FL Studio: Introduction to Beat Creation | Stephen Loader | Skillshare

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FL Studio: Introduction to Beat Creation

teacher avatar Stephen Loader, 10+ years producing

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

23 Lessons (1h 24m)
    • 1. Introduction

    • 2. How to Load your Samples

    • 3. Kicks and Snares Building the Beat

    • 4. Extending the Beat

    • 5. Changing the Riser

    • 6. Arranging the Track

    • 7. Adding Tambourines and Other Sounds

    • 8. Introducing Synths

    • 9. Creating a Pad

    • 10. The 808

    • 11. Introducing a Pluck

    • 12. High passing noise

    • 13. Creating more background sounds

    • 14. Creating the Whine Sound FX

    • 15. Building a Glittery Effect

    • 16. Case Study Beat Structures

    • 17. Arranging our Track

    • 18. Editing the bridges

    • 19. Gain Staging why is it important

    • 20. Adding in other effects

    • 21. Mixing your Track

    • 22. Mastering your Track

    • 23. Conclusion & Class Project

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About This Class

My other classes on SkillShare:

The Beginner's Guide to FL Studio 20

Musical Theory for Dance Music Production

How to Create a Trance Track in FL Studio

Welcome to my newest class for FL Studio 20. Here we'll be learning about how to use FL Studio to create a basic beat.

In this class you will learn how to

  • Arrange a basic hip-hop drum loop
  • Chorus, Verse, Intro and Outro song arrangements
  • Synth sound selection
  • EQ high passing
  • Mixing/Mastering your track
  • And much more

It is highly encouraged that you watch my other classes here on Skillshare so that you have a basic understanding of how to use the interface. In fact some of my videos will specifically refer to elements within those classes, so it is highly recommended.

Below is what your project will look like upon finishing the class:


We'll also look at some of the most common examples of sounds used in modern beats today, from 808s to kicks to snares. For instance we'll look at one of FL Studio's latest plugins, FLEX, and look at how we can use it to create a variety of different 808 bass sounds, like you can see below:


Just like with all my other classes, I am active on the platform, and you can ask me any questions or leave any comments that you like!

Let's get started!

Meet Your Teacher

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Stephen Loader

10+ years producing


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1. Introduction: hello and welcome to this course on creating a basic hip hop beat. Using FL studio, we'll start the course by choosing our BPM and deciding what we want the track to sound like before moving on to arranging it. Nothing is held back here. We start from an empty window, like the one you see in front of you before creating the track in its entirety. From start to finish, you get to see exactly how it is made will cover everything from where to download your samples. Sound selection adding effects on since sounds. We'll talk about some of the most popular sounds in use today and give examples of these and how you can use them in your own tracks. We'll also look at how to mix and master your track so you can get it ready to publish online. We'll also look at where you can publish online, such as the best places to publish your beats as well is how to promote them. By the end of this course, you'll have learned how to create an entire track from start to finish. Let's get started 2. How to Load your Samples: in the previous video, we looked at how to bring in your samples on. Now we're going to look actually creating the track. Now it's important to note that I am going to assume that you do have a basic knowledge of how to use FL Studio. If you don't, then I do have other courses on this platform which explain that in a lot more detail, I do encourage you to go and check those out. For the meantime, no, we're going to get started in the first of all, designing our basic beat. And to do that, we're going to use our drum samples now. I've already bought these into my browser. I open up my browser. I click on one of my samples folders here. I've got it underneath beats and drum one shots. Now the kind of track that we're going to be trying to make is a post Malone slash drake kind of track On the sample pack that I downloaded for this class as well is centered around that. So in a lot of sample packs you'll get multiple kicks, multiple collapse, multiple snares and so forth. But you can see that in this sample pack. It's actually fairly limited, so that actually makes our life easier because we don't have to actually go in audition the sounds. But if you wanted to go and do that, he literally just click on them like this. A simple is that what we're going to do is we're going to use FL Studio in a very specific way as well, which means that we're going to use each one of these playlist tracks as only for being for one particular sound. The great thing with FL Studios, because it's so flexible, you don't necessarily have to use it this way. I could, for instance, have multiple sounds occupying the same track. But for the sake of simplicity and to show you exactly what's going on in this track, I'm going to use each of these playlist tracks that you can see a track one track to track three separately. So what that means is, I'm going to drag each of these sounds onto its own track that has two benefits a each track will only occupy, or each sound will only occupy one track on the playlist, and it automatically will start linking sounds through to the mixer as well. So we're just going to start doing that now. And we want to create an instrument track. Well, you can see is now it's linked all of the playlist tracks. I've now got a new pattern clip that I can use for each of these on If I go to the mix a window, I've now got all of the's sounds preloaded in the mixer. It's left mix attracts 123 and four empty because if I go to my channel right, you'll see that we already had a few of these sounds by the phone. We're actually gonna get rid of these now by literally just right clicking, hitting delete in getting rid of all of these. There is also nothing to stop us from moving these around later on. If I want to click on this, hold down, shift on, then move my mouse wheel. I can do that and I can move all of the's up if I want to, in order to just speed up our work flow a little bit. Now, the way that we've imported these sounds into FL Studio means that we're going to be triggering these sounds using the piano role rather than having audio clips in the playlist . So, for instance, if I was to drag one of these, for instance, let's use a particularly obvious sound like a crash, not drag this in here, and I clicked on audio clip. What you do is you actually see the audio clip. Now that can be really useful. You know, if you're someone that likes to be able to see the sounds, then that's great. However, it can get really messy because you'll start seeing the tail of the sounds in the audio clip as well on. If you're playing back this track and you cut this off in order to make things Tidier, you actually end up losing the end part of the sound. Whereas if you trigger these within the piano roll, you can keep things a lot Tidier and not have that issue. So I really strongly recommend against doing this if you're starting, because it will make things more confusing for you, he can obviously feel free to go ahead and color these. If you want, you can click on the color and then color all of these if it makes it a little bit more obvious view and a bit easier to see what's going on. That's absolutely fine. And you can feel free to do that with the pattern clips as well. Nothing to stop you doing that at all. And in fact I would encourage it at this stage in the next video, we're going to be looking at how to create that beat. What BPM. We're going to go out on how to start creating the very basics of our track. 3. Kicks and Snares Building the Beat: So now that we have bought in our samples, let's look at creating the basic drum beat. You can see that I've already colored the Thebes. If Rick Playlist tracks on also that reflects in the mix of windows, well, just Teoh make things a little bit simpler on. What we're going to do now is we're going to draw these in. So the most important thing to remember when you're doing this if I just open up the piano roll here, is that c five. The middle notes on the keyboard is the default sound for when you're drawing in samples in the piano roll so you'll be able to hear the difference if you then click on one of thes are the notes, because what happens is it? Then start pitching the sample up or down, and you can hear this if I just play this back c five, which weaken, Just demonstrate. If we just load up the original sample, you can see that it actually automatically plays that. So this is the note that we want to be using when you're designing a beat. Generally, although this is the creative bit and obviously this is a bit where you get to have fun and you get to experiment. It is always a good idea toe. Have a kick drum on the first beat of every bar, so I would recommend putting at least a kick drum there for this. Be I'm going to have to kick drums, played one after another before then introduce a snare, which is a very popular way of doing this. So in almost all electronic music, whether it's hip hop house or anything, it's not uncommon toe. Have some combination off a kick drum on the first beat on ACL Apple snare on the second and fourth be no matter what the genre or what the BPM and you can see that we've We've already changed this to 100 beats per minute here because FL Studio is starts a default of 130. We bought this all the way down to 100 BPM, which is the typical BPM off a hip hop track. I'm now going to go into my snare by clicking on the the pattern clip here, and I'm going to go on to the piano roll on bond. I'm going to drop a snare sound on the second B and if we play this back, you can now see kind of what effect we're going for. And what I'm gonna do is I'm then going toe have the kick drum dropping in. Yeah, from what we don't need to do is have that snare drum played on the fourth. Beat us Well, so generally, if you're taking a really basic beat this note here, this one on this one those are very common. This is just, you know, for for where they are in the B. This extra note here is just something I'm doing. Teoh, flourish it out a little bit and make it a little bit more interesting. We've got our basic beat already in the next video which is going to be adding the other elements such as the high hat. We're then gonna extend this out to a full four bars and I'll then show you what you want to do. If you then want to loop this and then create variations on it as well 4. Extending the Beat: Let's look at extending this beat out now. So we've already got our kick and snare drum from our previous video. Let's just play that back on. What we're going to do is add in our high hats now as well. So I'm going to click on the pattern clip here to select high hat, go into the piano, roll on as we play this back. I'm just going to determine exactly where I'm going to drop these samples. So a really good rule. I've obviously done that incredibly quickly. But what a really good rulers when it comes to hip hop beats and music in general with electronic music is your high hats will generally be on the off be so they kind of contrast against what to your kick and snare drum is doing. So you can see that I haven't actually got these playing on the same note, Aziz. What the kick drum and snare are because you can see here that I've got these, um, these notes here. But if I click on this on the snare drum, you can see that they're shifted slightly over to the left for these particular notes here . And that's something that you want to do throughout the entire beat. What we're now going to do is we're going to extend this to two bars long. I'm going to hold the control key. Left, click and drag. Select all of these notes in the patent Cliff climb currently in. I'm gonna hit control C. I'm just gonna move this over here is that they paste here and I'm gonna hit control V. And you can now see that my snare pattern clippers now extended twice over. I'm not going to do the same thing with the kickers. Well, click drag over and paste. But I'm going to do the same thing with the high hand. What this means is we've now got beat, which is two bars long on. What this means is we can now start playing around with the second bomb may be creating a little variation on it. You get the very basic idea. One other thing that we haven't done so far within the slough is introduced. The crashes wells. You also often very much get a crash at the start of every Lupus. Well, so that's that sounds so now it sounds like this one other thing as well. To notes, that's very important is when you're triggering samples. It doesn't matter how long this clip is if you haven't defined any kind of other note parameters. So because we're just triggering stuff, it'll keep on playing, no matter how long. This notice. I can have this this long where I can have it this long, it doesn't matter. It makes no difference. I generally like toe have them that length because it means I can easily click and drag and move them around as much as I want. So that regard was starting to get the very basics. Already in the next video, we're going to send this out to four bars on. We're going to start looking, arranging the track and in the next few videos, also bringing in some sent elements as well. Let's have a look at that now 5. Changing the Riser: So we've extended our loop already to two bars long. What we're going to look at doing now is actually starting. Teoh, arrange it. Onda, look at extending this out to four bars. So something that's really important that we've got here is that this effect here called a riser. Now the issue with it is it's kind of like a reverse sound, so it gets up to its peak rise at the end of it. That means that if we click on this here and trigger it, we don't get the end off the sound until right at the end. And you can see the obvious problem of this because if we're going to put this in and trigger it, you can see that they're actually finishes before the end off our to bar leap, which is not really what we want. We wanted to finish right at the end of that. Now we could guess we could play around. We could try and move this note all the way around to see exactly where it finishes and do it that way. But it's not really an efficient way of doing it. A better way is what we're actually going to do is we're going to get rid of this. We're going to delete it completely. We're going to delete the channel as well, cause it's selected to that. We're going to delete all associative patterns, the mix of track and automation. Z although we don't have any automation, is anyone you can see that that's now removed it from here, which is gonna move this out the way. What we know going to do is we're going to bring it back in, but we're going to bring it back in as an audio clip. So when I click and drag this over, we're going to select audio clips. So that's really important. Now the only thing is here, so you can you can now actually see where it finishes. The only thing is, with this is it then doesn't necessarily automatically link this to the mix of tracks. And we're just gonna have to do that manually so we can click on this and then we can click right click channel, rooting root selected channels to this track, and then they would go. Now what we can do is we can now drag this. You can see that it's, um it's bought in a tempo of 132. It's not what we want. What we can do is we can hold the old key and we can drag this so that it finishes right to the point when are two barley finishes And now, if we play this back so now you can see that we're getting something that is actually working. We're not going to use this riser at this point. We're actually going to use this to build up to our track because one thing that you often haven't beat is you'll have the tag off the beat producer before the be actually kicks in. You probably have two or four bars before the actual beat drops. So begin. I have a look at how to arrange that. Now we're gonna have a look at how we can start labeling parts of our track in order to do that on day. We're gonna check now in the next video 6. Arranging the Track: All right, So let's extend this out of four bars and also create our intro. So, first of all, what we're going to start doing is we're gonna hold the control button left, click and drag on. We're going to move this along the way over to here. And the reason why we're doing that is so that we can create our space for our intro here, which is where we're gonna have our you know, producer mentioned. If you've got attack, for instance, and then we're gonna move this rise over to here so that we think get our rise up to this element here. We're gonna bring in the crash here. On what you'd have is he didn't have, you know, some basic elements of your track, Baltin. And then you're going tohave the main beats dropping. So we're gonna click on the crash and then just drop it back toe where it was before, as well. So we've got it happening on, you know, in the first notes of every section. And we're also going to start labelling these. So what you can do is you can hold down the old key and press t and that will let you create a marker. And what we're gonna do is we're going to label this market intro and you can see that that's now labelled this first section here intro. We're then going to right Click on this section and click add marker on We're going to type in beat. So now we've labeled our track so you can see that this is where the track, you know, for starts we maybe gonna have some high hats playing very softly and then it builds up and then we have our be drop. So we're gonna look at doing that. Now we're gonna where we're basically going to spray this intro with a whole bunch of high hat so we're gonna left click on. We want to make this unique because we want to make a new pattern clip and you can see that that generates a new pattern clip over here. We're gonna double click on it. We're going to get rid of all of these on. We're just gonna have this high half playing on everybody like that, just like that on. There we go. There are obviously a couple of different ways that you can create variations on your pattern clips, which you'll know about. If you've seen my other videos and that is you, you could do what I've just done here, where you can click on something left, click on, then just right click on it and click on Make Unique. Or you can just simply extend the pattern clip out and create one variation on it, which is what we're going to do here. We want to create four bar loops, so we create the variation within that and then just paste it cross. But there's lots of different ways you can do this. And it all, of course, depends on your particular style. So what we're going to do now is we're going to look in the next video, extending this out on book a, creating some of those sent elements that we were talking out before Aziz. Well, 7. Adding Tambourines and Other Sounds: So I'm just going to look at extending out the beat that we've got at the moment. I'm going to double click on my kicks, click and drag, copy and paste them as we did before. And we're gonna start playing around with things now. So I'm going to do that for the same for the snares as well. So we've now got. You can see here a full bar loop on the same thing with the high hats, and we're now going to start editing this so that we create a little bit of variations. Let's just have a look at what we've got so far. I'm going to close the browser down toe. Just give us a little bit more space as well. Make this a bit smaller. Zoom out right, let's have a playback and actually is just started from this section here as well. - So now you can see we've got a little bit of variation going already, and we're going to do the same with snares now as well. Theissen is because it's one of those big sounds. It's not something that you want to create too much variation on. You'll find that actually creating the best beats will be you, creating variation around some of the quieter elements such as the Hi hats and also other elements. We've got RIM shots here as well. So how do we create variation with that? Something like that, you can see that where you place these notes makes a big difference to what the track sounds like in the kind of beat that you make almost instantly said something that's really important to bear in mind. The final element we've got is the tampering as well. I like that kind of element already. So one thing that's always important to bear in mind, like I said before, is you always want to make sure that these elements are clashing with each other and that they contrast each other and don't get in each other's way. So we've already got something very basic coming together. Now let's look at introducing some sense 8. Introducing Synths: in this video, we're going to look at introducing some synth elements such as the keys. Now what I've done here is I have already introduced on instance off serum, which is one of my favorite since which you can see here on I'm just using a preset that I've got from a preset pack before, which kind of has a key sound to it on. What I've done is I've just drawn in a very Pesach pattern here C D B c and then aim. Let's just play that back. We wanted to be quieter than the rest of the beat. And although mixing is something that you do do at the final stage of your project is a good idea to just have the very basics down right at the start because you don't want to have something. For instance, there's just blaring it out when you know that that's not what it's going to sound like. So we can be very happy to just reduce this volume here. I think this is going to be something that's very much in the background so we can do that and we can do the same thing that we did with the drums, we can click and drag copy and just extend it now, something else that we want to do, You know, when you're creating sort of post below nor Drake beat is you have a lot of this stuff going on in the background pad. Big reverb sounds. So we're going to do our first effects as well. So we're going to introduce a fruity reverb to buy just left clicking on one of these arrows, picking on fruity reverb two. We're going to change the precept of venue, and then you get this kind of effect to get something that sounds a lot bigger. So there goes. We got the we got the basics for ready. We might actually look at actually extending this. I mean, I don't actually like how quickly the notes change, So I'm also thinking, and this is another really useful trip trick that you can use. An fl studio is you can select all the notes and you can change how long they last four by clicking on this arrow here. What this does is you can actually extend it out so that the same pattern is being played out over double the time. Now you can see here that it kind of does this without snapping to the grid. So I'm just gonna undo that. And if I now hold down the control for now, hope down the old key. I can now change this and it will snap to the grid in if I now go back. And I think that's kind of more the effect I'm going for. I'm going to click on each of these patterns and leapt. Um, like so, including the crash. But I'm actually gonna change the melody as well. I wanted to bay a lot more basic, and this is something that we could use in the beginning as well. Is that something that's really important to nose when we're playing this been? Were about to have the tag of our producer introduced us. Well, so there we go. We've got the basics going already. Let's have a look at how to add some more elements now in the next video 9. Creating a Pad: so we've already started adding in since we're now going to add in another one and again I'm going to hit F A type in serum click and drag in here. Andi, I'm basically going to rename this just to pad and I'm just gonna quickly give it a color is well, let's just say green will do the same for the pattern clip Here is well, Onda, we will also It's obviously already linked itself to the mix of which is great. We'll just bring down the volume on We're just going to rename this to pad as well. I'm actually going to use a preset that I've got again from the same library as before, which is called Echo Sounds Works Havana. And I'm going to use this preset here called Choir from Heaven, which kind of gives us that sort of choir e vocal background effect that you get in a lot of sort of post Malone slash drake. So what we're going to do is we're going Teoh, start using the basics of the melody we were creating here and we're going to start putting this into the pad we're gonna use around this arxiv here is. Well, we're just gonna drag this in, like so. Now what you can see is I've basically I know I've done that really fast, but what I've done is I've used the basics of musical theory. I'm writing this in the key off a minor. You can see that when I hover over here. If you look at the top left over here, you can see See Major, which is the relative major of a minor as well. Andi that I knew that I was doing that because I'm only using white notes on the keyboard. So one big tip that I've got for years if you don't know much about musical theory, a check out my other courses on this because I've got some on that especially tailored towards electronic music production as well. But be start with using C major and a minor because you just use the white notes on the keyboard. And that means that you can pretty much ado least forget about one thing, which is trying to worry about these black notes and immediately get rid of some things that would get in the way off trying to create cords because he then know that if you're just using the white notes, as long as you space them out, all right, and you play around with them, you'll be up to create something that sounds good. So that's a big tip I've got for you on there. We have it. We've already got a really basic beat going. So what we're gonna look at doing in the next video is introducing the ater wait'll the bass sound. Let's have a look at that now. 10. The 808: in this video, we're going to introduce the 808 which is how we create our bass sound. Now there's lots of different ways you can do this. For instance, you could create your own using the three x OSC. Or you could use 1/3 party preset, but a very easy way off. Doing this is using the flex plug in so we can obviously hit F eight. Type in flex and click and drag this onto an empty playlist track. Just like this, we're going to rename it Let's give it a color again just to make it stand out on what you can do with this is very easily you choose from its library on this all comes free, of course, with FL Studio as well choose from its library of mobile tune eight awaits. These literally just eight awaits. Sounds on. You can come up with a base. Sounds literally if I just scroll through these now I'm playing the easel adoptive higher than we would actually play them out. But you can see how you can get a really effective sound out of these. So I think we're going to start off with the 808 flattened. I'm just gonna rename a few things here. I'm gonna call this 80 wait here. I'm gonna rename this A. So wait on God, Obviously, that automatically does it in the mixer as well. On what we're gonna do is literally draw this in instead of using C five. Actually, see fall sounds a little bit too deep, so we might stick with C five and we get this sound when we play it back. Why I'm also gonna do is I'm going to hold shift and using my mouse wheel move this playlist track upto underneath the kick. And the reason why I'm doing that is make sure that my eight away gets played at the same time as my kick. And the reason for that is because the kick drum innate away to essentially the same thing . And you will actually find that there are some plug ins which will let you design an 80 a kick drum which has got the basis part of that kick drum sound on. The other thing is, you cannot see pitch these as well. So with our main melody that we've got going on here way. Start on seeing go up to date. So that's one going to do here. I'm gonna make it move up to Dio. I've decided I'm going to change the eight or eight sound as well. So what you can do with some of these settings here, these air court Matt crows in flex and what they allow you to do is change some of the basic parameters of your sound. The thing with flexes, the You'll find this if you watch some of my other videos, the thing where there is that it doesn't allow you to modify the source sound in the way that normal synthesizer like serum with doing. The reason for that is it's a read only synthesizer. But what it does allow you to do is change some off these presets settings here so we can change a few things like, for instance, introduce some crash or saturation way got big basic 80 wait, baseline going in going on there will play around with this a little bit more in the next video, and we'll also look, introducing some more elements as well 11. Introducing a Pluck: in this video, we're going to add a couple more sound effects to our beat that we've got so far, we're going to create another instance of serum, click and drag and drop that in. What we're going to do is we're going to create a kind of pluck sounds. I'm going to remain this plaque on. I'm just gonna left click here on. I'm just going to change the colors cause we like colors. There we go on. And I'm just going to rename this to plight as well, and obviously has always every names in the mix track as well. Now what we're gonna do is we're just gonna create an intro here. So we're going to create a kind of couple of plucks that just sort of trill up on drill down. We're just going to choose a preset. First of all was well, and I'm going to choose one of the ones from here. I quite like that. Really, actually, So let's just play what we've got so far and what I'm going to do, I'm gonna act around the C four octave range and I'm going to create something that just goes like this going out on this is literally not something that's going to be the centerpiece of our mix, but it's going to be something that is going to be in the background. Andi, we're just going to bring down the volume as a result, a little bit on something else that we're going to do to just really accentuate that effect is we're gonna add some fruity reverb to really push it into the background and change the preset to venue up. And we're gonna add some delays. We're going to choose a fruity delay to We're just turning down those volumes there because it's just a little bit too much of a delay. I'm changing the controls very quickly again. If this is something that you're not fully familiar with, then again check out my other classes on the basics of FL Studio. Now that we've done this, we're going to look in the next video at just doing some basically curing, and we're going to start doing that nail so the arm next doesn't start getting to muddy as we start introducing other elements. Let's take a look at that now 12. High passing noise: equalization or e key for short is really important. And it's something that I want to cover now, so that as we start introducing more elements to our beat, we don't end up drowning them out. This is a little bit of an advanced technique. It's not something that you would probably find in every single course on creating a hip hop beat, um, but that there we go. So basically what we want to do, e que. You would use obviously to bring out certain elements, and that's something that we definitely want to look at during later on in our project. But one thing we want to do is doing something called High Pass or low cutting. Absolutely what almost all of our elements within our track. Why do we do this? Well, with a lot of sounds, you'll find that there is a lot of unnecessary noise in the lower frequency. So particularly for plucks pads or other sounds that are mainly high frequency content. We don't want stuff going on in the lower frequencies. And if, for instance, I play back this sound onda, we just focus on the pluck. You'll see that there's a lot that goes on here but very little down here so you can see that below about 100 hurt. We've got very little going on. However, you can still see that there is a little bit of frequency content that gets generated. If you have a lot of elements in your track, these build up on top of each other on they can eventually end up clashing with your kick drum on a so eight, and that can cause huge issues. Later, down the line said something you want to get on top of early. The fruity Parametric EQ U two has a great preset, which is called a 40 Hertz Cuts, which immediately introduces a high pass filter and we want to do is just bring this up. We don't want to bring it up too much because otherwise we start filtering out the sound completely. We just kind of want it at about this point so that any sound below that point then gets faded out completely so you can see there we go. We've still got the main sound, but without any of the really low frequency content, and we do the same thing. But every single one of our high frequency sounds. You can also do the opposite, which is filter out high frequency content from, for instance, sounds like you're kick drum in your later wait. However, these tend to add brightness and residents, and they don't save you that much. Head room. If you know anything about frequencies, you know that the lower frequencies are the ones which take up the most headroom. So it's really important that that is the bit that you really focus on. We've done it with the PAD. We're now going to deal with the hi hats as well, because that's another area where it's only high frequency content that's getting played and it's very high. You'll probably find that it's mostly around this point. There we go. We're cleaning up our next straight away. It's not something that you need to do immediately. It's something that you need to do before you get to the mixing stage, so that when you start mixing, your ears aren't affected by any of these effects, where it shouldn't be there in the first place. So it's something that's just really important to take note off 13. Creating more background sounds: in this video, we're going to introduce a new pad and we're going to extend our intro by another four bars , which is going to do that? First, we're going to click and drag on our marker, hold down the control button, left, click and drag, select all of this stuff and just bring it over. Like so we're gonna left Click can extend ALOF this stuff. Now the reason why we're doing this is because it's just going to sound a little bit better and give you a little bit more space to build stuff up with what I'm planning on introducing into this beat. So the second thing that we're going to do is we're gonna hit F eight and we're gonna type in harm or harm or is an excellent since that comes by default with FL Studio on it gets, um, comes with loads of different presets as well. I really do recommend it on. Basically, we're gonna use it for some off its pants on defects. So we're just going to have a little play around with this. But, for instance, moving choir is thes sort of thing. I think we will probably end up using, and we're just gonna rename this. It's a moving choir as well. And we're just gonna have this as a pad drone, sound eyes really going to give us a lot of background. And you can see how that immediately sounds very sort of post Maloney. So we're going to do that. And we're gonna replicate that across the two bars, and we're also going to bring down the volume, and we're gonna have something that sounds a little bit like this. We might actually just add a semi tone third semi tone to that, I'm gonna increase the volume of the rise because we want that to stand out a little bit more on. One thing that we're going to be looking at later on in these videos is actually doing a little bit of gain staging. And what that means is a little bit of just changing the volume off the elements that were using so that we don't have to drag our fate. Ozel, the way down here, there's a couple really easy ways that you could do. You could just use a limiter and just, um, basically take the game all the way down. We're gonna be. Look, we're gonna be doing that with all of our sounds so that we can normalize them all to about the same volume so that we don't get crazy things like this happening where we've got the volume all the way up here for the riser on the volume all the way down here for the moving choir, something where you kind of want to try and keep them around This stage here on the reason for that is you can make small changes very easily because if you look here, you can see that when we're changing this, we can move this and it's only moving by a couple of decibels. But when we move here and we move the same amount where instead of moving by one or two were moving by three or four or five, the effects get exaggerated the further down you go. And actually, if you go all the way down to the bottom, you know, you you're actually moving a little bit. I'm moving by about 10 decibels Each time I said something really important toe, remember that. We'll look at that in a future video 14. Creating the Whine Sound FX: in this video, we're just going toe. Have a quick look at some of the changes I've made since the last video on also create a riser effect, as well as a glittery sort of dropped down effect, which he often get before the main beat drops in in a hip hop beat. So the first change that I have made is I've actually introduced a clap sound on. The reason I've done this is just a sort of factor. Knelt the snare that we've currently got on the second and fourth beast. Let's just take a listen to that. Now you'll notice that it doesn't play every single time. The snare place. I'm only doing it on the second and fourth beat to accentuate those which are, as I mentioned before, obviously wanted, you know, to the most important notes that you should be using. We're also going to have a look at creating a riser within the last four beats of this particular section, and the way that we're going to do that is we're going to create a three x OSC, so we're just going to type in three eggs OSC here and click and drag that in. We're gonna drag that into track 15. We're gonna rename. It's already colored it. So we'll leave it like that. We're just gonna call that pulling wine, Actually, cause it's kind of like a wine sound that we're making on. We'll just rename the pattern clippers Well, and we're going to click and drag that now. What we're going to do is we're going to change all three off the oscillators to sort to waves. And the reason for that is it kind of gives you the Chris pissed, most crisp, sorry, brightest sound. So something really stands out on. What we're gonna do is we're going to go to the piano roll, and we're gonna use the a note. And what we're gonna do is we're gonna draw this in for one beat one bar. Sorry on, then we're going to click on this tool here, the slide tool on. Then we're going to click in and draw it up to a five. What this does is it creates a sliding effect between these two notes. So the slide means that whatever notice being played will slide up all down to this particular notes. You get this effect and it's a really great way of creating rises or wines. Sound effects really easily. What we're gonna do is we're going to bring down its volume a little bit here, remember, we're gonna be taking a look at gain staging on adjusting the volumes of some of these sliders so we don't have this mess at the moment. So we're going to get something that will sound like this. Now it really is sort of standing out of the moments and probably going to reduce the volume a little bit more. And what we're going to do is we're gonna click on an empty slot juice, fruity reverb two and change it to the venue. So it makes it just sort of stand out a little bit more sound like it's taking place within a space. So that's the first rise of done. And in the next video, we're going to create this Gillet Cherie effect which kind of comes down just before this drop on. At the same time, this wine effect occurs 15. Building a Glittery Effect: So we've created the wine sound effect that we looked at and now we're going to create this glitter sort of sound that I was talking about before. We're going to use an instance of harmless to do this. So we're going to hear their fates click and drag this in and drop it in on two tracks. 16 on We're gonna right click. But we're not going to do that. I've accidentally made it a a subgroup off the track above. We can fix that later. But what we're gonna do is we're going to rename this and we're going to call it a literary because that's kind of what it is on. We're just gonna change the color as well, cause why not on? We're going to do the same thing to the pattern. Clippers read, laugh. Always being doing so we're going to create that here and the sound that we've got. It's something that sounds like this. Well, actually, it's not going to sound like that. We need to choose the preset. The preset that we're going to be using is Isla phone IQ. Eso very sort of bright, plucky sound. Sounds great. You can see that it's actually changed the name here on and it's changed the name there as well. But let's just rename that too glittery again just to make our lives easier. So what we're gonna do is we're not actually going to create something that sort of, you know, lose down the keyboard like that. Sounds quite basic and quite amateurish, actually, What we're gonna do is we can have four notes that are just gonna be the same notes on. What we're gonna do is we're going to create basically a pitch sound effects. So you're going to hear basically this happening And basically what we're going to do is we're going to leave these notes here and we're going to pitch this up or down. So I'm just gonna left click on this. I'm going to click on the settings on. This is how we adjust this. So we're going to make this basically go down an octave. So we're going to click in track this and we need to drag this up to 12 because there were 12 semi tones in a Knox. If and we're going to click and drag this and change it all the way to pitch up, and now we're going to create our first automation clips of going to right Click on this left click on Create Automation clip. Go back into the playlist on we're gonna drag this and we want to this to be a 50% cause that will bring us back to normality So you can see in the top left hand corner here when I'm clicking and dragging this, we're getting their record 50%. Now what we want fudge assume in here. What we want is we actually want for this to only be happening when these notes being played. So I'm actually gonna right click and click on copy value because what that does is that retains the fact that that node is at 50%. I'm going to click and drag that over here right click and left like, um, Pace Valley. I just moved that in there. And now you get this effect, Have a listen, remind even, just want Teoh double the number of notes that being played here. So I'm actually going to left click on the snap. It'll click on half, step on. What I'm gonna do is I'm actually going to draw these in using the paint tool so that we have double the number. I'm just going to change that back, and now we get this effect very popular, common effect. We might even not want to picture as much as we're doing. Actually, we might want to do something like this. You get the idea. Let's have a look at adding some more elements. 16. Case Study Beat Structures: in this video. I just wanted to show you guys an example off another bead, which I found on the Internet, which kind of demonstrates thesaurus of arrangement that we're trying to go for with our own track that we're trying to build so you can see the way form of the track in front of you. And the great thing about especially hip hop beat is that because off generally the sparse number of instruments involved, it's quite easy to look at the way form and just get some basic ideas about where sections start and finish on. Get an idea for this sort of structure that you're looking toe replicate. So what you can actually see here is they've got the same thing as us where they've got basically on, uh, eight or 16 Barr syndrome. You can see that here. There's a little bit of a gap before the song actually begins. You can see that in the first section, you know, they're they're replicating. The same thing is just one instrument playing. Then they start introducing some percussion in the second bit, which you can see from these peaks. Then the actual beat begins, and you can see that if we go up to about here. This is the same length as what we had going on in this first section as well. What then occurs is a bridge which is basically composed of two parts. You've got one section which is a little bit fuller on, then the second section which has a lot less going on. So that makes that creates a nice amount of interest before the beat them built up again and we do the same things. We've got exactly the same thing that was played here, then being played here as well. Once again, we then have the same bridge which is occurring here. The bridge will diverse, you know, whatever you want to call it. I mean generally and rap hip hop beats like this, you don't tend to find there's like a massive sort of difference between what you what you'd say would be dropped elements in other tracks and verse elements, because the focus is on the wrapping. So, unlike, you know, maybe a traditional Ede M trapped track where you've got a big buildup in it, then build up to a drop you don't tend to find that in these sorts of tracks because they're instrumentals. That meant to be the backing for someone who's wrapping on where that is the forefront of off the track. So you can see that we've basically got the same bridge here on Dhere before we then go into a final refrain, which is again the same as this. We basically just got that section again here on. Then what we've got here with the bridge occurs here as well on, but then fades out with this sections. What I'm saying is that basically, we're going to be using this exact same formula this exact same arrangement for our track, which will have a look at now in the next video. 17. Arranging our Track: So now that we know what we're aiming for with regards to the arrangement off the track, we're going to do the same thing ourselves. You can see here that I've got our project loaded on. I've already actually created a mark here which have just called Finn or Finnish or end, which is going to be approximately where our song is gonna finish. We're going to use these markers to kind of put down exactly where we're expecting these sections to go, and we put them at the start of each section. So we've got an eight bar loop here or in a bar section here than another eight sections on . We're gonna basically replicate this all the way throughout. So we're gonna put here breakdown, find them Bridge on, then we're gonna put here, build up bridge, and then this is where we're gonna have our second beats, then drop in. Now we are going to do this slightly differently to the arrangement that I looked at and showed you before. Reason for that is because that beat was at a lower bpm. In fact, it was at about 75 bpm 75 80. I think Andi that could make a huge difference to the length of our song because, as you can see at the moment, with the ending, as we've currently got it relative to the arrangement that I just showed you were gonna have a track which is only about 2.5 minutes long, which is a little bit on the short side. Usually these kind of things will tend to go for three minutes, 3.5, which will kind of take us toe around here somewhere. So what we're probably going to do is we're probably gonna have what's called a refrain, which is where you have that last bit just drop in again. So we're going to do the same thing here, which we did the full right down build and I say, build up. It's not really a buildup. It's just another the second section of the bridge. Essentially, we're then gonna have authored be here, and then we're gonna have 1/3 beat extended just here on. Then we will have are also probably around here, which is actually probably still going to make it a little bit too short. We kind of really want this to be finishing well almost around here, actually wants the audio actually tails out. So what will probably do is we'll probably have. We probably have enough time to actually do a final beat. So basically, instead of having three verses will have four. So we'll do something like this. We'll have another breakdown here, another build up. I remember for a lot of this, when we get to it, we're not gonna be changing very much. We're just going to be copying and pasting in a lot of a lot of instances. So then extended and then our out tro and then all finished sort of around here, and we kind of want the song will. Actually, the tail will probably finish around here somewhere because this is where this the musical actually stopped playing. But then you got reverb and things like that, which sort of tails off. So I always like to give myself sort of another four bars on. There we go. We're around the three minute 20 mark. So this is kind of what we're aiming to do now. The basics of it. Like I say, this section will go in in each of these sections here. We can literally already just copy and paste this so we can do this so that we know exactly what kind of thing we're aiming for here on the full beat. Extended will probably be something like that as well. So you can see that this this is our chorus essentially way gonna be adding more elements to it cause it's still a little bit playing at the moment. We've now just kind of gotta figure out up it's in the middle and that's what we're gonna have a look out in the next video. 18. Editing the bridges: So we've looked arranging our track already the next step that we're going to take its try and fill in some of these bits that I was talking about before so very quickly. What we're gonna do is we're first of all going to select our Cymbal crash, and we're gonna pace that in here and here. You can see I've already done it for this buildup and breakdown here, and we're gonna do the same thing here on what we're gonna do is we're gonna take up hat, but we're gonna flip it. We're going to right, click on it and click on Make Unique. What we're gonna start doing is we're going to use the basic called structure, but just start playing around with some of these notes. So, for instance, this note, by holding control left clicking and dragging, I can select that note. Hold control on press the down arrow, and that shifts it down and active on doing this gives you a really quick way off playing around with the chord structure so that you get the same the same court being played but inverted and it immediately creates interest. Have a listen. So we're comparing this. I got the same court playing Now when we listen to this section and you can immediately hear how it makes things change all of a sudden, So we're going to be doing that and we're gonna be copying in our collapse as well. We might just want to have a look at seeing what it will sound like if we use a couple of these elements as well. On. What I'm gonna do is I'm gonna right click on this. Make this unique. Delete that one. Copy that in there, and I'm actually going to double click on this. Hold control, Select Aled. This hit control C double click on moving quiet to right, click and hold to get rid of the note in there. Hit control V paste in the same court pattern. And there we go. So we're getting something basic already, and we're going to copy and paste this in for each of our build up on breakdowns so you can start to see how our beat is starting to come together. We're gonna add some extra elements in the next video, and we're also going to start talking about gain staging as well ready for the mixed downstage 19. Gain Staging why is it important: so something we're going to look at in this video is gained staging, which I've mentioned a couple of times that we're going to do. And it's essential that we start doing it now so that when we start adding in effects on other instruments that no immediately too loud, then sort of give us a fright when we're trying. Teoh, continue building this track and keep all of our elements is as quiet as possible to give ourselves maximum headroom when we come to the mixing and mastering stage. So what we're gonna do is we're gonna open up our our mix a track here on we're gonna have a just a quick look at some of our island are elements you can see immediately that there are some elements that clearly too loud some elements that clearly too quiet. I mean some, for instance, like this riser and the crash that barely making any noise at all. What we're gonna do is we're gonna have a quick playback of some of these elements. Just see by their peeking out on. Then I'll show you how we can do a little bit of gain staging or literally just volume adjusting so that we don't have this sort of messiness with the with the mixer volume. So one thing I'm noticing immediately crashes to quiet. So what I'm going to do is that's going to be the first thing that we're going to adjust. I'm going to introduce a limiter on. I'm essentially going to turn the limiter off by increasing its ceiling alway upto a maximum of 12 db. Which means that nothing none of the waves will get pushed down on. What I'm going to do is I'm gonna use the gain here, and I'm just you're just gonna drive that up. So now we've got something which is nice and loud, and we can now adjust that using these controls here, The riser is another issue that we've got. You can see it's barely sort of registering hiss. We're going to do the same thing. We're gonna bring a limiter, increase the ceiling on, then we're just gonna walk up the game and all the way to its maximum. So there we go. We're already getting a little bit of some results. There were going to do the same thing with a couple of these things as well here. So are eight awaits, and your base elements will often be parts of your track which will be louder than most because their base and they carry a lot of energy. So this is something which we need to turn down. So we're going to turn up our ceiling on. We're going to remove our day, our gain a little bit. Here we go. Every case we've got something that's working there. Let's have a look at our synth Ampad next. So again we do the same thing. That means we can bring the volume up here. Perfect. And the same thing with our pad. We're going to do the same thing with our clap because I clap is too quiet. So we're gonna increase the gain on this a bit and bring down the volume here. You can hear there are crashes a little bit too loud now, as we're gonna have to reduce the volume on that a little bit. So we're almost there. We just need to focus now on the choir. You can see if I bring this all the way up. It becomes farty loud, so we need to change that as well It's important to note as well that there's lots of different ways you can do this. You don't just have to do this this way. You can, you know, Onda Also, the other thing to bear in mind is it's a lot easier to turn things down, then to turn them up so you can see here. Aiken, change the game. Teoh. Reduce the volume by, you know, minus 40. If I want, I can only increase it by 18. So that's something that's very important to remember as well. There's lots of other ways you can do this. You just need controls that alter the volume or gain. It's a very easy way of being able to fix this issue so you don't necessarily have to use the Limited. You can do in whatever way you choose. So I wind is something else that we're gonna have to fit excess. We're gonna turn this away down and there we go. Still a little bit of work to do, but you can see how we've dramatically changed. Things already will have a look at how to modify some other elements in the next few videos and look at some further effects and so forth. But we're gonna have a little bit more of a look at arranging. I'll see you there. 20. Adding in other effects: we're now just going to add a few more flourishes to this beat. So what we're gonna do is we're going to create an instance of harmless on. We're gonna drag on, drop that into on empty track on the playlist here on we're just gonna rename this bells because the preset that we're actually going to choose is called Church Bells one. And it sounds a little bit like this just to give you an idea. So and you can see that it's actually just renamed it again. So we're just gonna do that? We're just going Teoh clothes are automation clips, and what we're gonna do is we're basically going Teoh Sprinkle this throughout the intro because it really creates a more dreamy feel, sort of similar to what we're kind of going after. So let's just have a listen to what we've got so far. So what we're doing is we're just high passing. It's like we have with everything else. Like I mentioned in one of my previous videos, we're gonna add a reverb to just soak in some reverb as well. - This might actually be something that would be quite useful for just repeating throughout the track I've just tried doing now is just taking it down an octave. I actually quite like that effect. But what I'm actually going to do is I'm just going to see if I can play with thesis ound envelope a little bit. So what I'm gonna do is I'm actually going to introduce a little bit of attack in both the filter on do the volume sound envelope to kind of diminish the impact that it has when it gets played each time. And that brings ITM or into the into the background as well. - So I quite like that. How that is going, I think I'm gonna leave it like that. Let's take a look at changing some more features in the next video. 21. Mixing your Track: Let's take a look at mixing now. So when we look at mixing, we've obviously already done our gain staging, which is what we were looking at a couple videos ago. So we've normalized the levels of everything so that their default volume will mean that there will fairly equal. And then we can then simply make adjustments relative to the volume of everything else. Because one thing that can often happen when you are making changes and mixing is that you end up just pushing. Your fate is up and up and up to compensate the things sounding quieter against each other until eventually all you're doing is just increasing the tracks overall volume and you end up just sort of participating in the loudness walls and just making everything sound too loud on drowning out any sort of sign of dynamics or anything like that. So it's something that's really important to bear in mind when we're playing back on track . We want to make sure that there isn't anything here that's jumping out at us as being particularly too loud against the other elements. Make sure that we tone that down, so what we'll do is we'll start playing back the track on. We'll start looking out for that all the way through Andi, just keep an eye on anything that sort of Rogal standing out too much. So our track eyes just sort of looping over with the certain elements coming in and coming out as we mentioned before, you can see there are levels look pretty good. We're only peeking around minus 60 b mark, which is perfect for when we look at then actually mastering our track, which is what? Well, have a look out in the next video. 22. Mastering your Track: Now let's have a look at master in our track. There's a couple of different ways that you can do this. You can either use plug ins that come by default with FL Studio and just use those. Or, and I would highly recommend doing this, I would recommend purchasing 1/3 party plug in, such as isotope ozone, which allows you it's an all in one mastering suite. It sounds amazing, and it gives you several modules that all linked together for creating a great mastering effects chain. So this is what it looks like. You get to choose between several different presets and there are presets specifically for hip hop, or you can start just using each of these on their own. So what you've got here is you've got an equaliser. So the equalizer and the great equalizer, by the way, it sounds very transparent. It allows you to literally boost and cut different parts of your track. You can then add a little bit of reverb to your overall track as well, so you can do that in different ways. You can either apply room V reverb, theater plates, reverb, which sounds pretty good. Whole cathedral arena if you're going to do this, and sometimes I do, I really do recommend keeping it very, very low. Usually, when I turn it on, I'm usually turning on no more than about 10% of the wet makes. You really don't need any more than that. The next thing that you've got here is a harmonic exciter, and this is something I really recommend you using because it's one of the best things about this plug in. In my opinion, you've got several different modes here, and basically, what it allows you to do is working in different frequency bands. Four of them. You can then apply, basically, um, harmonic distortion to your original sound, and it can sound amazing and make your track really sound much brighter. Onda much more in your face than it would otherwise definitely worth playing around with those. The dynamics does what it says on the tin. It's a compressor, which multi bank compressor, which allows you to adjust basically the dynamics of your track, bring out different elements. Stereo imaging is something I would definitely recommend using. It's always a good idea to simply mono all of your bass sounds so I would always just turn this down to minus 100 I usually play around with the band as well and bring it up so that it's generally putting everything in the center below about 200 hertz or so on. I then usually play around with some of these settings that then just boost a little bit of the stereo with as well. I will also then apply very small amounts of post equalization. So what this means is literally doing things that very gradually boosting the base, maybe cutting out the mid so it doesn't sound too muddy and very gradually boosting the hives as well. One thing to remember, obviously on I've said this before, but I'll say it again. Bass frequencies take up the most space in your mix. So if you're trying to make your mics sound louder, you need to be really careful when boosting the bass frequencies. Another thing to note is the way that the human air perceive sound. It works very differently across the frequency spectrum, so if you're working with high frequencies, the human ear actually perceives these to be louder in the first place. So if you want a tractor sound louder without necessarily distorting your mix. A good way of doing that is just boosting the frequencies in the upper range. That's something that's really important to remember. Finally, you have the maximize er on again. It's a type of compressor, which literally just boosts the overall volume. If your track afterwards 11 important thing to remember, always give yourself a little bit of margin. This is to do with the way that you'll then end up compressing your track afterwards into MP three or way. You should really, always just be exporting. It is wave to begin with. Andi, don't try and push this too hard. You really don't want to be taking this all the way down here. I'm usually pushing this No more than about minus three minus four. Minus six Really is the Islam limit that I will do and you've got a couple of different arm modes that'll work on this well, so definitely worth playing around with their one other thing to remember. When you're mastering your track, you know it's it's a great way off being able to make your track and your beast sound as good as possible. But a lot of hip hop artists and rap artists will want the UN mastered version so that their vocal, when they record it, has space within the mix to breathe and so doesn't sound completely overwhelmed by the rest off your track. So often now asked for two versions that compressed the mastered version and the unmasked add version once they've actually then recorded their rap, they'll then master everything together, which means that the whole track will glue together, taking into account the vocal as well. So that's really important. That's an overall, a very quick look at how we create a beat from start to finish. By no means the best bit gives you a very good introduction. I have other classes coming soon and other courses on that. We'll talk about creating other types of beats as well, in much more decides to keep an eye out for those. But this is just an introduction to doing it. I have to see you in some of my other classes and courses as well 23. Conclusion & Class Project: thank you for following along with this class on this course. I just wanted to offer some concluding remarks and also give you I run through off the template file that you can use for the class project. So the class project is to create your own hip hop beat. As I've explained on the description on what you could do is you can use thesis aim file that I was using in the videos as well. I've removed all of the sample said that you can use your own samples but left the labeled playlists tracks and also the song markers as well. So this gives you a great way of being able to structure your track whilst also retaining your own creativity on coming up with something that's truly original rather than just simply copying what I've been doing. Then all you need to do is save the file as an F L P, which is F l studios proprietary file format on. Then you just uploaded to skill share using the upload button. We can then obviously discuss any ideas that you've had. And of course, if you've got any questions or comments about anything in this course it'll please feel free to ask is I'm very active on the platform. I hope you really enjoy the course and I'll see you next time.