How To Create Your Own Music From Scratch | James Hutchinson | Skillshare

How To Create Your Own Music From Scratch

James Hutchinson, Entrepreneur, Investor and DJ/Producer

How To Create Your Own Music From Scratch

James Hutchinson, Entrepreneur, Investor and DJ/Producer

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9 Lessons (1h 4m)
    • 1. 1 Introduction

      0:56
    • 2. 2 Interface layout

      13:32
    • 3. 3 Structure of a track

      9:35
    • 4. 4 Exploring plugins

      7:05
    • 5. 5 Creating melodies

      5:18
    • 6. 6 Create a drop

      4:46
    • 7. 7 Adding effects and when to use them

      10:07
    • 8. 8 Using vocals

      7:44
    • 9. 9 Using the EQ

      4:52
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About This Class

If you want to become a professional DJ or Producer and be able to create your own music then this is the ideal course for you. You will be shown the basics of an incredibly popular type of music production software called FL Studio which is used by some of the biggest DJ worldwide.

Topics covered:

- Track structure

- Writing melodies

- Using samples

- Using synthesizers to create your own sounds (includes Sylenth and Serum which are hugely popular within the industry).

- Effects (such as reverb, delay, compression)

- Mixing (making certain elements within a track stand out)

- Using the EQ effectively to make your track sound professional.

Class objective:

By the end of this class you will be able to confidently create your own music and understand the user interface within FL Studio. You'll also understand how to use different effects and tricks to make your track sound professional.

If you're completely new to music production, you'll be taken through the basics of how to use the software, as well as the technical side of electronic music. If you're somewhat experienced, you'll be able to improve your skills as I cover more advanced topics later on in the class.

I look forward to having you as my student and teaching you how to be a professional producer!

Meet Your Teacher

Teacher Profile Image

James Hutchinson

Entrepreneur, Investor and DJ/Producer

Teacher

James is an entrepreneur, investor and DJ/Producer from near Manchester, UK. He's been producing music since 2016 and has his tracks published across all the major platforms by multiple international record labels.

Business wise, he's the founder of Master The Kick, which is an online music platform that connects musicians with instructors via live video sessions. He's also an investor in several startups, penny stocks and established companies.

 

What does he cover?

James's courses consist of everything he's learnt from research and implementing his own ideas over the past decade. This includes courses about business skills, design, music and entrepreneurship.

His courses are aimed at a wide audience, from anyone looking to start their own b... See full profile

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Transcripts

1. 1 Introduction: my guys Mayan James are marking like horse on how to make a little music from scrap. So join this course. I'll be taking you through the process of how to create on electronic music trap So some of you may be experienced. Some of you may not be some of you. It may be the first time in this tutorial I'll be taking you through a software called FL Studio. She's widely used across DJs and producers worldwide. I'll also be taking you through how to create a song in terms of the structure, says Ah, lot to cover in its course, including how to create a drop, how to lay it, a kick in the base in the sub. And if the element of how to create a track in general like EQ Ewing on the technical side of things Well, so if you like the idea of being a music producer, then welcome to my course on house abuse. Electronic music from scratch. I hope you enjoy it, and if you do, then please share it. But well, essentially, is my opportunity to teach you in less than an hour house to create a truck from scratch. So welcome aboard 2. 2 Interface layout: So the first thing I'm going to show you is the interface of fr Studio 20. So this software is designed Teoh create music on its Not for deejaying. It's just for music production, But the similar type software are able to all logic. So their competitors, really? But I found studio is used by a lot of the top producers, So show you an overview of what the software looks like. So this now is the main main set up that the main sort of layout that we used to view the different elements of a track. You got the kicks, You got the precaution. You got every single element here. They're all lined up in sort of tracks. Truck one dropped to 23 on. They are essentially streams of audio where by the end, you'll have different snippets off audio track so you can build one track on two under, and it essentially all comes together as one. So just show you what that sounds like. So this is my a recent project that I've made. It's now are completed truck and it's published online. So just play a little bit of what it sounds like. You've got? Yeah, This is the introduction off my emotions and tractors Comptel for this point. Hey, the vocals come in this girl right down. What is frozen either did you? So if we scroll further down here, you can see and there's vocals. So this part here you can see is another spot tracks this instruction on This is a melody part you can't tell the vocals kick in at this point. So here's vocals. I'll just single them out. Theo. Moment of Laid the vocals said It is not just one is multiple ones, but we'll cover that at a later point in this course school up to top another. Show your elements I've used for the introduction off the track. So hey, I've used the kick of use the cake, which should like that under nephews percussion, a drum loop. I have also used an open high up so that the main elements of use for the intro and you can add your own elements here. But the point of this this clip is to show you that you can add different trucks together and make the more fit in to sound like one whole song on. Then you get. You can split these parts up into different sections within the track, and that's how you get the track structure, which will be coming later on. So in general, you have different elements within the user interface. Hey, off of our studio. So over on this side, Hey, you have a list of packs that you can either you can download, or you may have them already if you already know how to produce somewhat. So, yeah, essentially, here is a list of my tracks or my my sounds on I can have a look at my precepts to So these presets are settings you can put into different putting. So here's a plug in called seven. Essential I can do is I can drag a producer into this book in, and it creates a certain sound you can hear. That sound can manipulate any of these settings to change the source type of sound that you get from them. So effects is where you can look within the plug ins. But that's get plug ins, which essentially are synthesizers and things that sound like real instruments quite often so you can get guitar vocal Pickens anything really that there's a lot of developers nowadays making plug ins for this type of software. So on the side here, you can see a list of packs I have at the moment. So, cash may you listening to this? You may already know who Kashmiris. Very, very talented producer on. He releases a lot of sample packs so that other produced can use them like kicks and things . So sure his example. So I might start. So I started this, for example, with one Those cakes, I think was not yet. There you go. So that kick here is one of Kashmir's kicks, but just added a lot of effects onto it. So those effects so going back to the point. So hey, you can see a list of sample backs that you can add on to project. So there may be kicks and maybe a drum that maybe percussion. There may even be like atmospheric Sounds like ah, sample, even with this. But they're the ones that I made myself based on the truck's of May previous prior to this . Yeah, there's all your list of sounds on on hair. You have what's called patterns on here. You can make this way. You create melodies so I can just draw different notes onto here. Then delete them using my right click, so can destroy using my left, a mask like that, and then you can place it wherever you want. You can zoom in as well. So by scrolling up on that black bar that you can zoom in on, have a closer look of where you're putting the note. I can then delete that as well. So join this track. I only use one note, which was F, but the way I got it, sounding as it is, is I manipulated the sound off that on that could be Don't using on automation clip, which could be seen. Hey, so there's a cut off frequency, essentially a filter within that plug in. So it's one of these knobs, essentially, is that one within this plug in whereby Aiken changes sound completely? That sounds quite close off on that sounds open. So, yeah, so I've done is I've created an automation clip for that on that is once again on a separate track because it allows me to see and control the dynamics off that sound. Essentially, yeah, that's where you can make music, you can write the melodies. That's where every producer writes the melodies and NFL studio on. You can have several of these built into a pattern, So this is called pattern one pattern, too. So obviously the melodies change per pattern on. This is a vocal chop Loved on. Yeah, that was when I got a vocal. So here we go from a website called Split, which is really useful for vocals and samples. Is a small monthly monthly fee to give you license to get to use the samples on. And yes, so I basically dragged that vocal sample onto here. I asked it to auto Slice it. So what? It does it slice. It sits on a keyboard on essentially acts as your cable. So essentially you can. For each note, hair is a different slice of that sound. So going back Teoh, the innovative in house studio, that's what you can do within that. Yeah, that's these can either be little sounds so I could drag a sample from here, for example. Ah, effect sounds so that I could drag that on today. I didn't making another note, so that was a base like a bomb or a single note base. I couldn't drive down to here and then make and no the out of it. You could do that without literally any example. That's quite useful. And then you can have a list of samples, Lissa patterns rather on and use them intermittently or wherever you like, and reuse them within the project. So you guys here have used pattern one with the injured introduction bit. I know. So the mallee on over here I've used pattern to because I wanted to change from that section to that section, so just changes slightly. I don't over here might have used a different one as well. I don't know the pattern for parking three down there for a different better base. So that one these lies and that's it's nicely with this one. So I've made them, so they go well together. Essentially, I obviously of added different effects here, which you can see as well. So yeah, that's Ah, this is the main. This is essentially a project view that you can see off every track, so you can see here you can scroll down and see the list of views 32 trucks in this song, in total tracks basically elements within the song that you can pile on top of each other on the active, different instruments on defects on a way of sort of manipulating the sounds on over here you got channels, and here you can choose between the audio clips. All these are just order. So what might be a vehicle? It might be that or effects on. You can see automation here. So these air list of your automation. So all of these things cut off filters when you want to increase something automatically within a song. If you don't want to say the reverb to stay the same, you might want it to increase. Suddenly there end of a note like have been there. So this is where you'll find these on an unsorted. Ah, like your passengers, where you've added, you can add a synthesizer here so I could add this one. I didn't make a pattern with it, and that would appear the bottom there so I could play that now. And that's what that would pay Sudden Aiken create a melody from the my God, But I'm not gonna do that. now that's for a later part in the course. Yes. Oh, this is gonna be turned on enough by using these persons here. It's a sidebars on the file. Explorer over there could be turned on enough using that. Listen on, the mixer is here. So this, essentially, for last bit of this session, you can assign different tracks to these inserts. These inserts are sections whereby you can increase or decrease the volume within the mix on. You can also add different effects onto them. So this is where you'll find all the effects for different sound. So this way you do your EQ, you and your gross be kick start things that that's a kick stup. What that does is turn that up. It sort of reduces the volume of the first bit off that sound. So if I put a really, really tight one on you see, the only the last bit of the wave form gets heard if I put completely open hole song, it said, I'm now just last bit. So the purpose of this is that whenever you got a kick in a track and you've got a base or sub base or any instrument that can sort of have lower frequencies which interact with the kick. You then put that on. And that's how you get a dance track because it sounds and it sort of goes well, it gives it room for the kick to come out, and then the sound comes out later. After that, so gives a kick room essentially to breathe. In that sense, yeah, basically, you can have different filters here, So this is called an e que on you can adjust the volume of different frequencies within the sound. So for this one I've taken at the base, So you got base over here med and trouble. So as you can see here, the food fruits against higher. The more right you get on, open down controls the volume off that frequency fold. I know it's really no. So, yeah, on you can use presets for this or so Here you can see presets for, like, drums or anything else that phone or vocal. But you can also do it by you. So I don't think by a on I might thinking, I want the mid of this sound sound louder than the base I know and I could just drag it up . Listen to it on. There we go. Yeah, that's how you do that. And yet so that essentially, are the effects that you can use within it. And you can turn these up or down to control the amount of effect that that has on that sat on that track. So you have these all inserts on. You may have heard off a mix down at the end of a track when sort off trucks complete on you want to mix it so essential what that does is it increases or D increases the volume of different elements relative to the other element. So if you've got a kick that's supposed to be the most powerful, the most prominent part of the tracks, you'd have that high where some background vocals might be quite low in the mix. That's that's what not just for you, but I'll call that in the later later date. So for now, this software packages called Fosco 20 allows you to make whatever you want. Any type of music, any sound you can even bring your own sounds into into it. If you got microphone at home, you can record a sound on put back into an added effect on that as well. So, yeah, that's Fosco 24. 3. 3 Structure of a track: for every single truck in the world. Essentially there have structure. What track is think of it is. The energy levels vary throughout the trap To keep the listener engaged on a journey. Think of your truck was taken listener on a journey, and there will obviously be often downs in high energy and low energy. That's what makes a track exciting. So in terms of music production in this situation, using fr studio on producing electronic music, you have different sections within the track. So you have an introduction. This section barely has anything going on. It could even be a simple is they could even be just percussion on, maybe ambiance which have got over here, which is just literally a background vocal going from one side to another, right, so that's what it could be. In theory, the next stage of a truck is normally the melody, so for this bit more elements are added in on. Most of the elements are kept consistent, so any kicks you've hard. Any precaution? Any drums, any high hats, they should remain similar If everything changed at this point. Listen, I think what the hell is going on essentially the injection is a bit dirty use for what to expect in the main track. So the melodies here for mines are quite often in the melody part the track If this vocals the start Hey, it is no vocals And just the actual melded south you have for it that normally starts here for me without vocals it would sound like this The drums kick here you've got a jumble It pay You got these here, These claps You've got this baseline here got that sort of mid It's kind of a baseline, but there's more mid to it And then you've got Mawr elements on here as well, like effects and things But the core of it is essentially you've got the same percussion But you've got mawr more going on here and so depends how complex you want in trouble It leads into the melody But here on the melody incorporates the vocals The base I in the same percussion as injury You've got me saying my still in my mama These imaging you've got me saying my Theo Okay, so that is now the end of the melting on. I've continued the vocals because they fit well into the truck at this point on this, but now is the buildup. So you've got this bit between Hey and there where you're trying to build energy from here so often the build up your half snares to represent, obviously, the energy picking up on our view, Several drum loops to reflect these. I've used Mr Bloom. Does it build up? No. So this one So it depends. What, So you're looking for If you're looking for more deep house and these would be quite discreet in quite low if you're looking for more e g m. So like, um, sort like cash May azan artist. Then you'll be looking for more obvious high hats and high percussion thing. I've included the kick off part filter on it. You can only hear the low energy going from this part theme on of hair. Basically, for the drop I've got vocal chops have included a sample off What you're here for the main hook off the drop into the buildup so they know what sudden listen knows what to expect. It's obviously you got the drop. So the bit between the end of the build up here in the drop I have silence on, obviously one that are vocal just to sort of tease the audience that their job is about to come on a job. So that lasts. So 16 30 beats and the end of that comes, it's high. She got low energy, medium energy, energy build up for the height of the energy here. It's all about controlling their energy. And that's what DJs. That's what artists musical artists do. They control the energy and flow in a venue that's their job. So that's what we have here in this truck. You got me saying my mom is imaging, Hey, break on this bit. Here is really where the energy comes back again because obviously don't want energy to remain high because you want to take listeners through a journey, and that includes highs and lows. So to make the highest high after Avalos, if that makes sense, so this bit here is literally just a bridge between the two jobs the vocals cook in here. You've got me saying what's in my energy or build up. You've got me saying what's in my have got this going, so keep the energy going on. It's for low end pad out the low in the access accord. And you. This phase now builds up more energy but adds, actually bits into You can see Hey, I've added a hat buildup. Everything has a filter on essentially, and you look, we owe tensions. Building energies building. You can see there's an automation clip in the middle of this sample just hidden behind that now, but we're going up. Getting another element on this, essentially now is the buildup is so progressed gradually from the set from the break hair into the buildup on you have the drop again. Second drop now tends to be similar to the 1st 1 because it's obviously on the same track so the listeners know what to expect. But the same time you want to surprise him slightly by inducing a new element or something new at this park. The truck. In this case, I've added this sample on an after hit. After this, if I wanted to, I could add an extended bitter that so in natural release, I've done a longer version of this, which is more applicable for deejaying because it lasts longer. This is only what 22 and it's 32 minutes 40 and the actual release of this longer. And it has the outro as well. So it depends what sort off track you going for. So just to recap, you have an instruction, which is a dynamic intro off. How the truck sounds so teases the listeners on gives them a bit of an idea of what to expect in the rest of the truck, but it could be super simple. It can literally be just a kick and some percussion, then the melody Beattie's Hey say it tends to include the general tune of the truck or the baseline on vocals. If you have some, next stage is a build up. Now this is to build attention of the whole truck on get listeners ready for the drop, the main bit of it. So this bridges the gap between the melody on the drop. Elements who used here in order to build suspense, sometimes pitch, and the picture gradually increases throughout its and of the snares that come in Um, on quite often, filters were used a lot at this point because in the same way that if a D J. Was gigging lot, if they would using eq you to cut out the base asked this progressed too. So that is more impact. When the drop hits on the drop, everything is in at once. So all the elements you have within within the track are present during the drop on drops can last. However long you want into, that can be sort of 16 beats here. That could be 32 or there could be even longer if you want them to be. But in general you have a drop, and that's the peak of the energy. After this, you don't have the brake on. This break is now releasing all the energy. I'm going back to square one where we take this now on a journey to build up to the drop on family. You've got the second job that could be multiple, different jobs in a track, sometimes twos. And then this is three or more, but in general and there's two or three drops in a track, Then after that, you would not have an outro. Oh, sometimes for some short radio at it, you just have an ending. So it's up to you how you'd like to do it. But that in general, is a structure of a track 4. 4 Exploring plugins: The next thing I'm going to show you within this course is how to explore different plugging. So essentially, what a plug in is is a external piece of software created to replicate an instrument or a synthesizer in real life. So you may in real life, have a midi keyboard or piano or an instrument. But what synthesizer? What plug in? Does it replicate something in your life? So I got two. This is silent. So essentially, you get different types of plug ins or different points represent different sounds on, and you have presets with within those puddings. So silent is one of the main. You may have heard it if you don't. Some research about electronic music production bs silent is one of the best. What are my favorite planes? So I would assure you this Some people pronounce it differently. Some people say serum, but yeah, essentially within the user interface off the plug in, you can see different aspects here, like oscillators on sub Anno. So these are different things you can tweak within the interface off the parking. You can also select different presets. So obviously, for this one, I've got that piece at the 1st 1 under the base selected on a preset is essentially a group off settings. For that, um, within that plug in so you can adjust Thesis things are just these knobs and get different sounds on a preset is made when you save that sound as it is. So it's basically a combination off adjustments that you say for that sound. So if this one now, I can hear exactly what the instrument sounds like whenever person note essentially on this on this pattern. Hey, this is what I've used for this. So I could go on press. I know here, and you can head it up. Looking is being used to generate that sound. That note. Obviously you can change the properties off. That sounds so. For example, if I went on to this one on, I just meet that with the SEC. So that's what it sounds like. Now what I can do. Is it just the cut off for it? I can use my keyboard, Teoh. So now it sounds a lot different. Certain few consumers within that sound have been cut off, and that is literally one aspect off that synthesizer that can change so literally, so much you can do within this seven. Interface said this is so you could go into also says here you can even go into effect. So this is very similar to the effects you can add on to the mix of hair. So you have the insert two on Have these effects on here bought. It depends what you trying to do with the sound. Sometimes you get different sounds and different patterns when you pale these up because these add on to each of this, you might have the kick start first in the sound good dowser as onto that on it goes in college golf board it like that in order from top to bottom. But then, within this south, you can change properties off the individual sound. We can turn on and off different things here, so filter Just how much that goes into mix should let delay. I can add more delay onto it. So did a muse. After sound has finished, you continue to hear more of that sound. Repeated again, again is like eco, essentially so you can adjust the effect of the sound within the booking it. South Sea had that sound for you and in terms of silent understand on the silent is, though similar. You put the keyboard layout down here, but obviously the interface, because it's a separate plug in, you'll see it looking like a different instrument. Think of it as an instrument that you can adjust the sound properties off so I could play is now. So now I can do is gonna just any of these. It comes in a bit later, so essentially you're just in the envelope overhead. Okay, you actually make a lot of different where it sounds out of this and importantly, until down here with inside and Paul Twomey in tow means whenever it slides between notes. So if you've got a pitch bend, for example, when it goes from, I can't really demonstrated on here. But but pitch bad news when it goes from one note to another on there's no obvious step between it. Just go smoothly from one note to another, and you can turn the upper or down if you want to. It works the same concept whereby you got to oscillators also a bay, and you can have different parts. One a one people Essentially, we have four oscillators within this synthesizer because you've got party. Got two bars there on part B, two parts that you can control literally any properties off them as well. That's silent for you in a shell. So there to the main begins. I would. But I'm going to take you through today. I want to show you a couple of other ones. One example is to call three. Ask essentially, it's just a sign away. It's just a way of sound, but you haven't really low. You can have it on north. But if you have it really low, like this alone Oh, it's a really nice soap when you're gonna hair very, very low sound is almost inaudible If you're down that level, Yeah, so as an example of another plug in. So these are plug ins and ah, synthesizes what you call them on other plug ins can be ones which had effects onto it. So if we go on here, if Gampel and I put in could be a kickstart whereby this is made by Nicky Romero, you may know him as a deejay and producer on. Essentially, you can turn this enough and this acts as an effect. It adds a side chain. So that's what that does, and that's also a plug in. So some plug ins are synthesizers and allow you to generate noise or sounds. But then what you can also do with plug ins. Izod presets to them. So presets available online on they are just literally a combination off settings. You apply to a plug into a sound, so these are presets on. You can essentially load or save these presets as you wish. So that is, believe or not approved that, and I can literally go between them. I think that that is a process that's sound within the sampling and that someone else has made using combinations of the settings within the synthesizer. You can then adjust this. However you like it, too, but it basically gives you a starting point to design your own sound. From this point onwards, that summarizes how put into use within Fl studio, and hopefully now you understand more about how you can use plug ins and how you can manipulate them to make your own sound. 5. 5 Creating melodies: The next thing I'm going to cover in this class is how to create a manipulate melodies within fl studio. So as we discussed in the last part of this lesson, I covered how you use synthesizers within the software. But one of my favorite synthesizers is called silent, which you can see. Hey on what I can do here is load up a preset. So I have over here my sounds, my presets is against in the left hand side and silent. I have based or Pat. So what? I'm going to click on his base on what I have here is a base preset. So I'm going to conceal this presets here. I can't listen to what the sound like yet until I dragged them into the actual Pugin itself . So now that person is loaded. But it's now compress any cake in here. What? That priest it sounds like over. Hey, I've previously designed a melody here. So I can do now is delete it start from scratch. So I'm going to use my drawer tool, which you can see over there. George Hill. So going to start here so literally in order to create a melody within this FL studio software, you literally have to just draw on this piano. Rome. So over here you can see a range of notes. So I can do is you can pick one of them. So I want to pick that one, For example. On that generally sets a key for the track. I'm going to show you now how to apply certain notes onto this in device here. She could make a melody of your own. So up here, you notice there is a metro known feature the ants, um beat where they wouldn't normally be. A beats Exactly. Click. That's what it does centuries. So you can keep track off where the beat is in the truck and you can have the notes so that they line up with the beat. So I'm going to do now is add more notes on the hair. I'm going to resize a note to make it smaller. I do this by pressing the left mouse button there from. So obviously it's down to personal taste as to how you'd like your mail. Disobey how simple or complicated you'd like to create it, but it's a simple murder there also, I could do is I can copy this. So I have made that pattern. Now that's on the pattern. One on you can have various different patterns here, So these patterns go on to this means that so this is obviously where you can see the whole of the truck being made. So I can now Jupiter's pattern multiple, different times. I'm playing from here. Obviously, as you progress through this, you can create the whole truck structure. So this way you see the whole truck in itself, which is normally a combination of patterns, combination of some polls, unclipped like automation clips where you cut off certain certainly sounds within the track . So yeah, that's what I can do. So now what want to do is want to replicate this? I want to essentially clone this pattern and have more than one synthesizer making that pattern. So I'm going to click here, right click scroll down to clone. What that does now is it duplicates the sound off that synthesizer it do because it below it. So what I can do now is I want to copy that pattern onto this down here. I'm going to right click put hair uncouple. I'm not going to pace up onto here now you can head and sub aside. So now I can adjust the properties off each of these incisors. So say, for example, this one. I might want to make it come in a little bit later, so that would play alongside that one as long as I have these both checked. So when I have them checked in there, both are active. That's now in inactive, so you can compare the sound of each one by clicking. They say. Don't often know on she didn't tell it's changed already. All I did was click onto here, so I'll just activate that. So I'm Pattern one. I can see the channels. Hey, I'm going to click on to that now. On here, you can see visualization of what notes are going to played at what time on that vertical line that are in vertical line represents the time. So it's quite easy to get your head around once you actually have a go and do it yourself. But that's the basic. I can literally add a note on to it by pressing using my left left mouse button or the later use my right mouse button. Once it's on that, you can drag you down. So, yeah, that's the basis of how you create melodies within FL Studio. 6. 6 Create a drop: we're now covered the aspect of how to create a melody within Fr studio. It is now time to have a look at how to create a drop. So we have a track hair. So it's the truck that I've produced before called its own right on. I'm going to show you how are created to drop within this truck. But yet in general, the drop contains small elements than any of the part of the track. Let's have a look at what elements have included, so the kick is the most important. So kick obviously sets a whole rhythm for the truck. Without that, it sound very replaying it sound like like this. So kick is the first thing with every dance track or electronic music track. The kick gets the ordinance. Dancing gets a listener excited. And essentially, that's a whole tempo in the vibe for the rest of the truck, because the kick is supposed to be the most prominent part off the track, so the next part of the drop is a cushion. So I have this yourself, and that includes high huts and collapse. Next is the Ambien. So one bit is this un in this literally a slight horn sort sound really on. And this is putting one. So this includes this knows no can hear the base now on. That's the same baseline Us was covered here. So basically, I'm bringing about that element into the main drop, and that is now the main baseline. There's another synthesizer over here which is used, but this it sounds like essentially we have the kick, the precaution, some ambiance, the main baseline. We also have effects. Sounds No, this which is a down sweep. Yours are this. It is a vocal but assignment to channel. But it's quite low in the mix because I don't want it toe sound. Two prominent on sound above other elements within this part of the drop. I wanted to be a background noise like this. Otherwise it was too loud. It was sound like this. I'm just going to increase it. It sounds quite something, drowned some other elements out. I'm going to reduce it down again. You'll hear the difference, So obviously it's audible, but not too in your face. Basically, I know about this sound here, so all of these elements basically build the whole vibe off the track. Really? It's all down to things you you can't actively here. But you know, is there And this is a vocal chopping. So this is a main hook off the try. It was a little melody that I've made using slices off the original vocal track on have assembled it so that certain notes because certain parts about snippet, at different times on it, turns it into a melody. Essentially, in this bay, is it literally just a sound effect. So normally it sounds like like that So essentially attach onto the piano well as a higher note, so into f instead. So yeah, And then over here we have different river effects onto the whole sound. So what I've done here is I've adjusted the river, have used what's called an automation clip to automate what happens with the river. Certain points within a track. So, Lindsay Hey, I've made it so that us as you reach that point of the track off this drop, the reverb level suddenly goes up for the element. So down here we have obviously these other elements here and in here we have more percussion, which is essentially this clap. You can pile collapse on different percussion elements on top of each other. That's what done on them for this. But here, vocal bruhth. That's more ambience similar to this one. Hey, but that one Hey, you see is planning to the right side list. You can see the purple mark there on the top left there. I didn't say the different right. If you go down, that will say, left on what I've done. There is a creative sort of surround sound using too some polls together, it creates just highlight these both a more surround sound effect, a more surrounding ambience, the whole track. So that, essentially, is how you create a drop. 7. 7 Adding effects and when to use them: I'm not going to show you how you can use different effects within samples and instruments or plug ins within your project to make things sound more professional. Essentially. So I'm going to start with adding or replacing this with a synthesizer. So I'm going to use silent for this. I'm just gonna show you it's gonna turn off any delay or anything else like that. Musicians, either I should know. What I'll do is I'll load up this a load up a bass sound. So you have this. Okay, so I'm going to turn reverb off. Compression distortion. I'm going to turn everything off within. The synthesizer is south, so you can hear what the sound sounds like without anything changing it. I'm going to set the truck to track one. That's what keeps it simple. So in the mixer, now, the mix of you, I have it set to insert one. So what I'm going to do now, isn't it close up going to the positive? Oh, I'm going to click, run and notes Hey, seeking to hear what it sounds like when I had certain effects onto it. So there's different effects you can use within any samples or sounds within this software . So one effect is called the reverb on our show you how that works now. So I'm just going to click on to that now. So this will be applied to this sound within pattern one that we just created her, using a silent plugging as a synthesizer. I'm going to open that now. I'm going to add some reverb onto it are useful plug in I use, which is built into the software. It's called fruity reverb two. So what River Abdullah is, adds echo onto it on the easiest working to show you. What reverb does is by playing you this combat to have enough, and that's literally what reverb does on within this plug in. Now what I can do is adjust the amount of decay amount of what sounded house you have dry on wet, dry is original sound. What is adjusted sound. In this case, the wet sound is amount of reverb sound that's audible. I saw some increasing that you can Hey, there's a lot of reverb coming off that sample. No, there's no decay, is how long the sound last four after it finishes. And that's how the reverb works, so river is useful when you want sound to blend in or when you want a sound to appear more distant than it is on is quite often use around vocals or melodies, which are quite high ups generally with baselines or sobs is not recommended to use too much reverb. But then we're vocals or special effects that you want to sound distant in the background. That is, there no good ideas, usually verb Next effect I'm going to talk about is DeLay. Sounds like this is like being on a bridge the best way I can describe it. So with the NFL studio, you have two different portions for DeLay. I personally use this one food to DeLay two comes standard with in our studio. So this plug in now with another delay onto that sound I've made. You couldn't say it's quite annoying at the moment. I'm going toe used to cook to This is the extent at which should plug in effect the delay to the noise. So I'm going to reduce the cotton out of that. But you can hear, so I'm going to do now is just so it's easier to here, and it's more and it's it's nicer. Isn't going to move these notes inoperative. Higher delays useful for like for like vote calls and things like that. I know. So within these effects over here, you can adjust the amount of effect it has on to the sample or put in by adjusting this so literally. That's nothing. And then that's for so far we have reverb, which essentially adds a tail onto the end of a sample, which is like an echo effect. And then we have a delay, which essentially repeats the some poor but quieter and quieter until it fades out like your in eternal. The next thing I'm going to show you is called side Chain. We're going toe open, his kick start here, and this is a plug in buying Nick Romero. That is a quick and easy way of applying side train on to assemble. So I'm going to start with zero. And just so you can hear example sounds like normally, but I'm going to add this onto it, so I don't know how much you can hear it, but essentially the first bit off the sample is cut off to the volume starts Lohan and gets that gets brought in later on. That's normally when you have a kick. So if jump a little just roll like pattern here. Now add a kick onto that. Sir, let me find a good kick. Punch kick. I'm just gonna show you an example Here, where I'm going to add a kick. Had four kicks onto here on what this does now is it makes room for the kicks that the kit comes in on. You can hear the sample around the kick, so I'm just going to turn off kickstart first. This what it sounds like Normal. So the sample, the value of the sample, it first comes in as the kicked was as well. So we'll get in the way of the kicking of it. But then if I turn, kick, start on, put aside chain compression on you can see that as I add it, the kick is more prominent and you can hear the kit more compared to having off. And you can apply this to any sample or any sound within your track on hey to make way for the kicks, The kick is the most obvious improvident sound within the mix. The next effect that I can show you is the compression. So the food to compress it is over here, and it's standard within their file. Studio is no, you don't have to download. It comes with the software, so it's going to select that, and here you can see the gain. So all you need to worry about initially without thing about threshold or any of these settings is again. So this is amount of gain you have within the compressor. So in terms of a compressor, it does a variety of different things which are quite technical. But the main thing it does is add energy and power onto a sound. So I'm going to show you what it sounds like now without a compressor, Good to add some onto it. Now she intel a pagan say the way the way for is red lining combats having no compression. So essentially, this is like controlling the volume. Put in a different sense. It gives the sound more power, and it also allows lower volume sounds in a mix to stand out more so a compress. It is also what you'd apply when you're mastering a track in order to make some of the quieter sounds stand out more within the mix. The final thing I'll show you is stay of separation. So if you've got a simple phone speaker with one speaker, like on the mobile phone that delivers sound in what's called Mineau, she got Stay on. Mano a mano produces sound just via one speaker. But if you go into a nightclub or into a venue where their speakers at the side of the deejay or side of the musicians, that tends to be in studio. So what we're unsure now is how to do it with enough our studio. So some sounds are good in stale so high pitch sounds or vocals. Things like that are good because they don't get in the way with any of the base. And they don't sound muffled when you apply stay of separation to them, but then sounds like kicks or base. That tends to be better in mono, because then, if it's played in a and stay, a system where it's not was good quality than it can sound muffled. Like if you go into a nightclub on your song has the kick in the base. The low, low frequency sounds played in studio, then it can sound muffle. The sound system isn't able to replicate that noise as effectively as when you produced it . So NFL Studio Hey, you can see the first insert within the mix of general hair, and I've obviously, as you know, have applied that pattern. Two mixer insert one. That's Hey, Super Scroll down to the bottom. You can see down here at the top left. So in that box, are you considered the description off? This adjustment is called Stare Separation on. What I can do is Aiken Twist to left, and it says how much separated is so now that would be in surround sound. That's not mono. So that now, even though you may be hearing it through two speakers or through a pair of earphones or headphones, that now sounds like it's just money just coming from the center, not not from each air. She got halfway point here so normally for the kick out have that fully merged so that when played in a loud or biggest sound system, it doesnt samba fold. But then things that vocals output fully over here or quite a lot over here, especially if you've got different layers of them. So you got one main layer and it may be a layer down here. Coming from the letter inside and lay down here come from the right. It just adds to the width off the sound. That's how you start a separation on. I would recommend using them for elements that have a lot of mid or high frequencies, vocals or percussion. I wouldn't recommend using any separation on recommend having in mono over Hey for things like the kick or the base or the soul is up to you, and it takes obviously practice and experience to work out when to apply stereo separation to your mix. 8. 8 Using vocals: I'm not going to talk you through how to use vocals and incorporate them into a track. So over here you can see I've opened this vocal sample which I got from one of my vocal but can depends what sort style you're going for in your track. But that's a shame. I thought I have just his vocal sample now I found were coming down so fast. So what might want to do is make sure the vocal some put is in time with the rest of the track. So what I'm gonna do now is going to import some kicks. Now, you let's put these in here to soak in here. The rhythm I found copying based out of Jupiter It I know we found were coming death. So as you can see, the vocals are slightly out of temper with the rest of the beat. So what might do is I'll just up to 1 28 on him I found were coming. So it's a bit too long sorting going to use double click on that. Let's go mode here. You three generic on. What this does is it makes sure that as I adjust the tempo off this sample, it doesn't adjust the pitch. I wanted to be et generic on that. Make sure that it doesn't drink the pitch as I stretch it on. Let's play from the start, I found were coming down soft, so sometimes you get some Paul's that effort studio recognizes, and it can put into the correct BPM. However, you get all the samples, which are like this, so I'm going to know. Stretch it so you can turn stretch on enough If you got stretch off that little button there, then every time I click the sample, it basically caught. Sit on, shortens it. What I can do, however, is I might want to stretch completely so that that bit moves slightly further up. So I just threw on example of what happens when I have this option selected so up in Tuesday's squashes, the whole sample so it can have its quick or sores alikes. I'm gonna have it around there, I found were coming down so fast. No lights, but we're steals there on that. Essentially it how you do it so sort of. It's trial and error in this sense, whereby you to do that and you see that fits better. I found weird, and I might want Teoh have that. A bit later, I found were coming down so fast that's nearly in time with everything else. What I can do is now use a slicing tool Hey, and slice it. Hey on and used to select tool again. Zoom out. And now what happens have separated these two parts. I might move them somewhere else or delete it for now, So this bit is in time so far. So let's have a listen. I found. Let me that way I found were combing down soft. There you go. And if I signed that to China, one for example, here we go on, I insert the kickstart side chain onto Hey, then it sounds like me. I found a big coming down soft on it with, so it's good to get a sort of mix. I'm having around the halfway point now, so it's not too obviously going up and down every time that becomes in. But let's sit nicer with the kick I found we combing found on. So that's how I want it now want. It's subtle so that it fits in with the kick, but what you tend to do with vocal tracks. I'm just going to move this down a bit. Have a go time I found were coming down soft. Yeah. What you tend to do is this is the master vocal track. But what I'm going to now is copy and paste that. So I have it here. But then I'm going to make this one you need. Oh, how I do that is Ah, left click here and I consider drop down list. I couldn't scroll down to the MIT unique on now that turns into D m d m. Number two. It's not anything I did. This one won't affect the 1st 1 to go to turn it down now. Trouble. You found we go may make sure it's in line with the others. Together, I found were what would you know? Where this one is punished two left. So up there, you didn't see in the little box up there. It's 44 split left. It depends how how Why'd you want to make it? But I'm just showing you this Azan example right now I found were combing down so so that on its own set of this. We're being down, so she's a bit quieter and two left. What can also do now is do another make this unique and have it still the same volume as the previous one. So a bit less so. Volume is about, what, 25% But this time it pans across to the right inside. So here we go. Let's have a listen now phone with domain down on this one on its own on this one. So you can tell that these air coming from different sides that's coming from the left inside on the other one is coming from the right side. What that does is it creates more of a stereo with about the sound. So what goes you now is going to set this on a separate track. I'm gonna put on a truck to so instead to so these are still uncertain. One the other side chain, and this is on, too. So this is the main drag here. So I'm going to add a kickstart into it on the most, going to add sound good eyes onto it. So this will out some reverb on Some compression I found were coming down Soft phone Witco Mingo. So let's have a listen to what that sounds like in total. Now, I found were combing down soft. Okay, so I'm gonna do now in the master is I'm going to add some reverb on to it because it's dry at the moment, So it means that there's no effects onto it at the moment. So I'm going to add some Leave it, But let's see how it sounds I found were coming down soft. OK, it's a bit too much mint is going to reduce that Now That's a bit I found were go main down soft I found with It's the key to making a track sound professional is not having the effects full blast, Not having it too obvious. So now this should sit nicely in the whole mix. That's have a listen I found were go main down soft. There you go. You've got the main one I found were coming down, so I'll out some stay with onto this Channel two I found with Okay on now you can hit these two down here as well We're coming down So they're the main things that you should add to a vocal to make them sound more professional within a track. Does that sit nicer in the mix, and then we vocals. What you tend to want to happen is for them to come from different sides, so left and right here on. Sometimes you can even play around with these and have one, so it's slightly ahead, one slightly behind, and it sounds more like a sounds like this. More more space in the midst were coming down, and then you can add different effects onto these on separately if you want to. You bought in this session. I'm just covering the basics off how you manipulate vocals within your track to make them sound more professional. 9. 9 Using the EQ: Okay, guys. So for this lesson, I'm going to cover how you use the EQ You within your trucks. So the EQ your century lets you assign different sound levels to different frequencies within a track. So if you've got something with a lot of based on it, you can turn the base. If you've got something like with mid or high might be vocals might be singing You can increase the mid and high if you consume off that sound. So I'm going to show an example now going to use servant was a plug in I'm going Teoh you some base. So here we go, you know, So I'm just gonna use this as a brief example just to show you how to eek you thing. So I've got that set to channel four or toe insert for Well, I'm going to do is applying the fab filter poke you on two. So this is the e que that I used to going to show you how I can change eq you off this sound So so far we have this is this sound using this preset that I've made from over here within silent, So I'm just going to press, There's no so one second. I just load up this Ikea. What we do now is increase the lows of this sound. So I'm going to increase the volume of the low frequencies in C on Hey, the number it hurts. Changes start to really low, so 10 hertz on that gets higher and higher and higher, as you can see. So what I'm going to is boost alone. You'll hurt now. Now it's really me. So if you've got baseline or something like that, then this would not be ideal. If that sort of sound, however, so I can do is move my cursor over here to the high notes on, drag this down and listen to what happens to nose. It sounds more muffled. So for baseline or for anything that revolves and uses a lot of sounds within the low frequencies, this is ideal for that boost. But now that sounds to muffle, so that's not ideal to mix things professionally and to use the eq you to make you sound your song sound more professional. It's a good idea to be very discrete and subtle with this, So the idea the purpose of using this is so that you can assign certain elements and make sure that the frequencies don't cross over too much with all the elements within that track . So, for example, for this element here, that's how it normal sounds as a default setting. What I could do is increase the mids of this. What could then dio is have another synthesizer. So if I go into a clone it and then what I do is I go up to it on a copy and paste the previous ones. I want to versions of itself powered on top on top, feature that so paste that both under the same. So they both have their mid frequencies boosted. Right? So what I'm going to now is I'm going to change this one to number three. You just want to number three. I'm going to change e que so that more of the low notes within this sound coming through So I'm going to do now is two days going to is used the highs, an increase of lows a little bit. And there we go. So I'm going to do now is to show you how that affected the sound by muting the usual. You know, you have this show you what it sounds like before now I have this so I might want to increase the lows a little bit more. Just allow it to stun. Now then there we go. So a lot of this comes with practice and experience training your heirs to pick up when certain foods his clash. But in general, certain sounds have different placements within the e que so for vocals can see the high notes in the mid around this range have been boosted on the lows but at this range have been reduced. So down here tends to be the kick. Then you got so base around this food, etc. Around 22 50 hertz depends obviously what John we going for, But in general, this is why those elements would sit and become most prominent within the mix. Then around here you have any mid so might be low vocals Might be low Sound effects Might be echoes are not pair. You have the percussion on the vocals