HOW TO MAKE PROFESSIONAL TECH HOUSE TRACK IN ABLETON LIVE | MACROLEV | Skillshare

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HOW TO MAKE PROFESSIONAL TECH HOUSE TRACK IN ABLETON LIVE

teacher avatar MACROLEV, DJ / Music Producer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (2h 34m)
    • 1. Intro

      1:45
    • 2. Kick

      9:37
    • 3. Bass

      12:28
    • 4. Drums

      24:58
    • 5. Synths

      10:48
    • 6. FX

      13:49
    • 7. Arrangement

      19:01
    • 8. VOX

      9:27
    • 9. Mixing

      35:31
    • 10. Mastering

      11:12
    • 11. Track Playthrough

      5:28
    • 12. Outro

      0:22
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About This Class

In this two and half-hour course, you will learn how to make professional-sounding Tech House track from start to finish. I will take you through the whole journey from synthesising your very own kick drum that you can tune in any key and retain the best quality possible. You will learn how to create a bass patch from scratch, drum groove, synths, FX, and more. You will learn an easy way how to arrange you 8 bar loop into a whole song. You will learn how to mix your track as well as how to add width to your track without compromising mono compatibility with a free plugin. At the end of this course, you will also learn how to master the track so your productions stand up against professionally mastered and released music.

Also, you will be able to download a full Ableton Live project complete with all the sounds and samples used. 

PS. You will need 3rd party VST's such as Serum, Sylenth1 and more to be able to hear all the sounds but if you follow along you will be able to recreate sounds in just about any plug-in you own.

Also if you still have questions or want to take your skills to a next level, feel free to book a private 1-2-1 masterclass with me using this form: MACROLEV masterclass 

An hour-long private one on one music production masterclass with MACROLEV.

It's your choice, we can breakdown tracks, re-create elements/sounds or I can give feedback on your productions, we can start and build YOUR track from scratch or I can help you with mixing and mastering your music or even finishing off that last 10% if that's what you want. Plus on top of that will send you samples, project files (If appropriate) as well as the recording of the masterclass so you can re-watch it as many times as you like.

The choice is all yours!

Meet Your Teacher

Teacher Profile Image

MACROLEV

DJ / Music Producer

Teacher

Probably the tallest DJ on earth, 6 foot and 9 inches in height and goes by the name MACROLEV. Based in London he has graduated Point Blank music school, where studied music production, recording, sound design, composition, arrangement, mixing, mastering and live performance. To help take his skills even further MACROLEV graduated from London Sound Academy’s Elite DJ Course.

MACROLEV gradually working his way up in the industry by breaking regularly into Beatport charts and releasing music on labels like Stashed Music, Baikonur Recordings, Vivifier Records and more as well as mixing and mastering music for other artists. Worth saying that he also hosts a weekly show on YouTube and Mixcloud called MACROSOUNDS featuring hottest dance music from around the globe.

MACROL... See full profile

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In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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Transcripts

1. Intro: Hello. What's up? My name is Michael F. On D J Producer, based in London, frequently releasing music on labels like Stash Music, Biking, the recordings Beautify and More. And with pretty much every released gaining to be poor charts with multiple case of From UK Radio Place, I'm here to teach you how to make professional sounding tech house track from scratch. I'll take you through it step by step from a blank ableto life project. Fully Mosque that release Ready track hope you enjoy this course without do Let's get straight. 2. Kick: Okay, let's begin. Ah, this is your empty Mableton Life Project would start from scratch. Let's start from setting up the temple, which is 1 26 then creating the middle clip in that middle clip, Let's drew a note. The truth. Hey one. So a a zero And then let's shortened. Ah, the looked length to one beat. And this is our media information that's gonna trigger our kick. Let's create kick from scratch list drug. Let's dragon instance of serum And here we go. Sounds coming on. Let's choose some wave like this db Sign on the look wherever just sounds all right, and, ah, we need to assign an envelope to a course bitch off this oscillator. We're basically are signing that, and then we're going to matrix because we don't want the envelope to go both ways. We wrote Shift and click this arrow, and it will only go one way. What shift? That's on Mike, By the way, I'm not sure what's the command on the on windows. So then it's a basically a way off plane kick, playing back and and hearing and adjusting accordingly. Toe what you like so basically played the sound and then we can fiddle. We can make it very short cliquey We can make it longer can make it more punch here or less bunch than we can use Envelope tojust the envelope of the kick aside a bit off release her release is just I never did No is not playing This was basically a tale After the notes stop playing so by Justin and note link, you can adjust length of the kick if you here can make it very long over Sure, it's nappy, So yeah, leave it around there. From there you can you can play around you You can add a ton of stuff You cannot no problem , no hyper dimension. But definitely you can compress it if you like, can motive behind it Distorted to whoever I, you know, distortion good kicks with it without it. So I tend to use distortion afterwards, Basically that my kick would contain at least two layers. So this would be the bottom mode. Call it bottom and then I would create another track. Ah, another media track to create me to track. By the way, it's shift command M sorry shift command track, which is t who would create Ah immediate me to track. Then I would drop in a drum, right, then drop in a sample. Any sample will do like any kick sample and then corporate the media note information and then make sure it hits the right. Um, the right note. So now you go 22 kicks playing together Basically. So then adjust the ah, an envelope accordingly on and do a basic low look up a little bit too much high end and they have it beefy kick that That's good. A top end layer bottom and call This top was world But in a way, top group is together. Come on, G. Quote this kick. Who can reek? Name this swot Rename this color Quote this as well. So we know this is so kick and basically you can if you don't like this top end this sample Whoever you can type kick in your search bar cold toes or results for indicate that you like trying to search for the kick That bit of top end this one, for example. This girl has got completely different vibe. Undo this on, but you can basically command Sorry. Uh, old shift and copy this, um, pad onto another slot on. Then you can basically, um, drug another kick. And now you go to different tilting kicks, Korpi another time and drug another kick, and then you can basically swap. These was your track is playing on get, you know, completely different kick each time like you would adjust accordingly to the to the way you track progressing kick is the key over a dance music print much so making sure is it's a correct kik to, you know, appropriate kick for the track. We'll make a break attract pretty much so you can do this as many times as you want. You can duplicate this and let's say, use a different kick Different top. And you can basically, you know this this and this plane together, and that's going to give you a completely different with unique self kick unique vibe. But for the for the sake of this track will make it simple. Let's use this 1st 1 because it's got a little bit more high into that's it, and that's your kick in. The next lesson will make my favorite thing, which is the baseline 3. Bass: Okay, let's continue with the baseline. I've created another media truck. Let's drop down the monarch. It's, Ah, emulation off the famous Moog's synthesizer. So then let's create amid a clip, drawing some notes, said the loop length toe, one bar. Look it, uh, terrible of the moment. But we'll fix it, so I only need one oscillator s. So wait, I don't need any other oscillators. And then we'll run it for the filter were closed. The filter we assign filter envelope to cut off way. Don't need any sustainable release. This is the ah, I am for the Sorry, this is the ah, and look for the for the sound for the for the note. And this is so that's pretty much your sound You can fiddle with this on defined. Did you know the the combination off parameters that you feel sound the best then a little bit off. Thank you. This is too too loud. Cut the bottom mind around 30 hertz. This clipping thing that basically this is known as a gain staging. So basically, the idea is to know clip on the any stage off your chain. Let's get rid of this nasty high and frequent. This is the baseline at the end of the day. Also, Yeah, let's color code this differently and right base base then I like to add O T t. To make the sound a little bit more punchy and a little bit more defined. I guess that's what sounds to me anyway. Thing is way too much find on That's your baseline. I mean, the only other thing you must add is ah, some self sigh chain compression every time. The kick, place the baseline, Get back down. I just like to use l a voice. Simplest quicker. You just drop in, select that mouse is preset done. It's ready to go quick and easy and then so let's hear without and that's with it. You can hear it's it's been ducked down. Um, I also like to use this filter built in filter and select the cut off frequency of 200 around 200 hertz. Basically everything below 200. Hertz will get completely ducked down to, According to this envelope and everything above 200 Hertz will still play for, which isn't a problem, because our kick is mainly low end that we need to clear out from the baseline. So now this here together. And there you go. Also another thing I would add is this cut off frequency. Why did basically I pressed this arrow pressed configure and now clicked on the cut off effects like this as we progressing on the track, I also like to group this whole thing together and quote low and then ad. And basically this will be my low frequency group which will have kick and baseline and other low elements if I have any down the line. So this will basically this group will act as ah as a bus as ah, away off. Making things has one I would use I like to use this redux it off from setting from hard to soft and basically find in the spot that I like. This is quite all right, so But the problem with this is hasn't got dry wet. So why does I group this which is Come on, G. I opened this tab on a duplicate This change as well So I select the top chain and I delete ah redux Then on my bottom chain, I'll still have redux. So cold is dry call this What? Then I select this chain and extend the change selector all the way on both channels on both chains. Then take this. Top it off the chain selector, uh, and reduce it and same on the top. And now you wrote this chance elector, so you can assign to micro and call it dry wet unless you're dry. Wet. Hope. So when this in this position, this it's passing through without effect. When it's in this position, it's passing for this redux 100%. So halfway through, it would be like 50 50 dry signal wet signal we like to use I said Teoh, very low. So it's barely hear a ble. But in the context of the track, you probably won't even notice. But it adds that little bit extra little bit character lose the track as well, even if you play kick on its own with this redox us without it with it, it's good that tiny bells ring that you probably won't notice on the tone, but then also act as a gluing thing for the for the kick in base. So they pretty much one has one. Uh huh. And then on top of that compressed the whole thing together. I set ratio 200 which is so pretty, pretty much limiting, I said, Attacked Very quickest I can possibly select. I select over something, which is, I guess it's equality off a compressor. So x four quality wherever that's what they say in Emmanuel. Anyway, I used look ahead as well, Tony milliseconds Max. So basically, this will predict the compressor will predict what's gonna happen to any seconds turning milliseconds ahead of the time. And I set my fresh hold. So basically everything above this threshold will get reduced in volume and also go to release cause it's like multiple sources off the sound. It's best to select auto release, in my opinion. So let the compressor decide when he wants a quick release. Slowly release etcetera. A lot of stage is to adjust weight gain to compensate for the volume reduction. Now, just a B uh uh uh, maybe a little bit too much off. This three ducks effect? Yes, more like. And that's your kicking base. In the next lesson, we continue with drums, collapse, high hats, etcetera 4. Drums: Okay, let's continue. Let's start by creating a new media track. Let's give a different color court clap. Create new media clip eight ball along one bar loop on. I like to use drum wreck for former drums. Uh, just purely because I can swap drums quite easily. Uh, I showed you that with a kick. Example. So that's now select. Ah, a sample clap sample I'm using. Pushed by the way to into notes. I also like to a mop envelopes Oh, envelope brother her to microbes Attack, decay, sustain and release. So that, of course, a bit easier control over. Over eso clap. And they were basically continue we can to placate the clap Rename it open. Hi hat Delete all the information. Oh, the media information. Uh, and then Ah, select different sample some off the high hat. Um have factually going to show you that quite good samples do actually come with able to. So you go. You go to drums to go to drum hits You go You go, Teoh. Um hi hat. And then you find open 909 And then every pulse beat, I guess again you can You can adjust an envelope of sound accordingly to your liking. It's very easy now. You can, you know, just Tosto. We can rename the medic Lipa's Well so we know what's playing. I'm just coping, renaming and pasting, coping, Ray name and pasting. So then duplicate the open high hat Aunt rename it. Closed my hat again. Delete old information. Find a most high hat. A bunch of really good samples in here like this. Um, thank you. Moon closed. I'll use that brilliant comes with Britain and then basically draw your 16th with this one. You can also add a in the four to with the same, um, same, uh, curve. You can reduce amount off, off, ducking by like half, and that's your basic bit coming alone. And we continue by adding snare. So with this, uh, closed high hat, you basically put a note each 16th but you can see it's once extinct. It's no explain. 16th. I've just duplicated this again, removed the order note information. Let's rename it, It's there co P. Now let's select the snare sample, and that's put some notes in. - That's your notes. There. Now let's at the rim renamed this Rim. - You can play with who? Do whatever you like. What notes you can just the right way For the sake of this tutorial, which is gonna, uh, make a simple beat. Now, I'm not particularly liking the way, um, the open high at sounds on its own. I'm going to duplicate the open high hat and then go to instruments. You can do that pretty much with any sense. I prefer silence and basically create a high hat from scratch from white noise initialized . A patch so clean, silent one preset Well, that's a bit harsh. So just take ah, sustained down. But so decay. I've increased ah, number of voices and I've untreated to re trick so you can hear instantly made a sound thicker and wider. Uh, polyphony can keep to wherever basically, that's your very simple, uh, on its own. A bit harsh, A bit too much, but I've already got thank you. So, yeah, another thing I've set up my, uh, made a channel sam created Media Channel, New Media channel and on the new media channel instantly creates the E Q three. It's just like a quick way of speeding up the process off making music. I basically dropped in because this is the most used plugging and in my workflow. So I decided to drop that in as well. If the spectrum I like to check where things are visually as well. Um, here, just drop in whatever instruments you using very often on each track, for example, And then you go here and then right click safe was default media track or safe with default audio track of creating order tracks. Uh, same works the same way. So every time you create a media track now you would create the track with, uh, instances you've put in. So yeah, that's why the e que was already there. So with a que on that I have got to cook Lo So I just wanna create that I have a feeling song's quite dull This'll white noise basically fills up the spectrum frequencies. You know, it gives that extra explode to the high hat. A little bit more group. Let's duplicate this close. High hat on. Remove a couple notes. No. So changed sample patent. You can basically experiment whoever you know. Also, another thing I really like is toward that movement to the sound is too had, um, shape of books. Quite cool. Plugging You can modulate time filter pan volume with weather. I like to use a pan and volume a lot, actually, no. For this example, can they use William on? You got some presets here. Kind of basic shapes. Pretty much thistles. Basically going to, um, duck again. It's pretty much like, uh, compressor. So it's like Sanel afore essentially similar four being played on on the volume. So Bolling modulation over time and then select the timing. This is, like, pretty much like dry, wet one full. You can basically achieve difference off grooves by just dune doing that, you know, moving the curve. Ah, cross like that. Keep it like that. Let's continue. Let's add some tambourines. Changed the sample. Andi, we can do something like this. - You can again. You can experiment. Let's other, not the rim on. Have quickly swapped this rim for it for a different sample. And I'm gonna, uh this sort of pattern with the rim that was on this channel, and this is how it so now I have also swept the 10 marines. So you could do You could do that. You could completely different group. Let's add right again. Let's add a ride again with duplication toe the channel, renaming it ride and then adding some notes. You're going to go the high hat, Parton. Right? So select your sample, and here you can. Here, you can adjust. Release doesn't sound right. He needs some tail to give that ride movement a couple more elements left. We're gonna add crush, um, on the downbeat against select the sample crash. We don't want toe people don't want crash to loop. Only wants him to play once longer. Hold a way out to 60 seconds. So it means basically it will play the entire sample, no matter how longest the middle. And so rename this crash. Then we can also, uh, put a reverse crash. So every now and then before the breakdown or before the drop, you can basically drop in a crash like that and then reverse it and they will sound like this. Let's rename reversed riff crash. So you know what's going on? The only other last element I would like to add would be hey, Snare wrote, Oh, like snow. It's like a snare. Feel it. Guess will out a snare O at the end in effects section. I've put it in effect because this essentially, um, in effect because the snare A will be processed with some like hyper ah effect that's going to create snare all together with rice effect or in the same time. So let's put a snare Phil Brother snare Phil renamed the middle clip and then we can Yeah, let's change the sound poor to snare 90 nights there and then you 16 notes on this there. - I think they have it. That's your drumbeat Done. OK, notice there's no mixing going on. Um, that's because we were just like, laying the part parts out. And ah, we were doing things in stages, so don't worry about it. We're gonna be adjusting volumes, Dooney curing compression, all that stuff, all the mixing stuff. Ah, the very end off the off the arrangement. I guess so. The only other thing I would do is, um, take all the drums and command G, which is grouped in and make them talk. Name them top. So we've got low, we go, we go hot, we got top. And now when the drums have done in the next lesson, we'll learn how to make sense and, uh, all the other elements to feel out the track 5. Synths: okay, we're starting again by creating a new media track and then dropping down the instance of serum on. Then basically, it's all about finding the right preset. So we go in the pack and then we select the sound. I mean, I could go deeper in terms of sound design and stuff and like design sounds. And but that would be that would make this to tour way longer process instead. Because this lesson is called How to Make Professional Tech House track. It's not called how to sound design. Therefore, we're just show cutting everywhere we could. I mean all the professionals. I'm sure they know designing each and every sound they're using their tracks, they just picked the sound they like and they tweak it and they use it. So this is perfectly acceptable, especially when you established artists. And you haven't got a lot of time up in your hands to be creating music. So it's perfectly acceptable to just jump in and by quickly select the sound you like. Tweak it done so basically entering some notes. Now what? What did I just basically and puts it in media notes? Then I said to loop length to four boss and engaged a loop on. And then I extended the loop 28 Boss. So it's four bar loops plane twice in the course of eight bars. So now it's basically we go on notes in. Now it's the case off. Just theme. Right? This turned this down a little bit. Okay? His sons all right? I don't like pluckiness of it, so we're going to have. So I was looking for the envelope that modulates the filter. That's what makes it plucky. So I found this mother this envelope three modulating this filter cut off. So what I'm doing, I'm raising this sustained. So instead of we're going to get more sustained notes, I can hear the difference. So in the context, huh? A little bit releases. Well, so again, all this stuff done showing its sound design to be able to find things like this quickly, you need to know the basics off, son Design filters, modulation, ella, foes, envelopes, stuff like this. If you If you don't know all this stuff, I suggest you finding resource is online and learning that first and then coming back to this lesson for the second sound we just duplicate this original, uh, sound and then you spire, this time instead of serum. Um, I used this Ah, sound bank with I used this sound Zen So five from evolution of sounds, evolution of sounds and words by a revolution on and we basically grabbing this little handle and moving notes. Hopefully, fruit like this is the playback Start in position. So the loop will start from here. And then we could also do the other way. We could grab too loud, could grabbed in notes to disengage notes playing. You can untangle that so they won't play when you touch them and basically do that, There's multiple ways. Ways off. Doing stuff enabled him. So you could either do this or you could easily grab this handle and place it there. No thing. I don't like this huge tail going to just grab the release handle and just bring it down on this releases. Well, this release we go river there as well. Okay, we're gonna reaches to reverb a little bit. We're going to mute the river from here and we use our own reverb. Ah, for consistency will use one reverb for all the sounds. So our track sounds like it's been played in one space. Essentially, we get for our next sound. We're going to duplicate the serum again. So get rid of all these notes and put a note in here. They had changed the sound going to same bank, As you can see for the sake. Off the speed, I've got tons of some banks. I can just jump in search for the sound I like and then, uh, just select it. Fix. Um, I'm looking for war is coming. So some of the sounds I already know how they sound off course you've got in serum, for example. Um, you've got this preset tab which each sound you can a mark with rating. So I basically to sound like I'll mark them with a rating. And then I can just click that rating in search for the sounds that I know and I've bean and abused before, and I know this sounds great. So I just like, go and find the sound out of this huge amount of sounds. I can quickly search and found it to find the sound I like very quickly by just rating the sounds and pre listening to them and using them. Okay. Ah, I don't like that reverb again. Get rid of it. Oh, so there's way too much going on in this sound that disengaged All the oscillators. I see nothing is playing and then engage one by one and hear what sounds. I don't need any snare room on this sand, so just gonna leave it off. So yeah, I just won this. That's here was what this is? No, this is something off. Like Tom Sound sine wave being modulated. Ah, some her some ways pitch being modulated. So I don't want that either. One just This is high. Wait a little bit too high. Let's lower this active this lower to a shop to That's more like it. So let's hear how it sounds in context. Great. So you noticed. I've already group this to save some time. You already know how to do this. So now that we have our mid frequencies, top frequencies and low, we can spiced things up with some effects buildups and stuff and then move on to arrangements. So in the next lesson would do some effects 6. FX: Okay, The next thing we create is snare role. So, um, going to I want to use a drum rack. We're going to group a sample snare sample create amid a clip. 16th note all the way. So this on extend to eight, Boss. So this is our basic, uh, in a roll. Then we're going to use volume automation. I like to use gain on the utility plug in to just automate the gain instead of using the main mixer. So we go from minus 12 around and gradually built so zero to be Then the next thing is more interesting. Basically already prepared a dry, wet rack from, uh, from previous tutorial you've learned. So we're going to just drop in a, um, vocoder on the wet channel and automate the dry wet. So we ought to make drive that going from zero to around meat meat way and then on here increased the range decrease. So the basic basically increased the whole range off frequencies keep the carrier as noise . And then we can also modulate this as we progressing like we can stop. Hello. And then we can go under high on the release. The more release the more hyped the Sounders. I call it hyper sound. Hyper. Basically, you can use any sound source. You can swap this snare sound to 20 sound pretty much and create rises just with this thing here. So let's hear out sounds. So that's basically creating this, like, washed out noise sort of effect. She increased the release. See, that's how it works. Basically, very simple, but very effective for buildups. You essentially creating snare role and a noise riser all at the same time. Very cool. So the next thing I would also I know it's a little bit of mixing, but I mean, who cares? Let's draw. Let's drop in on overdrive in here. Decrease tone. You know, I'd add a little bit off body very flat. Very dull overdrive. Makes it over driven. Obviously. Um, so another thing I like for that snare ad is a compression like compression to go before the volume Automation otherwise as well. This this and that's ah, snare. Oh, rename this quickly and move on. The next thing, we're going to make his riser. Let's grab the silence. One initialized, uh, initials patch. Grab noise. Source. Later, two voices retreat cough color code this name it. Riser. What noise? Rise or wherever you look to name it. Insert medically. At this point, it doesn't matter which note this is cause it's in the noise. It doesn't have any particular pitch. Um, then low pass filter I like. Instead of fusing envelope to modulate the filter, I like to, uh, actually draw automation myself. That way you can have a lot more control over the ah, period off the automation that Andi. Yet, basically, it's we're quicker and easier to to actually see what's going on. We can let's add a little bit of Dr Quale off resonance. - That's pretty much your sound. Very simple. It's You can play around with parameters. ID drive. You know, at course, wherever you like, it's It's fun to play around. You can decreased the resonance. I drive a distortion. You know, all that good stuff. But for the sake of this tutorial, we're just, um, sticking with basics. It's it's all about making music quickly. So when the, uh, inspiration strikes you, you know what you doing like a delay just to spice it up a little bit? Picking places, okay. And that's your riser. Okay, next thing we're going to create is noise impact going to drop in another instance off. Silent one. Um, initialize patch. Select nights, oscillator. Two voices retreat off color this. Name it. Noise impact. New media clip. Who knew made a clip. Sorry about that. Very intense spring. Much it. I mean, we gonna cut off low frequency, but the again. This is very rough. We're gonna properly mix it later on. Hey, we're going to add a, um lfo telephoto. Where are you? Just good. The movement to the sound. Unless you know his impact. Okay. The very last thing we're gonna add in effect section is going to be a little bit low noise pad. So we're going to create a new audio channel this time color coded. And we're going to add this cool plugging called RC 20. Essentially a huge chain of planning ago. Noise, warble, distortion, etcetera. Load of stuff we're not gonna use this time. None of that. But we're going to use 15 inch vinyl noise. This was sounds like we don't need any ducking. We don't need any flux Tone to zero and routing Dick disengaged the post. We can copy the LFO from Noise Impact. Also, I don't like this fundamental frequency there going to get rid of it and ah, stuck in is a bit too much as well. Thus up pad. Basically, this is going to be playing for the whole track to just, like, glue things together and looks. It's just it's just gonna add that. No, but if extra appropriate won't even hear it, we're going to add it very, very little just to glue things up a little bit. Okay? And that's it for effect section that's called this or C 20. We can group the effects and call it a day. No, just kidding, Right? In the next lesson, we're going to arrange this eight bar loop into a full track. 7. Arrangement: OK, now let's get on with arrangement. There's multiple ways that you can do this. You can drag clips on your own and and see what what works. You can drop the clips into, ah, session view, drop all the clips there, but that and then play them by, you know, played them individually and progress that way. It's a fun way of doing it, but it's a slow way. And this course isn't about the slow way. This is This course is about the quick way. So what we're gonna do another way of doing the arrangement would be to create an audio track color coded whatever and drop the track Redi produced, released professional sounding track by the artists you admire, for example. Ah, and basically Copia the arrangement. You can map the buttons. You can map solo button to say letter s Stuart CAPPs s. And now every time you hit s, the track will play. So you need to walk the track and make sure it's in grid set. This thought in position to beginning off kick began the first, uh and then right click. This arrow can go walk from here straight. Best the temple off the track, and it's matching our session tempo. So now you can just listen and determine where the elements start, where they go away, where there's transitions, where there's breakdown with its build up with this, Ah, drop all that sort of stuff and then you can just go along so I can just start from beginning. Set a marker there, a name it intro, then continue putting Marcus that there's a vocal starts. So would put Marker and say, what vocals? As in books thing with arrangement not necessarily in that in the intro, but every eight balls which is here, There should be something different happening. Something should be taken off or added, or the should be transition. That should be something happening, something different. Otherwise, this already repetitive music will get boring very quickly. So here we can hear that there's a snare. Oh, coming in in that and there's drop drop, and basically you go that way. And you, Mark, I can see already by the the way This way form looks that this is a breakdown. So I'll put break. So yeah, you just go along like this and mark at each section and then basically arrange. According you can corporate exactly the arrangement that's already being done. There's no copyright that protects the structure of the arrangement. There's no such thing. So you can go ahead and cooperate. You can. If that sort of arrangement doesn't work for your particular track, you can basically change things around. Obviously. So, yeah, I was just going to skip to, um, marking all the things. Okay, not that you go. Each ed was marked. You can go ahead, just start arranging. Gonna extend our kick base began pretty much extend all of it and then start cutting. So I'm just putting thinks where they meant to be put so old amid since going in a drop. So pre drop this Nothing so snare. Oh, just before the drop. No, His impact program? No. On the first drop on the second drop, I guess. Theo ther crash drop when that crash, we don't have no have it looping. So what we want is to loop it each eight balls. So yet? So that's where the crash is going. And then now, then originally on the original track, this goes, there's no baseline playing. So baseline, - I'm just removing the parts. That's no belonging to intro. There's no ride on the intro, right on league kicks in the There's No Rim noticed. I've added like this rim. I just felt a little bit cooler as kind of a little bit to the group. Notice. I'm not trying to recreate 100% like for like, but obviously I'm using Chris Lakes. I remember as, ah, as example, Cassie's. He's a legend. He's a massive artist, so to learn from him is probably one of the best ways notice we haven't done any mixing whatsoever at this stage. So it sounds way off the original. So the where about this we're going to do after we've done the arrangement. So basically, this is the way you just you just go and you just you just go and arrange to track basically take parts out, bring parts in, uh, volume automation. Oops, that's going to happen over time, right? You notice I've done some processing here, which is this high pass filter plus slow bit of compression. Two blue things together on the low channel on the low group. So this hot, high Pasfield to weaken, we can basically recreate it uh, very easy. I mean, off created that filter. Ah, rack. And I'm just dropping it down. And using it is it's basically what it does is, um, it just hi passes. That's what is on. Basically, he uses it in this section here with vocal starts. So to do that, you can actually use any filter. To be honest, um, that's use able to native filter. I don't use it much, so I struggle sometimes to locate it. So it will be this. It will be just new automation, and then you just draw. I'm holding this shift now, um, raising the bar so wherever and you obviously need to listen. - Oh , so you can hear that I've droned cut off and I've audit decay. Uh huh. Same way as I did. Cuts off on, Basically, just send the wrong place. This curve, if you press old, that curve appears and basically makes line curved. That's so it does. It's like exponential rise. This. See, this is another, um, another great feature about the low, um, group that you can process with this filter. You can process kick and base simultaneously. You probably don't even need this automation. I only need filter. I was going to say we're going to listen and moment. - Okay . Sounds all right. I think we need a little riser before the rise. I guess if we corporate this Sorry, I'm probably using a lot of short custom. No explaining. It's just purely because I'm just used to this workflow. Feel free to ask me questions. If there is a way to us questions in the comments or whatever, I'll be answering them as a soon as I can. So took to make this small riser. We're just going to cut the note to this sort of length, which is, I believe, one bar Yeah, number. And that's our small rise of before the main roads that goes in okay. Yes, this is It basically does how you continue doing the arrangement. Oh, gonna skip the rest of it in the next lesson. Will will be adding vocals 8. VOX: okay. Ah, Finished arrangement. Did a bit cleaning up on. Let's have a quick listen How? It sounds a moment way . - Okay , I'm pretty happy with it. So the next thing we're gonna do we gonna add vocals. To do that, we need Ah, no audio channel creating Nodia channel. I've isolated the original vocals from the original track, so just drop it in. It's no ideal, but this it is great to have a reference. So let's just aligned this properly. How? Solar. So you can hear the quality of it isn't great. Way, Way that's me in every way. Just a little cleaning up top and bottom cut that's here in the context. Way, Way. Unfortunately, the software has determined thes since theme the original track a za part of the vocal. So we ended up those, uh, just going to get rid of those and keep just the vocal. So just doing a little clean up here. Well, so yeah, I'm going to clean the soul up and come back in a second, Okay? Now that we cleaned up the vocal, by the way, this is the same way you would do a remix you would use something like Rx seven from ah isotope To isolate the vocal from the instrumental on basically, yeah, do remix, you know, do repost. It's not going to be the best quality of vocal sample. But, hey, if it's the only way you can get it why, no. So another thing on the show to is here. He's got this, um, riser. That's quite interesting. This'd original plane, by the way, SES like ah, big vocal rising 22 that we just need any any bit of vocal. We're going to use this bit here. I'm going to take this command j to consolidate it, then reverse. So end up this'd the sample you can use literally any bit of vocal that there is the effect will be the same. Then you would grab a river 50% a little bit off, uh, high frequencies diffusion, and then set it to, like, 15 seconds or where, but you can play around with it, and then we need to do is record this. So you create another track, go on io settings and put as a re sampling omit So everything that you're going to play now from your ah door Well, will automatically record their. So basically, if we solo this vocal with the river bone and hit record, then we're going to get this sample. So let's just cut the ends of it. So it's exactly eight, boss. Then come on, Jay, to make it one sample, that's a boss. And then reverse again, son. Now we can cope it this and put it on the get rid of that and put on the new channel. So now you get undo the river and that they have it. You've got a vocal riser. Uh, limited back on. There you go. Okay, that's it for vocals. In the next lesson, we're going to be mixing the track. 9. Mixing: Okay, as far as the mixing is concerned, it's all about going, um, to each individual track one by one on shaping the sound. Uh, worst listening to the whole mix. Sometimes you do need to solo ah, to be able to identify a problem, for example, like resonating frequency or something like that. Let's start with the kick you've noticed. I've already added some plug ins in there Already done a little bit of mixing to kick in base. Here's how this sound well done to the kick was, um, rolled off 30 hertz, which is quite basic. Then I've added a claim Haims compressor. It was like, um his compresses slash overdrive slash Ah, saturation. Zoff, plug in you go. A character harmonics Who you can you can add stuff you can drive. Andi, Basically, I've just used a preset based breeze. I think driven base year and adjusted to the permits is a little bit, um so that's just here without it, Uh, solo the kick see kind of rolls off a little bit off the top end and kind of, you know, tightens the kick. And basically, as we're using to lays it open bottom this was off actors igloos world for for the sound. So this the them to laze will send as one if you process them together. So I wasn't happy with the amount of saturation it was given me. So I've added a little bit off satin as well. It's on the default setting. Just selected warm tape and a drove it 70 Almost 80% and dry, wet. 50%. Pretty much so. That's how I did. Gives a tiny, tiny, tiny bit extra So with the base, the freak you rolled off around 304 100 hertz. Then this, uh, broke off around 26 um, 2.6 k on a low frequency low pass filter around 2.4. OK, pretty basic stuff without it, that's let's just undo all the processing on that base of press zero. But who had to just undo the mark selected the Mullen Press zero. So zero just, you know, tons on enough. Um, well, it sounds without a queue. I have much cleaner. We don't need those high frequencies because they're going to clash with the rest of the instrument. Then added O t t already covered this. When we were making baseline, uh, e cured and no boys there. It doesn't do anything. Uh huh. So this is quite cool plugging. It's called Kraemer tapes. Saturation tapes, Kraemer tape. It's a saturation and compression plug in, um, so it gives that tape noise as well, so you can hear it as well as you can see it. So it gives that kind of noise across the whole frequency spectrum, basically always with noise. So it acts again as a little bit off like a glue. So, you know, almost like a pad sound plus the way it sounds. Uh, it kind of brings brings out those, you know, high harmonics and another phone. You know, that's just basic. Ah, ducking. So let's move on to high frequencies. Quite cool technique for bus, gluing the high frequencies or any any group off tracks. Compressing them as one is is quite cool trick. So we'll use a Bolton's native glue compressor because it's got it's got this cool feature , so called soft clip. So we engaged that it's already engaged, and then the trick with this is to group this and put a utility after it, and then will select quickest attack or to release? Leave this there. Uh huh. Uh huh. I forgot to so high. So then we're gonna drive too much around five db Gain reduction. The trick here is to use make up as much as possible so you can go in the clip. So watch me when I'm rising the makeup and see this clip, but and clip led will let Lee up, Theo. That's where the quite cool, soft clip compression kicks in. And now it's the case of just I guess you could do here, but I prefer it in the in the utility. Then you're just gonna have to match the input gain with the output game. Make sure what comes in comes out the same level so you can hear the difference. We can have more makeup. As you can see, the level off the signal is the same, but there's way more compression going on. So all the sounds on more be fear thicker, which is what we want. One nice and thick sounding for the tracks. So the next thing we're going to do is go one by one. So I did a little bit of mixing for the clap which is just rolled off. Ah, low frequencies and then a little cut in ah, to two K. So let's hear how it sounds before and after. See, we don't We don't really need all those low frequencies. Wait. So then the next step. Who This high hat? I think I've done a little bit off. You can just get rid of the oldest cautious around 10-K And finally, enough. I'm going to bring it back a little bit with the, um with the mastering, um, low cut around, Ah, 16 17 kilohertz. And then, yeah, brought off all the low frequencies with the quiet, um, non steep curve. 60. Be productive on a little bit of compression. You will some to just copy the settings. Really? So Noto, by the way free ratio free to one and then minus 24 fresh hold over something as well could the terms for better quality of Burnley According to the manual, um, basically, another thing I would add to the open high hat would be, Ah, this quite cool. Plugging by from eyes. It's hope is called vinyl. I think it's free. I believe it's free and look what does it makes all the difference, I guess. I don't know. I love it. I just drop it in and instantly gets rid of all these cry frequencies. That very harsh, especially in a loud club system they can really damage. Your hearing gives that extra wipe to the high hat as well, to be honest. So the next thing we're going to do, we're gonna add a bit of for randomizer uh, to the closed high head the moment. That's how it sounds quite like this. Ah, media random Blufgan. No. Sorry, not that one. Uh, its velocity. So you already got, like, at some random preset here? I just take that, put a little bit less off the random ization. Basically, what it does is all that meeting notes that passes through this plugging. They'll get randomized. So ah, by this amount, you can randomize boys 64 or in. In our case, we're going to lower the number like 15 so each media note will get different velocity. See, that's way too much with That's very obvious in a truck, But this very little adds extra, adds extra human feel, I guess, to the track that's bean pre robotic. So that's one thing. I also wanted to add a bit off movement to the sound as well. With this shape of box A Quite like, um, I made my own very basic presets. Be honest. Um, it's the full Fulham. So before Liam Automation. So if you go there, you see it's is quite basic. 1/4 eyes to loop length. And it's time, uh, the sound place in loops. This, um l a fall month off off the beat. It acts pretty much like, um, um side chain compression, but not quite so to do this is very simple. You just This is the, ah, screen that pops up once you load. Ah, the plug in. Oh, that initialize it. So that's the first screen. Then you grab volume, go to basic shapes, select away form, and then a play you know, shifted across the the grid. Don't select your loop length. That's pretty much it. Then I quite like this free again. Three. Plug in from affected mushrooms that believe. Yet it's wider. Apparently this wider, the only wider I've found. At least by now. That widens to sound quite wide. But in the same time that is, it's no affecting the monarch compatibility, which is very important if you making music for club systems. So I like to add around 50 foot for this off sound narrow. Why can go crazy with it? We know going to do that. We're going to do that for right Rights are gonna go mentally wide. So that's that for the for the closed high hat. I think we're going to do pretty much the same. The for the hi closed high hat, except we're gonna raise it to 100 around hundreds. So as we go, you know, this this sound is a bit lower. This sound is the higher. So I like to go wider on the higher sounds and then less wider on the law sense and completely mono on the base and kick and stuff that plays in Billy and in very low register . So also, I noticed this sound is already steer stereo. So I only want I wanted to be mono compatible in the first place. And then why did it so in this instance, I'm going to drop utility and select only right channel. So let's get rid of the older plug ins. It sounds white when it's coming out of the drum rack with this by selecting only one channel, you essentially making it Mona. And there's a small low cotton nothing fancy and then make it wide up with the wider. Also, we can cope eat this random plug in And that a bit friend immunization to that also Tom brains from random ization. So I already mixed Ah, Tom brains a little bit. Just speed up the process a little bit. So basic stuff. All the same stuff that we've done. Tambourines. Congar like 1 50 Okay, okay. The next thing I want to do is give a bit of movement to rims who have the same. My favorite shape of books. This time we're going to use there is one already, but I was just going to show it this time. We're going to use Pan same way. We're just going to go to basic shapes. I'm going to play the sound, I believe. Yeah, you can do the same stuff. Sick kind of goes from left here to the right here. Probably way too much. This is mix Ah, for the it's essentially Dr Wet. 100% it goes from left hard left too hard, right? No effect. 10%. We're going to use around 77. This here in the context, that's that. The next thing I'm going to add is a bit compression for the rights. I've already done it, but I'm going to show you. I normally go about it. Just drop in compressor after e que e que basics just to get rid of all these lower Rambo. Basically, what you do is go to the sound from sounds of sound and just caught everything that you don't wanna ah interfere with the baseline pretty much with the bass frequencies on. Yeah, in case you've got some problematic frequencies like this ring, for example, if you really hate it, you can you can get rid of that. I don't particularly hate it. I I think that it adds an extra as the harmonic content. Um, So with the compressor, just play the sound and the just, uh, ratio and threshold and attack and release. I like it quite hardly compressed this over sampling. Let's go do some over something. Attack is how quickly the compressor reacts to the sound and release how quickly it goes back to normal. So yes, pre basic. So the next thing I'm going to add is, um, a bit off distortion for this sound. Oh, so like in terms of gain staging, I mentioned earlier best practices to make sure nothing is clipping on DNE section off the off your chain. So we're going to lower this master volume so we don't have compression, and we're going to raise this volume back t o back to what it was. So with this one, I quite like this plug in Quote Do it by Native Instruments again. Basic eq. You hear cutting low rumble to make some space for the for the baseline Here. I'm going to use this preset here court present day blues, But let's hear what does to the sound that's way too loud way I'm probably We can dialled down dry with the only thing about this plug, and I don't like it's hard to dial this dry, wet wear that the mouse's reaction Teoh Okay, I'm happy with that for now. Next thing we're going to add another piece of distortion for this sound. I'm going to Zeisel talk trash this time. Abuse that here already going to demonstrate this is the preset of used. It's and heavy spread the base. So without it with it, I'm going to again. It's clipping a little bit, so we're going to lower them volume tiny bit. I'm going to select high high shelf and shave off. That's it for this sound. So the next thing I'm going to add is the Reeve up. We're going to create a return channel, and we're going to drop Hebel Jolla Room. We're going to select this medium ambience preset. We're going to dial around two seconds. Andi, Now, you you've got a choice. You can apply this to like a whole group. For example, with this and so you you can see the difference. You can hear the difference with and without. It takes the sound in a certain space, and I like to use only one river. There's the load off like theories you can you can do like short reverb for, like, shorter sounds like drum sounds and stuff, and then longer re verbs for sense and stuff like this by tend to use one reverb and put all my sounds, my entire track pretty much in one space, and all I do is I dial this scent differently to different sounds. So, for example, for this clap, it's quite dry. I would die then See? This is way too much of a bubble does then a little bit off that river. So you probably want even here in the mix. But it's there. I know it's the and I know ATS. Then I would also dull in a little bit. Right helps if I put play put playback position in the right place expands that sterile field as well. And then yet you just go sound by sound. Whichever sound you wanna add, you're river. So the next thing we're going to just shape this reverb a little bit quickly with and the Q going to shave off top and bottom and leave just like around one kilohertz, Um, t to go through off that river. So if you want to hear to river with and without a queue, it sounds like this. Um, the next thing I like to add is a bit off overdrive. Tiny, tiny, tiny, bit to decrease the drive decreased. So the last call three trick. I'm going to show you these another send effect trick I'm going to already prepared amusing it in pretty much every single track on making. So it's it's another river, uh, effects chained of made ages ago and a said, Yeah, I'm using this in every single track, pretty much so That's expand its So I've mapped all this. This is Dr With this space you can you can see or I'm using this, uh, pro are from far filter reverb with all these settings The off down the ages of be honest with you ages ago And this is the length of the off the ah, the river 1.7 seconds. Turn believed This is free to be honest from self tube A bit saturation, not too much. Then e que again cut low cut, high cut and a bit of glue compression with soft Lipkin engaged just to, you know, glue things together. This is dry, wet old away 200% because we're using the under send anyway. So why do what This is on the group, the whole thing. I take old so I'll take old ah older groups and I I'm going to Come on, Jay it again group it too. I didn't take the low frequencies. So see, this is all now under one huge group and I'm going to increase the, um on the breakdown. So I'm going to increase this send effect. I'm going to do draw an automation line, - basically washes bushes things out and, you know, kind of distances the sound from from the listener a little bit and then go back to normal once it's once that once the droppers in Sorry, so difficult to explain things. And, yeah, I would do this for for every breakdown on the on the track. I just dropped down back to normal about bar before for the painting off the track, to be honest, but yeah, could go Half a bar Could go all the way in. But yet generally like that, then that's it for mixing. I mean, you get an idea, you just you just go in. Do you accuse Do your compressions, See what sounds better Compare it. Make sure you ah, you level matching it and then, yeah, feel free to ask me questions if you want me to explain something in a bit more depth. But that's it for mixing for now, let's to the final stage before we listen the whole track from beginning to the end. Ah, which is the fostering? 10. Mastering: Okay. The final stage off our production course is mustering. We're going to start from applying a little bit of fake you I like to use Ah, a ozone hate equalizer. I'm going to roll off 30 hertz and I'm going to Rohloff 20. Okay. With 24 d b. Ah, productive. So there's nothing on the master that that goes above, uh, 30 hertz and sorry below 30 hertz and above 20 uh, 1000 hertz. Then the next thing I'm going to drop, he's ah, glue compressor. You're looking for that little bit extra gain reduction and, you know, given a sound of body definitely used auto on on the master section because you're compressible determined where the peaks are coming in. A tiny bit of gain reduction. Tiny little bit of gluing, then my favorite part IHS uh, using unity plug ins. I quite like this. E que From you a d is. It's just magic. Sorry, not that one. This one. I'm usually cutting around 300 hertz. This is no decibels. By the way, if you set this nope. Toe one. It's not going to be a reduction by one db, but you just have to play and listen. This is way too much. Never, ever went about three and yeah, never went below one, to be honest, and then we're going to boost a little bit off 12 K I think this is way too much, but I'm just demonstrating for the purposes of this tutorial. So I'm going to again increase to around one or two. The only way to to see, to hear what you're actually doing, if it's good or not, is to A and B. So we're just going to listen before and after. So the 12 K will bring the air off the track like those high frequencies you probably won't even hear if I would solo toe OK, it's it's just tickling. Very, very, very high frequencies and then 300 hertz. I've have dipped it, and this is just like mud to me. Doesn't sound clean. So even even by doing this alone will clear up the mix. See how much clearer this sounds. So the next thing I'm going to add this distortion you can experiment with this with the quick and easy way for me is to add saturate a sausage fortuna. It's crazy to at this thing on the master. But it works. It just gives that little bit of body I don't even see. I don't even touch any knobs. All I'm doing is just throwing it. And it already colors descent so much and then that yet that's an easy way you can You can try different distortion, plug in saturation plug ins. You can try this again, make sure that income in gain is matching to the outcome in game. So I'm going to keep the sausage for us Enough now then a little bit for T. T. Um uh huh. Too much, very little. And then another cool trick. I I've learned this ages ago to increase the intensity off. The drop is by dropping volume down by couple db on your on your breakdowns. So see, we go break down here dropping the utility and do the gain automation just before the drop . So on the breakdown, I would put the point, and then I would put a point on the drop and then reduce this by around three dp Sorry, my minus three db I meant minus three. So the game would just gradually go down, down, down by minus three db, which is very unnoticeable but in a context off a mix in the concepts of the track. You removing that three dp to then suddenly on the draw bring them Freedy, be back. And yet you just increase the intensity off the drop that way. Yeah, like that. And then I would do that for would copy this and then you go Long break here is you can see I would cooperate this and replicate then a copy on each break. Basically before each drop, I would do that. So before each drop, there's a deep in the game about three db Then on the drop, it goes back to zero back to normal volume. Okay? The very last thing I'm going to add is maximized from ozone to bring the levels up. This is going to be lost plugging in the chain. I used this. I r c three um balanced. No, Sorry. Our i r c four modern. Uh, Olga ridden. Then I'm just going to play and lower the threshold. Also, I like to go. Is there a point free TB with ceiling? True peak. So everything that goes above this even if it goes, This will be caught anyway, so I don't touch any other settings. Just keep them as they are on. Yeah, basically, in ah allowed this section off a track, I would just play and lower the threshold. And this is our mastering. You can group this. Come on, Jay. Unless you're mustering chain pre breeze that you can also compare it by just on the off. So bomb keeping is I'm keeping utility. That does absolutely nothing. And I'm keeping the democracy miser. So all the rest of the plug ins are off, and you can you can hear the difference. The most difference makes this plug in, In my opinion, this and sausage partner they they both combined make the sound pop, pop out the speakers. Pretty much so. Congratulations. This is it for the mastering. You've now completed your entire track. Um, basically, the next thing we're going to do is we're going to play a track back from beginning to the end so we can hear the final result 11. Track Playthrough: okay. After a little while, fine tuning and cleaning up way . 12. Outro: there you have it. A full professional tech house truck that you can know from an immediately implement in your own productions. I really hope that I managed to teach you a thing or two. And if you still have questions, please leave them in discussions and I will respond to them as soon as I can. Thank you.