Foundational Drum Loop Basics - [FL Studio] | Riley Weller | Skillshare

Foundational Drum Loop Basics - [FL Studio]

Riley Weller, FL Studio Teacher

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7 Lessons (2h 41m)
    • 1. Slideshow

      17:58
    • 2. How to Ask Questions + Leave Review

      1:22
    • 3. Hip-Hop Example Drum Loop

      31:57
    • 4. Creating an Urban Drum Loop

      82:57
    • 5. Tempo Trick

      9:10
    • 6. Creating a Dance Drum Loop

      13:59
    • 7. [BONUS] Tips for Better Drum Patterns

      3:35

About This Class

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Foundational Drum Loop Basics is geared towards producers wanting to improve their drum loops.

You will learn many of the fundamentals of creating a powerful drum loop WITHOUT the use of plugins.

These basics allow you to create the exact flavor you're looking for your tracks.

Drum loops are the foundation of your track, and if your drum loop is boring or bland, your listeners will quickly get bored.

This all comes down to proper sound selection and timing.

There are 5 videos included in this course (I've thrown in a bonus video, too! - 3 Tips for Better Drum Loops)

  • Slideshow
  • Example Drum Loop
  • Urban Loop
  • Tempo
  • Dance Loop

We first discuss different aspects of your drum loop with a slideshow. I’m sure you will learn a lot, stretching the boundaries of what you currently know about music production.

Next, we go over an example drum loop. We later create our own loop from scratch, which you see step-by-step, but in this example drum loop video, you see exactly the techniques I’ve used beforehand. This allows the knowledge to sink in prior before we create our own loop.

In the Urban Loop, this is where we create our loop from scratch. You get to see powerful techniques such as velocity, panning, layering, and sound placement. Sound placement alone is a technique which takes years to get a comfortable feel for. But with my safe spots methodology, you will quickly catch on which makes your beatmaking process much more enjoyable and exciting!

The tempo video shows you a cool technique which a lot of producers do when it comes to tempo.

And finally, in the Dance Loop video we create another drum loop from scratch, but this time with a dance feel to our drum loop. This way you can see what goes into both an urban drum loop as well as a dance drum loop.

By the end of this course, it should shape your drum loops to the next level. If you’re newer to production, this will open your eyes to the techniques available to you while making your beats.

Enjoy,

# GratuiTous

Transcripts

1. Slideshow: all right. Hey, everyone. Gratitude is from the struggles dot com and welcome to foundational basic drum loops. So first of all, we're going to start off with our slideshow, and this is to do with volume, so every single drum loop is going to have volume, so every single individual hit. You can also change out the word volume for velocity as well. This is something that it is very powerful, and it is often overlooked. So, for example, if you had a kick drum that is playing the same velocity or saying volume, every single hit, that's fine, Let's say in a dance track. But let's say you're working with, like, a hip hop loop. Sometimes you don't want that kick drum hitting the same volume every time. If you adjust just like a certain note, it can kind of give a rocking kind of feeling or a loose feeling or a more human like feeling. Not so drum sequencer, robotic lake. Not just for drums. You guys use it for snares. This is a great tool for high hats to kind of give him bounce. Same with instruments. You can just adjust certain notes like, for example, So you have a classical piano player who's playing on the piano, right, and they're always playing the notes the same volume. It doesn't give any emotion into their piano piece, and it is the same thing for drum loops. Or so our next one is going to be sound selection. So sound selection. It kind of mold the feel of your track. In a few moments, we're going to come up with a point here, and it's gonna be sound placement. Your sound placement is what defines what genre you're going to create. Like that kind of creates the rhythm. But the sound selection kind of creates the vibe off of that rhythm. So, for example, if you have a hip hop loop, but now you change your sound selection well, that loop can change from a hip hop kind of classic kind of beat. You know, it's kind of a clean, clean sounding drum loop, but it's still a hip hop loop. But then let's say you change some of those sounds too more of Ah vinyl, you know, has kind of background static in a lot of the hits and stuff like that. Now that that hip hop loop that was classic. It could be now turned into grimy, gritty, kind of feel all to do with your sound selection. So just to read the point here, so depending on the length of your sound, it could be used to fill in gaps to make your your drum loops on Fuller. So, for example, if you have a snare hit with some reverb on it, it has that tail. And that tail can overlap. Um, other sounds, which is good because it fills in space and injured drum loop, whereas if you have a short tailed snare, your sound could be very dry. Sometimes you want the dry, but it's very hard to make it sound fuller if it doesn't have a little bit of ambience, a little bit of tail. And, um, when it comes into sound selection, sometimes you only want certain sounds. Toe have that tail because it all sounds have that tail. It's going to be hard to mix because with all your frequencies, that could be smeary, whereas if you have a lot of more dry sounds, but then only a few kind of tailed sounds, then you can kind of mix a lot cleaner, but then still have that fullness of sound. You know, I'm just kind of giving you guys ideas on on your sound selection, but so you're volumes very important. And same with your sound selection in your drum loops. Okay, so next we have panning. So first of all, if you don't know what panning is, panning is when you can adjust a sounds volume to be just on the left speaker or just on the right speaker. So, for example, that sound could be 100% to the left. It could be 50% to the left. Panning is very, very powerful to kind of create variety and change up in your track When you're listening to sounds in the drum loop, A lot of these sounds are dead center, for example, like like your kick drum and your snare the like dead center. So if you can, you know, pick and choose sounds every once in a while to kind of be like, far right and then far left, such as like a bongo hit and stuff like that. First of all, it does catch like the listener's mind off guard, so it kind of refreshes their mind. It creates separation. Okay, so the sounds on the left and right speaker, they will pop. Oh, a little better than if they were just dead center with all the other sounds. And then again, you know, it does Just being cane variety throughout the track. This isn't something that you just always want to be doing the same with the volume. You want to pick and choose certain sounds. And when you pick the right one at the right time, that's what makes the really catchy drum loops. Okay. And then now, sound placement. It defines the rhythm of the drums loop. So what I'm saying there is This defines what type of beat you're gonna make, whether it be a dance track, a hip hop track or like an R and B kind of track. So, for example, if you're kick Drum is playing on every single beat, it's probably going to be a dance track. You know, I'm saying and, um, unless you change up the rhythm of your kick drum, it's probably gonna be pretty hard to pull away from that dance track. Kind of feel just how you position your sounds is very important for defining what genre you're gonna create. And also your sound placement, in my opinion, is your hardest task as a producer because that's what creates catching this. That's what creates, you know, originality. It's very hard to know when you're starting up what sounds good, you know, like like where can you place your sounds so that, you know, it sounds like a really good beat. So over the years of my producing, I have realized that we're safe spots are for your sound. So, for example, you can play sounds always in certain areas, and they're always gonna sound good. But then, depending on the type of track you're creating, you can then adjust your sounds a little bit or just even nudge them over a little bit. So that was a big thing for me, is starting up. It was mawr. Where can I place these sounds so that the sound good and not just randomly guess now we're going to be getting into some more advanced tricks. So before that is the foundation. That is what I really want you guys to understand and get out of this course, especially the volume that is one that is often overlooked, and it's very, very powerful. So a statement a lot of new producers will say is they can't get that fullness in their sound, and how you can achieve that is through layering. So every single sound has different characteristics, sometimes just layering your hits even at that, be like a kick drum or a high hat or percussion hit that just creates fullness in your tracks and then to take the layering even further. What you can do is full. For example, if you have one snare hit now you take another snare hit. You panicked. Far left, you take another snare hit. You panicked far. Right now, that snare hit is hitting hard in the middle, but it's also very wide sounding, So that's helping you to create that fullness in your hit. And also because sounds also different. All their different sound kind of molds together. You know, if you've tried it before, you know it's nothing amazing, but it is in advanced trick, which you know can easily be overlooked. Another thing you can do to make your drum loops more interesting is using more than one drum sample now you can use it for layering. So, for example, you have to drum hits that hit at the same point. I do this often, but something you do have to be careful there is because it's it's low frequency. If the base is clashing, you can really, really notice it. In the low end, you're going to get a horrible wobble sound, and that's not what you want in your base you want nice, tight, clean base. So it's hitting hard is not fighting with anything but this point about using more than one drum sample. I'm not really focusing on layering your drum sample because that was in the in the layering sounds point above. I'm using this more, in a sense of use this other kick drum as a filler. So, for example, like we're like, your main kick drum isn't hitting. You can use a secondary kick kind of in the background to fill in the drum loop just so that people aren't listening to the same sounds over and over. It just really makes a nice drum loop in the end. Okay, so our next one is they cut itself feature. So I actually have a YouTube tutorial. It's free. You guys seen this type like cut itself, beach struggles or something like that. Why you want to do this is, as they mentioned earlier about your kick drum and you get like that wobble sound. You can use this cut itself feature to remove that wobble. Sound, because when a sound plays, it can immediately cut off and then start again. If you play your sample and then you player sample again, it's now overlapping for us as humans. When we listen to that rate away, we hear like, Whoa, something's wrong. I'm hearing the original note with the new No, and it's overlapping and a really bad way. Um, and how you fix this is with cut itself. So what it does is when you play that first know it, be playing and a student to play the second note that first know immediately cuts off it stops playing in the second note now starts, and it creates a very clean and precise sound. All right, and then so after all those kind of tricks and stuff like that, there's a bunch of kind of odds and ends that I'd want to show you here. So we got temple tricks, your temple effects. You know, like your mood and stuff like that. Your sound placement is what defines if you're gonna create a dance track, hip hop track, R and B, etcetera, etcetera. But if you then adjust your tempo, it kind of alters that feel a little bit for me personally. As a producer, I kind of work what I feel that I want to work at. So, for example, like if I'm going to go adjust the temple when you open the FL studio, I think it starts like 140 beats per minute. So I'll look at it and be like, Oh, well, I don't want to create a dance track. You know? I want to create more like a be something I can, you know, wrapped more of ah urban hip hop kind of style so almost adjusted down. And I'll be like, Oh, well, you know what? I haven't made a beat in the seventies in a while, so I'll put it like, let's say 74 and then, you know, next time I go to make a B and like, oh, well, I haven't made a bee in that the nineties. In a while, I'll put it to 90. I'll start making my drum loop. And if I feel that my kick in my snare are a little too quick of what I'm going for or even to slow, that's where I will adjust it to where I think it suits what I'm going for. K and R Next one is swing. Okay, so what swing does is it moves around some notes to get away from the step sequence or sound okay. And what I say step sequence their sound. What I mean is like perfect nous, since a step sequencer is like, you know, a computer. Things are rigid. So, in other words, that they're very strict. It's just going to consistently play on perfect timing, which is why a lot of people will always able computer music sounding is not human like, but you can create human like feel out of computer music. It's just, you know, using things such as, like swing or volume and and moving around notes a little bit so they aren't perfectly on time. This is the do it like quantum ization and stuff like that, too. So when it automatically adjusted to note so that it is hitting on proper time. I use quantum ization all the time, but on certain notes, I will just kind of sometimes nudge over a little bit because that gets my beats away from that robotic step sequencer perfect nous kind of feel. Later on, I'm going to show you how to nudge your notes manually, which is how I really like to do it. But sometimes using swing is very powerful just to kind of do it for you automatically, Um, I usually just do a little bit, but if I'm going for, like a real, real kind of hip hop, loose kind of feel, sometimes I'll do quite a high percentage of swing. It all depends on the type of beat you're trying to create and stuff like that. So just to read the point quickly, so swing it nudges certain notes to get away from the robotic feel. Our next one is the workflow one building loops. It's kind of hard to explain. I will show you my workflow on that just because sometimes when you're making a beat and the beat is starting to become catchy, you kind of get away from workflow. I will show you that visually, in the course just so that you guys can understand what I'm saying. They're now again to do a sound placement. Like I was saying before, I want to go over where safe spots are, So learn where hits sound good every time, then tweak from what you know, to be original. So, like I was saying, with the safe spots, I know sounds are always going to sound good in certain spots. I can Then, you know, maybe you remove a sound or just move the sound over a little bit. This, like I was saying before, was my heart is part of producing, and it still is, because that is what creates, you know, a beautiful composition. That's what makes one producer better than another is because of where they place their sounds and how they place it. You know, that's all to do with with music, you know, some. Sometimes you just you can't even teach that stuff. It's more just kind of. That's just what I came up with. You know, that's my beat. So to continue on with some more odds and ends this is to do with, um, extending the beats inside your pattern. So NFO studio, when you first open it up, the step sequencer is only at four beats. That's one bar. Okay, so in one bar there's four beats. So, for example, if you had two bars, that would be a beats if you're only making four beat loops or one bar loops. This could be amazingly annoying if that loop is not catchy. So this isn't to say that I do not make one bar loops or no, the four beat loops. Same thing. But what I recommend is make you loops like a minimum of eight beats and then change up a no here, there on the last four beats of that loop. Because if the loop keeps repeating and repeating and repeating, so if it isn't catchy, that is annoying. So if you have a loop and it's playing so in the 1st 4 beats, it can play. And then on the last four beats, let it keep playing in them. Just that one note. Just change it. Change where it hits. By doing that, that's how you kind of create variety and change up in your track. So it's not just repetitive, because if you if you think about it, every single loop is repeating, right? If that's music, like all it's doing is that just keeps repeating, repeating. But the difference is, is it catchy? That is the idea behind this point is try to avoid the four beat loops. There are times where I will make a quick four beat loop, but you just have to keep in the back of your mind. Is this going to be annoying? Is it playing always in my track? Is it only playing at the chorus, that kind of mindset? Okay, otherwise they get very, very annoying. OK, so then I'm gonna show you how to manually nudging notes. So before I mentioned swing Swing kind of does this automatically manually nudging your notes gives you more flexibility and creativeness and control over nudging of notes. And again, what it does like I have here adds humanness. It gets away from that robotic feel, that step sequence, their perfect kind of sound. Okay, so now and Lou pouring in, So bring the loop back in by spicing up the end of the loop. So this is to do kind of with the extend pattern beats like I was saying, If that loop just keeps playing and keeps playing and it's and it's not catchy, it's going to get annoying and it's gonna get annoying fast. So what you could do is you can add notes in near the end of your loop to kind of bring the loop back in. So it kind of lets the listener know that the loop is at the end of it, and then it brings it back in some examples. What you could do here is you could just kind of put like a Cymbal hit or like a reverse symbol hit or ah, some bongos or like a Tom, or even just like a sound effect. You put a sound effect at the end of the loop, and what it's doing is it's bringing back the loop so that, you know you can kind of keep playing without it sounding boring. This is usually better if you have, like four bar loop, so, like 16 beats and then, like only the end of like those 16 beats, you would then put like a sound effect or something. That and that is pretty much the basics of what we're going to be covering. Now, I'm just going to go over the editorial process. Okay, So, um, first of all, I've made a loop. We're going to go over that. I'm going to show you, um, you know, just all the points that we've gone over here in the slides, just so you guys can see it, hear it and kind of see what we're getting into. And then we are gonna build to drum loops. Okay? One is going to be kind of urban hip hop fish, so just kind of like my beats in general. And then one is going to be dancy. Just so you guys can kind of see by the sound placement how you can really, you know, credit create different drum loops. Next, we're going to go over all like those foundational basics like your volume, your sound selection you're panning and your sound placement. So this is my approach. By no means is this, like an industry standard when I create my beats. This is my mindset. This is what goes into it. And you know, if you've checked out my beats if you like my drill moves if you like my beats. This is my approach. This is what I do. OK, we're gonna dive deeper into those advanced tricks. So again, you know, stuff like layering using more than one drum sample and like the cut itself feature stuff like that. You know, layering really does make the difference. It really creates a fuller sound. And then I'm going to explain the workflow process on building drum loops. Um, now, you know, tough odds and ends. So such as, like, topics like tempo. So did you know that 140 beats per minute can be 70 beats per minute to, uh, this just all depends on where you put your snare or your clap. And then finally, I'm going to sign off. Say my goodbyes and promotions are the sounds will be using in this video are from sound pack Flier. So we're going to now get into the pre made drum loop just to kind of go over these points after the pre made drum loop. We're gonna actually get in to make their own drum loops. All right, so let's head into it. 2. How to Ask Questions + Leave Review: all right. Hey, I'm gratuitous. And thank you so much for taking the course. The reason why I'm making this video is that I just want you to be aware that I also have other music production courses. Currently, I have 16 music production courses. They're based on FL Studio. However, the information does apply to all music programs. There's the odd video, which is FL studio specific. But for the most part, I teach the fundamentals which relate. Oh, everything to do with music production. E que compression sampling. So I just want you to be aware that you guys could be leaving a question as well as leaving a review. Okay, so I want to show you how to set that up. Okay, so let's start with how to lead. Ah, question. Okay. Soto asked me a question on skill share. All you have to do is click the community tab and just click basket question. And that's that. You guys can ask me a question. Post it and I will receive an email from you. And then I will come and answer your question. I'm really active with this stuff, and I want you guys to learn Okay. In addition, to leave a review, all you do is click the reviews tab Now. Skill Share says that you have to watch a few lessons before leak. Leaving review, Which makes sense. So, you know, after you're done watching, of course, just click the button here, leave a review, and I would really, really appreciate it if you would leave a review. All right, Now you know where to leave a question as well as a review. Again, I really appreciate the review. You know, it's gonna help my courses get to number one, hopefully help grow my online course business here. So again, I'm gratuitous, and I hope you guys enjoy the course and learned a lot. 3. Hip-Hop Example Drum Loop: All right. So this is the demo drum loop that I want to show you guys. Just so we can kind of go over those foundational points like things that just like volume , sound selection, panning and sound placement. And I've color coded everything just to make it really nice and easy for us. But, um, as you can see, I have to drum hits. So, you know, some of the hits are layered, but then also I have Ah, I'm using this kick. Also in between can I as a filler? Um, my snare hit, as you can see here, um, I've layered four hits on this one only to hear, but as you continue to go down, well, I've also layered a stair hit with a high hat. Um, down here, there's there's these percussion sounds those air layered on top of ah, the last clap as well, like the last snare hit. So let's just listen to ah, the beat. And then we're gonna further dissect this drum loop. Ok? Okay. So a pretty catchy beat for just one instrument and, you know, a pretty full drum loop. Okay, so, you know, there's a decent amount going on here. So something to keep in mind here is this is just a four beat loop or just like a one bar loop. So if you remember, I was saying you want to stay away from these from these kind of loops? Um, you know, it all depends on Is it catchy? If it's catchy, it's cool. But if it's not catchy, that's where you want to try to avoid those four beat loops. And actually, this this isn't a four beat loop is, as you can see here I have a four beat loop and then I have the end loop bring in. So if you look right here, I have extra sounds which are used to kind of bring back in this loop. Okay, so, you know, just imagine if it is as if it was like this, cause that's all it is. So as we're playing, where player playing now it comes into the So right now we're in the four beat Lupus, you could see appear so just kind of look in this area as they turned to the next pattern, which is the blue one here. So look here now. It added in some sounds. So as this loop goes, all these sounds are still the same all around. Up until here in the great around here in this area, this is where these sounds start to play. And it kind of brings the loop back in to kind of keep that catching this going on, because if the loop is just the same the same, it can get annoying case. So I'm gonna play the individual sounds. I'll show you how I have placed them. Also further down, I have done some panning and adjusted velocity for certain sounds to kind of give him or humanness and more catching us into the be Okay, So right here just have a kick drum, another kick drum, a snare. And then this snare is actually very quiet. It's also kind of filtered, so doesn't have much high end now this near hip clap and ah, this club is just being added on to the very first drum hit. So if we just listened to ah, just the drum loop and this one hit clap so without the clap, So I just kind of adds that little extra tale, that kind of reverb to it. Okay, So that is just the benefits of layering and stuff like that. It kind of gives you different sound. So, for example, these kicks air layered and so are these kicks. But if we come down here, it's like, Well, this has that initial kind of layer over top of the first hit and it kind of lets the listener no, it's like, Well, that's the beginning of the loop. OK, so to continue on with the sounds, I really like to kind of layer high hats and just use different high hats in there. It just gives your drum loop just a kind of a different vibe. Different feeling, you know? And as you can see here, if you look at, like, the panning and stuff like that little bit to the left and stuff like that many times I will actually do the panning and stuff inside the mixer. But, um, you know, depending on the workflow, sometimes I will just panic in here and then, um, that's my drum loop. And then I'll just mix it in the mixer with volume and compression and stuff like that. It all depends on the workflow and how have made the beat. I usually tend to avoid using these knobs for mixing. But, you know, sometimes it is just a nice little quick fix. Just kind of like, Oh, I want this snare. Just be a little bit lower down in volume, and that's what I'll do. OK, so let's just listen to the four beat loop, which is the green one, and then I'm gonna listen to the end. Luke, bring in. Which has these notes added in Okay, as you can see. So this no is actually Ada's kind of pushed over a little bit more, and it's it's adding these in, and then the four beat loop is, you know, takes it away. So let's just listen to the drum loop, okay? And yet Okay, so these sounds right here, just kind of, ah, ads as that little bring in to kind of give change up and, you know, get the listener a little bit something different to listen to, and then it just brings that loop back in. Next thing we're gonna do is we're gonna listen to, uh, just like the one kick drum in the night. The one snare. Okay. And then I'm gonna add in the next kick drum just so that you hear the fullness of layering and then also using another drum sample to kind of fill in to kind of give like that rocky kind of feeling. Okay, so there, right now, we just have the kick drum, and we just have our first basic stair. That's probably what I started the drum live off of. And then I started to add in the other sounds to kind of create fullness. Another thing you'll notice once we add in, the more snares is this hit sounds more dry. This hit is a lot more wet sounding. Okay, so it's gonna go to the four beat loop here. So we just got the first kick drum and the first snare Add in the next kick drum. Take out the second kick. Okay, So, as you can hear just kind of fills in a little bit more. It gives the listener a little bit more to listen to. This kick drum has a lot little gritty sound. So I'm gonna add in more snares here now, So this near it might not add much. Um, you know, just kind of the background but we'll listen. Take it away. Okay, so I do hear a little bit of a different sound When I add that end, Let's check with the piano roll and let's just see if I have nudged the sounds over a little bit or not. So, as you can see, I have. Okay, so what we'll do there is Ah, hold on shift and my scroll wheel. So I'm holding down shift right now, my scroll wheel. And as you see, you can nudge the no over a little bit. And when you do that, it gives the sound a different flavor of hit. So let's just make sure that that it's on right now. So yes, it's on a piano roll here. So what to do is let's just nudge this over like this. It's gonna sound not good, but that's what I want you guys to hear. Okay, so it's off. So what if you put before and this is too much like I'm talking like we just be doing a little nudge, but just for you guys to hear, Okay, so is way off. But what you can do is you can get away with sometimes a sound being even this far out. Okay, so no. So this is where it should be. Okay, But what I found was ah, you know, the sound. It was kind of maybe getting lost a little bit, you know, it wasn't here, much of it. So I was like, Well, do you know what was going? Nudge it over a little bit? And that sound will now become mawr audible because it's not being hit at the same time as the other hits is being hit just a little bit later. So it opens up space for that snare hit to kind of hit and then also gives the snare hit a looser feel, too. It's just not so drum sequence, or like it's hitting a little off time. But you don't really notice it because off all the other sounds, which may be our on time, it's just kind of creating a folder layered sound. So we'll check it out. Okay, so I can hear it. It's just subtle. This might be a little two bit too much now, in the slideshow I had written that you use Ault and the scroll wheel. Um, sorry. It is shift. You hold on shift and the scroll wheel. And that is going to nudge the note for you if you hold on. Alton and the scroll wheel, As you could see, that is adjusting the volume. Now, another thing I just heard there. So if we write clinical pan So as you can see, I have panned the snare far left, and let's check out this one. So I've planned this one far right. So if we listen to this, their hit So let's just ah, to make still smaller. Let's just mute this near here. Okay? So we know we have a drum drum there, and this is where we're at right now in our inner loop. So as you can see right now, that is playing dead center because I have the actual snare hit Dead center is just this individual note that I have panned left. So if we listen to it, you're gonna hear it's on the far left. I think so. However most down here. So if you look up here in the top left, it will let you know what percentage you're at, you know, single like whatever. 17% or the full thing. Same thing over here. Be right. So let's just listen to the snare hit just, you know, just by itself. Okay, so I guess that's just what I wanted to do. Now, as you can see on the on my ghost notes, and if you don't have ghost notes, they're very handy. You're gonna go? Ah, this arrow you're gonna helpers. And then I think it's ghost channels. Yeah. So helpers, ghost channels. So what that does is all the other notes inside the same pattern. You are going to see where they hit, and that allows you to kind of be a little more creative because, you know, what I did here was, See, this snare hit is hitting on the left, and then the second hit is hitting on the right. Now, if you go to the next snare hit, so does call here and go snare, as you can see. So this one's hitting on the right and then it sitting on the left. So if you go back, you know, it's it's switching them up in between. Um, I guess that's just what I wanted to do just to kind of give creativity. So what? This does is, it gives the snare hit a wider sound. OK, so as you can see here, it's actually showing that the snare hit is hitting here. But if we So this this is near 22 okay? And it's showing that it's actually not hitting on the red on the too, because they'd be like one, 234 1234 Okay, we're going to be getting into, um, where you're safe spots are on your drum loop, but, um, I just want to show you guys just this drum loop just to give you guys a run down and then we'll get into that. So right now it's showing that this hit is actually here, but it's not. It should be here. I've just nudged it over. And that's the reason why it why it's like that. So we maximize this, we zoom in, and this is a handy, tricky hold on control and the right click, and it allows you to zoom in as much as you as you can. So as you can see, I've just kind of nudged it over. So if we do something like this, it moved it right? So I've just moved it back a little bit. So if we listen to, ah, this snare hip just by itself. So for whatever reason, I guess I wanted the volume down in this volume up, Um, so wasn't just to both east snares. Okay, so it kind of gives that wider sound. Now, if I add in the main snare, this is the main snare. Move them. Okay, so just kind of get makes it a little wider sounding. So if I had the drums in and we listen to this, Okay, so there's two things I'm hearing. One. This sounds super repetitive with just these two kicks and this snare because nothing's changing with that snare. It's now in the robot step sequencer mode. It's not gonna change. Where is this sound, if you remember 27. So both of these are the same velocity as we can see. So, overall velocity that on the same velocity But again, the Panis is ah, far left and far right. But now we're going to 22 and again. So now it's far right and far left, so they're just opposite to kind of create a wide sound. But because this snare hit is kind of quieter once it comes to this snare hit, which is louder. It gives you amore, bouncy, rocky, kind of feel. OK, so let's just listen to that again so you can kind of hear So around here, it's like, OK, that's one snare hit. And then once it hits this one, it does sound a little bit, you know, louder because it is louder and it gives you that feeling of it. It's a lot more catchy, so we'll listen. Okay, so those are just really little things. But it's a lot of those little things which add up to a really nice drum loop. Okay, so the next one is Ah, clap. And it's a really like, you know, kind of a big hit with a long tail kind of sound. So if you listen to the kick drum now, um, this their hit is a lot more dry. This one has a lot more wetness, a lot more tail, and this clap has a lot to do with that. Okay, so, for listen, So what this is doing is it's again. It's giving. Changeup is giving more variety for the listener. It's not just the same kick, clap, kick, clap, for example. That can sound very, very boring. Where's again? We listen to this again, especially this clap adds a lot, you know, and just cause I've nudged that these notes a little bit, I can hear that it's either a little quick or it is a little bit late sounding, but it's still in sync. It still sounds good. So now we add this clap on like I was showing me before, Um, you know, it's it's being layered. So this first kick, you hear the difference. It's like, Oh, well, that is the beginning of the loop. That is the one. Okay, so all that is just layering to create, um, or interesting sound. Now, here, what I've done is I like to use more than one high hat. That's just my approach. Um, I feel what it does is it gives you different sounds for those quick hits in between. You guys listen, just all the hats, and then I'm gonna take them out, and we can kind of hear what I've done with them. So we listen. Okay, so let's just listen to the hi hats here, Okay? So we'll check it out. Let's go to the piano. Roll on this. Just see what I've done. So, um right now I'm in velocity. And as you can see on this one, I've just kind of turned on the velocity a little bit. Let's check out the velocity for the next one. So again, I've brought on the velocity on that same hit a little bit, but as you can see what I've done so I'm gonna make this bigger. So as you can see, what I've done is I've actually nudged some of these high hats over. So instead of this high actually hitting like in between the beat. You know, I've kind of nudged it over a little bit just to kind of give my high hats a little bit of a different flavor. It's just not so robotic. It's a little off beat, you know, This one's actually over quite a lot, and it's down in volume and then this one to have moved it over. So if we if we listen to it, I'm gonna, like, watch If you hit control and cute, it quantifies Is it all? So if we listen just to the closed hat and You know, that sounds fine. You know, there's nothing wrong with that. But this is it now with you know, when I nudged it and again, all I was doing is I was just holding a shift and you can move it over or moving back kind of thing. OK, let's go now to this one. So as you can see the volume, I moved it down a little bit. So these hats are actually all hitting in perfect time, like so it's like it's like they've been Kwan ties or whatever, you know, panning. So as you can see, this one is a bit to the left. This one is a bit to the right, so that is the second high hat. Okay, And then there's this one, too. So we go to the next one. So there's no panning being involved in this one, but the velocity so that one is just straight the way it is. Um, there's no nudging. It doesn't look like or anything like that. So we'll go to the next one. So this is just in between. And is it panned or anything? No, it isn't. And then that's that. So if we listen to all this takeover high hats. Okay, so just onto the percussion sounds here probably didn't do anything special with that. So we're gonna check it out. We're gonna go panning nothing velocity nothing in there either. So that's just like the initial straight hit. Just just, I guess, to help kind of give the kick, maybe somewhere body or something. This kind of shaker sound applied into anything special. And then also, if we go to the next loop, I can also in here. I can change around. Sounds by, you know, because now it's a different pattern. You can affect it differently. Um, but we'll go back to the ah, the first pattern here. So, uh, piano roll, uh, panning nothing going on this one. So as you can see here, you know, I just noted the notes, So it's not hitting. Um, you know, in sync, it's a little off. It's a little off beat, but you probably don't hear it. And it just as to ah looser feel. So we go velocity, you know, Pan, Nothing. So it's just I just nudged the no on that one. This one is just hitting where it is Okay, So we're gonna listen to with with these? Well, listen to this Eso again. This is just nudged. So if I come here, you look at this note. So it should be hitting here, but it's just because I does it over, That's where it is. So we'll go back and then is there any panic going on? No. Nothing. Okay, so, uh, we'll listen to it with the percussion. So that's that sound that you're hearing. Okay, so let's just listen to other percussion just by itself there. Okay, So, um, you know, as you can hear there, it kind of sounds like it. It's it's not in sync. It's like it's like the shaker. It's like the Shakers late or is hitting to Sooners. Unlike that which it is. You know, it's kind of kind of the shakers kind of off. But if we listen to, it was like the kicks and collapse and stuff like that. You know, it kind of flows still. And then down here, we just kind of have some more sounds. And, you know, surprisingly, these sounds they stand out really good, which is the reason why you know, I've turned down there hits in volume because lost, like, if I put this up and this one up like, it's just too much, it doesn't sound too bad, but it is just a little overpowering. You know, I just wanted this time in the background, the kind of sound cool. And, you know, you could still hear them in the B. Okay, so now onto Ah, the end loop. Bring in. That's what I mean by B I bringing. So as you can see, nothing is really changing too much with them. It's just right here. And then I've added in notes here. Okay, so if you just keep watching here, I haven't changed anything except just just right there, okay? And so what I'm doing there is I am trying to add notes in to bring the loop back in. And the reason why I've created two separate patterns, um is because if I originally made the loop in here, um, if I wanted to make it eight beats now, so in other words, a two bar loop, because so ah, bar would be the green. So that is one bar. So one, 22 So that's one bar. So if you. 12341 Okay, so there's four beats in one bar. 12341234 That's your eight beats. That's or two bars. So what I would have to have done is that would have expanded this. Okay, so 12341 234 So I've been is backward. Okay, so what I would have had to have done is just, you know, copy all everything that I've done here. Just what I had to click it back in and I was like, That's that's too tedious of of a job. Like, you know, there's got to be a quick away and there is So what you do is you go to the pattern that you're working on that, um you want the loop to repeat, but you just want the end notes to change. So you go to your pattern, whether it be like the piano, the end loop or the four beat loop. But in our case, we want the four beat loop because we will be creating the end loop, which I've already created. But we're gonna be creating let's say this loop. So you go to that pattern. You go appear to patterns and just go clone. And when you clone it, what happens to see you see now, too? So as you can see here with a four beat loop, we have four beat number two. That's the one we just cloned. Now, if I add in the number two, as you can see, it's it's the same thing. It's cloned. So if I would just, let's say, do something like this, okay? Just just to kind of show you what I'm doing now, As you can see, when I'm on number two, we have this added in. But we go back to the, you know, the original loop that Luke hasn't changed. We just cloned it. So it's now like a new pattern. And we're adding in what we want to add in, for example, those end notes to bring back the Lupin. And then you could just hit f two. And as you can see here, um, you know, you can relabel and stuff like that all I would do There is just one end loop B I and then I was like, uh, you know, click here, give it a color or you have to again. And you could give it another color. Okay, so let's just kind of give it, like, a red or something that, um, number two, let's say and then you can right click here and you go, like, auto name. And that's how I kind of got, like, the colors and stuff like that. So it's gonna go appear to pattern, and I'm gonna delete this one. Okay? And now all we're left with is we're left with the four beat loop. Uh, the and you bring in like I have there, and then I have the piano. I use my number pad. So under computer keyboard, your number pad, you have the minus and the plus. Okay, So the minus, as you can see, it puts me up a pattern. The plus puts me down a pattern. It's just very, very nice for workflow. So I'm gonna go to four beat loop. So when a hit play, you guys come watch down here and you guys are going to see um you know what? The steps to concern you can follow it. Okay. You guys could follow that to kind of see where we're at. So right now, I'm on the four beat loop. We're gonna let this play, and then I want you guys to focus right here that we're gonna further dissect this. Okay? Okay. So let's just listen to this drum. New by itself. Case of what I've done. Let's check out the piano roll here, assuming here. So I've adjusted some velocity on this hit Nothing here in the sea to do any panning. Yeah, I did do some panning. So I did far left or, you know, pretty much like 80 80%. Some like that. And, you know, again, if you look up here, you guys can see, um, And then, like, 62% kind of thing, go to the next percussion sound. Um, no panning, but is that I do velocity? No, that's just a straight hit. Ah, same here. Straight hit so as to concede. Uh, this sound, this sound, it looks like there's nothing really special going on with them. It's just there just straight hits. Um, is there any panting going with this one? Nope. So now this one, as you can see here, what I've done is I've nudged it over a bit to the left there, Michael Velocity. So this sound right here, I boosted up in philosophy a little bit. This one actually boosted down a little bit. You know, I just kind of tweaked it to make it suit what I wanted there without it being over too overpowering. But I still wanted, you know, to add into the loop to give it change up. So it's just not the same loop going over and over and over. It is the same loop. But we just changed up some notes and added some notes in just to kind of give it a little bit of, you know, change up. Okay, So what's going on here? If I right click and go piano roll this hit is hitting exactly where it is. So again, I'm gonna go my number pad to hit the minus. It allows me a change of you Don't the pattern, as you can see, appear. Or you could just simply click here and go that So this no is pretty much hitting on the same spot again. You know, it just looks like it's changing, but all that is is just is just nudged over just a little bit. So on the four beat loop, it's nudged. And for whatever reason, on the end loop, it isn't So, You know, I must have adjusted that. Or maybe maybe it was nudged. And then I hit control Q and Kwan ties it by accident or something like that. Um, but that is the difference. Also, something to mention is my tempo. It is 92 beats per minute. You know, I must have just kind of slowing it down just to kind of give me more of an urban kind of hip hop kind of drum loop feel. Um, So what I'm gonna do is that you guys listen to this drum loop again, listen to the full song, you know, play around the temple just a little bit, and then we're going to go into actually creating our own drum loop. Just so you guys can really see how you know how to apply these kind of effects and you know how to build the drum loop, the workflow and all that kind of stuff. Also, another thing to mention to see. I actually used no swing in here. I will adjust this up quite high, and you guys will hear how it affects the drum loop. So as a increased the swing really focused on this kick drum, you're going to hear that it's very, very loose sounding okay like it's it's almost like it's it's playing late, but it's still in time. Okay, so we listen to it with no swing and really focus on this kick drum. Okay, so this kick drum and this kick drum, you really hear that swing really spicing up the drum loop, really loosening it up? You're really struggling with your drum loop, or you just kind of feel it's just too static. Just add some swing in there and you guys will really hear the difference that it's baking in your track. So before we move into making our own drum loop, let's just check out the drum loop with the piano again, adjusting tempo, and then we'll get into make your own drum loop. All right, another quick thing I'd like to mention about swing that has been added into FL. Studio 12 is now. You have the ability to adjust how much swing each sound has. So you kind of like a mixed knob. So, for example, if we have this, you know where it is. You can come here into you. Just click on the actual individual sound you're gonna click up here on the wrench. You come down here a time, and as you can see swing, you can just adjust that and will adjust How much swing? So, for example, if you like all the other sounds on how they are, you know, kind of moving with how much swing you have, Ah, adjusted in. You can dial this back if you want only a certain sound, too, to not be adjusted by swing, which is an amazing feature that FL Studio has added in. But, um, let's get into making our own drum loop, all right? 4. Creating an Urban Drum Loop: All right. So welcome to the actual meat of the course where we will be building our drum loop here from scratch. We will be going over all those foundational tips. The first thing I want to show you guys is just this instrument loop, which will be using as our template. So over top of her drum loop sold out. You guys listen to it. Uh, okay. So first of all, I think it's were too high of a temple. I want to break this down to more like an urban hip hop kind of beat. Let's just give it maybe 87. We'll go with that. Once you build our loop, we will be able to play around with the temple, and you kind of see what sounds good. So as you can see here, this is pattern one. I'm just gonna hit, have to here and just type in instrument, okay? And just give that a color. Um, and I'm just gonna leave that for now, so I'm gonna hit the plus on the number path. Takes me the patent to, or you can hit f four. That creates a pattern for you to, and you can label it right away. So that's a little quick shortcut. So I'm just going to go drum loop one, OK, we'll give it a break color just to make it kind of stand out. You read some of that. I'm going to go through some drum sounds that kind of stand out to me and you know that I'm gonna want to use in this drum loop. So what will usually do is we'll pick usually at least two drum samples. Um, and you know, depending on the style of B or depending how I'm feeling, you know, I'll go for would be three drum samples once you get into you know more than, let's say, three. It gets kind of harder to mix and blend and stuff like that, but there's no rules. That's just kind of my guidelines to want to make beats. I used to choose at least two, sometimes three. So this kick right here, that sounded pretty good. What I'm looking for is I'm looking for a kick that could be my initial hard hitting kick. And this this is a clean, heart hating kick. It kind of sounds like here. So, um, I'm gonna drag that in. Gonna leave it there, can you got to keep listening. I think I like my I think I found three kicks I like. So this one 23 and 24. The reason why I'm choosing these is first of all, 22 kind of sounds like my main kick 23 kind of sounds like an effect kick that I can kind of use at odd times. And then 24 is a short tailed kick which would make it really easy to fill in without clogging up. Um, the other base hits okay, because when you're working with base base has a tendency to have a bad wobble sound. And what that is doing is you're frequencies in the low end, are clashing. It happens in your high end, too. But you just sometimes can't hear as well. But when you do hear the clashing, whether it be in the high end or the low end, you definitely hear it because it takes away from the clarity and the impact on, like the punch of the track. So, um, that is my idea behind wanting to choose these three kicks, so I'm just gonna drag him in. So there's 23 there is 24. Okay, so, um, right now I'm just setting myself up to build my drum loop. Now, remember, we want to stay away from a knowing drum loops, and how we're going to do that is, first of all, by having variety and how we're going to do that is by extending are pattern to more than four beats. You can get away with four beats if you want to, but it's very hard to have a catchy sound with just four beats with just a one bar loop. OK, so that's one bar. This now becomes two bars. Okay, so So how this works is you have one, 234 and then, you know, it would repeat. So 1234 But in this loop, you would actually have eight or you counted 12341234 or even counted. 1234567 eight. So all I'm saying is, we want to get away from a knowingness. We want to build a drum loop, which is amazingly catchy. And then when we add our instruments on top, it just enhances that drum. Lupin! We got a hot beat, You know, I'm saying so. I'm extending our pattern to give us Mawr options to be creative. Let's just start with some drums here. So again, this is These are drums. We're 87 beats per minute. We could play around if it if we don't like it later. But so how I'm gonna program these in or click the's in is usually I will just kind of build, um my kicks without a clap. I listen to my kicks and then allowed a clap in. But for the sake of this tutorial for you guys, Teoh follow along a little easier with me. I'm gonna add the clap in there so you guys can kind of start to see the safe spots where you can always add in sounds so that they're always going to sound good. And then it's just a matter of well, this. So you have a sound here, you can delete it and maybe just try it there now. Okay. So I'm gonna show you these safe spots as we go on. So let's just I'm gonna grab a clap. That collapse was pretty good. Sure you guys a few more to this kid, you know, you know, like up saying when you have high quality sounds to start with, it makes making your loops a lot easier. So I think it was eight. I like that. Okay, so when building my drum loops always start my kick drum on the one and they will have What ? My clap on the two and then thes steps in here are kind of like my fillers. Okay, So by placing a kick here and here, it kind of gives my drum loop amore late and rocky feeling So it kind of keeps the flow when I have a kick drum like like this. So I'll show you. So if I just do this, Okay, so you know, it just kind of like it hits and does delay their like, You know what? There's no sound there for a little bit, but then that kick hits and in the clap comes in. If you add swing in, let's say it affects this No, very, very much so its put like high. Okay, so bring it back. So I moved over into these areas in a few minutes. I want to now move on onto, like, after the clap. OK, so after our one now we're onto the two now. You can kind of put some kick drums in here. Um, personally, I'll never really usually put a kick drum on the clap. Um, the odd time I will. But not too often. It also allows the clap to shine through. So, for example, if we have the kick on here, if you hear, hear, like, you could still hear the clap. Fine. But then here on this hit space is available in, like, the frequency spectrum for that clap just to shine through hours here, the kick and the clapper hitting together. And it kind of clashes a little bit in mixing. You can kind of cut frequencies out of each sound to make it stand out better so moving on to the two here. Okay, so they're put the kick back here to kind of give us that that late yet still flows kind of feel, and then I just gonna put a kick here. Okay. Okay. So that works. Let's take that. Oh, you can put one here. Okay, let's put it here. So my thoughts on this is this sounds all good up to here. And then once we get here, it starts becoming repetitive because this late yet still flows kind of feel. I usually don't like toe overdo that. I kind of feel that that that gives your drum a really special emotional kind of feel is just a certain feel to that kick. It's kind of late. It hits and then you clap comes in. There's a certain feel with that in your drum loops. And as you start to make your drum loops, you'll start to see what I'm saying about this late but still flows kind of feel. So over here I'm going Teoh, just maybe just do this or something that Okay, so Okay, So when it comes to like the safe spots, once you lower the tempo of your drum loop, things become a law. Easier to put into your loop without it sounding too rushed are sounding off beat, and that's just because your temple is slower, so it gives enough time for all the sounds toe kind of play out more. But as soon as your temple starts going higher, it's very hard to to fit your notes in for them to sound good. So, for example, Fuko Pirates are like, Let's say, let's go like 1 28 Okay, so if we listen, you know so to me, it's just like that just doesn't sound good. This cake right here is just to, um is to close. So here is all good. So your one and your fourth step are always going to sound good no matter what. So if I would just do this, it's always gonna sound good. But it's usually the in betweens here and then on your two and four. These sounds in here it's hard to make them sound good once you start going into those higher tempos. So let's bring our temple back down, though, and I'm going to start adding in our next drum hit. OK, so que so on the very first hit, let's layer it. Okay, okay. So not totally feeling that. So what I'm thinking is this kick right? Here's our main kick. This is kind of more of our effect kick, and it's a kick that you don't want to use too much like on this first hit. I might I might just leave it there, like, you know, I could maybe put it here, but assumes a soon as I started using this too much. This sound kind of like the background reverb of it. I feel it gets too much once you start, you know, building your track and stuff like that. I use this very sparingly. My effect kind of kick. But the short kick, this is great for foot, the fillers and stuff like that. So I might layer it here and ah, let's go here, let's layer it. And we put two right there, So let's listen. Okay, so, you know, it just sounds a little too repetitive, but, um, that's kind of the approach of, you know, using more than one drum sample. So let's maybe do something like this. So let me put this here and let's put the effect kick right here, and I'm gonna increase some swing. So remember what swing does is a kind of nudges your notes a little bit. Yeah, you know, I like it. This kick doesn't sound too bad as it is, but if you have a kick drum with a lot of a lot of tail, so they're trying to find one here. So I found two kicks here that I'd like to show you if you have a kick drum that has a tail more like this or this more on the 30 that low base. Um, because if you just play a note super, super fast like this, what happens is that tail gets built up and your track other becomes so loud that it convinced art to distort or it just sounds muddy like your base isn't hitting as cleaning as you want it to. That's where used to cut itself. OK, so when I play this sound, it plays. But for example, if I play it again, if I have cut itself on So the sound plays is playing its playing and assumes that plays again. This first hit immediately stops, and now this sound starts. So it kind of like stops and starts, and that's what cut itself does. So the reason why I'm talking about that is because right here is you can see when this effect kick plays its first hit. It doesn't play for a while, and then boom, it hits. It's very, very late in the loop so close to the beginning of the loop race. So if it loops around, it's pretty much like putting the kicks just like this right here. That's all it's happening on the sides here. So what I'm saying is those air so close together that if this kick was, like, 30 super tail, that could make that overlapping sound and increase the volume where you don't want the volume increased Orkin sound muddy. And that sounds very, very horrible. So as we listen to this loop, I don't feel it sounds too bad for me to use cut itself many times. I will just put it on anyways, just to can get a clean sound. But sometimes, you know, you just got to go with with what you feel. Sounds good. Okay, so we're just gonna listen to this loop here again. All right? So let me just try and use cut itself. Let's hear if we can hear a difference. It is hard to hear if you are new to, um you know that feature. So which I could Oh, okay. I'm probably gonna leave it on. OK, so now let's get into actually building our drum loop. Okay. So what? I'm gonna do is again. Let's put this toe eight beats. Okay, so we know it's eight beats by 1234567 and eight. Fl. Studio usedto have a counter for you to see, which is which is great. You know, this is a newer version of FL studio 12. So, you know, it might come back. What I'm gonna do from here is I'm just going to click this stuff back in, so I'm just kind of following what I see right here. So I'm gonna put the kick right there again. Ah, and then right here at the end and the kick right there. Our effect kick Isra here, I guess on this one, um, which would be beat five of our eight beat loop, and then we're gonna come here. So we have kind of like on, like, the late hit of it. It's here, hits here, and that is it. And then come down here for the clap. So we just listen to this through just hero sounds. Okay, so that is the loop. Let me just change up one note in here kind of thing just to kind of give the loop a little bit of flavor. And then what I'm gonna do is just like in the example drum loop. You come up here and go clone, right? And you actually clone it, and then you could really, really change it up. So, for example, I would let this drum leave go for a little bit. So let's give it a color here, so I just pasted it in there, um, right click just to go off her name. Right now we have our drum loop one. Okay, that's it right here. And I just want to change that one note in here just toe just to give the loop a little bit more flavor as we listen to. It's just not the same beat ST be. Sometimes you want that same beat. Okay, because, like with hip hop, that's usually what it is. It's usually like Verse one is identical divers to traverse three, and then it hits the course. And it's usually all the same because it just gives, like that rapper the opportunity to spit on those 16 bars kind of thing, you know, the same. Be just his verse on it kind of style. Let's listen to the drum loop here, and I'm going to focus on our last four beats here. I like it. OK, I just added that in there. So let's maybe trying layer that like that. You don't just just to be creative. So all I did there was that just added in that one note to kind of give it a little bit more flavor there. So if I click here in the playlist, I don't have to keep letting the pattern start from the beginning. You know, I'm saying so if I click here and just click on the playlist is gonna play this pattern and we can start right here on beat five. Let's just try and click some things in this issue we can, you know, come up with. So I feel that that is too much change up. For example, this might speak good on our bring in loop. So I like this when I add this in your cause. So if we look at our 1st 4 beats, So from here to the left. Okay. Um, right here, there's no note there but become here. There is a note there, and I like that, but I feel that by me adding this No in right here that it's a little bit maybe too much for just the eight beats going over and over and over on our bringing loop. I will have that. Okay, So before we go further, let's hear if I like Ah, the layer right here. Okay. Okay. I like the layer there. Um, I'm gonna I'm gonna hear it from, like without the effect kick. Okay, I might do it without the effect kick. Just because I like to use that sparingly. Even though right there didn't sound bad, I just, like, just like to use it sparingly. But then we get that layer in their of this short kick drum and that kick drum. Also another thing to mention if you played to kick drums and you play one by itself and it's very punchy, then you play the other one and, you know, hits pretty hard, too. But then you play them together, and you're like, Where did my punch go? That's to do with, like, phase cancellation and stuff like that. So you can open up your sound, just click on it, and you go reverse player t and it gives you a totally different sound, even even if, like the actual kick drums aren't really clashing. Sometimes playing around with his reverse polarity will give your kick drums the sound that you want them to have. So just keep that in mind this reverse polarity, it's it's not reverse, okay? It's not reverse its reverse polarity. Okay, so now I like this, OK, but I feel that this is too much for our just our main drum loop. I only want this on, like the second loop, kind of Ah, the bringing. So I'm gonna go up here to Patterns and I'm going to go clone. Okay, so as you can see, here it is now labelled drum loop one, number two While I'll just go drum loop be I just like the example Loops will give us the color here. Let's give it a color like yellow or something that now I'm gonna add it in here. So again, on my number patterns have hit the minus or the plus on the actual number pad, it changes the loop, which is really handy. I will put the drum loop bring in right there. Right Click on the name case So now the thing is drum loop one. So if you look right here, I'm switching patterns of drum loop one and two did the exact same. Okay, So again, what I want to do is I want to delete this, delete that and delete that. And now it brings us back to our original drum loop. So we'll listen. Sorry. I wanted to add that note in there with that. That's what I was talking about earlier. I wanted to still have a little bit of change up, but this just felt too much, I guess just having that extra kick. Okay, so here we are. This is how far we've come so far. We're using three different kick drums and we're just using one clap. We've touched a bit on most of the foundational basics except volume and panning. Okay. So most people can get to this point. Fine. But now it's using these foundational basics to further enhance your drum loop to give it that catching this, that mawr creativity, more humanness feel into it. And you know what really creates those hits is by using the volume and panning and stuff like that. You know, your sound selection is very important. And a zealous your sound placement. That's what defines your track. It's going to sound catching no matter what. Especially if you have programmed an amazing drum loop. But once you start adding volume and panning and stuff like that, it adds another layer of of just listening. Okay, You know what kind of makes it a little bit more three dimensional? A little bit more up and down. Another reason to use volume on certain hits is because of the different sound it gives. So, in my case, because I'm using different kick drums, I'm, like, already achieving that sound of a different sound because I'm using just a different kick drum. Okay, so to adjust in volume here, I'm gonna use this. Ah, quicker kick. I'm just gonna go the piano roll, right? Click on the sound with piano roll, bring up individual notes. Okay, so I'm thinking this kick drum right here. I'm just gonna lower the volume a little bit on that. We'll hear that sound. So maybe just a little bit more. It was a little bit quiet. Bring this down in volume just a little bit. Okay, so I'm kind of liking that now you can even go a Sfar as the pan kick drums. This is kind of looked down upon in the industry when you're dealing with base, so I don't know are unlawful Say it looked down upon But your common practices always toe have your kick drum and your baseline always in the center and always toe Have it sound good mono That way your kick drum will never get lost If your track ever goes to a mono system for myself as a producer, I always like to be creative and stuff like that and, you know, kind of push away from the industry way of things. For example, my main kick drum. I will always leave, you know, dead center. That way it is always hitting good, because in order to be creative, you still have tohave like the knowledge behind of what's going on. Like you just can't be ignorant and be like, Oh, well, I'm just gonna panic because I want to be creative. But then you go listen to your track in comparison to a commercial hit and you're like, man, my where my kick drums go If you want to be creative, you still have to have, um, the knowledge of what's going on and then you can be creative. But at least you know what decision you've made and what to expect under your track. For example, if I were to pan my main kick drum all around, but I lose my kick drum on like, let's say, a mono system, or at least like the impact of the full kick drum. I'm at least aware of that, but I'm not telling you to pan your main kick drum. I sometimes pan the's layer kick drums. Okay, It sounds really, really good, you know, because it's just being original. It's not doing like the normal. However, I'm still keeping into consideration to keep my beat sounding goodbye. Keep my main kick drum center, you know, so it sounds good mono, But then I can fiddle around with my layers because these air just like my layer kick drums , which I can play around with and and, um, you know, do whatever makes the beat sound better. Okay, so for example, let's just try some panning on this like, let's just be creative. So the one that I turned out in volume, so we'll come here. So this this one here for Japan, the sister. And let's put this to the left. Okay, So again, if it put most here, you can see in the top left here on that 75% left. Let's not go all the way. And then now let's go back here to velocity and let's see here. So this one right here gonna right clicking go, Pan. And I'm gonna put this up to 75 to, you know, just kind of keep them the same. Okay, so let's listen to that. Hey, it might sound really, really cool once we start building our like percussion and are high hats and stuff like that. Um, you know, this is just the foundation, like we haven't even really gotten into building or drum loop. There's just a lot of explaining. And you know what? My thoughts are on your drum loops so that, you know, before you start building your drum loop, there is a lot to, you know, keep in the back of your mind and stuff like that. But I just wanted to show you volume and panning before we went further Okay, so, you know, all I did was I right. Click to one piano roll and then right Click here and you have different sounds Even like the pitch in, like the cut off residents like you can play around all that stuff that stuffs really, really cool. You know, I might. That might do it with a high hats and stuff, just to show you what's capable to, you know, make some really cool drum loops. So this is our foundation here, OK, we have a kick drum. We ever clap, but it's still not. You know, I guess I would say a grant to it. ISS drum loop, for example. Let's put her instrument over top of it. Let's hear how this sounds, OK? Hey, you know, it sounds pretty cool. However, let's make it better. Okay, so I'm gonna take this open now. So what I was trying to say in the in the slide show is I was talking about you can either build your whole drum loop right here in the pattern. But what's gonna happen is I can't arrange the song. So I want to do this so that we're building this actual drum loop in the playlist so that we can arrange it easier later on. I'm going to be building the individual patterns in here. But not the whole drum loop. Because, like I was saying earlier than you can't arrange your song, you're gonna have to split all this up anyway, So I'm just gonna do it from scratch. Saves time, Make it very easy. So just like when? Like you're typing on the computer you guys have control seeing control excess stuff for, like, your cut, copy and paste and stuff like that. That stuff applies here in FL Studio as well. So since I'm highlighted on it, I'm gonna hold on control and ex It pulls it away off the drum loop one, I go further and just paste it in here. So I'm just going to go collapse. OK, give it a color and I'm gonna put it in here and we'll give that other name case. So now remember, Drum Loop one and then the drum of bring in it just has the different drums there. Okay, so I'm gonna take that Oh, now instead of it being Drumlin one, What I'm gonna do is this Put drums One okay. And we'll name that. And then the same thing here. Drums bringing. Okay, so other name. And there we go. So super organized we ever our main drum loop. And then we have a drum loop which has a little bit more spice in it. And we ever collapse Well issued. Only we don't have a clap. I am going to want to layer this to give us, you know, a really cool hit, right? So, like you got to think in your drum loop, your snare hit is very is very important. Like it's that's your snare hit. That is what's driving your track. Okay, so just listen like that is your clap. And if that clap is boring or that hit is boring, your whole song suffers because in all honesty, like the song relies on that hit, it drives the track. And if best sound is is weak or knowing, you know your song suffers. Okay, so let's make this clap sound better. Our original hit it sounds great. Okay. But you always want to spice it up. And how I do that is you know, first of all, we have eight beats going on, So it's just not clap clap. So that's the first step so that you can really spice things up and you can space your sound placement out, you know? So it's just not so over Pettitte tive So like a dip in the demo beat, I used, um, another snare to kind of panicked left. And then they used another snare to kind of pan right and stuff like that, you know? I mean, so to make this hit sound wider and more to it. So let's get a snare hit. I kind of like this near hit. What I'm gonna do is I'm gonna put it here and here. I'm not gonna put it on these ones. Okay, So what this does is again it gives the listener mortar listen to they're not listening to that same clap, clap, clap. It's clap, clapping, snare, clap, clapping, snare. I'm not gonna pan this one. Or maybe I will, but I'm thinking I still wanted to beam or of the body, and I'm also gonna turn it down because I like the clap is the main. I'm just gonna use these other sounds to fill it up. And, you know, enhance it. So let's just find another snare here. Kind of like this. Uh, let's put that on here and let's put it on all of them. So what you can do is you hold on, Ault and the arrow upkeep. And as you can see, you can move certain sounds around. So what I'm doing is my mindset is like, Well, if this near is going to be hitting with this clap So on every on every single kind of second beat kind of thing on the to four on the six and on the eight, um, you know, I'll condense those together Just looks more more neat and organized. Um, so I'm just going to turn this down, But what I'm gonna do is let's go right Click and go Piano roll Let's go, Pan. Let's put it far left Far right. Far left Far, right. Okay, I will get another snare, and I'm gonna do the opposite to it. Okay. Before I do the panning, I'm gonna take this near hit and I'm gonna put on the only own the last hit, OK? Because that's a powerful hit. So we have, like our clap. It's a little bit spice up in there, just our basic clap again. And then it's like a big hit. But I'm gonna get one more snare here to do the opposite Panning to get that wide sound I can't think gonna choose this sound right here, so I'll drop it in there again. I'm just gonna copy and paste it in Super easy. Come here to the piano. Roll on, Go pan. So Okay, so remember, I copy and pasted it, so I literally clone what I just did on the other one, which is what I don't want. So I'm just gonna, you know, make the opposite. So remember those ghost notes You can appear to the arrow helpers ghost channels, and then you can kind of see what's going on with the other sounds of that same pattern. So let's just listen to, you know, stare hits. I might adjust the volumes a little bit just so that it's just not so overpowering cause you got to think if you're layering this many sounds and stuff like that, your volume increases. But if I still want this clap to be like, you know what? The main clap. Well again, remember your volume is starting to increase, and it's starting to take over this main clap, so I might just adjust the volumes so that they all blend really nice and sounds full, but that claps still prominent. Okay, so, listen, it's sounding okay. I'm not overly happy with it, So, um, I'm just going to do I'm gonna highlight these two and delete them, okay? I'm gonna get, um this They're here, and I'm just going to copy and paste it in there. And we're just gonna listen to that kid, this this hit I'm gonna turn down. It's a little bit. I just wanted to be that layer we could even turn up to clap just a little bit like our main, our main one. So get with someone more time, and I think I think I'm a little bit more happy with this. Okay, so I'm just gonna quickly color these. I'm gonna make them all, like the same. The same color there. This put, like, read or something. That and then to get even more organized on the edge here with your scroll wheel on your most use, push it in and you can like, you know, you choose, like drums? Whatever. You know, like drummer there. I'm just gonna quickly color these. So it's just gonna kind of fado, and you're gonna seem all colored. All right. So I also changed up the color of the collapse here as well. So another thing I want to do here with the snare, actually to give it that, you know, a little bit mawr, humanness, and stuff like that is nudging the notes. Okay. I want to nudge some of these sounds that they just don't sound so robotic. The main clap. Maybe delicious. Leave that. We can tweak it. Maybe afterwards I'm going to focus on these ones right now. So this snare, I'm just gonna right click on a piano roll. So again, you hold on shift, and then you just have your most over top of the note, and then you just scroll up or scroll down. Okay? So we're just kind of stroller is a little late hitting. Let's put it three. Okay. Come here. Let's put it, um, let's go back to okay. Come here. Let's just go forward. One okay. And then right here. Let's just go back. One. Okay. Well, listen, to it. Case. So this one, I heard it, and I didn't like it. So So again, what I could do years, I just kind of lower the volume a little bit, So I kind of like this first hit. It does sound a little late, you know, It just turned out. Just let me a little bit, but I can hear its prominent, and I like it. OK, so this hit right here. Let's Ah, I kind of like it How it is. I'm gonna try, maybe nudge it forward. This is this snare. Okay, so it's kind of gritty. It actually actually cut through our mix quite well. I'm gonna maybe adjust it forward a little bit, and then this one I'm gonna just it forward for, you know, four is getting quite high kind of thing. But, you know, you just play around the intel. You like it, So this is okay. I'm gonna leave it around there. Um, maybe Let's just try and put it earlier. Let's say, like, here, so obviously wait way too early. But just to give you an idea of you know what you can do with this and how to play around with it and, you know, don't forget about your panning and stuff like that. Um, I think I liked it around here, so let's listen from here. So I just click. I just clicked right here, and you can see it moved. Right. So I put that there, but I click here again. It kind of position positions that for me. So I can just listen right away and I want to leave like that. Don't forget, here it may look that you're snares there, but really, all I did was I just nudge that note back and remember, So that's all is doing, you know, in case that throws you off or something like that. And you're like, Wait a minute. Okay, so now we're going to move into our high hats. Okay? So your high hats are probably your easiest way to make your beat sound Fuller. You just add in some high hats and automatically your beat is just It just instantly sounds fuller for me. What? I'm using high hats. I really like to layer high hats and use multiple high hats. That's just my own approach. I find it a lot easier to create full drum loops that way. So this head into some high hats Here the hi hats from Theano Dominy John Collection, Volume one are great. They're really, really gritty to give you like that hip hop sound, but also because they're gritty. They helped to fill in more space. So I guess what I'm trying to say is, you know, Ah, high hat, which is really dry sounding, which is it's like the high hat and that's it. There's no extra reverb is no ambience, nothing like that. Those high hats, you know, they sound good, but with these high hats here because because of what I'm saying, like with that greediness and kind of like they have, like, some kind of reverb ish kind of sounds in it. They really fill up your track mawr than your average high hat. Well, that you listen to a few here and, you know, you kind of hear what I'm saying, you know, kind of greedy. You know, when you have these kind of high hats, like I'm saying, it just 5. Tempo Trick: All right. So just to quickly discuss how 140 beats per minute can also be 70 beats per minute. Okay, So what I'm about to show you is that this loop right here is the same as this Floop. The only difference is when I go to the second loop, I have to put it to 70 beats per minute. Okay? And then when I go to pattern one, I have to go to 140 beats per minute. And so why, that is, is because I have cut the tempo in half when it's 140 beats per minute to make it 70. And then here this is 70 beats per minute. So, for example, when I was making my drum loop with you guys, I was saying that this is my one. This my to this is my three. This is my four and then would repeat 1234 So this would be an eight beat loop or a two bar loop. Correct? Right. That that's what I was explaining to you before. But if you look where my clap is before I was saying that the clap is on the two and on the four. So it would be kick, clap, kick, kick, clap. You know, I'm saying more like this one. Kick, kick, clap. So it's really one to cause the the clap is on the two and the four. So one to clap. 34 clap. Ok, come back here while our clap isn't on the two and the four. So what I've done is I've actually cut this drum loop in half Temple wise. Okay, so it's no longer 1234 Okay, it is now one to three four. So where I have placed my sounds it has now cut my temple in half and it is now made it 70 beats per minute. Now why? You'd want to do something like this is sometimes it's nice because you can play your instrument still at a fast tempo. But then you have your kick drum a little bit slower. So let me show you this in action. Okay, so right now we're on pattern one. It's a 140 beats per minute. But since I have made my clap making this the to the second B instead of this second, be okay because this is 12 So this is like the in between, which is, like, identical to be putting a sound right here. There's one to the sound is in between those two beats. Now it's the same thing as we putting a B. Ah, sound Right here. It's in between those two beats. So I have cut this loop in half. Temple wise. Okay, so right now we're 140 beats per minute when I hit play. You're going to hear that, You know, it's a kick kick clap, and it's it's slower. So we'll listen. So it comes down here to 70 beats per minute. Go back. So now check this out. I'm gonna put this at 140 beats per minute. Come here. We're gonna take Edison. You can hit down control and e pops up Edison for us. Okay, So what I'm gonna do is I'm gonna put this pattern in the playlist here is gonna stretch it out just a little bit, so there's no sound there, but that just allows Edison to play out the whole loop without it repeating. I just want the loop ones. So I'm gonna hit record here. Hit play here Now I have the loop here in Edison. Um, we're gonna do is I'm gonna come here to the wrench and I want to go. Ah, trim side noise. Okay, so that just trim the noise so that it is now hitting on the one just like it was here. But if I go back, it's no longer hitting on the one. If I dragged that in there, is there space there? So right now, that is not the same loop. If I again go ah, to the wrench and go trim side noise. There we go. So it has now made it hit on the one that's gonna click here, drag it in. Okay, so that is the 1 40 So I'm gonna actually label that so 1 40 bpm de loop. Okay, so that is the 140 beats per minute drum loop, which I've cut down to 70 beats per minute. Um, come appear to the unsorted. Got a pattern to now. Now, if I would put this to 70 and I put this in here, you're going to hear that there's no phase cancellation. It's actually the same drum loop just plain twice and all has, like 22 different patterns of it. So well, listen. And the reason for that is because if you remember, I stretched it out so I can get the full sound. So if I would just put it Teoh like this again holding on Ault so I can get it perfect. So now if we listen so when I meet this. So this one right here is the 70 bpm. Dilute 70 beats. This is 1 40 Now watch this. If I hold on, Ault and I shifted forward a little bit. Okay? So you can hear that there is a difference in those sounds. What I'm about to show you here is a trick that you'll come across in the audio industry. And it's a test to see if the two tracks are identical. And if they are identical, if you flip the polarity, come back here To Edison, the polarity is you know, like so here. You have, like your, like your basic way for you have your positive and you have your negative. You're positive you're negative. Now, if I were to flip this, so for example, reverse polarity. Watch this. So it has now put this at the bottom. But if you watch this, you're going to see when I reverse the polarity, it's now up. So what happens with audio is if you have to weigh forms which are identical, and then you flip the polarity, they cancel each other out. It's this minus this and your result would be zero, because it's the same. So as I have remember all straight here, if you look at the top left corner again. So on that, minus 8.77 decibels, right? So now if I had, I guess minus 8.77 decibels down here, it would actually be like zero, because if they cancel each other out, so that is what flipping the phase does. So if you have the same sound on the opposite side of the same time, well, it's like it's like as if that sound doesn't exist because they cancel each other out. So that's what I'm gonna do here. Okay, so right now we're listening, and what's happening is they're just adding together. That's why it's louder. So why should we listen? Take one away. Okay, so it's pretty much like doubling in volume because they're both the same polarity. So let's just take this 1 40 drum drum loop here. 1 40 bpm. Drum loop. Now, I'm not going to reverse it. I am going to reverse polarity Can. As you can see, it just kind of flips. Um um, now, if we listen, if we hear any sound, that means that these loops are not identical. The reason why we are hearing some sound there. I'm not honestly not 100% sure, but I do know that like when you change temple in certain sounds, a little Poppel will appear. Analysts say, Do you want to stretch? You know that sound to that tempo. So sometimes sounds could be tempo dependent, which is, you know, maybe what's going on here, but it is canceling quite well. And I just wanted to show you that if you have 100 40 beats per minute, you can bring it down and you can hear that it's pretty much the same loop at 140 beats per minute to 70 beats per minute just by shifting over the actual clap here a little bit. Instead of being 1234 which is what it is on the 70 beats per minute. It is now 1234 This is just a approach you can use so that you can, you know, play like faster instruments over a slower drum loop. And you kind of just be creative that way. And I think that that trick is called a null test. And you l l b I just want to show you how 70 beats could be also inside 140 beats per minute as well. And, you know, it could be the same thing. Like if you put it to, uh, like 120. You know, it could also be like 60 beats, you know, same kind of idea. All right, so let's head on over toward dance drum loop. 6. Creating a Dance Drum Loop: Okay. So onto the dance drum loop for this sound kit. I'm gonna be using a sound kit from vengeance Sound. Um, if you're looking for dance sounds or electro house kind of sounds, they are the company to go to. Okay, so here's some of the kicks you'll just here. You know, those are dance kicks. And when you again, when you start off with high quality, it makes it so much easier. So under a drum loop, I'm gonna have to and just label this kicks have to just give it a color. Okay? So with dance, you know, if you're just gonna create, like, a dance track, you know, usually it's every single beat the kick is on. Um, you know, every single dance track could be different. You could have different sections of the song, different arrangements. And then at those spots, you change up your kick drums. But your kick drum in a dance track is usually every beat. So if you hear Okay. So I'm not 1 40 beats per minute, you know, more host kind of electoral kind of music's at 1 28 Maybe we'll go with that. Um, it's just so it's not so fast. And then, um, you can use to kick drums here, so, you know, just like before. So let's get another one recently, this. So take it away. So remember before what I was saying? You want to try, like, the reverse player, do you? Just to hear how it sounds like. Does it sound better before to the sound better after with it? So, you know, so you can hear that there's a huge difference there. So I might keep it like that. Just turn down the volume of this so I can't leave it like that. Okay, so those are kicks. Okay, So put that onto ah, four bars there and just go. Other name. So there's kick now. We'll clap and goes Clap some like this. Um, let's stay away from the repetitive nous. So again, eight beats, I'm just gonna layer these up on this one. We'll have that on this one. We will have this sound, and then on our last hit, we're gonna have that sound with all of them. Okay, so here is our clap, uh, clap again. You know, I have to do that. Great click and go Our name. So we listen what we got, you know, some decent. Um, let's get into some high hats here. So we will go symbols and their in their closed high hats. So this is what I was talking about in compared with the and our Dominy drum collection. Volume one, high hats. Those was more gritty. They're more long tail. They filled up more space in your drum loop where, as you listen to these, they're very quick, yet they sound very good. Still others just saying, you know, it's just a different style of a high hat, which is which is cool. You know, it makes your beat sound fuller without you having to really do more work again. I like to use like, multiple high hats, multiple layers. You already means so maybe like this before. So you see, it's only layering like one with the drum hit hits and maybe even like the off beat. I would do this. So if we listen to high hat and then let's do it the in betweens. Okay, so if you listen to this now, this high hat is going to sound very full and fast. And this is where I would do like some volume that stuff like this. Just so it's not so like tick, tick, tick, tick It's more like tick, tick, tick, You know what I mean? So if we listen so like, this one right here, well, give us a little volume and B that down there a little bit, too. So and then same with this one. And, ah, just just quickly. So you'll need a little more here. So it's Add that in there so long ago. Hat. Give it a different color, Put it in here and give it color. So we listen. So that's already like the foundation of your dance drum loop already. You know what I mean? So, um, we'll add some percussion in here just to kind of, you know, most dance tracks usually always have some percussion going on. And and again, you know, I really liked worries work with percussion, that it's always fun. I'm gonna keep it a little more simple this time, though, so I'm gonna go. Ah, like that. So as you see this first notes playing and then that and then this first note is playing here and then it's rocking in so I'll do that. I'll do that for, uh, eight beats. And also having good percussion is very, very handy. Um, you know, just the better sounds you have, The easier beat making is you know what I mean? It's always cool to know how to make your own sounds, too. But, you know, um, that's also a huge skill just by itself. But so this is the percussion leave? Let's say so, uh, perks, you know, And so I'm not really explaining too much about how I'm clicking sounds and stuff like that . But I am still following as I was talking about before, so, like it was on the first hit. And then it's kind of like rocking into that the clap. And then I'm like only the three off B of the second beat. So there's like one B two B, and it's in the middle of it, as you like always a safe spot. Same with here in the middle safe spot. Um, you know, you're safe spots usually always like in the middle, like you could just do this. That's a safe spot throughout the whole thing. Same with having having it on every single beat. So every four beats, that's always safe to, um it's It's, like kind of these that are your hard ones. But, um, you just go play around with them, and as you keep practicing, you will get better. OK, so here is, um I think that was the percussion. Yeah, perks. So we listen to the percussion. So now this percussion loop, this is where changing up Just one note can make your drum loop that much better. So we're just going to do here so it will make unique and ah, double click on that. And artist go be OK, So, um, that so I'm just thinking more at the end of it, But it's also in hearing I want to add something. So boom, boom there. You know, it sounds it sounds decent, because I just changed it up. So, um, again, where I could do here Is this maybe turn down the volume a little bit there, and it kind of gives a little bit separation. Sophie, listen. Okay, so now this is a really powerful one in dance tracks. Um, adding this into your choruses. Huge. So, again, is that open high hat like I showed you before. It's Ah, It's a sound that often gets missed. So, um, sound like this and all you do with the open high hat is just you put it on the off beat. That's it. So I'm gonna go open hat, okay. Making the yellow or something that put in here. Her name. Okay, so if we listen now, remember symbols and hi hats. They're very loud. The very high, very high frequency sounds. And you want to turn those down because wash. I turned this down quite a lot, and it's probably gonna be still out here. So this off B is very, very powerful when it comes with when you have guys like your instruments and everything, it's huge. So take it away. Then they added in Okay, course. Okay, so this right here, that's pretty much your drum loop for a dance track. And then from here, it's really all about kind of like your baseline and your instruments. Your baseline is actually a huge part of a dance track. You really want to make it very diverse and very, very catchy. Toe layer over top of this. But this right here, this is pretty much like your foundation. You know, Let's go to the instruments that had there, and we'll listen to it with this, so I'll show you guys one little trick here before Ah, wrap up the course. Okay. So I'm just gonna clone this. I'm gonna go library. So I was gonna get a bass sound. You noticed any base here? Perfect dance base. Um, and right click and go Piano roll. Now, um, remember, I have those ghost notes on this is what I'm talking about. What? How it makes it very, very easy. So, um, a trick to a dance track to make it really easy for you is, um you put on the off beat. Okay, So I'll show you what I'm saying. Here. So the kicks hitting right here, but it's not here. So kick bass, and then the kick hits here again. And then you just put base, and you just you just follow it all the way along here. So, um because either goes ghost notes on, I could just do this really, really easily, and then maybe I'll fall that, um and then getting one on the off beat. Okay, so Oh, okay. So check this out. Some rocks. You sure about these up here, But, um, yeah. So here's Here's the base in there. And we got her kick drum. Okay, so we'll listen. All right. So that brings us to the end of this course. Foundational drum loop basics. A sure hope You guys learnt a lot and you guys got to see into my workflow on my approach to building the drum loop to setting myself up a lot easier. You know, when it comes to actually now building instruments over top of this loop and then also to always think long term, you know, your listener is going to be listening to this beat. Does your sleep sounder knowing if it does, you know, thinkable. If you have to listen to that for three minutes, if you think that way, it will allow you to make wiser decisions with your loops. Okay, So I just like to personally thank you for purchasing this course if you have any questions on anything that was covered in here, you know, if I went over something too quick or if I was doing something, but I I said it in a weird way where you didn't fully understand, you know, always feel for you to email me at gratuitous it. Be struggles dot com. So again, I'm gratuitous. This is be struggles dot com and thank you for watching. 7. [BONUS] Tips for Better Drum Patterns: All right, So in this video, I wanna show you three tips to create better drum patterns in your beats. So let's get into it. These tips are actually based off of my music course called Foundational Drum Loop Basics. But let's get into these tips. Okay, so tip number one is velocity. You know, you will hear this around a lot, but the lost city helps us to create, you know, mawr, organic drum loops. You know, it's like they're not so sequence like, So I'm not just gonna tell you velocity, and that's it. You know, if that's the tip so but with your main drum, if you want that drum hitting hard and consistent like you don't want to be changing velocity on your main drum hit, especially when you're working with hip hop and dance tracks. You want that drum hitting consistent, but where velocity will help you is if you're using, like filler drums in the background. Using philosophy on these hits helps it to kind of, you know, kind of blend in a little better, and especially with like high hats and percussion and stuff like that. Using velocity helps for you no more enjoyable. Listen. And it can also help you to create more like rhythmic patterns out of your loops. Um, just by velocity alone. So, NFL studio, How you can adjust velocities is you just open up the piano roll and you click him where you can hold on salt and the scroll wheel, and that will help you to, you know, adjust. The lawsuit is really, really quickly. And since we're talking about velocity, I will tell you something about panning and drums, so people will always say, Never pan your drums, Keep your drum, always center and stuff like that. And I agree with this with your main drum. But when you start working with other drums, like for myself, I like to use multiple drums in my drum loops. I don't like just to use one drum like I will many times layer drums, but on my layered drums, like my secondary drum or the drum that's being like a filler. Sometimes I will pan this drum around just to kind of give my be, um, you know, a creative edge because everyone copies each other. Everyone's like, Don't pan your drum. Don't pan your drum again. Your main drum. Keep that dead center. But your other drum, you could be creative. Here's an example. Okay, that track is called Thigh Kingdom. Come. It's off of one of my beat tapes. And, you know, I really, really like how that turned out. And it was just from being creative. Right? Okay, so tip number two is using more than one drum sample. I know I just said that, but when I'm doing this, I'm making sure that I'm checking the phase because if your base cancels out, your drum sounds super, super weak and in addition, toe having more than one drum hit, you could be using your secondary kick as a filler to make your tracks from fuller, but not so in your face and aggressive and almost like Like it's too much. All right. And tip number three is don't be afraid to reverse your sound. So especially on, like a clap one, like the last hit of like, your drum loop, um, reversed your sound, But what you will be having to do is you will have to nudge this sound back a bit just to get it toe line up. So reverse a clap playing with, you know, your original stare collapse, that it's kind of kind of like that. And if you want to get really creative, you know, try this would like percussion sounds and other sounds like that, too. It's just about being creative and kind of knowing what tools you have available to you to make you know higher quality drum loops. And there's one thing. If you've noticed none of these techniques require plug ins or anything like that, it's just being created with the tools. You have things like, you know, velocity panning, note nudging, layering, stuff like that. All right, so again, these tips were based off of my premium music course called Foundational Drum Loop Basics. Hopefully, these tips help you out and, you know, allow you to create better drum loops. I'm gratuitous and I'll see you in the next one