HOW TO MAKE TECH HOUSE TRACK FROM START TO FINISH IN 2021 | MACROLEV | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

HOW TO MAKE TECH HOUSE TRACK FROM START TO FINISH IN 2021

teacher avatar MACROLEV, DJ / Music Producer

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

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

11 Lessons (4h 3m)
    • 1. 0 INTRO

      1:00
    • 2. 1 KICK

      16:27
    • 3. 2 BASS

      8:29
    • 4. 3 DRUMS & PERCUSSIONS

      37:14
    • 5. 4 SYNTHS

      17:33
    • 6. 5 VOCAL & SAMPLES

      26:06
    • 7. 6 ARRANGEMENT

      29:19
    • 8. 7 FX

      48:31
    • 9. 8 MIXING

      36:37
    • 10. 9 MASTERING

      14:33
    • 11. 10 TRACK PLAYTHROUGH

      6:44
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

134

Students

--

Project

About This Class

Hello, my name is MACROLEV.

I'm DJ/Producer based in London. I've been creating music for more than 7 years now and I'm here to share my knowledge with you.

In this brand new 2021 class, I'm going to take you through the entire process of creating BOLD Tech House tune from scratch!

From creating a kick drum in Serum and layering it with a sample to synthesising bass line to laying drum and percussion patterns to adding synths, vocal and samples. I will show you the way I process sounds as I go. Then I will show you how I approach arrangement. I will show you how I create transitional FX to add tension to certain sections of the arrangement such as a breakdown. Towards the end, I will show you how I like to approach mixing. And to finish it all off, I will show you a quick mastering chain that will make your track loud and powerful and capable to compete with modern standards of loud electronic dance music.

So, let's not waste any time any longer and get going, you've got over 4 hours of video to go through. And I highly encourage you to pause and try for yourself everything that I'm showing here as this is the best way to learn in my opinion.

If you got any questions just hit me up on Instagram @MACROLEV and I will be glad to answer those. I also do private 1-to-1 tutoring over zoom, so just contact me directly and we can arrange time!

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

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. 0 INTRO: Hi, a macro level. In this class I'm going to show you how to make a tech house truck from start to finish. I will show you everything step-by-step. We're going to create a cake from scratch, create groovy baseline and drums, as well as add interests with various since sounds, samples. And I even going to show you a couple of my unique secret ingredients. I'm going to show you the exact processing of each element of a track. Towards the end of the class, I'm going to show you how I make the track. I will definitely show you a mastering chain that will allow you attract, to compete with a modern standards of loud electronic dance music. So it's definitely worth checking out. Let's do it. 2. 1 KICK: Hello. Let's start with setting up the tempo, which is going to be 120 to four. Then we're going to create a kick in serum from scratch. We're going to be making fundamental frequency. The thumb pi call it. So in order to do that, you need to choose sinewave sets up a mic clip, which is command shift M on Mac, poem midi note on G1. And loop it to 1B. Extend the Miniclip to aid boss and loop it around. In order to create a kick, we need to select a sine wave. Then reduce, sustain, reduce dk, increase, attack a little bit, and increase release. Then take LFO one, set it to an envelope mode, and tick those to tick mono said The right around 1.3. Then insert a point here and drag it across. And then in matrix, you need to assign LFO one. Tomas detuning, increase the amount. All shift. The arrows, go in only one direction. The envelope. This is pitched too high. So we can either decrease, like shift this from G1 to G8 or come controls a Command Z. And shift this octave down. Works the same way basically. Then from here you can just like tweak note length, right? Or you can tweak the tone of the kick. You can experiment and at distortion, for example. Which sounds quite nice to be honest. So and that's your fundamental frequency of a kick. So we renamed this low. Then we Command Shift T to create Miniclip. Sir immediate track. On the midi track, we are going to insert a drum rack, changed simpler to sampler. And then we're going to have to import kicks sample in here for the top layer called this top. Change a color. Copy midi notes. Since this instrument is a sampler, in order to play this sample at its original pitch, you have to shift this to S3. So now we're going to import a sample into a sample. I'll be using this ET kick. We're going to have to manipulative with envelopes. So reduce the sustain, increased the attack. Reduce, decay. Click on a word, and basically reduce it. You can cover, you can even curve it the other way around. The sound will change because of that. Next stop will be to EQ this. As we don't need this low-end, we can just get rid of all the low frequencies as well as some not particularly a fan of this frequencies here. So this is one of the top layers of a kick. This low layer mainly will be hurt on a decent Club system. It will probably be more felt in your chest and heard. And this top layer is necessary for you to be able to hear the kick on a lower quality sound systems. So something I like to do as well is to make sure my kick is in mono. And I do that by inserting utility and choosing either left or right channel. Can you hear the difference that that kick was waste stereo. And yeah, I just made sure that it sounds perfect when it's bounced to mono. Make sure you change this quality interpolation to best. Also, another thing I like to do is same with utility. Swapping the phase. Let's insert some distortion as well. Let's rename these just coping the names onto a clips. On this track. I've inserted another layer. So I'm just duplication this top there. Instead of a sample for kicks, I'm going to insert this sample, which if you hear it, you listened to. This is a zoom recording. Check out is basically me stretching the balloon and release in it and it makes this noise, dislike clicking noise. So it was something with an air balloon duff. Recorded in, let's call this balloon. Zoom the send and place a playhead marker to beginning of sample. You can also increase and see where the sample is at 0. Or you can use snap to 0 like this, but sometimes is way off. Therefore, you can just use this. This is like a zoom feature. And this looks like close to 0. So thing. Yeah, this should be fine. And let's have a listen now it sounds. We worry about the mixing later on for now is very rough and, you know, ready to go. So we can basically get on with adding more elements in. And let's EQ a kick a little bit. So I'm cutting everything below 30 hertz. Then I'm adding a point to around 50 hertz. And since we've got top players on a low layer, we can eke out every high frequency. So this boast around 50 hertz is around the fundamental frequency of the low layer of the 6x. So this is acting as a low like bass boost. So thing. Make sure you always on-off whatever effects or plugins you apply, make sure you do good rather than bad to your sound. So on-off, it's a great way of checking if it's sounding better and after you applied certain effects. So we're going to group this whole thing into a group. Call it kick. That balloon sound was a bit too much, so a bras it down a little bit. Next we're going to process the kick group as a whole. So why did the, again cutting below 30 hertz, which is really unnecessary because we've already cut it the, it's good to make sure that there is literally nothing going through below 30 hertz frequency. Then we are reducing around 182, very nasty frequencies here around this area. Clearing, clears out the signal a little bit. Then we're also boosting this sofa. It's not, it's not presence by, it's almost like punch I guess. And this area have Alyson kinda punches slightly more if you boost in this area. And then to finish off quickly a free clip, which is a clipping plug-in. Going to select a quintic algorithm, which is kinda slightly softer as you can see on this is completely like, you know, brick wall and this is, I'd say a lot softer than that. And oversampling will give you better quality. And then you just reduce this by whatever decibels your signal requires. And the whole clip you go, you've got nice low visualization there to see where your clip is actually engaged. This is almost like my compressor for the Keck. We'll start with from this. Then we added another layer. So there you have, you've built yourself a unique kick. Obviously, you can choose any samples you like. You can place a clap in there, you can play symbol. You can place hi-hat, whoever you can place. You can record yourself clapping. You can have as many layers as possible to creativity is endless and at this point, so in the next lesson, we're going to be looking at how to make baseline from scratch. 3. 2 BASS: Hello and welcome back. In this lesson, we're going to create a baseline from scratch by using a synth plug-in code DVR, trope the DVR on a new midi channel. And then in patches, we're going to use template code mongrel. Not really much. We need to change here. We turned on the release, sustain all the way to k, nearly all the way down. Switch mode to mono. And you should be good to go. Let's create a one-bar, meet a loop. Command shift M. Let's draw some notes. Okay, that's going to be our baseline melody. Now let's make it sound good. First and foremost, less utility and swapped the Phase. I don't know what it does, but it sounds Fuller to me when I do that. I'm not really technical. On this particular topic. I am I haven't got a clue what's going on up. Tried it once. I've swapped the phase and it literally changed the way it sounded. So I decided to keep it sounded better to my ears. So almost like sounds wider as well. Let's drop some EQ. And just before the queue, let's drop a saturation. And my favorite saturation plug-in or full time, it's got to be fat filter certain settings have very simple. You just Choose warm tube algorithm HQ on high-quality. And then crank up to crank up the drive. Than in terms of VQ, we Cassian below 40 hertz. Low post around the post command. And steep cut around 300. Allow all the rest of the frequencies to come through, which is drum since, since and stuff like this. Change this from Boca to low shelf. Just slightly more Pasi. Let's then compress this Pro-C ratio all the way down to a 100%, I guess infinity. Attack to quickest Guan. Release. Set to auto. Make sure you gain compensate. This gain compensation essentially means wherever comes in. In terms of four, you should go out. Let's look ahead as well. Oh, do way up. This vote makes sure that all the peaks, we'll be caught by compressor. Good idea to turn on oversampling as well. We need that quality. And then the last thing in the chain would be LFO tool, which will act as a sigh chain. Let's have a listen in, in context with the kick. Let's color code this, call it base. And they kick and bass playing together. And we can group this and cold his group low. So this is a low frequency group. And now we can process this together, that group. And it just means that we can process low elements of a trek together and glue them with compresses such as 1176 by UAT. Shift, click on a ratio, means older Ratio who engage. And there you have it. You've got yourself kick and a bass playing together nicely. And in the next lesson, we're going to be adding more jumps to track. So see you then. 4. 3 DRUMS & PERCUSSIONS: Hello and welcome back. In this lesson, we're going to lay out trumps AND percussions. And the first thing we're gonna do is thought with collapse. And in order to do that, we're going to create immediate track, rename it, color-coded, create a Miniclip, find c1. And then so Amity note, loop this. Now we're going to have to create a drum rack. Convert this to sample. Find the sample. Place, a stop position to where the samples thoughts. In my case is here. I listen. Plan B. Have a listen. Obviously too much. We're going to have to assign attack, decay, sustain, release to Macros, renamed them. And thus our basic crack is ready. We do this because it's going to be easier to manipulate envelope in here rather than going into this tab makes sure the interpolation isn't best. Quality. Currently, This doesn't sound really good. Therefore, we're going to process a little bit. Saturation will be first plugin the chain. Next, one, drum bus, which is going to bring that punch. Current cup to transient, to predict the next top EQ, to cut her at 200 Hertz. I'm going to use dynamic EQ, which basically means this frequency will get duck down when it hits to the actual frequency. Cut to took. Ope it too much. Oh, PO4 for triumph. And we continue adding transit monster. That whole thing is clipping. Therefore, you're going to need a compressor. In this case, I'm going to use Pro limiter. More EQ just to come round to low end. Again, because oldest plugins overdrive has produced some lower frequencies. As you can see here. And a little widening at the end of the chain, I guess bone home. On this slightly pit. Okay, let's move on. Next in line, we're going to add high hat. So what we're going to do is to replicate this clap, rename it hi-hat. Oh, I'm going to be adding four samples to lead hi-hats. So the first one will be called closed. One. Renamed the clap as well. Let's insert some notes. Let's get rid of all this processing and replace the sample. Increase attack low bit. Just to get rid of the clicky sound in the beginning of a sample and increase decay. Let's make this model by inserting utility and selecting either left or right channel. I prefer to wear left sounds. So all the right, gotcha. Apply little bit of compression. That's good. Next in line drum Bus. Get rid of Dr. damped all the way up and transient all the way up as well. I just need a little bit of crispiness. Next is EQ, just to get rid of the unnecessary low frequencies and a bit of widening. Okay, that's our first hi-hat. Again, we're going to duplicate that and insert a different sample. This time it's going to be from enabled some stock samples and hi-hats. It's called hi-hat 9090. Increase attack elope as it's a bit too sharp. Increase release as well. We're going to get rid of old he's plugins. Stop fresh again. Simple low cut and leave it like this for now to duplicate again. So let's call this 909. Let's keep everything nice and labeled Up. Next one will be another closed. Call it close to. All the samples will have different characteristics. One sample will be longer, one sample will be sharper once up, or we'll be sure to sample will be low in frequency spectrum, a dot way which even this fuller and more unique hi-hat. So next hi-hat comes from to stock hi-hats as well. That's the one. Going to decrease the attack has we needed a little bit sharper. And as well decrease the release. We're going to increase the level, loop it. Every single layer adds something different to the sound. Again, we're going to queue just a little bit to get rid of the low frequencies. Lost high hat would be another closed. As you can hear, they all sound different. Therefore, when you group them, they produce a unique sound. Also, we're going to compress them as one. Let's make this monos will. And there you have it. You got yourself a hi-hat. Next in line is going to be rights. We're going to, again to duplicate the media track. Ride. Go in, get rid of the notes. In 1 eighth. Duplicate the loop. And draw like a, like a curve. It doesn't have to be perfect, but it's, this is going to allow us to add a little bit of dynamic to write sample. So let's change the sample. We're going to use this ride nine or nine. Obviously this is way too much. We're going to want it to sound all the way. So we're going to increase the release. Way too much. Let's get rid of all the plugins. As always, we'll start on fresh. So the processing on the right is going to be some compression. Eq after compressor, going to get rid of all of low frequencies. I'm gonna continue with adding stock, able to reverb, get rid of low cut, get rid of spin. Brady late to 0 to k time. Make sure this isn't high. Of course disable. This will add a little bit more detail to the sound. And to finish this all off, we're going to use LFO as a site chain. So that's our ride. Let's continue with adding more elements of our drum section. We're going to duplicate, rename this coal, the rim. Rename rim. Go into notes. Get rid of them. But 1 16th n, get rid of Folder processing, replaced the sample. Make sure it's a model. That little bit of a tech. Get rid of. Make it shorter. Yeah, that's how I was going to a little bit, again, just get rid of low frequencies. Going to duplicate that again. Get rid of all the processing. Garish RAM. Go into notes and change the note, and then change the sample as well. Again. Just to make sure nothing goes clashing with our bass frequencies, let's add another small hi-hat. This time we're going to use this tiny little hi-hat. Decrease the attack, decay. Sustain all the way down. Okay, that sounds good. Next we're going to add rolling her hat. So it's basically every 16th note which changed the sample. Again, let's make sure its model. Well like the right channel this time. Let's add some dynamics by utilizing a telephoto. Next we're going to add some Phil's, NFL. Let's get rid of all the nodes and make sure we've got an eight bar loop. Place, 16 nodes. Like so. Replace the sample. It's always scary that the processing, we need full sustain on this. Reduce attack. Release. Bring it down slightly. Let's put a transit shaper on this. And let's just cut down slightly hard frequencies above 4 thousand hertz. One more high hat is going to be open. I had this time. This is going to be the last one, I promise. Loss one in terms of hi-hats at least. So just reduced to note length, crop clip. So it's a one-bar clip. Place. Your 16th notes. Get rid of processing o as per usual. Then replace the sample. Make sure it's the right point. Say, let's just make a mono reduce him volume. Older regular stuff. Let's add another ramp. Duplicate that. We can even copy this SNA Phil actually. And commands copy, command, paste, and go in and change the node position to something like this. Then go into a actual sample, get rid of the processing, change the sample. This sample is very low. As you can see by this wave form, we're going to have to increase its volume. Maybe let's make it loud. Yes, more Luckett. Next stop will be to EQ it and compress it. Whenever possible, if your computer can handle it, make sure you turn on oversampling as it makes some plugins sound better. And the last thing in terms of percussion and drums is going to be a crash. We're going to insert a crash median note in the beginning of a phrase. Get rid of processing, changed a sample to crash sample. Fine crash sample enabled some native samples. Sustain all the way up, release, slightly increased attack all the way down. As it's allowed. Sample ticked. I just decreased the volume here. Let's just EQ quickly. It's always a good practice to EQ as you go, at least to get rid of the low frequencies so that they don't interfere. And there you have it. That's all you're precautions. Let's quickly have a listen what we came up with. We're going to take all the drum samples, shift, click, and come on g, group them and called his grew up high. As there is predominantly high frequency elements in this group. Then we're going to throw in a OTT On the whole group. This step is very simple. You just throw the plug-in and reduced the amount to more bearable. And it just glues the whole drum section together. Then as always, we need to make sure nothing goes below at least a 100 hertz. And there you have it, your high-frequency drum group. And the last final step, to make it swing a little bit more, we're going to add a groove. Going to go to a swing. In my opinion, this swing 1665 sounds the best. So I am going to be adding swing to everything, but not high hats or clap or crash. So I am going to highlight all the rest of it. So as you can see, I didn't highlight, I had to clap and the crash. And then I'm going to go to a clip mode and select swing. So listen, that's without it. And that's with it. Definitely swings a little bit more. Let's also add swing to a baseline. Yeah, that's more like it. So sounds quite good so far. So this is it for precautions and drums. And the next lesson we're going to be adding some mid-frequency elements, such as synth. 5. 4 SYNTHS: Hello and welcome back. In this lesson we're going to be adding couple of elements to our track. So let's check out where we left. So this is our main idea. At this point. I'm just going to put a now to filter on a low group. So I'm thinking now to create a couple of cents to complement the breakdown section, where you can switch filter to high-pass, sets it to around a 150 Lobo of resonance. And let's get rid of rides. Basically getting rid of most of the precautions. And low passing the low frequencies, which is the kick in the bass. So command shift two to create a media track. Drag it out of the group and color-coded unless an instrument that's put Spire. And so we're going to select the sound is called forward. Clip. And draw some nodes. Get rid of delay, getting rid of reverb. We're going to be applying our own reverb for the groups, which is going to help gluon sounds together, place them in a dedicated space. As in for processing, we're going to EQ the lows out, lowered sound and volumes. Well, this is a bit too loud. And let's rename this. Next in line will be saturation. Later on as we progress with arrangement, I'm going to be drawing automation for this knob. But for now, let's just leave it where it is. On tape as well. Just gives a little bit more characterises sound. Next, less compress it a little bit. And get us Sounds good. Low payoff. Lfo makes sure it pumps with a kick. And we go quiet pit of low frequencies generated by the satin again. So we're going to next, we've got quite a bit of low frequencies generated by Sutton. So we're going to again loca low bit of low-end. And that's our first sound. So we're going to duplicate that. Again. Remember this sounds will go on a breakdown section of the track. So we're keeping this wire. We're changing some notes here. Just to add in a little bit more. And let's go into spar and choose a different sound, like reverb on this particular sound. So I'm going to keep it. We're gonna continue with applying EQ. Regular loca. I wanna make sure it's not boomy. So we're going to cut above the fundamental frequency. Next, saturation again. Same thing on planning to automate this knob. Let's turn high Q as well as here. This compress this. And the other EQ of saturation. And some other fall. Pretty much same processing as for the first sound really, but with slight differences. Ok, this is going to be our breakdown sounds. Let's mute those and then introduce back all the rest of the elements in a percussion section. And let's get rid of the filter. Okay, we're going to continue with adding couple more synth sounds. Are called these sounds, a triumph sounds that makes you celebrate when the track drops. So again, lists make immediate track. And let's create a medically bin here. Let's make it eight bars long and stretch it out. It's not necessary to do it that way is just the way I like to do it. In that way, I can just drag this eight by eight block across like this and I make sure this is only playing once in every eight balls or so. Let's put in some notes. Now that we've got notes, let's select an instrument. Plays an instrument that go into a sound bank and select the sound to you like, I'm going to use this sound a little bit overdrive on this sound. Slightly too much. Let's bring it down. Brightens up and gives it character. Next stop will be an echo. So it kinda Scott says around, select one full feedback to around 25% Dry, Wet lowers, Whoa, get rid of the doted notes. So it just caught that low bill for tail going out and less EQ. This makes sure we don't get any interference with our baseline. So low cut as cou, let's have a listen in a context. Obviously that's too loud. We leave it at that. And let's continue. Let's just duplicate that again. And we need a bill for ICT in our tracks. So we're gonna get rid of all that. This first sent. By the way, let's just call it differently. Call bell. So we know exactly what's what color-coding and labeling stuff is a credit practice so that when you come back to your projects later on, you know what's what. And it's also great for arrangement. You can instantly know what sound the clip represents, Okay? The next sound will come from an instrument called DBA. So this one is in Leeds and it's called detroit minor. This is too low in the Octave. That's how it sounds. We're going to have to process it. I guess we can copy all this processing so it sounds kinda similar. Wipe. Yeah. That sounds Alright. So let's continue. Let's duplicate that. Get rid of all this. Get rid of all these notes, and put a F sharp one. Then selects, by, select the sound. Make sure it's loud enough. Let's have a listen. Together with the rest of the truck. It doesn't need a little bit of processing. So let's apply some EQ. Us. We don't need any low frequencies, that's for sure. As well as the high frequencies. We can see as the majority of the sound is in the mid-frequencies, we don't really need anything above it. So let's duplicate that again for the variety, we're going to choose a different sound. We're going to choose base 20 to one. Let's mute this as well as this, and let's engage that. So this second variation will be sounding like this. A bit too much or for low frequencies there. So let's get rid of it. Let's put the volume up a little bit. Yeah, that sounds good. This is it for the sense, really very simple. It just go find the sounds that you like or create the sounds that you like to use in your truck and place them in various places. Maybe these sounds don't make too much sense at the moment. But trust me, when we get to the arrangement stage, they'll make more sense. So bear with me. And I'll see you in the next lesson where we're going to add a vocal sample as well as various other samples. So I'll see you there. 6. 5 VOCAL & SAMPLES: Hi and welcome back. In this lesson, we're going to be adding a vocal as well as various other samples. So we're going to start with creating a Oda track. We can color code the same way. Call it books. Let's import our vocal sample. Okay, at this point we can disable because I'll, Boko won't be playing on the drop section. It will be playing on a breakdown section. So we can put our melodies in as well. So listen. Let's enable to filter. And we can also drag clips. Let's have a listen. When a body a body that is here's me. Excuse me. Become RFID. Come on. Come on. Yes. Okay. I don't really like this angry thing here as well. Get it quite like this. Let's get rid of that. I think is we won't need to rest. Okay, put this here. Okay, that sounds okay. At this point we can go and auto tune it, make sure it's in a key of a truck. We're going to use o to tune by entires. So I'll track is in E Flat harmonic minor. And while I like to do is put a voicing accordingly. So this is a voice algorithm. This helps AUTO-TUNE, detect the correct region, relax to tracking slightly. Then correction has to be increased. We weren't vocal to be corrected to the pitch. So and I also like to increase humanize, not all the way, but like halfway through. As you can see, it's churn in a low bit and the track, that's all we need really. Next in line is dQ. Just getting rid of low frequencies. Hey, it's when a body that as it's when a body that manages sig line where medicine to muster doesn't require in. So I'm going to run. Here's me. And scares me. May become mature and they come back with that question. Okay, I like that. So next thing we're going to add is going to be overdrive, quite like this. Low plug-in. It adds the extra character to pretty much any sound you put it through. That's too much, right? We need just a little amount. Brings out the good stuff. Then we're going to compress this wave, l2, a compressor, very simple compressor, peak reduction gain. Love it. The more simple the plugin is, the more appealing it is to me. So I really like this one. So by increasing this knob, you effectively reducing peaks. And this compensates the gain. So to keys to roughly have same amount of volume come in and go out of the plugin. That is it for the vocal for the moment, that's going to be playing in the breakdown section. Now, let's go back to our a bar loop. Let's bring back the full spectrum. Yeah, we don't need that as there's going to be playing in the breakdown section. Next thing we're going to add is a vocal chop. Let's call this folks chop. Let's take any drum brac from a previously created drums and just copy and paste it in here. And instead of the sample for crash bless dropped this acapella. Let's color code this again. Create a one-bar me to loop. Unless 16th notes like so, extended to one bar. And now the practice is to just go around sample. You can either drag this marker or you can use sample start here. And a wave, which is going to decrease the release. So it kinda stops abruptly. We don't want the whole sample to play and see what happens when I increase release. So we just need that very slow release. And yeah, you basically go around and find the sample you like Logo too loud. Kinda like this one. Let's have a look. What else we've got. Kinda like this one. Let's keep it as is. We can always go back and change it for now. This sounds Alright. Let's process it at low bit, Vostok overdrive. Eq, just a low-frequency. So as always. And to add a little bit of an effect, we can go to echo and add one length dotted notes. Get rid of feedback as we don't want this to feed back and just decrease dry wet. You can further select a region of frequency where you want the ACO to cure. So typically I'm just removing the low frequencies here. Okay, that's kinda cool. The key here is to add enough variation to fill in the whole track. Normally, track is around 6-7 minutes long, and we need to make a change every eight bars or so to avoid repetition kept and the listener interested and develop the truck over time. So so the math would be simple as seven minutes track has 208 bars, which if divided by eight bars, would leave us with 26 chunks of eight bar along each. So it means we're going to have to change something at least 26 times throughout the trucks. So the more variation here we create at the beginning stage of developing the tune, the easier it will be to arrange the truck and a more interesting ways. So that's what we're doing basically now. So the next thing we're going to create is exactly that. We can duplicate the vocal. Let solo this, and let's have a listen as this where a body that are quite like this area here. The reverb be kinda tail. So what we're gonna do is we're going to cut this like so. And just user. We can probably like fader. So and then we can just duplicate that across the eight bars. So now we're going to have something like this. There's no swing on vocal chops, so let's put a swing on. Yeah, that's more like it. So that fits a lot better now. So dots are another variation that we can use to progress to track. We're going to just get rid of actually here, we don't really need all this in here. Just put a EQ is caught low and high and just to leave the frequencies that are actually involved in producing the sound. And that's it for this sound, we can probably increase the volume here as well. Next stop would be to add a couple more samples. Let's create a Oda track. Let's rename this folks tail as it's a reverb tail. So we know exactly what is on this track. Come back to this and we're going to have to put a couple more samples in. Sample, is this percussion. Let's have a listen how it sounds. Kinda only like the initial beginning of a a drum loop. Duplicate that so it played longer. And then insert it in between in the middle of an eight ball. So a to five bomb. Ok. So let's play it way too loud or something like that. Again, simple EQ caught to get rid of the low frequencies. And this duplicate that, get rid of that. And let's put another drum loop in. Several. Listen. Kinda like this. Again, beginning of the drum loop can increase its tail a little bit yellow. And then we can place it so that it plays. Twice within the navbar. Okay, I'm quite happy with that. Next would be something very unique to me. Basically, let's just duplicate the track again. Get rid of that. Get rid of the cut here. Just make sure we can hear all the frequencies for now. And it's basically a recording that I did on my zoom field recorder. And it's my son just talking to a mike basically doing weird noises. So he was pretending to sing and stuff and I've recorded this wasn't intentional. I didn't I wasn't recording this to put it in this particular truck or any track. I was just like messing with my record and the likes to sing, sing into a Mike. Let's have a listen again. Can make a cut in here and get rid of the rest. Go into warp mode and select loop, loop it to one bar. And then thus going to be our loop. So lets increase the volume so we can hear. And now we can basically go and with my arrows on my keyboard, I'm switching this loop stop marker to various points that we're just shifting where the loop is sought into play from. So let's go through like this and have a listen. If something sounds, grew enough. Wow, wow. Wow. So I quite like the way this sounds, except this little Qlik EBIT in the middle. Oh, well, where he touches I think he touches the mike with his mouth or something. I don't know, but basically we can get rid of it. Well, first of all, we're going to Loca and then we can use something like shape a box to duck the volume whenever this low click occurs. Well, well, well, blow, blow, blow, blow, blow, blow, blow. Wael, Wael, Wael. Wael. Wael. Wael. Wael. Wael. Wael. Wael. Ok. I'm happy with that for now. Next, we're going to duplicate that and try and find another sample like this. Go further n. This is telling me that this is a percussive sound. Maybe we can use that. Kind of want to isolate this. So let's try and put it somewhere here and get rid of the rest. Let's make sure we get rid of the shape of boxes. Well, probably here. So listen. Yeah. That's what I was after something percussive duplicate. I will listen how it sounds. So yeah, I'm happy with that. So without them. Yeah, happy with that. What we've tried to do here was to enhance our group with some vocal chops, various samples, and even a field recordings. Let's now group all the mid-frequencies. Command J and call it mid. So now we can process this mid-frequency group separately. Let's put a multiband compressor, which is OTT, just slightly compressed mid-frequency group. That just enhances a sound slightly. So let's put an EQ as well. Make sure, make sure nothing goes past. And that concludes the lesson. We should have now enough variation to progress with an arrangement. So that's exactly what we're gonna do. In the next lesson. We're going to structure our track from Intro all the way to outro. So see you in the next lesson. 7. 6 ARRANGEMENT: Hello and welcome back. Now, I think we've got enough tracks to continue with our arrangements, so let's do that. Let's arrange our track into a full song. So how I like to, to arrangement is to drag out older trucks. Two, roughly seven minutes, whatever the length I'll choose to track to be. And then click on this arrow to just collapse all these tracks. Same here. And we can, whatever he's made a, we can just highlight and drag, make sure everything is the same length. Hi-hats, track the mouse. Well, let's mute your audio files for now. And Let's meet that as well. Just for now. Now, I like to make sure I know where every eight balls are. So I usually say Marcus, every eight bars can easily do that by arrow clicking, making sure it's head Bug grid, and then arrow on your keyboard and set our own keyboard, said, Greg, practice would be to actually have the template ready so that all your markets are placed and then you can rearrange them basically. But basic technique would be, as you've seen me, renaming the first marker intro. So, and then let's say I want to break down somewhere here. And let's just get rid of the numbers on the rest of the market. So the breakdown will be 32 bars and then more current will be a drop. Then we have a drop for, for like six chunks. Have break here. Let's get rid of the numbers. These markers will only represent chunks of eight bars. So I don't really want to go and call every single bar because it's just going to be too messy. We only need like significant changes, like break, drop, another break intro outro. So this break would be again four chunks, which is 32 bars. Second drop. It will last for another 32 balls. And we have outro for 32 bars. And let's rename the lost PPACA. And so dial will signify an end of a track. So that's a basic structure. So we have intro, break, drop, break, drop outro. Very simple. We're going to have vocals on the first break. Vocals on the second break, on a drop where we're going to have chops and stuff like this and other samples. So yeah. Now we've extended all this and let's have a listen. Obviously this is way too much for an intro. So what we're gonna do, we're gonna remove a base for first 16 bars. Probably, let's get rid of a crash for the first eight bars. And definitely don't need sniffles. Actually avoid renamed it. So this is an open. So let's rename this open. And the snare, phil. We're going to have, we're going to have to change the snare feel slightly. We're going to have to do some variations of that, so we're going to just keep one for now. Let's introduce opens while low bit later, right? We won't need right until like second-half of drop. Lets get rid of close to three as well. And let's have a listen. And ring-based. We're going to move away as well to just before the drop. I think somewhere. Again, this is something we're going to change. Now we need a fairly long intro as it's the DJ friend detract. So as we discussed before, bass will only come in 16 bars n. Together with open high hat. And we're going to have to play this baseline for another 16 bars. And then let's remove the base completely just before the drop. Same here. I think I'm gonna do, I'm going to arrange a first section of the track and then the rest will be copy paste with some minor differences. Then let's just do that. We can probably go in and draw automation on the filter, on the low group to get rid of the filter. And draw an automation. Troy in something like this. Let's actually use a different filter. Let's use high-pass filter racked up made. It's very simple. What I have done is just mapped the filter of thought filter volcano and to Macros. And basically instead of going to a actual plug-in, I can control filter peak Style, which is this. And also the slope, which is essentially the q value of a filter. This book, Lean filter. And 24 slope of slope. Let's have a listen and we can decide as we go. So let's draw an automation again. I think I prefer 24 decibel per octave slope. So it's at this as a you track. Then we're going to basically use same filter for a whole breakdown section as we need to create some broom. Okay, at this point we can start Boko and melodies. So. Going to ring forward in IB. So it breaks section. We're probably going to extend them. Below. The break, introduced him slowly with some effects. But for now, let's keep it away on the drop. Lets leave a cowbell also. Yeah, let's make it smaller. So it's eight balls and then we can just duplicate that every now and then. Over I2, we can have this detroit minor plane at the second two bar chunk of a drop. There. We're going to basically interchange throughout the whole drop, like so. We're going to have bass 19 playing together with detroit. And we're going to have placed where new worn also play with Detroit but later into tracks. So yeah, as I said at this point we can introduce a vocal. Let's also duplicate the books tail throughout the whole track. So listen. Several vocal chop. Let's actually rename this as quickly as we have gotten to do that. Sometimes it happens. Who let's place it in the second half of a drop. And we're going to have these two samples, again playing also on drop so we can get rid of those and place them on the drop, duplicate them throughout the whole drop. And we can have this as well plane at a trope. Let's unmute everything so we can hear what's been added. And it was cool. So put this again, we can just duplicate the whole track very much like the sound of it. Then we're going to have different snare fill in here. We can basically add a lot more midi note. Let's copy that actually. Here. Let's name this one too. So we know that they're different without going into the actual clip and checking the notes. So the first one will be something different. Let's put some notes like that. Maybe hear something random. One here. Get rid of this, get rid of that. Place this here. And that here. Let's have a listen. And that's cool. One more. Rename this three. Let's rename this for. So they all different. We can have this slightly longer. Get rid of that. So it listen to how this sounds. Okay, that's cool. Let's get rid of the drums. A breakdown section. So I'd like to make a variation of this. Rem is just going to duplicate this section here and get rid of that and move it here. So place twice. Now, this is going to be one. This is going to be too. As you can see, I'm very organized and not sure if that's my strength or weakness, but at least I know where stuff is. So with this one here, I'm going to again do a variation. Let's copy that first. Actually rename this five. Let's do variation. Actually it, let's get rid of all this. And now we're going to have this plane like twice. Let's go to B are another variation. Now let's do something with a kick. Let's get rid of the kick just before the drop. I'm just jumping back and forth. So. The truck along and just making decisions. Obviously don't want to hear this from about here. To make cut. And we're going to duplicate kick. Like so. We can maybe drag down the base. Let's do triplets and the here, something like that for now will do. Then we can do something with the melodies. Maybe we can copy this across four times. And again do triplets here. So listen how this sounds. So let's listen from beginning. We can probably do a little cut here on the base load, change the sort of listen. Hey, this well a file is n edges, well a body. There are many, many other people who are younger their brand. And here's me. As curious way. The effect of materials. We can also do small filters here. Ok. And then suddenly have right playing to paintball chunks. So 16 bars. Okay, now when a second break territory, so we can again just get rid of all the drums. And to be honest with you, this is our basic arrangement. I think I'm going to be finishing this off at this point. This is just like basically copying wherever you've done on the first section onto a second section with some slight changes here and there if you prefer, or you can keep it the way you've done the first section of your track. And yes, that is this. So it would be very boring if I would do the exact same thing for the second section. So some people prefer to arrange a first section and then command a select everything, copy and paste to the second half of the truck. This is just one way of doing I prefer it that way. So yeah, I'll be basically finishing this off. And in the next lesson, we're going to be spicing up this breakdown section with some effects. Longs, narrow affects buildups gonna create couple sound effects from scratch. So see you in the next lesson. 8. 7 FX: Hi, I'm back. And in this lesson we're going to create some effects. To spice up the breakdown section, the best practice here would be to make sure your arrangement works really well without AT effects, make sure everything flows nicely. And then at effects on top to enhance that experience. So we're going to create a medic truck. We're going to add good old snare roll first. So create a Miniclip, one-bar long, crop it to one bar. Make sure it's 16th. And so there are a bunch of 16th notes and extend their role. Rename. Then we can again take and you drum rack. Though we created previously and insert it in a snare roll track. Then just replace the sample with the sinner. So let's have a listen how this sounds. Okay, we need to make sure this is playing the right note. Let's just choose it. So the end of this. Ok, thus Good. So we need to make it more exciting. We're gonna do that by applying overdrive. Here's difference, but we're going to slightly decrease the, Let's shape the sound slightly. So we need to make sure it works for us. Sounds good. Next, let's compress this Pro-C overdrive. Oversampling on just a little bit fatter, Okay, and next will be my favorite effect for this narrow McCullough hyper. So what we're gonna do is we're going to drag a vocoder into a track command Jade, group it. And then open this up. This the chain. We can duplicate that, get rid of one vocoder on one chain. So now we've got two parallel chains, one with vocoder, one without. So if you click this and extend those balls across, let's call this wet. And this is going to be dry. And you've got the small bars on top. They act like a crossfade so thing. So, and then you can map this to macro one. Call this dry wet. And then you can control how much of a dry channel comes for and how much of a wet channel. So obviously all the way here will be wet. Everything that's being Vocoder will go through and then obviously other way around, nothing be affects it. So in the vocoder, you map this release as well to dry wet and go into map. We can actually close this now. Go into map and decrease the milliseconds to around two around that. So it means when we are going to raise this, this will increase as well together with the dry wetness. Also, we can put hello photo just to duck this Turkic. So listen. This is too much. So this is an effect that we are creating. So arrange again, I would like to increase as well to four range bands can increase that as well. The actual snare won't get affected by this LFO tool. So it only vocoder noise effect will be affected and will be pumping up and down. So this is kind of cool factor. I think, that you can create a little bit of movement within. Otherwise statics. Row has draw the automation actually. So the we can draw with some other serverless. Maybe we can raise it straight away, slightly up. And let's see if we increase this. By increasing this will give you most of hyper effect. Yeah, let's leave it like this. And then we can copy, copy, and paste this to a so the other breakdown saying around the town. So if you want do this padlock here, you open up copying of a automation together with the mid eclipse, so, or audio clips. So copy this, paste it, see, copious with automation. And thus, alright, sounds great to me. Let's get rid of the low frequency. Kinda level in this out a little bit too much of a high frequencies as well as the low-frequency, some kinda low and high shelving. Both of those. As I've removed quite a lot of gain by removing those frequencies. Just increase the volume here, just to compensate. Next, let's create a new audio track. And this sample, when I use sample for telephone, I'm going to insert it on a drop. Something like this. Let's call it codas. Identically. School is the phone. I wanna make sure I get this playing for the truck. Let's copy and paste it to a second drop or times within the last section of a track. Let's get rid of the low frequencies. Ok, that's good. Host. So I wanted to use a vocal sample again. Is just duplicate this audit track. Get rid of the telephone. Call this vinyl. Why no noise. So when I was listening to a vocal, I've noticed it had some vinyl noise that I really liked. So I'm going to do is to try and find the sum section where there's no vocal but just vinyl crackles. Why no noise? So to do that, you need to click VOIP loop and loop it to one bar or half a bar, and then try and find the air. Maybe somewhere here. Let's bring it to the beginning of a truck. This is cool. So we can use that and just extended throughout the whole track. Since there is a noise that's been playing on a vocal already. This is going to be twice as much when displays on top. So we're going to have to make sure it's not plain when the vocal is playing. So that's something to consider. We can do that later. We increase the frequency, the whistling. Can you hear much better? Yeah. So just a little bit of EQ to get rid of unwanted frequencies. This noise is barely noticeable, but it adds this like, I don't know, warmth vinyl filter record, otherwise digitally produced. So yeah. This is something I like to add to pretty much all of my tracks. Then we can maybe OTT, same way we did here with mid-frequencies. So kinda sounds similar to a vocal. And cool thing to do is also to use a telephoto. Reduce it to o. So it kinda pumps. Maybe. Let's get rid of low frequencies as well. Slightly. Yep. That's kinda cool. And that's if that sounds so that's just like pad for our track. Barely, barely, barely noticeable. So next, let's create an audio track again, and we can use Couple other samples. One is beingness. We go into, put it somewhere here. And that should be alright. So, and we can duplicate, get rid of this sample and put another sample of the crowd. Maybe we can use a different section or get rid of the photo. I'll leave till a photo but just like reduce the pumping. Next. Need some soap like impact almost. Well I like to do is use hi-hat. So we can group, we can open them up. We can insert a read up. And you will do just make sure you like. Get rid of pre-delay, get rid of oldest bullshit, increased dk. And all you need to do is now create a track. Let's put it at a top. Resample. Go into IO section. Choose re-sampling on the top breakdown menu. So now wherever you solo and press record and make sure this is engaged, this will re-sample everything that you put through this channel. Now, let's get rid of limiter. Get rid of this and that, and hit record. So now you've got a sample of a of a hi hat being processed through the reverb. We can come on TJ to consolidate that. And then we can create a new audio track. On a new audio track wins the hi-hat. So let's have a listen to how this sounds. We can put back limiter and make sure we get rid of reverb on hi-hats. Too much of a high frequency. Something like that. We can then further manipulate. Do stuff like this, could probably do with a longer tail and the reverb. Let's see if we can put reverb here. Let's maybe add some processing so it sounds different to the hi-hat we've used in a track. So let's get rid of everything here and choose to use the distortion. Let's get rid of that free, but yeah, that changes the sound quite low. Yeah, let's get rid of the high frequencies even more. Yeah, like that. Just manipulate the sound so it's not the same as a original hi-hat, but it still came from original sound that you've used in your tracks. So it's kinda organic to use stuff like this resampling of your samples that you've used in a track previously. And then just manipulating to change them slightly so that they sound different. Well, here we can just duplicate this to here. And that one as well. I think I'm going to put that in the end and the track is, well, let's resample a clap now. Let's get rid of that reverb on a hardhat. So let's just take the last clip and use reverb on high group as well. So let's use of integer verb now. Sounds great. So, yeah, same way you engage record. Let's get rid of this. Remove your limit. So if you've got one on the master channel and record, adjust this so it's. Justice. So it's kinda, you know, at the peak level, at the highest peak, should I say, then Command J and consolidate it to a even size. So it's easy to shift across. Here I did to actually reverse it. We're going to have something like this. So it's going to be almost like a small rise. Again. We made it from a sample WE already used in our track. So let's put it in here. And let's have a listen to how this sounds. And we can manipulate it, even can use it in many different places. So let's copy it here and here. And then before the break. Yeah, like so let's just duplicate that quite a few times. With let's get rid of this and copy that there. We can do that with the snares. We'll just to add variety, ways AS narrow. And I feel. So same thing. We can just create different effects sounds, different transition sounds. So same thing. Make sure you record only the lost, hit the clip TO appropriate size, then come on TJ to consolidate it. And in the audio track. Let's actually have snapped plane here instead. Let's have a listen to how this sounds. So we can just get rid of the low frequencies, something like that. Then we can use our, let's rename this before we forget. So that's our snare. Reverb. That's our impact. That's going to be clap reverb. And we can reduce in size. Let's say put it before the drop. That might be heres will pretty much we can do it before. An h nu bar chunk. Can. Again just manipulate the size. I'm going to add variety and stuff, then go across and duplicate the place that in places where it needs to go. Okay, next in line would be noise impact. We're going to create in silence. Opened up, preset initialize than voices to retreat of waveform noise. And that should be, we're going to have one on the drop. So let's just draw a Miniclip. Noise impact. And let's put a note in. Doesn't really matter what node. Because noise doesn't really have a pitch. Something like this. And we can manipulate it with IQ by. Q3 is much low end as possible so that it doesn't interfere. Maybe use like 12 db per octave. Yeah, something like that. Then we can also put another photo. Several listen what we've got so far. Hey, did quite a party that air the sweat, a party that man liquidus pig line where many people are here. The ungodly of Brian. Here's me. As scares me. By economic crisis. Yeah, I'm quite happy with that so far. Next we're going to add some more sounds. Let's add silence. And then let's select this preset rubber ducky. It's from a factory bank. Then we copied these notes, Trish them across to 16 balls, and let's put 1 16th. Loop it to one by k so we don't have to copy all over across. Let's get rid of low frequencies. The way now. We can automate filter cutoff. So to do the click here, configure, collect the filter. And then you can have parameter assigned. So then you can automate it in sub point here and here. And one here. Something like this. Next we're going to use foil again, sutures down the loop. Next we're going to create something really cool in one of my favorite, since a scold opioids can drag in operator on the new midi track and then duplicate that, increased this to 16 bars. Let's get rid of those nodes and different notes in three. Then a C-sharp. Extend that as well all the way. And then we're going to have show up again. So the o operator increase this level to 0. Select square wave. At e2, 15 seconds. Around the 15 seconds. Release very sharp. Now, remove those tools. Let's toggle this fixed frequency and then select a weird frequency. This can be done whilst playing the sound. Then all the way up. Get rid of the filter. We won't need it. And then changed the oscillates with a T2. So let's have a listen to how this sounds. Well, some weird Machine noises. So the next thing we're gonna do, we're going to group this spirit to macro one. And we're going to be adding more stuff to it so we can essentially manipulate all this a once with one, nope, we can change settings slightly and assign this. Effects. Can actually draw an automation here already. So we can something like this. Just get rid of the volume here, add envelope here as well to 15 seconds. Yeah. Like crazy. Right? So unless you're effect, the stuff that you can do in harmonic stuff that you can do an operator by a total in this fixed frequencies. Incredible. Yeah, trick here is to increase this attack. So every note who basically have this huge 15 seconds attack, which is 15 seconds, is it's like eight balls. So the next thing, I've already added a reverb, so we're going to automate, should I say, Decay Time. So let's leave the parameters, stale. Dry, Wet, let's put it somewhere in between. And then we can also again, we can play with this. We need to make sure this goes back down when the drop hits. So let's just take an EQ for all this. A typical cut. I would love to its movement as well. Maybe shaper box, volume, modulation, rhythmic. Yeah, maybe this. So listen in context, seven on all my shows and come on back. And that's how you defects to a track. That's gonna be it for this lesson. So in the next lesson, we're going to be mixing our trek and getting it ready to mastering stage. So see you in the next lesson. 9. 8 MIXING: Hello and welcome. This is the mixing stage of our production costs. So we got yourselves. If you've been following along, you should have made solid track already. So in this lesson we're going to be taken our mix even third or stop by creating a return track, we're going to be placing a reverb I prefer. Well hello Room. And the preset I like is in rooms. Gate drum room is cold. So straightaway increase decay to about 1 second and pretty much the rest you leave, as it is. This preset is quite good. And then what we're going to do, we're going to separate the revamp from a, the rest of the track by applying a little bit of PQ. So we're gonna cut the low, and we're going to cut some of the high frequencies. We're gonna play this and we're going to check house sounds. So with this, you essentially create an bandpass filter. While I like to do is I like to create one reverb or to reverbs at most, and then route all my tracks for reverbs, give some space. So for example, let's go to a drop section. The technique is basically raised this send up until you kind of start to hear the reverb, but not too much. So let's try again. It is something like this. And then we can play with the NICU. This is kind of global reverb for entire high group. That's how I like to operate. Gives the entire frequency range a solid environment. And if you feel like some of the sounds don't have enough of the reverb. For example, maybe I want to add slightly more revert to just hi-hat. Hey, guess what apply. I actually will add for the clap. Yet like so, and then add that to a mid frequencies as well. The thing I like to do is to add different amounts of free vote to different frequency ranges. So high frequencies about it, slow bit less than the mid-frequencies. So slightly more effected with the reverb. That's probably too much, but let's have a listen in a context. So you can probably even go and add some of that to Effects section. So yeah, that's the basic technique. Next, while I like to do is to add another return. So let's call this short. Let us call this affects. So here we'll be using a different reverb on from fought filter. And one of the default settings turn up the brightness. Hold away. We need it nice and bright. Chorus also all the way. This is going to PR, effect. Let's decrease the decay rate and have around two seconds. Stereo width all the way we need it nice and wide and make sure the next in this instance is all the way to a 100% same with short river. Makes sure that the mix is always a 100% when you use it on a Return channel. Then we're going to go into process a little bit with distortion. That is CO, saturation nope, from soft tube, it works really, really well. The only thing I wish they had was gain compensation nope. Or setting because once you crank up, you'll hear that what comes in, goes out much louder and there is no way to compensate here. Unfortunately, layer like this load trigger for frequency. So this is like algorithms. This works well for low frequencies. This is for mid frequencies and high frequencies. We keep it neutral and we increase slightly. Maybe we should draw an automation first. I pretty much do this on all my tracks. So why do is I go in my arrangement, I click on a group, I command a, and then command G, R group, all the groups together. So every single group is within this one huge group, which I call. All, then go on a return channel and show summation. So this will correspond to our reverb effects. So now we can draw an automation like that. And we need to make sure that it decays down before the drop so that then we can probably erase this. So it kinda starts with a river wants to break hits as well. So it can do a little curve here, slightly lower. So let's have a listen. Key idea here is to add tension to a breakdown and then release that tension on a drop. So that's what this reverb is four. Then again, we need to just separate the whole thing. So in this instance, we're going to use band pass with a quite steep 24 decibel per octave slope. So we're going to use somewhere around one kilohertz. Say now, it only occupies this mid-frequency area. And this is what we need, otherwise it gets too much. So let's have a listen. Ambassador Fried appears many times. As soon as many transfers. Did you notice when I was doing on and off on a rave up the difference makes I hope you did. So you noticed me dropping in a compressor. This is just to catch peaks of various super quick attack, super quick release, and threshold. Minus 40. Yeah, just to catch peaks and increase intensity, we can probably add another 500k you, because when this went closer to the end of the phrase or thought like your skin too much in terms of high-end. Listen again. Maybe we can apply something similar. Let's do that real quick. 12 now. Same place. Also you noticed I've moved this somebody scream. Closer, was here before. So I moved here because otherwise there was the silence that died didn't really like. So that's low change i did. Now, let's finish off assembling our logcat here as well. What we're gonna do, we're going to copy this to a break here. Just before the drop. No-nos pink and so maybe raised this. So it's kinda bodies that. So if you remember this was this filter or high-pass filter. So i will listen. Man. I must be a 1000 people. Excuse me. Let's do something similar here. Maybe with some slope. Again, we can copy this from the first drop to a second drop. And then maybe here we can increase the size. And then copy that to the end of the truck. By removing low end, you essentially removing energy from a track. So this is what this filters full. Also, another cool thing I was thinking to do was to have a low pass filter on the actual kick. So let's go and filters and lowpass filter. And this is the same as a high pass filter, but just low-pass filter of mapped to macro no-ops here. So this controls the actual filter knob, controls type, which is the good that type of filter. And this controls peak, which has resonance essentially. So my idea is to, when this is going to rise, one, this to open up as well. So something like that. So it's almost like, you know, when you come in towards the club, you can hear this base kinda open it up as you walk in closer and closer to the club. So this is the feeling I want to replicate. So what we're going to do, we're going to have this whole summation on a new lane. We can have it for 16 balls growing up. Where you can grow it with a kick. See the kicks stops there. And we can have a body that man. There must be a 1000 people. Yeah. Just so you can hit the difference. Yeah, I'm quite happy with that. So let's just have a listen to the end. Is that man must be a 1000 people. As I've played it, I just remember that I wanted to automate on filter those as well to comment kinda slowly. So this is, I think the good opportunity to do this. So again, we're going to apply low-pass filter. We can draw naught summation. Starts in about the, if you close it all the way down like this, there won't be any sound. So good practice is to stop somewhere a little bit open. We can have a point here, maybe open it up and then continue up like this. So listen. I think we need to copy this to IP, so both playing at the same time. So when I played, just now, have noticed the kick sounded dull is because this filter is still engaged him in here. So I need to make sure it's open all the way up. Same here. Listen. Hey, this wide apart is that let's have a listen this section here as well. Okay. This will apart is that as this where the parties that are men like this big line here, there must be a 1000 people are here. I am going to fry. Excuse me. As soon as you experience may come up by a comma k. This where a part is that is this where the parties that are men like this big line here? There must be a dozen people are here. I am going to fry. Excuse me. A serious may experience a come up with a question. So let's see where else we can we can delay or the crash. Yes. Let's try. For example here. Let's say this were a party that let's have some more feedback. I'm happy with the settings that would sound. It was cool. Yeah, let's separate it. And let's go off low frequencies and let's put it in ping-pong and decrease that and automate it maybe halfway through, I guess. So. But listen. A party that many people are here. Yeah. Yeah. Maybe we can copy that to first break as well. When a finding that the key here is to just go around each and individual sound and try and automate anything and everything that you like. Experimenting is the technique here now to the boring stuff. And I'm quite happy with how the, I'm quite happy how the low group sounds in terms of levels. So how I liked her approach that mixing is to first go to each individual channel one-by-one and adjust the volume, adjust the fader. Notice I never make any volume automations on faders because once you make an automation, it's impossible to adjust the volume. So if I make any automation on a volume, I would rather use utility on the channel and automate that so we can play a tune and basically adjust the level on the high group. I'll show you that on high group and then you have an idea of how I do it and basically transferred a technique to the rest of your tracks. So mid-frequencies and effects and stuff. So I'm just playing the tune bring into level down of the channel and just adjusting the level. We've almost my eyes closed and just listening where I want this level to be. Let's un-solo the low. And yet there minus five is, it's Berlant, sounds great to me. And then one by one, as I said, you just go there and adjust the level. As we went through the track, making the sounds and adding the sounds and layering the sounds. We already did acquire love mixing, to be honest with a dequeue, we've covered all the low end on each individual tracks, so that's a significant improvement. And we also adjusted levels roughly as we went along. So when you do this technique, removing the volume and then with your eyes closed, rage and end up until you hear where it should sit in your opinion. Then when you open your eyes, you should realize that it's not much different from a level you've set initially. So let's just continue. Let's put it on the right. Okay. Okay. It's what a body that quote like it loud that's nurses have been more impactful. Rem I like the way this sounds probably even like raise a little bit. And then the last disk crash or something like that. So to save some time, this is just the same technique to go across the rest of the tracks. Another thing, I go across every single individual track, the mixing stage is panning. Keep the club in the center that's for sure. Should hit middle, as well as the high hat. I mean, this is creative process, there is no rules. This is just how I do it. So I tend to keep most of the stuff Central and then I would pan rim to the left. So yeah, just left rim, right rim. Then we can pan closed. Right quite low. And then this rolling to add a little bit of width drums, maybe we can pan these open as well. And the same way you go and make your decisions on the rest of the channels. You can decide where you want to keep in the center, where you want to keep left and right, be creative. Same way I would go to each individual channel in terms of EQ and check if it works, make sure you're on off the queue. And and go and check every single channel. Make sure on your group channel there is a queue. Something I like to do on a group channels is group pq, which is like you're shaping your high frequencies, for example, with one EQ. That gives them, you know, kinda glue effect, almost placing them in a certain environment as well within the cute. Obviously this has to be done in a context of a track which is slightly get rid of the harsh high frequencies. 48 dB, around 20 kilohertz. And really, yeah, you just basically go across to each channel and make sure everything has its own space. Main thing here is you should not concentrate on one individual sound. You should listen to a mix as a whole tuned, so everything should sound pleasantly together rather than separately. If you know what I'm saying, I think our track is now ready to be mastered. So I'll see you in the next and final lesson where we're going to take this a step further with mastering. 10. 9 MASTERING: Hello, and here we are at the last stage of this production clause. In this lesson, we're going to go over a quick mastering chain to make sure your track is loud, is clear, and stands up to modern standards of music releases. So you noticed I've produced, hold this time with a limiter on my mastering chain. So that's just to give an idea how my track wolf sound when it's been processed for limiter. So at this stage, which is going to get rid of it. So fresh. So this is our master channel. And we're going to start by reducing and caching peaks. While I like to use for that is this free clip, I believe is still free plug-in. I really realized there is an alternative which is glue compressor and it's got clipping built into that. But I prefer this over glue compressor because skull more algorithms is more dedicated to actual clipping. And it's got a nice visuals down here, as well as the meters here. So this is very hard. I like it slightly less hard, which is like one step above brick wall. And then the technique is simple. Make sure you turn on oversampling. It says it causes high CPU usage. If you go powerful computer shouldn't be a problem. So all the way up 32 x over sampling. And then the technique is simple. You just run your track on allowed us section which is dropped. And just try and catch the peaks. On this screen, you could've seen a sharp peaks, transients. And also on this meter, they represented AS this low dash here, hopping up and down. So aim to reduce the clip ceiling to around where these little bars appear. So let's have a listen once again. It's just levels out all the peaks and it helps create louder mix as well as a helps limiter at the end of the chain work less and therefore produce less distortion and artifacts. Now that we call all the peaks, we continue with applying some EQ. Quite basic stuff. I like this ozone nine EQ. It's designed specifically for mastering. So this is great. We're gonna use high-pass. And increase slope to 2430 hertz frequency. So everything below 40 hertz is unnecessary and is going to be cut. We can remove them two dots, and we're going to select low-pass filter and same 24 dB per octave and increase this to 20 K. Let's also change this from analog to digital. And now you ensure that nothing goes past above 20 thousand hertz, as well as nothing goes below 30 hertz, because all of these frequencies not audible to human error anyway. So we're just making sure that nothing is there. So next in line is my favorite thing for mastering, which is by UHD. It's called pull Tech Pro legacy. So what I'm doing here is just shaping a sound a little bit, removing unwanted frequencies, increasing frequencies that I like. So I'm just reducing our random mid-frequencies, which is going to have a listen and see how it sounds. We'll be around, there's fine. C10 went too much. Then you could hear the effect that this EQ moved producing. Then when it's too much, obviously, you just dial it down to appropriate value. So on, off it, Let's have a listen. This adds a little bit of clarity or mix by reducing this area. Also, you'll notice me switching between three hundred and five hundred. I was checking out what frequency I want it to reduce. So I make my choice on three hundred. Five hundred sounded a bit too thin. So another thing I like to do with this EQ is increase. Some of the high-end shimmer can do that by either increasing turnkey or 12 k. Let's just dial up and have a listen. As the low bid of brightness, Little bit of shimmer the sound. Again between 1210, I chose ten. Also here you can compare between on and off with all the moves that you do with plugin CTQs, compresses, distortions. Always make sure you on-off and compare with and without to make sure that you doing good rather than bad. So the next thing might surprise you, but I absolutely love this plugin. I'm not sure what it does, but it changes sound dramatically and I like it. So literally that's all I do. I just drop it in and that's it. Forget about these knobs or anything. It's it colors your track. And to some extent, maybe there is something going on with the width as well. Because I can hear the, the width changes when you all of the plug-ins. So have a listen now with and without. Add some color to your mix. It adds the width to mix, it adds brightness to a mix for the purpose of this tutorial, let's keep it very simple. Next, while I like to do is to reduce a volume just tiny amount before the drop around 3dB with utility, as I mentioned before, I rarely, Well, as I mentioned before, I never automate the actual channel. Fader. Much rather choose to drop in a utility on the channel and automate, automate gain. And that way, I'm free to move this fader if I need to, not going to need to move the master fader, but it's just for demonstration purposes. So let's draw in some automation. So this is our break section. And let's dial in minus 3db. So what this does basically gradually reducing a volume of a whole track and just before the drop kicks back into 0 db. So let's have a listen. That sudden change in volume. It's very unnoticeable, but it adds to significance of a drop. You can barely hear it, but definitely had. We can copy this to the break. So we'll play it twice. And last plugin on a mastering chain will be limiter. And in this case I'm using, although nine maximizer. So straight away from default screen change to IRC for and mode to transient. Now engage true peak would don want anything going above 0 and stop playing your track and reducing this threshold. And a this would apply that. So what I did, I went down and once I started to hear very noticeable distortion, then I knew I went too far. So then I dialed it back to the point just before that. So I mean, this is it. Thus your mastering chain. Let us quickly compare it on enough. Thus without the and that's with as is well apply that. Another great way to compare if you actually improved your mix is to leave the maximizer on and make sure the volume is identical, and then just on off the rest of your plugins. So let's just do that. And it will apply that. Yeah, definitely significant improvement. So that's it. Congratulations. You've built yourself a solid track that is ready to be released. You can pat yourself on the back. I really hope that you managed to learn a thing or two. I hope you've been following along, building your own track with your own sounds and your own ideas and your own implementations of techniques that have been showing you are really hope that you've created and absolute banger. So I'm going to leave you with a track playthrough on the next video, just click the next video in the series. And it has been a lot of fun to record this class for you. I hope to see you in the future classes. But for now, take care and happy music producing. 11. 10 TRACK PLAYTHROUGH: Yeah. So within a ritual, a body then air this way, a body. There are celebrities that lie where many Muslim thousands people are where young girls that have run this, the US mainland appear as me. It becomes worse. Wherever. It is. A ritual, a body which is six. And then. And then finally, that this will abide is a male, it has big line here. There must be a 1000 people who are here. You are gone there, right? Is excuse me. Excuse me. Excuse me. My recombine seminar maturity makes bragging way later. This is and then it will apply that in the US. The the the the yeah.