it pluck, and we're going to paste this in on. What we're going to do is we're gonna filter this So we're gonna have this rising up throughout the intro. So I'm gonna go to the piano roll by hitting f seven, and I'm going to start drawing in a really basic melody when I draw in pluck melodies. I always like to start with the root note, which, in this case, is he on my like toe go within the octave range of C five to C six will see six to see seven. Those are the kind of octaves that we're looking to work within. So I'm gonna just start creating melodies now and see what I can find. I think this could be a good start, but what I like to do when I'm creating maladies like this is you can't tell what it's gonna sound like with just two beats. So I control. See, I help the control button festival left mouse. Bring up the selection to Tool Control. C Control V. We're gonna drag this into place here, right click to de select it, go back into the playlist on with the pain till selected. I'm going to draw this all the way in for the 1st 8 bars, and I'm just going to play that back and see what I think about it. You need to do this, you need to extend it said. It's playing for a long amount of time so that you can really get the feel because you've got effects like reverb in the release, which will end up blurring together is the sound plays back over an extended period of time , and he simply cannot get an idea of what it sounds like unless you play this back within an extended period of time. So I recommend playing long loops when you're picking your sounds. I'm liking where this is going. I think there's just one note that I'm not happy with. I'm going to switch the pattern mode so I can have a listen back to it. Just specifically misters play that back. Otherwise I might move it back to its original position. I think I'm going to leave it in the position of a now what we're gonna do is we can extend this for the entirety of this in trade, and I'm going to go up to the mixer on. I'm going to create a fruity free filter because now what we're going to do is we're going to filter. This is a low pass filter. We're gonna get something like this. You can hopefully see this sort of feel that I'm trying to go for here, So I'm gonna bring this up to maximum right click, create automation Flip, go back into the play list. I'm gonna click and drag this on away down here and let's have a listen to that something and not the tip that I like to do. Let me just scroll down here and extend this track. I like to not bring this all the way down to the bottom because you can get quite a lot of residents in this low bit when your first bring up a low pass filter. So I like to leave it just above the bottom. Now, one thing that you can really see works really well now is that r D X base? One priest that is really giving our intro some really nice rhythm because otherwise it would sound very static because those bass sounds are just doing the same thing over and over again. So one thing that you could do to get around this is you can get them to play together with each other on mix where you've got the note or you create something else that's giving a bit more rhythm so that you've got a little bit more interested. They haven't got the same thing happening. Every single beats, because otherwise it quickly sounds monotonous. So that's something else. I definitely recommend that you do. Let's continue on in the next video. 13. How to Trance - Filtering the Bass: in this video. We're now going to start playing around with filtering the base as that comes into the intro. So we've already rooted this through to a base group. We've done that. We've put that call through to the same insert on. Now, what we're going to do is we're going to create an empty free filter. We're gonna choose an empty slot. I mean, sorry. And then we're going to choose a fruity free filter. We're going to change the type to a high pass, and we're gonna bring down the cure a little bit. And I'm gonna bring this frequency all the way down here. I always like to change the frequency when I'm creating an automation clip toe. What? I wanted to start us because it makes it easier. It's just one less thing that you need to change later on. So we're gonna right click, click on, create Automation. Clip on, then what I'm actually going to do here. I am actually gonna have it bump up a lip. But do you know what? I'm actually going to bring this up a little bit, and I'm going to actually have it start a little bit highest. I'm breaking my own rules slightly, but that's okay. I'm then gonna right click here and create a new node on. I'm gonna right click here and bring this down. So what I'm doing the way. The reason why I'm doing this is because this is a very popular trick entrance. You filled to the base, so there is no base for the 1st 8 bars on. Then you bring in the base here by dropping all the way down to about this point. Now, I'm doing this on intuition. If we play this back, I can probably I've probably got about halfway there, and I just need to tweak the last bits. I'm gonna extend this tracks. I can really make sure I've got the frequencies. Right. Let's play back. Now. One thing that I've noticed is that this sounds really odd when we've got this going on with the D X bass playing at full base value. So what we're either going to do is we're going to do the same filter effect to the DXE based one, or we're just gonna route the D X base 13 to the same group. And I think we're going to start by doing that. So again, I make sure I've got mixed attract 12 selected I right click on Base group, the Little Arrow underneath based group, and I do root to this track only that will deactivate it from the master and link it only through to the base group insert. Let's just play that back now and see what that sounds like. Now I'm really liking where this is going. So far, however, I'm thinking that the pluck is still sounding a little bit to allow this early on. So what I'm gonna do is I'm gonna go up to the channel rack and the reason why I automate stuff through the channel rack when I'm adjusting volume is because I don't like to adjust my mixer levels in the mixer because that I want to be able to control separately from the volume of the actual sound. So what's great about FL Studios? We can do that. I can automate just the channel volume by right clicking on it clicking create automation clip. And now I've got a channel volume selector here as well. I'm going to right click to where we are in the middle on I'm going to right click here because I wanted to reach the same volume is its default setting. So I'm right clicking, clicking on copy value, then right clicking, hear clicking in paste value on I'm gonna lower the volume at the start so that when we're getting the base coming in, it's really only starting to hit to the forefront. But this pluck around this point to do this, I'm also gonna right click and create a note here as well. So we're slowly ranking up. Ranking up. Sorry, ramping up the volume at this point and they massively increasing it around this point. It's just listen to laugh. So what's the effect of what we've just done? Well, the effect is that we really get a ramping up of everything in this bar here bar right to bar nine on. Everything hits at this point. So what we want to do is we want to create a little bit more emphasis around this point here as well, and we'll be looking at that in the next few videos 14. How to Trance - Sweepers and Sound FX: in this video. I'm just going to run through some of the changes I've made to this track since we last looked at it. So I've added in some sweepers I spent a bit of time playing around with exactly what we what samples I had, and I have added in sweep ups, sweet downs and impacts. So let's just look over these now. I first of all, got an impact sound effect here, which I just if I just play this back for you. Sounds like this brilliant sound effect on I've also got a sweep up on a reverse crash. A reverse crashes exactly what it sounds like. It's a Cymbal crash, but literally the audio is just being reversed. Those sound like this. And then I had a sweep down effect. But after that point of impact, and I coupled that with the impact so that I get this effect overrule with everything, I actually think I deleted the impact from that point. Yes, that's right. And I had a crash instead. A couple of other things that I have done. I have also e cued off all of the lower frequencies in all off the sound effects. So for the reverse crash to sweep up the sweep down, not the impact, because it's a low frequency sound effect. I've cut off all frequencies below about the sort of 200 to 300 hertz mark. Why have I done this? Where you'll remember In previous videos, I mentioned the importance of having headroom in your track. So what this means is that the more you can reduce low frequencies away from your mix entirely a. The more room your kick and your base will have to just occupy those two areas on their own , which is really important because they're the ones that drive the rhythm of the track. And B. It means that you've got more space to make everything else louder as well. So it's really, really important that this is something that you do. It's crucial, actually, it's something I would definitely recommend. It reduces the muddiness of your mix and will instantly have an impact on everything that you're doing. So I definitely recommend doing that in terms of other things I did. I played around with the levels a little bit. I increased the D X base. I also changed the eq your of this. So although it's a very bass note, I kept it the same octave and I increased the higher frequency so that we get this sort of effect instead. With yourself, you can sell without off. It sounds a lot sort of fainter, and you can't really hear it as well when it's in with the rest of the mix because it's actually clashing a bit with the base. Where's it? Return it on. So I'm actually making sure it doesn't clash as much with the base. I'm actually going to reduce the lower frequencies just a bit. Maura's Well, let's just play along this back so that you can hear it. Now you can see that we're really starting to get the intro nailed down in the next video. I'm going to be extending this intro to 16 bars. So currently refer only got it. Sorry to 32 bars because currently we've only got it up to 16. What we're gonna do, it's only coming out to about 30 seconds in length with trance tracks with full on trance tracks. You like to have a minute of interest of the deejay really has plenty of time to really mix into that from his previous track or she. So we're going to do that in the next video on. We're gonna be looking how we sculpt the end of that really build up to something big. A really big breakdown. Let's have a look at that now. 15. How to Trance - Extending the Intro: In the previous video, we added some sweepers and the impact sound effects. I showed you a little bit more of the e queuing. We were doing a swell. Now it What we're going to do is we're going to extend the intro and build up to our breakdowns. We're finally gonna extend beyond me in tricks. I know we've done quite a few videos. We've just been looking at this still plenty more to come Believe May. So what we're gonna do is we're gonna hold the control key. We're going to click and drag over all of these elements cause we're gonna copy and paste the Zen. We can also do control shift on drag in the White noise and the crashes on We're gonna add in all of the hi hats, the kicks and the collapse as well. And we're going to copy the impacts on the sweepers is when we're gonna do control, See? And then I'm gonna move this over so that the beginning of my window just about is where the beginning of the next 16 bar leap is gonna bait and we're gonna hit control V and the reason why we do it that way is because then it will compete exactly into place. We can right click just to de select on your now here that at the end of this will then smoothly move over into the next section of the track. Now, the next bit is where things will really start to get interesting. So we're actually going to start introducing snares. We're gonna have a snare buildup because a snare buildup is a classic way entrance of how you build up to your breakdown on will also be using the kick as well. So we'll be what you're actually Sears will start reducing the frequency. Sorry. Increasing the frequency that the kick drum is hitting at on. We're gonna actually, if we can automate the length of the kick and bring that down on our end up giving this really great stick cartoon machine gun sounding effect which you hear a lot in trance all the way up. We're gonna have a massive buildup around this point on. We're then gonna build up to that breakdown. Now, after you start building beyond your intro, one thing that I would definitely recommend doing is start putting down markers in your tracks that you can see what's going on to do that. You just hold down bolts and press the T button and you get this little window here that says Mark, a name on what I like to do is I like to type in in trade and then just hit enter, and that will create a marker right at the start of your track. This thing gives you a new section along the transport section of your playlist here, which you condemn, Right. Click inside off and you compress add marker. So what I like to do is I like to them type in intro Theo 60 and enter. So this is basically I'm marking my 1st 16 bar loop and then my 2nd 30 in 16 Barloon And you can see as I move my transport marker and I scrub along the playlist, you can see the time here. So at this point, we're at about 32nd 2028 seconds. Now, having extended the intro, our song is now already about 54 seconds long because this is going to be the point at which we then have a massive breakdown. So what we're gonna do here is We're gonna right. Click here on. We're gonna type in breakdown on halfway through the extended intro we're going to right click here, click on our marker on. We're gonna type in buildup because these eight bars here are going to be where we really build up to a pinnacle here. So that's the basic song structure. Let's have a look Now how we build up to that and how we now create the breakdown. 16. How to Trance - Introducing the Snare Buildup: In the previous video, we extended our intro to 32 bars. Finally, we move beyond that 1st 16 bar loop. We're now going to be looking sculpting this part of the track here that build up so that we can them really break it down here where we start introducing pads, strings on where we then introduce our translate. That then builds us up to the big crescendo. So one of the most important things that you need for a build up to something a snares. So what we're gonna first of all do is we're going to create a pattern here called Snares on. I've already got my set, Snare sample. We're gonna do this in the final eight bars. So I'm going to draw this into this point here on. I'm gonna go in and I'm going to select my snare, which is already in my target channel, which sounds like this really nice. In fact on, we're going to draw this in, and we're gonna do this on every beat off the bar, and we're gonna do this for the 1st 4 balls. We're gonna play that back. Themed key to a snare buildup is increasing the frequency that those snares get played back out, So we're then gonna double them Here. This is this is a classic. This buildup is a classic trick that you get every sub genre of ADM. And then what we're gonna do to speed things up because it gets quite monotonous from here is we're gonna do control, see, selected all I'm gonna move to this point and then we're going to do control V. So what we're gonna do is we're then gonna selectees and we're gonna move these inside here so we get this sort of effect and then for these last four bars, we're going to do this trick, which gives you a really interesting feel. We're gonna start pitching them up. So we get this effect. And if you listen back to this when we turn up the snare just so you can really hear the snare as well now what we're gonna do is the same sweep up that we used before. We're gonna add in at this point, and we're going to create a sweeper using the three x osc. This is one of my favorite trick. So what we're gonna do is we're going to go into the channel rack. We're going to click on this to select all because we want the three x R S C to be grouped with everything. We're gonna aunt on this button here. We're gonna click on three X OSC. We're going to rename this to wine because it's a wine that kind of sweeps up on. We're going to set these old three oscillators to sort teeth waves. We're going to create any pattern called wine. We're gonna go into the play list. Click here on. What we're gonna do is we're going to create a giant enormous port aumento, which is a slide from a really low e note, which is our root note all the way up to two octaves above. So what we're gonna do is we're gonna do this across eight bars as well. So we're going to hold, shift and click and drag now, the reason why we're holding shift because that allows us to simultaneously click and then change the length of the note. So we always do this one withdrawing really long notes. We're gonna go go up here. We're going to click on this slide icon here we're going to go to two octaves above this. So one would be five to Izzy six. I'm going Tea bag in there. You can hear this is quite a strong sound effect. Back in a place you can now see that this meets the entire length of our build up. We're going to root this to the mixer by right, clicking on our empty insert. 18 going to channel, rooting through selected channels to this track. And let's just have a listen to what that sounds like. You can now hear that we've set ourselves up perfectly for the breakdown, which is what we're gonna look out now in the next video. 17. How to Trance - Producing the Breakdown: In our previous video, we looked at building out this buildup up to our breakdown. So we put in our snares here we put in our wine sound as well, which you really like. We're gonna be editing this build up more because there's a lot more that we can do. We can add some final flourishes the at the end of our track building process to really emphasize this buildup. But what we're trying to do now is try and get the basis of the entire structure out. So we're gonna hurry along with that process before we don't build out Andi edit some of the final bits. So what we're gonna do is where first of all, going to control C control VR Cymbal crashes and our white noise. We're gonna zoom in here, paste it in there and we're going to click on our sweep down effect that we were using down here and we're going to click, and we're going to insert this here. I like Teoh always match up my sweep up and sweet down effects, which can be quite nice to really make sure that they gel together. Why did that? By the way I just zoomed in, was making sure. And it's still no, actually, quite on point. I'm gonna hold down the option. Just move this to the left. I don't know if you could see it was actually a little bit over over the bar point. So I've just done that. I fixed that on. What we're gonna do is we're gonna create an impact here as well. So we get this effect essentially, so you can hear that we really come up to the point of ultimate crescendo. Now we're really spacing itself. Now what we're gonna do is we're gonna experiment. At this point, we're either going to extend our pluck out so that we have the pluck for the whole of the breakdown, and we're gonna have some pads as well in the background. Just bear that in mind. We're gonna have some strings because the breakdown is where you get your strings and your pad and atmosphere elements really coming into play. But the question is where we're gonna keep on using that plug. Let's just play it back. Just listen to what it sounds like with it in there at the moment and a lot. Remember this as well. A lot of electronic music production is about experimentation. I'm showing you how I built a track from start to finish. There is, unfortunately, no set a way that you do that. So a lot of these videos are going to be you watching me experimenting as I do this. So you're coming along with me on the creative process. Let's just play this back. I think I'm sold on it already. I think I love that pluck. And I love having that in the breakdown. What we're going to do is we're gonna click on our filter automation for the free filter. From before on, we're going to click and drag this in here, and I'm going to right click and make it unique. That means I can then edit this automation clip without affecting what I did before Really important. So because we're actually going to filter this down, I'm gonna click and drag that up, click and drag this down. Let's just listen to that. And this point is gonna be where our strings really start to swell up and give us the basic chords what you're going to hear in the drop. Let's get on to that. How as well 18. How to Trance - The Pad: in this video, We're going to start having a look at that breakdown. So what we've done so far is we installed are pluck. So we've got our plot going. Obviously, in the video before that, we finished doing our build up. We're now introducing the power for the breakdown in the background. Now, the way I did this, words are used an instance of Speyer again and I chose the pad for low notes preset on what I've done is I've created a pattern called pad on. I've put in the root note, which is e It's major chord on G. Sorry, not Major called minor called which is E G and B. And you get this sound beautiful, Typical transparent sound. Now what I did was I rooted that through to the mixer. I've got it about this volume level on die also cost awful the low frequencies, as I always do. Let's just take a listen to what it sounds like now from the buildup. Now what we're going to do in the next bit is quite special. We're gonna have a piano sound come in on. We're gonna have that start to build the basis of our chord progression. In order to do that, we need to know what courts we're gonna use. So my actual preference Before I start creating the piano's I'm gonna click on my pad preset I'm gonna click and drag and I'm going to right click and I'm gonna do it make unique. And then what I'm going to do is I'm just gonna make my folders here smaller I'm gonna do is I'm gonna navigate up to my midi files on What you can see is you can see my midi chord progressions that I've already created that I've given to use part of this course and we're gonna experiment with some of those and pop those in the pad. So we're gonna double click on this. We're going to delete these notes on. We're gonna drag these in and see what which one we like the most. We're gonna work with the miners because we're working in the minor key, and I'm gonna use this bottom, which is a new button NFL Studio 20. I'm going to click and drag this so that I'm gonna make it. Double was long on. I'm gonna make sure that that locks into place by holding the old key, which makes gives it a more you know, it locks into place. So let's have a listen to this court progression and see what we think. One important detail. This is in a mine, and we don't want that we wanted in e some using the shift up arrow to move it up to E. I'm not sure about this one. So I'm gonna move in another one, do the same thing we've up t. I love this already. I'm just gonna play around with some of the others. They're just in case, and I've decided we're going to use this one on. There's a good reason for that. This is actually a very popular chord. Progression this one and you'll see that that one is 1767 Really popular minor chord progression. You here in load pop tracks, particularly Latin music these days. What we're gonna do is we're going to use this and we're gonna do some called inversions as well we're going to use. This is the basis for our piano pattern. So I've got this here already, so we get this to finish off the pluck finishes on then we're gonna build up to this. Let's just play it back. And this here is the point of which will introduce our piano. So I've already made a piano pattern. I'm going to click on this and I'm going to start playing around and drawing in a melody. And this is the bit where unfortunately, there is a lot of experimentation. So just sit back and listen as I play around and see what I come up with and what I like and I'm using my knowledge here off music theory to write this melody. So if it's something you haven't got a grasp on, I'd recommend watching my musical theory cools. I'm actually gonna move this and I'm going to use this in the final barn. I'm going to make a new melody Air. I'm just gonna make my piano sound louder as well, cause it's quite quiet at the moment. - I'm gonna borrow this. I'm gonna put it here instead. I'm going to get rid Why I had before issue is I like this in a while. Three places. - I think we've got it. Ladies and gentlemen, let's just paste the end again. What I'm doing here is a cutting out everything and then just bringing in the piano to really emphasize the piano. But I still need some kind of crash or impacts. Otherwise, it sounds like the white noise is unfinished unless I get rid of it entirely. Of course, I think we have our melody. So we've started the breakdown. What comes next? Let's have a look. 19. How to Trance - The Piano: in this video, we're going to be looking at extending the breakdown, which is something I've already done since our previous video. So I'll just run through some of the changes that I've made. I've introduced a new A crash sample. First of all, crash to this is something that I definitely recommend you always do is you always have multiple crash sounds. So let's just play that back now. What I've done with this crash, as opposed to the 1st 1 is I've got no delay, but I've got a very wide reverb on it, so it gives it lots of space but doesn't sound like it's occupying or trying to create rhythm. Unlike the original crash, which I've brought in conjunction with the kick in the base, I got rid of the white noise I left that like I did in the previous video. But what I've done is I've extended the plug because I like the idea of this bubbling away in the background before returning to the fall to help us create our build up to our drop. I then also introduced a reverse crash, and I e cued the piano a little bit as well So in the piano, I introduced a fruity parametric EQ. You, too, on my boosted it about 2700 hurt because that's where the really strong frequency content is. Let's just have a listen to what the breakdown now sounds like. - And now what we're gonna do is we're going tohave are true. Buildup to our drops. I'm going right. Click here on add marker and I'm gonna type in buildup on what we're gonna do here on what's a really classic technique Entrances. You have one note playing to build up to the drop, so we're gonna re use are powered again. We're going to use this here. We're gonna paste this in for the next 16 bars because that's how long we know it's going to take. We're gonna have our drop at some point around. The two minute marks were going to right click in when I'm typing Drop. This is gonna be where we really get a very big build up we're going to control. While actually we could just click on arson airs on Drop those in here as well because we're gonna have the snares really building up this point and we could be using our kick drum as well. That's very important on one other thing that we're gonna do, which is really important, is we're going to right click on this piano pattern here. We're gonna tow, click on making nikh We're gonna double click on it at the end and we're gonna draw in a return to the E roots. Note The reason why is because that gives us a nice landing for the build up to them. Begin on. What we're gonna do is we're actually gonna draw their sin has a called an inverted called . So instead of having our e minor called going from the G d, we're gonna have it going down E b. Jeez, in that order. So we get this effect now, we're gonna have to extend not plan, because we built this up. So it needs to go somewhere because you can hear here that we've got pluck here, so either needs to be replaced by a new element that so I'm gonna take us to that build up all we need to keep on using it. I think what we're going to do is we're gonna keep on using it so I'm just gonna try putting that in. I'm gonna meet us, snares down. So we got green. This is the great thing about FL Studio, By the way. I can move this anywhere depending on how I feel so inviting my even put it there because I'm not going to be using this particular track. So let's try this. This is where we're gonna have a really big build up. Now, the way we're really going to ratchet up the tension is we're gonna use our wine preset that we were using before, but we're going to right click on it. We're gonna cook and make unique. And the reason why is because we're gonna edit this and we're going to extend it and double it and length were still going to use the same notes. We're just gonna double it. So we're going to create a really long buildup, quite made that right length. So we get this a really slow wine, - you can see where this is going. So we're really the whole idea here is by increasing the length of that build up from what we had before our mini build up at the end of our intro is only eight bars long, but we're now extending that toe 8 to 16. Sorry. By doing that, we ratcheting up the tension. One thing that I would want to say there is you don't want to extend it much beyond that length because otherwise you end up with a buildup that so long that people actually lose interest. 16 bars is really the maximum length. But I would suggest, particularly for a trance track to be in terms of its buildup, what we're now gonna have a look at doing is looking at what elements were going to be introducing to create this build up. This is gonna be where are translated, comes into the foreground. We're going to introduce the element. And it's going toe sort of emphasize this build up is it comes in. We'll look at that in the next video 20. How to Trance - The Buildup and Lead: in this video, we're adding in our translate, and we're filling out the buildup. We're then gonna increase the impact of that on, bring in off for drop, lengthen out the drop, and then in later videos will be looking at how we then break it down, Bridget through to another drop before then introducing our altro. So this is something where I've already bought in a preset from my favorite current trance plug in which aspire. I've used the LD spire source precept, which sounds like this classic trance sound. I've already created my pattern. I'm gonna left click here on. What we're gonna do is we're now going to start drawing in our pattern for our trance lead . This is where things get interesting. I want to continue using my corporate progression from before. So one of my favorite techniques is to copy and paste this. I'm gonna go back into my trance lead into my piano, roll down to translate, and I'm gonna pace this in on. What I'm gonna do is I'm gonna arpeggio hate this, or I'm going to use it as sort of ah, starting point. So I'm gonna create my main translate sound from this. So let's try arpeggio hating. First of all, let's go down to our Peggy eight. We're just gonna Rigano we're actually going to select just pattern for this to here on its own. Now, I like this. However, the issue is that it sounds like it's going down because literally the pitch is decreasing every single time. I kind of wanted to create a sort of rising effect. So I'm actually gonna play around and try and see if, by changing these cords around, I can create a rising chord progression instead of a dropping one. All I have done here in literally five seconds is I have inverted my chords, moved the notes around so that now I've got the same chord progression so it doesn't sound out of sync or anything. Sounds weird. I could still use the same pattern that I was using for my pad from before. But now, if I arpeggio hate this, it will sound like the call to going up. You can see that it sounds like it's going up instead, we're going to stick with this, But what we're gonna do is we're going to try playing around with the pattern that we've got in the LPGA later on. To do this, I am going to try using a couple of these The's, by the way, default presets that come with the AARP agitated with FL Studio specifically designed for transit. If you if you design trance, you're producing trance urine. Massive luck. I like this pattern already. So I'm gonna click, accept on. I'm going to go back to my playlist here on. I'm gonna make sure that my trance lead is rooted three to Amec's attraction. I'm gonna bring up the volumes. I can hear this in particular. We're going to copy and paste that. And now what we're going to do is automate the filter. And this is where the fun really begins. This is where you really start to hear it sound like a trance track. We'll go back to the channel rack. Open up our spire. Plug in on this cut off. Here is where you start to really hear it come into its own. Listen to this. You can see where we're going with this already. So what we do in order to automate this is this is very simple. We tweak this on you can use a very clever tool. NFL studio. When you're using third party plug ins, you can't just right click on a dialogue and then click on Create Automation Clip like you can with software that is that comes with FL Studio. So way to get around this is to tweak the dial that you wish to automate. Go up to tools. Last tweaked down here. So tools last week, and you can see that the name of the dial that I was tweaking Envelope three amount one. I'm changing. The cut off amount comes up here and you can see that it's full, this particular plugging because it says trance lead. I just click on Create Automation Clip. Now you can see that what it's done is it's created the automation clip for the entire length of the track, which I don't want. I want to keep the starting point at this point, but I'm gonna have it come up to full whack over 16 bars, something the shortness to 16 bars, and I'm just going to click and drag this over and put this here. Let's have a listen to this. - We're basically they're ready. We've got the drop coming up in the next few videos. Let's take a look at that next 21. How to Trance - Building the Drop: in the last video, we looked embellishing that build up on We've created the snares and the trance lead coming up to the drop, and we're now going to create the drop. So what we're going to do is we're going to scroll over to the start of our song right here . We're going to use the control and shift or just the control keys, click and drag over our first click sound, and we're going to drag over and include all the kicks, the collapse and the high hat patterns that were making were then also, by holding the shift key going to select our crash and our white noise on we're gonna hit control C. We're gonna move over to our drop section leavin press Control V, and we're just gonna move this and slot this into place. Now, the reason why we're doing this is because we want to use in terms of the drop we're quite happy with using the kick drum that collapse the high hat. All of those effects or we're now going to be changing is the base. So what we want to do is we want to continue our translate pattern that we started creating in the build up. But we now want the baseline to emulate. This is well, so for the time being, although we're gonna play around with the pattern of the translated shortly, we're going to draw in the trance lead for the drop as well. And we're just gonna play this back from this point, just that we can start to hear what the Trans lead is going to sound like with the rest of the track so you can hear the basics already coming in here. And if we play from this point so you can see in which direction we're trying to go here. So what we're going to do now is we're going to use our baseline. So we're going to select a lot three bases that we've been currently using the sub mid and high base, and we're gonna hit control C on. We're gonna move back over to the drop here, and we're gonna hit Control V. And what we're going to now do is we're gonna make each of these patterns unique because then what that allows us to do is then change each of these clips to follow what we were doing here. Now we want to follow the chord sequence. So the root note in each of these patterns is E f sharp g. And then I What you generally want the base to do is follow the lowest of these three notes that being played. So in this case, theme Baseline is gonna be emulating this bit. So when we go back to the baseline, what we're gonna do is we're gonna hit control C. We're gonna hold the control buttons. Select everything. Hit control. C hit Control V on. We're going to change this now for each of these bars, so e f sharp g. Hi on. We're going to do this now for each of our base patterns. So we're gonna do the same thing here. I always just zoom in like I mentioned in previous videos because I can then copy it straight into place without having to move it around like, you know, left and right. So I find that a lot easier. But obviously, you know, everyone will have their own way of doing things. Onda. What I've just realised is I'm actually copying all of this end, uh, for too short of a time. So what we're actually going to do is we're actually going to extend this now. We could use the arrow key here. However, the issue you'll find with this is that on notes themselves will actually be too long. So we don't want to do this because that's a common mistake that people make. So what we actually want to do there isn't really an easy way to do this. Unfortunately, we're just going to have to extend the gap between each sequence. We're gonna have to go, go back, Teoh each of the basis and do that going have to control sea control. Very So we've now got it for the right amount of time. As you can see here with the high base, we're going to do the same thing now with the mid base. Make sure that these air in the right spot, maybe they save as well se three For now, we're just going to select all of them that control C control, very click and drag him into place or even out. Got the right length of our melody. So we've done there that the high in the mid we just need to do a sub now, so we can just do that by doing exactly the same thing. It is tedious. There's probably a quick a way of doing this is well, actually from being brutally honest, but this is the way that I do it. So obviously you do this in whatever way you wish, But you get the idea. We've now got these. We can now click on this to select the pattern, click and drag in using the pencil tool. We've now got the very basics of our drop. Let's listen back to it now, Theo, we're getting there already. What we want to do, though, is we also want to have the pant in the background as well. So we're going to draw those parents in on something that's really important to do as well . Where, especially in the drop, is you want to have everything site chained, especially the base, because those are, you know, working in tandem with the kick. But you might also want to play around with having your transom pad sounds being side chained as well. Now there's a couple way of doing this. We could either group them all together like we've done with the high hats and like we've done with the base. And actually, whilst we're here, I'm just going to change these colors. So there are a lot more obvious to me when I'm selecting them both up here and down there. Purple blue. Or we could process them individually. I want to have control over each of them individually, so I'm going to do them individually. We're gonna have to translate here. We're gonna select our kick, go down to our bottom arrow here. Right click on do side chain to this track. That means that now, if we go into our fruity limiter and select the compression tab, we can select side chain one and bring down our threshold and slightly increase our ratio so that when we play this back, you'll see the audio being ducked. Theo, you can see that happening here. We might actually want to increase this a little bit for the effect. And I think we're going to do the same thing for the Pats. We're going to create a new instance. The free T limiter here is Well, we're gonna make sure kick is selected. Go across the mixed track. 19 Where are pad is right. Click quick on side chain to this track and go back to the fruity limiter. Go across the compression tab. Pick on this. Move this all way down and increase the ratio. We should have the same thing happening now if we go back to the drop and play that back. So there we go. We've got the basics of the drop down. Now we're gonna look at embellishing a little bit more. We're going to play around with the build up a little bit more in the next video as well. Let's take a look at that now. 22. How to Trance - Fleshing out the Drop and Buildup: in the last video, we created the drop. We're now going to have a look, it embellishing it a little bit mawr and playing around with the buildup. So there's just a couple of things that I wanted to do with this. First of all, what we're going to do is create a filter for our wine sound that gradually sweeps up during the buildup. That's just going to create more of an emphasis on it, have it coming in from the background and then coming in, because at the moment we've got quite a sudden transition from up right down to our build up. If you just listen to this so this quite a dramatic change. What we're going to do instead is goto our mix a track. We're going to go and find our wine. We're going to increase or rather introduce into an empty slot, a fruity free filter. We're going to bring down just a couple of these settings as well the key setting cause we don't particularly want not to be too loud. Turn the frequency cut off upto a maximum click on Create automation clip, and we're going to bring these notes here down I'm gonna write care, Make those zero on. What I'm going to do is I'm going to left. Click right Click on this icon. Click on, Make Unique. I'm gonna left click and have this slowly filter up from nothing. So hopefully you can see that. Now, the idea is that we're getting much more of a gradual build up rather than a sudden transition. That's really important. Now let's just take a look at the drop. One thing that we want to do is fill this out a bit more because at the moment it still sounds a little bit empty. So what we're gonna do is we're going to right, Click on trance lead, click on, make Unique. We're gonna left click on this and right click on this and replace it with translate number two on. What we're gonna do is select all of this control and copy, and we're going to shift it down an octave and shift over to the leg. So we're emulating the same thing across two octaves. Let's just listen to that. The issue is that we're having a lot of the frequencies clash with the base, so it might be that we want to look out, for instance, filtering those out, all potentially replacing them with an entirely new instrument. What we're also going to do is we're going to just add a couple more sound effects here. So we're going to use this sweet down that we were using in our breakdown before we're gonna pace that and there to create more of an impact, we're gonna try using the impact sound effect we were using before as well, just to see what that sounds like. You want to be careful with doing this, though, because you can end up reducing the impact of your baseline by increasing too many low frequency sounds. So particularly, we just listen to this from the buildup, Theo, you might end up clashing. And in fact, I think I'm gonna make the choice to right. Click on this and a liter. What we're now going to be looking at in the next video is introducing some or instruments into the drop so we can fill it out even more 23. How to Trance - Creating a Backing Lead: in the previous video, we looked at just embellishing the drop a little bit more, and now I just want to run three. Review some of the changes that I've made since the last video. So the most important thing that I have done is I have left the original trance leaders it waas but introduced a new second lead. Let's just have a listen to what this sounds like now, - so you've now got a really good idea of what it sounds like. So what is that second lead sound? Well, it sounds like this Theo on It's absolutely fantastic for adding just a bit of background because it makes a really big difference to the main drop in the power of the drop if it's their versus not being there, which you can him by being just amusing it. So what is that? Secondly doing? Well, it's essentially embellishing on reinforcing the mate, the main sound. So what you're hearing is essentially the reason why this lead is so effective is because the release phase of that sound so the ending off it sounds very big, very wide, and the river is particularly particularly white, and that is the quality of the sound that we might then want to work on when we look at the effects on the right hand side. So first of all, what was the preset while the preset waas from spyer and it's the S y resends for Stint are black dots from what we're gonna do is we're gonna play around with some of the reverb in order to make it a little bit bigger. So we're gonna first of all, try and increase the plate reverb that we have that comes by default with this on. What we're actually going to try and do is also see if we can introduce and third party reverb as well. So we're gonna click on an empty slot, go down to classic reverb, and we're going to choose the big on bright preset. Let's just see what that sounds like with that on and that off. So what you can straight away here is that it makes it disappear a lot more into the mix. But is that the effect that we're trying to go for, or do we actually want to keep it sort of to the foreground? And in this case, I'm actually deciding that it's actually gonna be better. If we don't have it, we're gonna delete and get rid of it. We want to bring it more into the background. We can just reduce the volume that something important to note When you introduce reverb, it muddies your mix every time, and you really only want to do it when you've got so low sounds Andi that need widening, that sound very isolated on their own. This sound already sounds like it's taken place within a room. It's already got reverb applied to it on. Just adding more is just going to muddy the mix. So we're going to get rid of them. We're gonna keep it as it is, a couple of the other changes that I made since the last video just to run through them with you, I added to sweep up that we were using for before. Just before the drop. I also added a reverse crashing an impact before the buildup, and I also played around just with the volume and the mixing off some of the other sounds as well. So the kick, for instance, the clap in the high hat I bought up into the foreground a bit more because your drum and your base, the sub base, something else. I increased need to sit in the center of the mix. We are at risk off, um, basically delving into basically slowly, just fading all of the mix of favors up, which is kind of court nudging, nudging the volume. And it's basically where you end up increasing the volume of one element and then increasing the volume of the other to counter pro counteracted. Before long, you've run out ahead Froome. So all every so often something that I like to do is hold the control key, select all of my sounds on, then reduce the volume of all of them so that I make sure just a little bit just that make sure that I'm no increasing my head room so something we can check using our master peak meter here. So if we actually play back that drop, we want to make sure this a Peking really in no more than about minus six minus nine decibels Theme Still a little bit loud, so I'm gonna actually reduce the volume a little bit more. We really don't want it to peak any more than that because I could say other ways, way run that risk. So those are the things that I've added In the next video, we'll be taking a look at adding the second breakdown from our drop. 24. How to Trance - The Second Breakdown: in the previous video, we looked at just a couple of the changes that I made some of the really big ones, such as adding in that second lead. Now what we're going to do is introduce our second breakdown. So I'm literally going to create a new market, and I'm gonna try to hear second breakdown. What we're gonna do is we're going to click and copy off White noise and our crash into this section, and we're going to introduce our sweep down on our impact sound because that's something that's going to happen immediately on. What we're gonna do is we're going to keep on playing, are translated. We're gonna play it as it is, and we're gonna play along with its backer as well. But we get there, then fade both of these outs. We're going to grab the automation clip. First of all that we use from the translate from before, right click make unique on. We're gonna gradually fade this out over time as well. So this is this is really important. And we're gonna do this over the I think actually we're going to do is over just the eight bars we want this to be fairly quick. So let's just see what that sounds like. So you can see that our first translate is disappearing, but our second lead is still quite sort of solidly in the next. So what we might want to do is double click on this click on pattern, and we're gonna play around with some of the on board fade er's just to play around with on DSI If we can create an effective that slowly disappearing into the background as well. I like this cut off. So we're going to do that. We're going to create an automation come from that by tweaking it going to tools. Last tweet, create automation clip. I'm going to go back into our playlist by pressing f five. We're going to right click here to make a new node. We're gonna delete the old one from here by right clicking a pressing delete. So the alternation clip is only this long with its still selected, we're gonna paint in here we're going to right click on Click on, Make Unique. And what we're gonna do is we're then going to bring this down as well. So we get the same sort of effect is what we're achieving here. And we're going to do this quite dramatically. Let's just have a listen. We're gonna make this a bit more extreme in both cases on what we're going to do at the same time is reintroduced the pluck that we had going on before. So this is how you do transitions. You essentially want to fade out elements that you got from before while increasing the elements that you had previously. We're gonna nick our frequency cut off that we were using before paste this in here dio make unique. And we're going to bring this up now because obviously before it, Waas faded out. So we're now I'm just right clicking on making sure these notes are correct. Let's see what this sounds like is we bring it in from the full ground. Theo, Theo and it's returned to the foreground. We will probably have the pad being played in the background as well as that's quite a useful sort of backup. Let's listen to that way, and we're ready to go into our second buildup on what we're going to do with this. We're probably going to emulate something that we have going on here as well, So you can see that here. We've got an eight bar broke down, similar to what we had going on here. So if I select this on the screens, that's clearer. Here we had an eight bar break down here. We had an eight bar break down on. Then here we had our A bar sort. Of course. Well, verse, if you like on then another 16 bar sor sorry verse and then a 16 bar buildup. We're probably going to do the same sort of thing here. Once we get to this point what you'll see if I If I just paste in something here so we can increase the length of the overall song. You'll see the ones we do something like that. We're going to start getting up to this sort of 3.5 minute mark. Once we have our next drop, we're going to extend that because we're gonna have a refrain which basically is the same thing. Is the drop just extended, which then just creates a bit of interest, and then we're gonna have another minute break down. Similar to what we had is we have a 32 bar intro on. We're probably going to emulate that here as well. By the time we finish, we are probably going to be rather solidly. I just come out of this. We are probably going to be rather solidly around the sort of five or six minute mark, which is this be kind of length that you would expect for a trance tracks. So just bear in mind that sort of the length that we're gonna end up for Let's take a look at editing this second build up in the next video. 25. How to Trance - The Second Buildup: So in the previous video, we looked at our second breakdown, and now we're looking at our second build up. The first thing that I'm going to be doing is creating a market here typing second buildup . So what do we do when we're differing between the second build up in the first? Well, one important difference is to create interest. So we're going toe emulate what we had here, but not copy it exactly. We want to create something that's a little bit different. So I'm going to use the piano sound. We're still going to be using the piano because it worked very well. But we're now going to be creating a slightly different pattern even though we want to retain the use of the same chords by using the pad as we did before. So I'm going to right click on this and make this unique. And what I'm now going to do is play around with this and see if I can create a slightly different piano melody. So I'm going to get rid of all of this and let's see what we can create here on to do this . I'm gonna play it back with pad second, really hear what's going on? I'm using my knowledge, of course here as well. So I'm liking this melody. And the reason why is because it gives a sense of the build up straightaway even though we've only moved over to court progressions actually works quite well. And I'm going to copy and paste the same thing and just see how that works over in a balloon. What we're doing very well here is setting ourselves up for a really big build up. So this particular second buildup, we're actually going to start this snares sort of around him. We're gonna have a much darker sound. What I like to do with the drop is I like to do one of two things I like to either retain the same drop and then create a refrain like I mentioned in the previous video where we then just change one or two things or I like to create something that's completely different. That's sort of like the, um, like the club based drop, so you'll have the melodic drop, which forms the melodic nature of the song on. Then combine that with a more club banger based drop, which is often one no repeated sort of think side trance or something like that. Maybe that's something that will incorporate into this. Remember that this is a creative process and my ideas for the track will change as we go along. You're just sort of watching along as I recall, the videos that you can see the creative process is it's happening. I like what we've got here already. I'm going Teoh keep emulating the plucks in the background, but then filter them out over this period. So I'm actually going to create this frequency plot can. I'm gonna extend it by right clicking crazy and OD and I just want to see what this sounds like a thief. What we're gonna do is create something really interesting here where we then have a very big cooled from the piano right at the end, which then sets us up for the next buildup. So we're finishing on this note, we're then gonna lead up to a very large minor e chord which is actually going to take place over several operatives like this. So I also added in a couple of sound effects whilst we're going as well because I thought that those were gonna be suitable. But I'm also going to copy and paste in our high. Uh, no, I had Sorry. Are Cymbal crashing? Are white noise. You can see that We've now got this thes Cymbal crashes and white noise going on for most of the track. I like where this is going. We're now going to be looking at how we embellish this a little bit more in the next video . 26. How to Trance - Fleshing out the Second Buildup: in the last video, we looked at creating the second build up, and we were just editing that a bit mawr. Now, what we're going to be looking at is creating the snare build up to the second and final drop before we then re create the out TRO, which will be a fairly quick process. What we're gonna do is where first of all, like I said before, we're going to actually make this buildup particularly quick because you want to get up to the drop again very quickly. So I've popped in another snare buildup, which I just did by clicking on the snares over here on drawing them in here. We're gonna have our second drop occurring here on. We're gonna have this occurring for 16 bars like it did originally. So that will take us up to this point. But then we're gonna have a refrain which will probably last for about another eight bars on what that will do. That will take us up to about the four minute mark before we have our altro, which will probably about here on DWI will have that going on for about 32 bars which will take us up to probably about I just accept this to make this is long as possible will probably be looking at the track, finishing with all of the noise and everything tailing off so reverb and so forth. You have to account for that will probably be looking at about this point. So we're gonna be looking at about a five minute track. So we've got our snow buildup here. We're going to copy and paste in Just the white noise that we were using here. We've already got Cymbal crash. So just pasting that in their Andi we're gonna use the wine that we were using from before as well. But what we're gonna do is we're going to right click on it, click on make Unique double click on it to go into the piano, Roll control left, click and select on. We're gonna short in this on Harv it on. That means that we're now gonna have the wine be the correct amount of time for this build up so we'll get a result. That sounds something like this going from the second gold up. Now what we're gonna aim toe have here we're going to make this a little bit different to what we had before. We're actually going to create a sound which get pitched up as it gets played back. Then we're gonna look at that in the next video. 27. How to Trance - Creating a Pitched Whine Sound: in this video, we're going to create the pitch sound that will form the basis off our second build up and separated out from our first. What I've done is I have created a new instance of spire and I've chosen this particular preset here the L. D. In 1987 which gives us this sort of sound on what I've done is I've clicked on this button here, detailed settings. What this allows you to do and this is really important is it allows you to modulate the pitch off any third party plug in. So what we can do is we can go up to this thing part of the window. Here we can select three the range that we wanted to be a So in this case, it could be up to 12 semi tones on then moving this wheel as we play. This sound will then pitch the sound up up to the 12 semi tent and you can see that as we do that it also moves the pitch wheel on this section as well. Now we just set back to zero again. Sorry. So what we're gonna do is we've also created a pattern here called pitch sound. I've already drawn this into the playlist on We're going to go into our piano roll and we're going to draw on E note and we're going to create a pattern from it's similar to something like that where we're creating a rhythm. I'm gonna hold down shift so that I can draw this as long as I want, like, have done before. And I'm just gonna create a pattern here. And this is what we're going to pitch up and we will get an effect that sounds something like this thing. Let me just make this sound louder so that you can really hear the effect as it's happening . Theme. One final thing that we need to do inspire is we have to set the pitch range that we can change this by. So what we're going to do is we're going to change this two plus 12 on this too. Actually, no, Sorry, we're going to set that too. Now. What will keep actually will keep it that way is for the moment by double clicking on it and what we then need to do is change the amount they can then be pitched by. So then what we do is we go down to this section here and we want to change this to 12. And this to 12. And what this is setting here is actually the amount that week in the number of cemeteries , we can pitch up on the number seven times we can pitch down, which you can hear now by us doing this on. In fact, what we might actually do is double that to 24. 24. Now, what we can do is we can move this change this range to 24. We can now really modulate this quite substantially. So we're going to right click on this click on Create Automation clip. And with this pitch sound, I'm just going to set it at 50% for the time being, that's what its default setting is going to be on here. I'm going to left click right Click on it. You can make unique. I'm gonna drag this up and I'm gonna just right click on that to reset that back to zero and we will get this effect way and then we'll create our second drop. And let's look at that in the next video 28. How to Trance - The Second Drop: In the last video, we created our pitched sound riser that we were using in our second buildup. Now what we're going to do is create our second drop. Now, weaken. Do the bulk of this where the drums like we did for the first drop by copying pasting from the intro, we can now copy and paste from the drop by holding the control key. Left clicking, dragging over hitting control. See, moving over here. Hitting control V on. We can just drag this into place. So this is correct. Remember, our refrain is going to go here, which I'm just going to add in very quickly now on What we're going to do is we're going to change our baseline so that it sounds a little harder, a little fatter, Onda much more suitable for a club drop. So what we're going to do is we're gonna scroll over to our basis, actually all way over to the intro because we've already got these ready at their original root note on. We're going to copy and paste all of these along with the D X base one we're gonna do control. See Andi, move up back over here. and do control be, and this is going to form the basis of our second drop. But what we're gonna do is just make it a little bit more interesting for the time being. What we have got from our second buildup is this event, Theo. Now, the point of this is that it's going to sound a lot harder. Will then also have a final sweeper up to the Outro, which then kind of keeps the pace up. But because thesis sounds are mostly going to be monotonous and just keep to the root key that will make it a lot smoother is the transition to rather than transitioning from a melody like we had in the first drop to just a static no being played, we're going to keep that idea all the way through to the outro. We're gonna control seeing control VR base across here for the second half off. The second drop as well on what we're gonna use is we're going to create a variant of the pitch sound, which is going to perform sort of our hard electro lead for the second drop. We're going to use this for the time being, but probably replace it with another sound in a later video. What we're gonna do is keep that at its new pitch and then just play that back. Let's just see what that sounds like. We just draw that in for the 1st 4 bars away bars, I should say on what I think we will probably do here is actually edit this riser by right clicking here and pitch it away, back down. And we're gonna edit this pattern left, click drag. We will probably keep something like this, but eventually replace it with a different sound because, as you can probably hear, is severely clashing with our base theme. Only thing that I can think of doing at this point is to perhaps mute out of sub base and just see what that sounds like with just this. And you see, that could actually sound very interesting if we were to increase the release values of some of these notes. If we go back to our spire plug in here, you can actually see where our releases are. The end here. We might actually look at doing this springing these up and seeing what the effect of that is. in the base theme. I think we could very well end up sticking with this. What I'm going to do instead is I'm going to select the paintbrush. I've made this particular pitch sound unique. I'm gonna hold right click on delete all of this out on. I'm going to double click on this on. We're going to change this so that it's more based friendly. By which I mean, we're going to change these notes so that their only on the off beat Now you can hear that being very high pitched because in the playlist, our transport mark was currently at this point, which is where the channel pictures, actually its highest. So if I wanted to actually see where it's going to sound like if I move that to there on double click on this And now press on the key, I now get my bass sound I'm after. So what we're gonna do is we're going to do something like this. So the reason why I'm doing what I'm doing is because I don't want this particular instrument to clash with the kick drum, which is a very important is to see what this sounds like we extend these. I'm holding control and shift and selecting all of these notes and holding Olt to just short on them. - It could be something that we can work with. It might be that we end up changing the picture. We might end up using a different preset. We don't know. Let's have a look at that in the next video. 29. How to Trance - The Refrain: in the next few videos, we're going to be looking at finishing the structure off the song so that we have our basic template out on then will be. What will be looking after that is will be looking at doing the final mix down of the track on also how we go about mastering it. Also, be adding any finishing touches that we need because they will still be some bits that we need to tidy up. And we'll also look at how you can then end up, actually upload in your track how to go about doing their streaming services that you can use and you'll actually be able to find at this particular song on all streaming services as well by the time you get round to viewing this part of the course. So let's begin. We created our second drop in the last couple of videos on. What we're gonna do now is we're actually just gonna create a bit of a build up towards the final reframe, which is where we really have a bit of mawr of, ah, a sort of link between the end of the second drop to the Outro. So what I'm gonna First of all do is I'm gonna pitch up this leads sound that we've been using for this section. So I'm literally just going to copy and paste the pitch that we were using before on That's gonna sound something like this and we'll have a final and sort of refrain in this section as well. So we've got the crash indeed. White noise. We're going to copy and paste this stuff here. So the drums, the wind noise, all of that good stuff into the refrain. Andi, I'm going to experiment here like I've said before, so much music production is experimentation. I might end up just having the kicks completely empty for the final section before we then go into the altro eso I'm thinking that we'll probably keep our bases as well. Maybe even just get rid of the kicks completely. I'm not sure. Let's just have a listen to this. Now you see, what I'm thinking of doing is perhaps instead having our pitch sound effects being pitched up in this section instead which I'm thinking actually might be a good idea on will create something that's more interesting for this section, perhaps for instance, I'm going to use the Mutual. I only have the high hat to come in for the second section. Let's just see what that sounds like from the beginning off the second build up of the Theo . So I've had an idea. Why I'm actually going to do is I'm going to take this automation clip. I'm going to right, click on it and click on Make Unique on. I'm actually going to spread that out over this whole section here instead, I think that's going to work a lot better. So now what we're going to do in the next video is we're going to create our altro, which is basically will be, will be using the template of the intro but gradually fading everything else. Let's look at that now. 30. How to Trance - Finishing off with the Outro: So in the previous video, we looked at extending out that second drop in the reframe. And now we're going to create the Outro. And to do this, we're going to use the basis off the intro that we've got here. We're going to control on Click on our first section all the way through to our full 32 bars. We're going to copy a lot of this. We're just gonna hit control C. We're gonna scroll over here, and we're gonna hit Control V. And you can see that as we paste this in Were coming in somewhere to where we were expecting to finish. We're expecting to finish sort of around the five minute mark. So what we're gonna have here's will have one final buildup. Onda. We will have a crash. Well, then, just finish out will probably get rid of our kicks as well, which I've just realised, having copied over because I didn't go quite to the top. Um, common mistake that I make. So let's do that on. Then we're going to just copy control C control. The section is basically when we get to the end off the outro, we'll get something that will sound a little bit like this, but we're not gonna have all of those plucks or any of that going on because we're gonna be filtering those out. In fact, those will probably completely finished around this section here. I'm actually going to meet them for the time being on. We're gonna grab our filter where we were filtering them up before. So you can see here, we've got a free filter plug. We're gonna left click on that. And instead of filtering it on bringing the low passed up, we're going to go down. So we're gonna right click, make unique. We're gonna bring this node up. Bring this no down, and we will get these plucks gradually fade out Now, what we want to do because we weren't playing them before In the second drop, we are going to bring them in. Just said it doesn't appear like they've come out of nowhere because otherwise we'll get something. It will sound like this and it does kind of sound like they've just appeared out of nowhere . We don't want to bring too much attention to them, but the same time we don't want them to just appear out of nowhere because that is bringing attention to them. So we're going to create this automation clip again, right? Click, make unique. And we're going to just bring it up like this so that we have it appearing in and then fading out. So something like that on then what we're going to do is we're going to do the same, but we're going to do it with the bass frequencies. They're coming over here. You remember we were using a high pass filter, only letting through the high pass frequencies until this point here, when we then bought them all the way back down to zero. So what we're going to do is we're gonna left click on this. We're gonna bring this all the way over here, and we're going to do the exact opposite. So right, click on instead of starting at this point, we're actually gonna just remember this value because we thought it really worked quite well. So I right clicked on the note and clicked on copy value. I'm gonna left click on this and bring this down. We're gonna bring this probably to about here, which is when will then really ramp it up. We're gonna just pace that and we're going to completely faith this out. By the time we get to sort of this point, let's just listen to that. - So what we're doing right at the end of the outro is were literally playing Nothing except drums. Really important, because what that enables a deejay to do when they're mixing in your song with other trance tracks is they can start bringing in the new melody elements of the new track. What you what you you'll find if you're if you are a deejay, or if it's something that you have experimented with doing is that you often like to bring in the melodic elements of the new track rather than having the melodic elements of the old track still being retained. So in the intro, you're bringing melodic elements a lot more quickly. You can see that we started doing that instantly within the 1st 16 bars, but within the last 16 bars of the Outro, you wanted to be his bare bones as possible so that the deejay can use your track elements from your from the song that they're mixing out off. In this case, your track on. They can use them a lot of elements of the track they're mixing into by the time you get to the Outro as well. Anyway, most people will start skipping your song because they know what what's happening and now just end up moving on to your next song. So it's not something you know you want. You want to make it structurally and you know structurally intact and something that that's well finished. But also, your intro is a lot more important. Always get your intro right, because that's what leads into your track. And by the time even with a D. J, they're fading out of your outro. Listener is already listening to what's being faded in there. Going are OK, I can hear this new track being mixed in on their concentrating on that rather than your old tracks of the Outro is always a lot more bear again. There are no hard and fast rules if you want to put a lot of elements in unsure. However, this is just my advice, and if you put melodic elements in store in your outro, you're gonna be clashing a lot with whatever track comes next and D. J all funded a lot harder to mix amusing, so don't bother. So this is what you're what? You're what you'll tend to find. We are now at the point where we have finished the basic structure of our track. In the next few videos, we're going to look at a adding in any missing element, be mixing and mastering on, then see uploading your track to streaming services. And I'll just show you some popular websites you can use for doing that on also how you go about doing it and as ah, you know, Aziz proof that this song is there and ready to go, it will be on streaming services. So we have literally created a song from start to finish. But you can see in front of you, which will now be able to hear anywhere. So let's have a look at finishing off in the next video 31. How to Trance - Mixing Part 1: So in the last video, we had finished the basic structure off the song. And now what I'm going to show you are just some of the changes that I have made. Andi added just a few final flourishes since we last looked at it now rather than recording as I did this, because it took quite a long time to quite a few hours to finally put together a love this I have decided to just show you what I have made on the changes I've made since the last video, just in one video to make the whole process quicker. Because otherwise you would have seen a lot of experimentation, a lot of things changing, and it would have been hard to explain. So let's just have a look at that now. So, first of all, I have introduced a couple off sweep sweep sound effects so you can hear these here in the build up of the end of the intro. Theo. Other thing that I did was I also created a new instance off Spire on created this pattern here, which you can see court driver. And this, basically is this sound very sort of trance sounding, and I've got that basically playing from the intro to create interest. Remember, you're always trying to create interest even in the intro where you're just looping things over and over again. Onda At this point, I then start pitching it up. So I created an automation clip to them. Pitch that up throughout the buildup. So from here, you can hear it is normal. And then from here, you can hear it start to being pitched up on. I've got the same thing happening over here as well. At the end of the refrain going into the altro, I've used those same sound effects that sweep up in the sweep down in the Outro as well. I've done a couple of other things with the automation clips, which I mentioned briefly at the end of the last video. I've just sort of finalized that a little bit more snares. So one thing I've done what the snares is, I have stuck on a fruity reverb and increased it, and I also put on a parametric EQ key to where I boosted it around the 500 hurt point. Still not 100% sure whether I'm going to stick with that or not, but that's why I've done for the time being other things that I have done. I have also introduced a new sound called The Impact, too, which is another impact sound effect. And I did this just for around the piano, so if I just play this, you'll be able to hear this. I've also got a new reverse crash as well. Thea Other thing I did with the piano is I actually increased the volume of it quite a bit . I added a fruity delay to with these settings, and I also added a multi band compressor with these settings. That's just something else that I did as well on in terms off just a couple of other smaller cosmetic changes that I made. I again changed around some sound effects here. What else did I do? Let's have a quick look. One other really important thing, which I did. I automated the master volumes of what you can see here is you can see the volume of this track gradually decrease in the buildup to the drop. The effect this gives you when the drop actually hits is that it's much bigger and sounds a lot wider in the in the user's headphones. So what I'll do is I'll play this back and you'll see this fader here actually changing and going down as well. To make this That makes it seem much bigger when the music does actually hit. You don't want to, you know, make this too dramatic because you don't want to make it obvious to the listener that you're reducing the volume. You want to do it subtly. But the effect of that is that when you have a son increase in volume, it's noticeable on becomes a lot more hard hitting. This is a very popular technique that's being popularized by a lot of big name E G M producers as well. So it's something that I would, you know, pay attention to. One other thing. Here is where you can see an automation clip called limiter for driver on. Basically what I did Waas. I originally actually had three the driver sound which I had created A to this point basically being, um, reduced in volume. But it actually set it up well for for this point anyway, which is when I reuse it again for pitching it up on the final big change that I made was I replaced our sound effect in the drop eso instead of using the pitch bends sound effect that I was using. I've now used the driver as the main sound. Let's just listen from the second door up to the drop. - So one other big thing that I introduced us well waas this drum fill sample here which he had a couple of times whilst I was just playing that back. I've used that not only here but also in the intro as well. At this point, just round here on that just basically again creates a little bit of difference in the main drum loop again. Just create a little bit of interest for the listener. We are basically there now, with the entire track in the next video, we're just gonna be looking at some basic mixing on. Then we'll be having a look at the mastering 32. How to Trance - Mixing Part 2: So in the previous video, we were just going over the final flourishes. The final changes that I made to the track since we last looked at it. And now we're just gonna have a look at the mixing now, the way the idea music production means that I often mix as I go. But what we're now going to be looking at doing now that we've finished the track, is we're gonna be preparing the track on mixing it down, ready for mastering so one key thing. But I like to do with this. Yes, I used a plug in here that's basically measures the loudness of your track. It's called the You Lean Loudness Meter. Now what this does is it measures using this L U f s or laughs? Have your lights to pronounce it method on. Basically, what you want to do is you want to make sure that the the the loudness of your track is low enough so that when we then actually come up to mastering it, we've got plenty of head room. You don't don't just want to pay attention to this. In fact, this is actually more important when it comes to mastering. You actually want to pay attention to the peak meter on your master output. So when we're playing this back, we're peeking around the minus six, minus nine level. What we probably want to do is give ourselves a little bit more headroom in the way that we're going to do that is gonna hold control. So what I've just done is hold the control button left, click and dragged across all of these mix attracts on. I'm just going to basically fade the sliders down just a little bit. And that basically means that everything gets reduced relative to each other. It's not perfect. Sometimes as a result of doing that, you sometimes get sounds that end up popping out. So when I do this, I then playback the track to make sure all my relative levels then match up against each other. So one thing that I want to make sure is that my kick drum is particularly prominent. This is actually one other change that I have made since the last video is I have introduced in e que on basically just boosted the EQ use in a couple of positions. Um, for for this particular sample just really make it pop out. So I want to kick to pop out. I want the klepto pop out was, well, I've introduced a high band Sorry, multi brand compressive of that with using the preset. I think it was the bright preset that I used on Dive also boosted this as well a little bit using the Parametric eq you at the 1200 hurt mark. So we're making sure that those stand out with making sure that our basis stand out as well . In order to do that, I've also done a little bit of a hearing on the sub Baesa's Well, I've reduced these frequencies here because thes of frequencies, the often muddy your mix. So that's really important definitely suggest doing that on ive also reduced the high frequencies or their high frequencies don't take up much head room. It's worth getting rid of them anyway, because this particular sound isn't doing anything to those particular frequencies, and there's no point keeping anything there, so just get rid of it as you've got your mid base in your high based taking up that particular area instead, we're gonna play this back now and we're just gonna keep an eye on our levels whilst also making sure that our levels are where we want them to be. We're gonna play through the whole track now, and we're gonna keep an eye on everything. So one thing I would just say whilst we're playing this back is we're getting levels peeking a bit too high here. So one thing Teoh, add now that we're just about halfway through the track, I've just paused it cause I've noticed a couple of major issues. So first of all, we are peeking far too high. We're currently peaking at the minus three mark. Unless you're gonna click all of my favors and I'm going to bring them back down a little bit more. Andi, we're gonna have to play through this. The mixing process is like this and it takes a long time. You'll find yourself constantly doing this constantly, really reevaluating things, but you've got to get it as good as you can before you go to the mastering stage. So it's really important that this is something that you get right. We're going to keep on doing this. I'm going to keep on playing around with these mixed levels and in the next video. Now, once we've got them right, I'll run me through what I've actually done, and then we'll take a look at mastering.