How To Make EDX Style Track in Logic Pro X - Step By Step in Logic Pro X | Martin Svensson | Skillshare

How To Make EDX Style Track in Logic Pro X - Step By Step in Logic Pro X

Martin Svensson, Learning music creation since 2006.

How To Make EDX Style Track in Logic Pro X - Step By Step in Logic Pro X

Martin Svensson, Learning music creation since 2006.

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29 Lessons (3h 38m)
    • 1. Introduction

      2:50
    • 2. How To Get Started & Reference Tracks

      8:00
    • 3. Creating Chord Progressions - Part 1

      8:00
    • 4. Creating Chord Progressions - Part 2

      8:00
    • 5. Creating Chord Progressions - Part 3

      8:50
    • 6. The First Idea - Part 1

      8:00
    • 7. The First Idea - Part 2

      8:00
    • 8. The First Idea - Part 3

      8:00
    • 9. The First Idea - Part 4

      3:51
    • 10. Creating The Arrangement - Part 1

      8:00
    • 11. Creating The Arrangement - Part 2

      8:00
    • 12. Creating The Arrangement - Part 3

      8:00
    • 13. Creating The Arrangement - Part 4

      8:00
    • 14. Creating The Arrangement - Part 5

      8:00
    • 15. Creating The Arrangement - Part 6

      8:00
    • 16. Creating The Arrangement - Part 7

      12:18
    • 17. Creating Melodies - Part 1

      8:00
    • 18. Creating Melodies - Part 2

      8:35
    • 19. Making Transitions Between Two Different Sections

      8:04
    • 20. Mixdown - Part 1

      8:00
    • 21. Mixdown - Part 2

      8:00
    • 22. Mixdown - Part 3

      8:00
    • 23. Mixdown - Part 4

      8:39
    • 24. Exporting & Bouncing The Track

      2:37
    • 25. The Mastering Stage - Part 1

      8:00
    • 26. The Mastering Stage - Part 2

      8:00
    • 27. The Mastering Stage - Part 3

      6:03
    • 28. Turning A Vocal To A Remix - Part 1

      6:00
    • 29. Turning A Vocal To A Remix - Part 2

      6:37
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About This Class

In This How To Make EDX Style Course, I will show you how to create a full music production from scratch to the full product - arranged, mixed and mastered. This Course will learn you how to make this track with Logic's stock plugins and free third party plugins ONLY. I will also show how to import a vocal and how to make that vocal at the same tempo and key as your track to create a remix. You Can Use The Same Principles For Both EDM, Hip Hop or Even New Music Genres - it will work for all Genres!

This course is created for the absolute beginner as well as advanced users who wants to expand their knowledge in music production. We are covering all of the techniques that the biggest music producers are currently are using as well as limiting ourselves to create music with ONLY Logic's stock plugins and free plugins - as well as working in the box. 

This Course Includes All You Need To Create a Full Music Production WITHOUT any paid plugins or sounds. Everything is included in this course and inside the included project file.

We are also including 10+ Sample Packs that will improve your productions as you can use them for free in your own tracks - all royalty free.

This course is designed for every skill level from Beginners to Advanced. If you never used Logic Pro X before, that's totally fine as well. This course includes an introduction section where we will download Logic Pro X and show you how to manage the most basic functions of Logic Pro X to get you started.

Just a few of the things you'll learn in this How To Make A DJ Mixtape course:

  • How To Make A Full Music Production Including Arrangement, Mixdown And Mastering
  • Record Natural Sounds Outside To Get A Natural Feel On Your Track
  • You Will Learn How To Start Out With Music Instead Of Getting Into Writers Block
  • Start Finishing Music Instead Of Going To An Idea And Just Leave It Like That

Improve Your Music Production Techniques and Start Making Professional Music With Quality in No Time!

Regardless of what your level of experience is or what type of music you are creating, this course will take you knowledge to a whole another level. I will show you step-by-step how to create a full Music Production with Logic Pro X with Mixdown, Mastering as well as importing vocals to create a remix of this track.

Unlike other Music Production courses, this course will cover everything from scratch and improve your overall music production level as well as getting you motivated to finish your music instead of letting your music ideas die within your project file.

Meet Your Teacher

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Martin Svensson

Learning music creation since 2006.

Teacher


- Founder and Owner of music-prod, a platform with courses for learning Music Production and how to be a musician today with over 10 000 Subscribers. 

- Music Producer and Professional musician. Producing music for 10+ years with Logic Pro X and Ableton Live. Produced music for several big labels and for other Producers, Dj's and big names in the music industry.

- Certified Apple Logic Pro X Producer since 2015.

I have a lot of experience in making music in different studios here in Stockholm, Sweden and also in Los Angeles, California. I've been making music with big names as well as teaching how to make music since 5 years. 

I'm now into teaching music on the web as well as making different businesses because I really wa... See full profile

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Transcripts

1. Introduction: do you think I was born yesterday? You have got already crying smooth. - Hey , guys, welcome to the learn creating GDX style music in logic Pro TEM. And this course we're going to create this track from scratch with only logics, own stock plug ins and with free third party plug ins as well. I will actually show how to first come up with an initial idea by just playing around a bit and being creative, such as going outside to record natural sounds so we can use them in our track and make a track more realistic sounding. After that, we're going to build up on that idea and start arranging that track to create a very easy arrangement. From that, we're going to add sounds to that arrangement and perfecting the sounds even more. I will also show how to export its track to an audio file so we can use it for the mix down . When that is done will create a mix down off the track and also create a final master so the track would be good to go for all of the different sound systems and speakers out there . I'm also going to show you how to take a vocal and create a remix out of that, just like I did in this example. And you can actually apply this technique to all of your tracks to create a remix very easily if you're brand new to logic. Pro 10 have also included videos for my logic Pro one A one course, which we will cover all of the basics for you so you can start and create music with logic . Today, you'll also get a bonus off free sample packs with the library that is exclusive for you to miss students all for free. That sample pack library contains a lot of different sample packs, and new ones are added every week. You'll get free access to them lifetime with the purchase of this course. All right, so I hope you're as pumped as I am to attend this course, and I really hope to see you in the course 2. How To Get Started & Reference Tracks: all right. Hey, guys. And welcome to this. How to make an Edie Extract course in logic Pro 10. So first we're going to start out with an empty project with no instruments at all. As you can see here, it's empty in this channel strip here. So we have a software instrument track and what I'm going to do now, first of all, just to get some inspiration and kind of an idea off. What I'm going to try and produce here is to have a reference track, and you always want to have at least one or or let's say to reference tracks just to so you can reference something. So it's very easy to just reinvent the wheel every time you try to create music, you know, So I always have at least 1 to 2 tracks that I reference with what I'm producing here, and this way I can just copy different elements from different tracks or borrow them, and then I can combine them and create my own track with with those elements. So here, as you can see, I have my first reference trek. It's on GDX Dubai Skyline remix from Charlie Booth. How long. Let's just play this just so you can get an idea off. What? I'm going to try and produce with this course here. I admit I was wrong. What I was gonna say in my head and I was drunk. I was going to make it right. I promised no fear Way right. So you can hear what I'm going to create here. I'm going to create something similar to this style. Yeah. So let's get back to logic here. And first I'm going to create. I think that's the main synth or main base synth sound in the drop section off that track. So if you go back to it and just listen to the first drop section where it's only that basin on the kick drum just a kick drum and on FM basin sounder. So I'm going to create the FM based since on first. So let's go to, um yeah, the instrument selection here. And I'm going to go for the FM and stereo and if you can't find it, it should be there as well. This is actually the same sound as CDX are using in the drop here, so it's basically just on FM base, Evan based in Sound. And it's the basic precept that comes as the fault. So if we bring up our committee computer typing here, we can just play with our keys on a keyboard on our actual computer keyboard. And let's just try it out here so you can hear where I mean Way lower, an ox severe. So it already sounds pretty good as it ISS. So let's get on here. Yeah, there is some different effects with this sound, so I think if we're just going to use it as it is, it's going to sound a bit too thin. But we're going to perfect this sound, um, a little bit later on. So I'm going to create one more software instrument track here, and with this one, I'm going to go with the ultimate here. So when she choose it like it is there on, let's just go for create. So now I have the ultimate synth, and I'm going to leave the FM synth as it is because that's going to be our bass sound. And yeah, so when I'm creating the bass sound, I want to have a chord progression first. So if I have a corporation laid out, I can just take the lower part of that corporation, and that is going to be my bass parts. So when I have a corporation when I have a really great core progression, then it's very easy to lay out different, um, different elements off that corporation to, let's say, the bass sound or since or other elements in your track you can just take one. Let's see one note lane off that corporation and just put it in different instruments. And then you can layer that instruments eso. If you just layer different instruments with a lot of the same corporations, then it's going to be sounding too much. So when you're layering, you only always want to export that corporation and just use some off the parts off that corporation. So first we're going to create a corporation, and I'm I'm almost always creating my corporations with the piano sound, even though let's say that I'm not going to use the piano in the track, but it's very easy. Teoh create a corporation with a piano, since it's very you can hear Ah, lot of different octaves in a piano at the same time so you can hear where your base should be or where your mid should be or where you're mentally should be, for instance, So that is why I am creating my corporations with a piano sound most often, but in this case, just to get some inspiration here, I'm going to open up all come instead and I'm going Teoh, let's go to file here and initialize presets. And now we're going to have, ah, clean, ultimate preset by default. So it's basically just saw here. But I'm going Teoh, go to the source is here. So if you're in this mode, you just go to the advanced setting here and go for this sources and make sure that only a section is enabled. And yet BC, and these should be disabled, so you can see that by the blue and gray colors here. So let's click on the saw and import audio. Some from here you can browse. This is just like a finder to compress around all of your files on your computer or on your hard drives. Yes, so if you find a folder, let's say you have Ah, nice, very nice simple pack, then You can just favorite that, like I did here. So I'm using the one shot deeper samples Number one, which is a simple pack you can download for free when you're attending this course and how . Yeah, that it wasin a video previously. So if you miss that, just just get to the previous video and you will see how you can download this simple back . So here you can see I'm getting all of the different samples from the sample pack. And now we can just browse around and see what I'm what I'm having here. What the samples are sounding like. Let's just click and make sure to have the preview on here. 3. Creating Chord Progressions - Part 1: there are different. A lot of different, typical deep house samples here. Let's let's try this one out. So I'm going to take this sample and just drag it to the drop zone here and then import it . So now you will have this sound as the only source. So this is basically like a sampler right now. So it's going to play this or if I when you're a pressing our keyboard here, you can also layer it with a corporation. Of course, now you can basically create a corporation from this to get a similar sound off cdx corporations immediately just to get that kind of inspiration or that idea off the track. You know, because if we're going to play with the piano, then it's It may be harder to to realize what we're going to create here with within that style, I'm going to show you what I mean. So I always he was a media fix plug in, which isn't free, but it's very recommended to buy or purchase. And, um, yeah, of course, if you're a very great chord progression player, if you can create, like, play out your courts very nicely on a keyboard and you you're very talented with your music theory. Then this plug in may not be really useful for you, but I think that it may be useful because you can come up with a lot of different corporations that are very unique and sounds very, very nice. Ah, and it's the media fix plug in called Card Zulu from extra records. And if I would be purchasing any plug in and plugging at all, then it will be displayed in. So it's not required for discourse to own this plug in. And we're not going to use any third party plug ins throughout this course off course besides those that are free. So, yeah, but if I would purchase any plugging at all, it will be this cattle a plug in and it's well worth the money. So all right, so what I'm going to do here, I'm going to disable this AARP, and I'm going to have the cords on. And now you can see there are different presets with corporations, and I also purchased this accord preset pack from a D s or sounds, and I will give a link to that as well. And ah, you, but you can use the presets that comes with a tool as well. So I would recommend to use this icon, the atomic presets, and put on a minor preset for this kind off deep house sounds. But all of these are really great as well. So I'm going to use this one. This one's here and what I'm going to do just to get some similar sound. I'm going. Teoh, take a look at this track and see what what route notes This track isn't so let's copy this whole song title here and just create a new tab with a Google search here and let's go. Let's see how long it X okay beat ports that it's a really great site where you can find what route notes a track isn't. So, as you can see, it's in the key off C sharp minor. So now I'm going to get back to logic here, and I'm going to go with an idiom core presets, and I'm going to go for C sharp minor. So C sharp, which will be C sharp major, actually, So let's take a look if we have something here. C sharp minor greats So now if we play this with the ultra me sound with the one shot sample that we had here, then it's going to sound. Yeah, it's going to create a corporation immediately, so let's try it out. It's immediately that sound that we're that we're looking for. So let's just play around. But I'm going to play around and just Yes, see what I'm coming up with here. So yeah, and I also choose or switch the different, um, octaves here. So I'm going up and down between the actives and that. Then it will play a different section off the cattle of Plug in here. So as you can see, I'm in this section right now. Since you can see me playing here, we're actually in that section. So if I go up on active will play here and one more will play there. So now you can see this preset has four or five different corporations that you can play here or combinations off the corporations. Take a listen again to that track. Yeah, and I'm going to look for the corporation. So I think it is in this next section here. Yeah. All right. I'm going to transpose this one doctor down. So 12 semi tones going to go back here. I'm going to use the same rhythm on the corporation as any excuses here, so All right. I think I'm going to choose some different corporations here. So, um, yeah, I didn't think that any of those courts sounded really interesting, So let's take a look it for Have some. 4. Creating Chord Progressions - Part 2: looking for Have something else, All right. So I'm going to take a C major instead and then just transposed it. One semi tone up here that sounds a bit too high. So let's lower it. 11 semi tones, which will be if we lowered this 12 semi tones. This will make a C major, but in one octave lower. So if we, um, raise it here with one semi tone, that there will be a c sharp minor. - All right, I'm thinking off choosing another reference track here just to get something else. So let's see what we have here. If we go to E d. X remix and let's see from something else. Okay, I'm going t o take a listen to this one here. - Change . All right, so this is actually a really, really great track. I like this a lot, So I'm going to try and create this one instead. And let's see what this is all about. So actually were key. This track is, and so let's copy that and open up, beat ports and just search for that track on B port. So feel the same edicts as you can see here. Let's open that up. Let's see what key. This isn't so be minor. So let's go back to logic here and let's take Let's go back to the transposed. So we're in zero here and let's go for something that is in B minor. So there we have it and let's play. It's now. Let's take a listen, Teoh the corporation in this track. All right, so it's pump. All right, so I'm just listening to the track and I'm going to create a very, very random note here just to get the rhythm off that corporation. So let's open up the piano here, and it's just create a random notes. Okay? Bom bom bom bom bom bom. So something like that. So it's the same thing going on. Three times were from what I can hear and then the fourth time is the same. Whips is the same thing, but it iss without one of those. The last one last note here, I think let's take a listen to it. I think it is Aslak that so I'm going to use it for now, but obviously we're not going to use these notes. But now we can just play around with it. You can see a cattle of this on playing areas and b minor onda note that I'm playing if we go to custom, here is a C two. So I'm going to use the first note that is going to be C two. So that's on actually through here Something that we like. Let's just put it there, you know? But I'm going Teoh go for the sea to first. All right? So, waken just play around with the notes, you know? So I can just closed off from the sound, huh? I'm going to move these notes just to get some different and different melodies. 5. Creating Chord Progressions - Part 3: listen to our reference struck again. And let's listen for if the corporations are the same ones on, let's say this part and they're not differing anything because is again see employing the same thing. And this first beats here. I'm using five off the same notes that really using firewood. Same notes, five same notes and do a bit off different differentiating here. So let's get back to the track. And let's take a listen to If Edie X is using the same corporations in the same beat as I showed you before, Yeah, and is also using, I think to here, So is using the same in this part and same one in this part besides this. The last note. So that is just to introduce the next section. - All right, so what I'm going to do now is to go back to the cattle here and transpose it to minus 12. It didn't sound too good, So let's get back to zero here and know what I'm going to do is that I'm going to hold my mouse here. The pointer here. As you can see, it's a little bit of a green line there, and it can go to all the units and I have applying called media affects freeze. And this plug Guinness for free so you can download it If you Google, it's on media fix. Freeze. Then you will find this very, very nice free. PowerGen. And what this does is that it copies the notes that you're playing on a cattle Oh, and converts them to, ah, rial notes that you can see in the general here. So you just put this plug in after the controller plug in here, and then you're pressing freeze and you're just playing the the whole media region here way , way Have a media region here. So I'm just dragging out from the plug in to our arrangements here and now we have the real corporation off this off the cattle Emilia region that we created. So I'm going to disable the plug ins, the media plug ins. You can do that by just enable and disable it here, and you could just drag it like that. So now we should play it. Yeah, So you can hear that this, um, sounds pretty good. So but I'm going to go back to all come here and just play around a bit with the different one shots that we had. So you can do that by go back to automate. And as I showed you before, just go to the first sent there and, yeah, you can just play around with different sounds here. So I'm going to double thick them and just play the media region here and just take a listen to what that sounds of Sounds like, so to come. All right. So obviously I think we have to look for some and sounds. That sounds similar to what we had before. That was an interesting sound out off. Just the FM based sound. Kind off. I think that sounds pretty nice, actually, but you can also play around with age or a H. D. S are here. So you can put how long you want this to be played here. Take a listen to our reference strike again. All right. So I'm going to take the same meat originate and copy it over to the first FM track that we had here, and I'm going to take off all of the notes besides the lower notes here. Just let's just try these notes. and just copy them. One locked up. Yeah, I'm opening up on chroma verb on this ultimate son because, yeah, this new river being logic is really, really great. And what you can do here is to put on a very, very short reverb sound to get this sound sound a bit bigger. You don't want toe make this, like, overdo this. So I'm going. Teoh, this creates something here is take us into this, all right? It already sounds very much better, I think. But I'm still not really happy with the corporation, so I'm going to play around a bit. Just so, um, you won't see me playing around with different corporations in hours and hours because I can do that. And I don't think that you're learning too much off it because I already showed you how I create the corporations. So I'm going to play around a bit with cattle. Oh, and come up with a better corporation, I think, and then we're going to progress after that. So let's see you in the next lecture 6. The First Idea - Part 1: All right. So now I am back with a new corporation, and I have been working Ah, a bit here with just to find some different corporations just to rest my ears. You know, I went outside and yeah, I got for a walk. Um, brisk 30 minute walk and just, you know, empty my brain with all of the different music loops that going on when you're, um, creating an initial idea, you know, because you can get stuck very easily with music if you're just starting out And let's say that you had an idea and that you played at idea all of the time and just looped it a lot within logic and yeah, just to get it out there, you know? And then suddenly you don't like that idea anymore. And this because your brain starts to get used to that sound and music. It's something that if we really like something with music, our brain wants us to get surprised with different new sounds. There is when really like that music part. I think that's the case. So yeah, I went outside, I created something else. And I know that music, like everyone, doesn't like the same thing. All people have different tastes of music. But I created this cord and I think it sounds pretty good. I'm going to show you what presets are using cattle Lulu and what meaty that I have here. So let's play it. So I use the c minor here with an transpose off minus 13. So it would actually be a B minor here or a key of B minor. And if it don't know what I'm talking about when I'm using Cataldo and B minor C minor, Just go watch my course on music theory where I will cover all of these stuff within two hours. So that courses around two hours and you will learn everything from scratch. So if you don't know what I'm talking about here, just go on that course and I have it on music. Dash product comes, So just go there and watch that course, and I will explain everything about that. All right? So I'm not pretty had done with the court question. I'm going to make some difference things here. So this is what it looks like when I use it within cattle. Oh, so when it's not actually real courts. So I'm going Teoh, create some different variations here in the this ending here and this ending section here . So I want something else here. Maybe, Yeah, maybe something else. Maybe not something that subtle. And then we're going to do the same thing here. That's the area from going to disable something. It's mute, that one. I do, and I'm gonna use that one instead. So instead of, um, having the extra note here and having extra note here as well, that could be like very static. You know, we have the exact same rhythm in this part as well as this part, and that can be It can get bits boring after a while. So I'm going to use the media fix plug in again, just enable it. And let's if you're creating new courts and trying out and exporting them from this plug in and putting back, then you want to make sure that you have this clear so you can't see any media region in this little box here. So then you're just go to go to record here. So I'm going to freeze or president record about in here in this plug in and just play this media region. All right, so let's export it or drag it out from this one. Also, import temper information. I already have my temples. Oh, no. All right, so let's get rid of that one. And now I have the real meaning courts. I'm going to disable this these meat appliance, and if I have them enabled, then it's going to play. A lot of different courts here is going to sound a mess, so I'm going to disable down. So let's cover this over to our base sound. This is a new track that I did something to delete that, actually, and, ah, here we have the FM sound FM based on Yeah, and it's cord now, So I'm going to delete one of the notes here besides the lower notes and put them up a bit . All right, so I think some of the notes here are too high. So I think this sounds good this part, But this one, these ones I'm going to lower knocked up just like that way have our main sound here. So from here, I'm going. Teoh, go for apple. Oops. And let's take a look at Yeah, Let's go for deep house and all drums. And I'm just going t o um, just get some different, like, basic beats just so we can get a beat here. Um, but before that, I'm going to take those two or these two tracks here, and and, like you see her, I selected them both create track stack, and I'm going to create a summing stack. So create that. And now I'm going to I'm going to create a side junior. So I'm going to double click this gain reduction meter. Here is the great low bar here, and that will bring up our compressor. So from here, I can just I'm going to go with a vintage Opto compressor. I'm going to put order gain off, and the auto release is going to be taken off a swell. And now I'm going to, um I'm going to just play around with the different settings in a while. We just close that for now. We're going to create a new track. It's after instruments and instrument. I'm going to have 7. The First Idea - Part 2: and I'm going to have this set to utility. And, um, yeah, we can get a club, Geist, and what I'm going to create here is basically a ghost track, and this is going to be linked to our compressor, which will create the side chain effect for this. Ah, tracks that care, which is a group off these two instruments. So I have a club guys here and what I'm going to do here, I'm going to take the steering out and put it to know outfits. I think that's so. Now, whatever I play here with the club, Geist will actually, you can see the signal here, but it will not, um, up it any single there. So if we sold this, you can see the single earlier. But it's not, actually. Um, can you can't hear it. So now I'm going Teoh rename this to side chain ghosts. I think that's and I'm going to go back to our tracks like here to the compressor side, chain and side chain ghosts way trying to create that ducking sound. And you can actually see that really good with the graft meter here. So you want a different settings here off the attack and release so that you want to attack to be pretty quick because you want on the side chain to kicking very quickly. Because what citing thus is that it ducks the volume for the kick drum just so you can get that pumping feeling, you know? So then we have the release and release. You don't want it to be too short because that is how long you want this I chain to be. So I actually wanted to be a pretty long so like that. Then you want the ratio to be pretty high and the thresh old you just lower it like this. You can actually see what this does to the single here. So if we play around with the sound, you will see how much off the signal will be lower here or duct. You can actually here a little bit of a quick when the compressor is coming off the sound too much. So that is, um, you can resolve that with knee setting here, So I'm always having the knee setting on pretty high as well. And that will make the different click sounds to disappear, almost disappear or they will smooth them out. So now if I bring up a beat here, this will be side chain. So let's take a listen to different beats here. I'm going. Teoh, go back to the compressor here and make it a bit longer. - Alright , So im already tired of this beat here, So I'm going to choose something else. Let's go for the tech house. Pakistan and for all drums way Don't want any beat with different sounds in its because Ah, yeah, they're they're not in the same notes or the same key. So we just want a pure beats and what I'm going to do here. I'm going to take that beat and just divide the kick drums in there. So we're going to get rid of different drums and just have a kick drum in there, and then we're going to ah, have the toppers with the kick drum, But yeah, I think I'm going to get back to the depots and you can actually go to the different always . Like for some reasons. Sometimes I'm using hip hop from Apple Loops within. Ah, let's see, uh, deep house track or some other kind of Jonah's track so you can mix them because they are sink to the same templates using in the project so you can experiment with that. And that is actually how Trappist e. I mean, trap music is basically hip hop sounds and the same thing goes with, um, dub step as well. They're very similar sounding, but you wouldn't, like, compare hip up to dub step. So So, yeah, you can. That is why I really, really like the apple Loops here can be very flexible and trial different styles as well. So yeah, let's go back to the Deep house here and let's choose some beat here. So that is a nice beat with a very, very clean kick drum. So I'm going, Teoh, make it like this. And I think now if I loop it, it will be just a kick drum. So now we're going to make a bit off leveling because this is way too loud and I want the kick drum to be louder because you want to hear the kick drum. Yeah, and I think it's a bit Teoh short there. Let's see here. All right, so we just want the kick drum to be in at the beginning, and you really have to 8. The First Idea - Part 3: you really have to make sure that it is all right. So we don't have any silence in the beginning. Even like a millisecond of silence would make the kick drum to be out of sync. So doing it like this, let's loop that, Mom. All right, that it's way too much of a click because this apple who passed something in here, So I'm going to do instead, I'm going to cut that off. And now if I do a loop, it will be out of sync, since it's a bit off. Um, see here it's a bit of a gap here from this bar to the next bar. As you can see over the next beats, actually, So what? I'm going to do it. I'm going. Teoh, copy this. These four kick Trump's like that and I'm going to go to Function folder and pack folder. So now we have a region that ihsaa doesn't have any gaps, As you can see there on in the beginning, it should be the same thing. Yes, So now I can just loop it like that. And now we have a kick drum. All right, So before we starting and create our arrangement. I want to go to the steer out here and I'm going to put, um that's your didn't Dynamics and Demeter. And this is only so we don't hit the ceiling off zero de beer. And I'm also going to do here is to take the other units extra records and o t t plug in. Just put it on around 15% to make it a bit compressed. With the master going to do the same thing with, um, this track secures. I'm going to call this main since this is the group here were to do the same thing O t t. And I'm going to put it around. I'm going to put it on around nine o'clock. I think that's I was going to take this go struck here and make these notes a bit shorter. So just to get a shorter side chain so I can go back to a compressor here, make the such an a bit deeper. That is a nice pumping feeling. So now I'm going to take some topper loops here, and I'm just going to put one drop moved for now just to so we can get some high it's. And then from there we're going to create our first arrangement with only these sounds. And when we're done with that arrangement, we're going to add sounds along with the arrangement and what we're gonna do then, it's too, is to compare this track to a reference track and see what, Yeah, what DDX the artist there did with, Let's say, the intro or the drop section on the break and different sections there. So So, yes. So let's listen for some different toppers now and let's see what we come up with here. I actually like that, but I think it's but to too many of different random noises. But let's see, - I actually like that. I'm going to put it in here. The only annoying Santa is that in the that one. So I'm going to get rid of that. Let's take a listen. If it sounds good or not the same thing here, going to get her into that Yeah, let's get post there. So what I'm going to do here is to borrow some other sounds. See here. So it's right after the clap here. That is that zone. Let's for that, just like that you want to use it like this? Great. And we also have that, um, that little sound in there. So I think it's going to make a bit of variation in the second section off this drum loop. So same thing here functions folder, pack, folder, and then loop. It's no, I want some kind of high. It's here. So instead of going to, let's say, a drum machine like Ultra Beat or he access 24 just drawing out random highest, you know I'm going to take some apple loops and, like, real high, it's from that bloops and extract them from there. And then we're going to put them in a nice pattern, you know? So I'm actually thinking off using this one in this, um, this apple appear that one submitted just competent. Go back from the folder and I'm going to create a new all your track. I think that and I'm going to paste it here. Whips. Not There should be right there. Yes. So now we have that little sound there. So now we can take this. Sounded just Koppett. That's to create our nice rhythm here. So let's take a listen 9. The First Idea - Part 4: All right. So that SSM out of bits on and that stake, let's see her. I think it would be too much. So that's Yeah , I'm just going to create that kind of pattern. So it's actually just offbeat. So the kick drum is here than the Hyatt kick drum high at kick Drum. I am ness one suffered. So I'm going Teoh care fuller of this as well. Now we have our high. It's dear. Maybe something in the end section here. All right, So now we have our audio track here in Mont over some reasons. Some going Teoh to steal. So I'm going to rename it a bit. Here, kick drum. All right, then we have our topper. Can we call like that? And then we have high it's And this one was our main synth. And this is our base FM base. Yeah. So I'm going to take the kick drum in the upper section, or the side chain goes to actually want this to be first here. And then if it don't want any side chain, we can just get rid of this now. It's not side chain, and there is so it's a really nice thing to have the side chain ghost track here way have our little first idea here, and from now I'm going to arrange the track. Just create a very simple arrangement, and we're going to compare this arrangement to the 80 extract and you just create a basic basic arrangement. So from the first section two, the last section and after that, we're going to add sounds. So it sounds more like a real track, you know? And then after that, we're going to mixing and mastering. So let's see you in the next lecture. 10. Creating The Arrangement - Part 1: Alright, guys, it's time to arrange the track. But you can see I have one more new track here and this is just something I experimented with. I created a retro sent, which is the faults, and that comes with logic. She looks like this and I used a sound called Super Lead, which is in Sint Leads and Super Lead. Then I just switched out a little bit off things here. I put some envelope on, I played with the color of here and also I did some stuff with that with envelope here as well. You can just copy this settings and we'll get exactly the same sound. I'm going to show you why I added this sound to this track since if we take a look at the reference track here, you can tell that in the beginning of the track there is a synth and that has a lot off cut off in it, and then it's filtering up. If you take a listen to the inter here, you will hear that way It's and then you can also hear a piano playing in the, um ending section here. Off this in true. So I have this sound here. The retro sent and I just copied this media region from the main synth. So this is basically the same corporation. So if you take a listen here, So that is what I would want to use here in the intrasection. I'm going to have that. And I'm also going to create one more track. So let's go to softer instrument and I'm gonna go with. Actually, I'm gonna open the library here. So you have the library, and I'm going to go to this little Ira here, and then we get some different settings for the channel strip. So here, I want to have a piano. So let's go for this piano here. Let's take a listen to this one. Copy this mean the region over to the piano as well, and just solo it. I think it sounds good. I'm gonna put on o t t on here and have it, um, you have it doing its work, and I'm gonna have it pretty deep here around 30 40%. Some around that I'm using this only because I think that the piano is being flat and out. So it sounds flat when I put this on. And I I want that because I want the piano sound to be very controlled here, since it's going to be a background sound to the super leader, I'm gonna move that over here. So I just organizing my sins here as well. So I'm going to start on, arrange my track here, and, um, let's just do some cleaning here. The kick I'm going to color. So I'll see to get the color palette here. Just color it red high. It's I'm gonna have yellow my sense or base, actually, and since going to be brown and my leads here is going to be in this color in this pink color, so I have the second highest. I'm going to move them there as well. So I'm starting out with this Ghost channel than the kick drums than the since base and actually want the sense to be up there. And this is just my preference is to organize my instruments in the arrangement. It can also name different media regions. You can do that by going to the text tool. Let's see textile, and you can just click it and can just rename this to Let's say super lead whips. You can also rename it here like that. So I'm not actually renaming my regions very often because I don't create huge projects and more like it did before. Um, I like the simplicity off creating music nowadays, so yeah, I'm just having it like that. And if I have a massive project with a lot of different regions, then it will be good to actually name this region's here, but yeah, for now, I'm not going to do that. We're going to move all of the my regions here just like that. And now we're going Teoh Creator intersection here. So I'm going to listen to the reference track, this one here, and I'm going to look at the time for the difference parts off the track. So I'm going to look for how long interests drop break drop in ultra in. So and suffered. So let's listen to this and analyze this arrangement here. Um, and I'm also going to create arrangement markers at the same time. No. So at 40 seconds, we got the first intros. Or let's go back to logic here and for the second should be Yeah, at bar 21 there. So I'm going to move this marker to there and let's take a listen to the next part off the song. All right, So 1 26 would end the first drop. So that's see Here, 1 26 was it? Yes. So 1 26 should be around there. Um, I think it would be around one tornado, actually, because we want the full section to be the same here, so we don't want a part to just end randomly like that. So I'm going to have the second marker here at four. See about 45. So now I'm going to add one more market here, and that's rename this marker to 11. Creating The Arrangement - Part 2: occur to drop one next marker would be the break one. So run 1 21 It's going to be our bridge section, and it should be. I think around there 1 24 would be in our case. So Ridge and a bridge section is just a section where we transition from the break to the next drop. Basically. All right, so to 37 which would be just four bars off the break there. So let's create a new marker and trump to Yeah, Since this is radio edit and we're going to create the same thing here, we're just gonna end it at the same time as this track. So 3 25 summer on there. So let's see here. And I'm looking at this time meter here. Just see who won't get confused. So three will say 3 25 get so 3 24 actually ended it. So we're gonna end it at 3 28 As I said before, we want the four bar blocks to be perfect match here in arrangements. So I'm going to drag this low arrow here to end this track around there just like that, So they would have arrangement. I'm going to call her these markers just to have some differences in the different parts off the ridge mints. So it's just caller this randomly just so we can see what we're working with like that. All right, so if you close it, we have our arrangement markers, as I call them. Actually, they are markers, but yeah, you have the range markers, and I don't like working with the range markers. So I call these markers as my arrangement markers because I can see where I would want to arrange my different regions. All right, so let's start out with the intro section. I'm actually going to move that back because we want to copy different regions from this section here. So first out, you're going, Teoh, make it like this. And let's take a listen to intro one more time here. All right? So, as you can hear, the first thing that happened was a very, very short plaque sound which had enormous off river. And then you have the sin sound, which is what we created here. Oh, no. This one super lead, which we're gonna copy over here, this one. And, um then you have some different background noises. I think it was just a noise from Ah, I don't know, like a restaurant or something. You can hear people talking and other stuff like that. So this is basically a background noise where you can get from everywhere you can just google a background noise and you will couldn't just sample it. Then you have a clap after round 10 seconds So going to create the first sound, which would be, ah, very short, but very reverb plucks on going toe press Plus here go to softer instrument And it's great . Close the library there and we want some at Sear Maybe es one. No, actually, I'm going to go for a very rarely used synth, which I really like, which is the sculpture this one have ah, lot off. Nice, cool pluck. Sounds like maybe not the default sound, But let's take a look at this. See a plucked instruments. All right, so we can maybe use that one. So I'm going to copy the super leader to the pluck and I'm going to the elite. That's here. Almost everything besides the first chord have there. So I'm going Teoh mute after on. I'm going to solar this. I think it's too, Um high and I don't want Yeah, that was gonna be better. So I'm gonna put a very, very huge reverb on. So let's go to space Zeichner and large spaces. Let's say that I want Okay, lets go for him. Hall, church, balcony. Maybe that. Let's just take a listen to it. That's actually pretty good. So I'm gonna put on e que after just to eke yard some high frequencies. Because if you can, If you listen to this sound, you can just hear the mids basically off that sound. Yeah, and you actually can't hear the hits as well. And it's pretty cool. So that's just take a listen to this. Just stick up some low end as well. So I'm not going. Teoh look, to look into too much to this sin because it's it has a lot of different controls here. So maybe instead of doing that, I'm going to create a bouncing place here and I'm gonna show you why in a second. So let's go for bouncing place. Um, source mood new track short. All right, so I'm gonna knew that. And now we have our pluck here, and it's called Super Lead because we copied that regional. We're here, so it's actually are pluck reverb sound. And you can actually name the regions. So you can name the regions by the track name to go to functions. Then you will have something called name Regions by track name, and you can see that short cuts here. So now you can see it's name. The region's is named by the track name that is really good and handed to use. And Okay, so what I'm gonna do here is to take off the 12. Creating The Arrangement - Part 3: to take off the attack from the sound. You can actually hear the attack. It's just in the beginning here. So maybe if we do, we can actually fade. So let's just use our fate tool here and maybe do something like, Let's see, here something like that may be incurred it a bit. That's good. I like that. And and I think that's still, um, I want a tale to be a bit longer here. So I'm going to use a reverb on this already reverb sound. And what I'm going to do here is to take the default preset and make the length longer. Maybe put the end level as well. Also the size. So I wanted to be really, really huge. So I'm going to lower the volume here. Yeah, and now I'm going to search for some different noises. So let's take a look at the apple. Oops. Again. I'm going to go for see here. Yeah. This is for you guys to ask final cats and there are different sound effects. But I realize that all of you may not have final cut in stolen your computer, So let's see what we can do. See, garage band, maybe sound effects. All right, so I'm going to record some noise that I get from outside. So I'm just going to take my phone out and I'm going to put my phone on the grass so you won't hear the wind sounds. You know when it's since. It's a pretty windy day today, and I'm also going to record on my apple watch as well. And as you can see here on my apple watch, I have an app called recorder, which actually records everything on my watch. And the watch has a pretty good microphone, so you can just have it on recording all the time when you're walking or when you're outside somewhere, or if you're in a coffee shop or something like that. So I'm just going to take this watch with me when I'm walking outside. I'm also gonna go to a Starbucks nearby, and I'm going to sit there for a while and just have my watch recording the sounds in there as well. They're going to export that sound, and I'm going to import it into logic, and I'm going to just have it like that, actually, just leave that sound like it is in logic. All right, so now I have imported this audio file and it's like one hour off noise, So I'm going to cut this a bit, Take the marquee tool and, um, maybe let's just stick with this sound here. And as you can see, it's some sound I'm just going to create. Ah, very short loop of this. And now I can just resize it like that. So I'm going to take off all of the low end. First of all from this, since it's, um, it's a really sound, and there's a lot of low and going on in ah, our lives. So I'm going Teoh have this region here. Let's take a listen to this. Unfortunately, there is some music in this background here, so I'm going to search for some other parts of this file where there isn't any music playing. We just want the people like talking with each other. - I'm going to loop this super lean and I'm going to create an automation. So I'm gonna go to Richard sent, and I'm gonna automate this cut off here. So that's press a and let's go and make a latch and just just press on the cut off here and then you will get the cut off in the automation list here. So I'm now I'm gonna go back with the read and just automated like that. Maybe let's make a curve as well. So let's take a listen to the original track em. So there is a string sound as well, and it's it's, um, Phil Trid a bit in just in the beginning and right. 1st 34 seconds. Summer on there. So I'm going Teoh, create a new track and not open the library. But I'm going to go to studio strings and stereo. So now I'm going to take the super lead again. Copied over. I'm going to do the same thing here. Just delete all of the notes. Besides the first chord, the lead down as well. Now I have this force llegado short. Um, now we get as you can see, it's going to play all off the region here. So the region iss um, basically playing two notes here and I wanted to be higher and want to lower the volume as well. Take off flu end as well as taking out some of the high end here, maybe make it higher. And now we want some clap sound. So collapse and I'm going to go back to our deep house here. 13. Creating The Arrangement - Part 4: was here, the post back, all drums and let's see if we have some collapse club beats. I didn't like the clap, so let's search for clap, all right? I didn't like any of those. So let's search for something else here. Maybe that one. That's take a listen to it. So what I'm going to do, I'm going to cut away everything, and that isn't clap so something like this. But I didn't like that club either. Maybe tried this one instead. So I'm going to put a reverb here as well. So it's not ending like that. Some medium. And I'm going to go with plate reverb and let's get a drum plate. And I'm also going to create a fade at them of these only files since you can hear a really , really, um, short cut off here. Yeah, it's like a click some at the end off the audio file or the only region here, and this is because it's just cut it like, um, in the middle off. We're almost in the middle off the audio here, so let's create a very short fade like that. All right, so folder pack Fuller and now we're going to add this to here? Still sounds bad. I think so. I'm going to give up with the apple loops for the clap and create a new, softer instruments. And ah, we don't want the strings. This time. We want the drum kit. Designer. Ah, let's see here. You're right. This is the acoustic drops. So I don't want that. I'm going to go with the drum machine designer there, Waas. All right, so here we have different drums and let's take a listen to the clap. Exactly that. All right, so this is what I want. This is very similar to them. To the track to the the extract. So that was the sharp to you can actually see this clap and the sharp one yet. So the ship one. So let's create a empty region here and the media region and see sharp one. So c sharp it links, actually, um, name there as well. So and it's a c sharp one for some reason, but there. Okay. All right. So let's create this media region here. All right? So I'm going to back to her marquee tool and just cut this region here and loop. It's I'm going to put this to here, and I think I want automation to be Ah, a bit quicker. All right. So let's take a listen to the track here and see what they're added after the clap. So there's some noise as well with the lead. So I'm going to create a new track software instrument. And this time I want the CIA es m Yes. Or actually, no, we want Let's see her. The e s p Yes, CSP. So I'm going to take off everything besides the noise. I'm going to take the noise here up all the way. Frequency wants some around here. Resonance as well. So now if I play this on, we have to lower the volume. Then we're gonna get noise. Yes, but I want this to be something like that. So up with the decay. And now I can just copy this super lead onto this noise, Cynthia and we have to lower it a lot. All right? And then we actually want this to be re has some really song, - and we want some filtering on this as well. So I'm gonna go with Dejan filter back off off the Rizzo and automates. So, um, do it like this. All right, So now 14. Creating The Arrangement - Part 5: So now the gym filter knob. And there we want this to be automated. Maybe something like this, or actually like this. I wanted to get up quicker. Okay, so let's get back to the trek theme. Some high it going on here as well. On the high it is being added somewhere around. Um, it's here. I can also hear the noise. ISS having a lot less release. So there is four bars off clap, have the let's here. We also have the Hyatt. I'm going to take the same thing, Tonto, have the drunk a designer, and I'm going to resize that region, and I'm going to copy the region. And let's see here what we have. Um, so we have some different Hyatts here, so let's see what we got if we there's something like this, So All right, we have that one. I'm going to Dublin. Kate, this drum kit designer here. And let's see if we have something else. You can change the big room here, so open library here and you can choose different drum kits or actually drum machine kits. And, um, this is the big room one, But maybe I will choose the deep tech instant. So now I can see is the take. Yeah, I think I'm gonna use that hip. Let's see that high it open. So see what? We're gonna do it like that like it was. And now I'm going to create a new media, empty media region at this section and that Waas. Yeah, that was that. - All right, so let's get back here, Theo. Way have the piano sound coming in in the last section here. So gonna create. Let's see, we have the piano there. Right? So I'm gonna copy the super lead. Many region there actually had that. They're so I'm just gonna cope it over, and I'm gonna get rid of the low in here as well. I'm gonna put on a DJM filter here just to introduce that sound. And that's so it won't, like, start immediately at full power, you know, so automates and easy and filter knob. Something like that. I wanted to start pretty much quickly here, so All right, so we're gonna create the last section here. Let's take a listen to it again, Theo. So there is Ah, snare. Oh, in there. It's very subtle, but it's still there, and they're also there's also reversed reverb off a vocal. You can really hear it. It sounds like a woman screaming Almost if you listen to very clearly. Yeah, and that is what I'm going to do as well. So first we're gonna look at the snare. Oh, so I'm gonna use the deep take. Or actually, I'm going to Dublin. Kate, This just so we won't mess with the regions here. So I'm going to create an empty media region. Just double click it here and 15. Creating The Arrangement - Part 6: here and let's look for a snare. All right, so maybe something else, or maybe that one. So let's take a listen to this narrow in this track, so t something like that? Yeah, exactly like that. So I'm just going to copy them over. Where are you? There you are. Right. Let's see here. Resize that copy them over that. And now we want to feel to this as well. So let's put on a DJ and filter back off the rez. Oh, and knob. So maybe something like this also, same thing goes with the strings. I also want to automate that as well. Eso It's pretty low in volume right now, but I'm going to make it higher and put on a DJM filter here as well. So, as you can see, I use Dejan filter Ah lot and you can use a lot of different filter plug ins as well. Um, those that are coming with logic is pretty good, but I like the Deion filter. A lot is very easy to just throw in there, and it works very, very nice. So knob and here I'm going to creates something like this, and then I'm going to make it a very opening up totally in this section here. All right, so now we're gonna take a look at that woman that it's screaming. Um, so voices, which is Apple Loop as well. And let's see if we have some women vocals here. Maybe it may work, but I think it's too two pitched for some reason, don't you? Oh, hey. Oh, hey. I'm gonna use that one. So what I'm gonna do here is to take this vocal here. So it's OK, so just the first word, basically, which is Hey, yeah. Hey, because it's very important here, toe have the vocal to be She's only you only want her to sing one tone basically, and that is enough. So we can do here is to double click this. You should be able to reverse its and I can do that for some reason. So let's see here. What? Why that IHS So this is an apple loop and you can't reverse the apple loops, which is very, very annoying. So instead off, let's see if I have it some around here. No, no. All right. So instead of doing that, I'm going to bounce in place, just like that. Okay. Very good. And now it isn't an apple loops, and now we should be able to reverse it. File functions. And of course. All right, so this is the file. And this is her, um, saying hey, but reversed. So let's take a listen to it. That wasn't really what I was looking for. So I want some kind of reversed reverb in the end off the intro just to introduce the drop . So you almost want all of the instruments, like drowning in a very, very big space. And then you want the sound to just drop, and then it's clean, like bass sound, kick drum and nothing else. So that is basically what a drop is. So I'm going to do that. So I'm gonna take this super dear couple this region over to summary where we want disturb any other, um, place in our track. So let's see here. Just take off the loop and I'm going to use only the first note. So cut that like that, I'm going to take this one octave up. You're and just Yeah, that is better. So what I'm going to do now is to take a reverb on here, space designer. And I'm going to go for large space. And, um, that's the outer space. No, I'm going to go with some kind of whole instead. And I also want the eq you on the reverb itself. Oh, no, I start. It's a long reverb. That is what I want to use. So I'm going to drag this out a bit and bouncing place. So now I want this to be there. Include audio tailing file and also include order tailing region. There we have it. So now we have that one. Um, yet one chord since sound and a huge reverb on it. So I'm going to take off the space designer here from this original file. 16. Creating The Arrangement - Part 7: original file or the original. Track that around here and just double click this one. Go to file functions and reverse. So now we have a reversed reverb on this that's here on the super lead. So let's take a listen to this. I don't know if this actually going to some good, but let's has listen. Yes, that is sounding great, but it's still, I think it's too quiet. So I'm going to take the game plug in and just gain it up a bit. Something like that. Maybe, Um, let's see here. All right, so I'm going to take all of this region's here and just move them a bit. And now we can introduce our drop section. So we want the side chain ghosts because we want to side chin it. We want the kick drum as well. We want the Consider the bass sound on the main synth as well. So let's take a listen to the intersection and going to the drop. Great, but it's very quiet in the drop sections. Can't really hear it. Um, so let's see here, Kick drum. He wanted to be higher. Yeah, and we also want to drop all of this sounds. So it's quiet in this first section off the drop, and I think the super lead. It has some tail in there. So I'm going to take the game plug in on this super lead and just actually just take the gain to like that when it's, um when it's in that section. So I'm going to automate that. Let's go for gain and gain. And now it's 96 minus 96 decibels. I'm going to put it back to Ah zero. And now we're going to automate that. So, um, let's see here something like that. Maybe. Let's try this. Yeah, sounds totally fine. So, um, see here and I think we're gonna have to lower the side chain a little bits here. - Sounds great to me. So let's get back to this track and let's see what happens in the drop. You can hear every, um, let's see here every every four bars. Basically, there's something new introducing, and that is because we don't want it to be four bar loop that it's repeating all of the time because that then it the track would be very, very boring. So I'm going Teoh, make some new interest new drums here. So let's go for the deep take. I'm going to do something similar to what DDX did there. So create empty media region. And now let's look for some, um, some noise here, something maybe like that. And you can't really hear it because the volume is pretty low Where? So I'm going to Dublin, Kate this and just move it like that. So now we won't mess with volumes off this one. So I'm just going to hire it. Yeah, and that sounds a lot higher in the frequency spectrum. So maybe we can do something here. Ah, let's see. But but I think that's too much. So I'm going to create something else here, going to take the, um, musical typing keyboard and just play around a bit. - And then I'm going to take the same snare. Oh, here to introduce the next section off the drop. So here we want let's see what we should have in this section and there we want So you want the super lead, but we want to actually cut it a lot here. So get back to automation on. Let's put back to gain two are on zero, not a cut off. We wanted to be lowered here. Maybe something like that way. Want some drum loops here? Next. I'm to automate that as well. - Move this. Um, let's hear the super lead to the main since group as well as I'm going to move the strings and the noise, because while I want to sigh chain all of these instruments here, so I'm going to do that as well. I think that sounds great. So I'm going to take this arrangement and completed or finish it in the next lecture. So see you then. 17. Creating Melodies - Part 1: all right. So before we starting out with a break section here, I'm going to create some kind of melody Since this are Onley corporations basically what we're using here. And I want some kind of melody on top of that corporation. So let's go for Let's see, summer, where we have the, um, the cords here open up fully. So let's take a listen. Maybe some around here. So I'm gonna take this corporation here, and I'm going to play some melodies on top of this. So let's let's listen to this and see what we get here. - Okay , - there . I think ability is done so it can be as easy as that. So whatever I did there is just by listening to the corporation and just yeah, just playing different random notes within this corporations and you'll actually hear when its neck when the melody sounds bad and you should just change notes like that. So it's not like it's not really hard to create a melody when you have the corporation ready there. It's a lot harder to create a melody when you don't have an INC to back that up. So that is the melody and I'm going to use the melody in this section in the break section here. So yeah, I'm gonna take this super leader. I'm going to just loop that corporation so we only have the corporation in this drop section. But may B one ad amenity on here, maybe lower doctor of this section. I think this interest that sounded really great, but I only want the melody in the break section and not the courts. Some going Teoh, get rid of those. I'm also going Teoh make the cut off a bit. Ah, very much here in the break section thing. Then we want the courts back there with the melody. It was want the noise from the cafe here in the break as well. And now we want some kind of base here. So maybe just take the FM base and put it to there way. Now we're gonna take the clap from this section, just add it there way , and then we want to use the same thing as with, um, this interested drop section years, I'm going to borrow the same things. So like that. Yeah, and we got it. So I'm going to track them out there, and then we have this little bridge section here 18. Creating Melodies - Part 2: section here. - All right, so let's take a listen now to the let's see the bridge section here way. All right. So, um So basically, what is going on here? It's everything is off besides the super lead allergy. So let's get back to this one theme that its melody only. So this is the only strength courts now. It has a lot off cut off here, so I'm going to lower it very much. Also going, Teoh, make this a bit shorter and copy it over like that. Like that. So now I want to copy this whole first drop section here, and I'm going to copy it over to the drop to here. And now I want to also make the cut off here just so this sound would disappear when the second drop hits. So something maybe like this? Yeah. Let's take a listen to this. - Sent to around three. 30 some around there and see what happens with a track. - Okay , so that is basically the end section there. So, um, we're gonna end it right there, but I think we're going to use the melody on Lee here. Okay, So I'm going to create some kind of ending here. I'm not going. Teoh have a super leads like that. So I'm going to back off with cut off here. Yeah, and we also want some kind of reverb on. So let's maybe take the main since here, and let's go for a reverb space designer, and I'm going to have it on dry full, but with a wet I'm going to automate the wet signal there. So, um, could a space designer and then reverb outputs. And here we want to, um, automate the in section. So let's see, It was there. I'm going. Teoh just make it like something like around this maybe. Yeah, Sounds pretty good to me. So yeah, we're obviously going to perfect the sounds a bit with mixing and under stuff like that. So I'm going Teoh, take this. Yeah, it actually got a lot bigger than we said it before because we use that cafe background. There was one over long. So that is why logic put this way back. Okay, so there we have our full arrangement and we're going to do now is to take this track to mixing stage. So I'm going to save this project and you should save it a lot more than I did in this session. But logic pro 10 has also safe functions. So even though let's say that logic would crash Ah, you would still be able to recover that work. But sometimes when it crashed, it should have recovered it. And when I open it up, it couldn't recover it. So yes. So it's pretty good to save your project all of the time. Okay, so see you in the next section. We're gonna cover mixing. 19. Making Transitions Between Two Different Sections: All right. So first, we're going to create some different transitions between the elements off the track. So between intron drop, I'm going to put on some uplift and down lifters. Basically. So all of these samples here are from our simple pack up and down lifters where you can find on music dash product home. So let's go for an uplift, er for the intro. So, you know, we can just pre listen to them first. As you can hear there, there are very um yeah, there doesn't have any notes in it, or musical information is just basically a noise and a sweep. And that is what I want. So I'm going to put it there and see what happens. So a bit early, - I want something else there. Maybe like that. E wants some kind off down lifter here in the break section. Take a listen this one way, and I don't lift her here in the at the end. Yes. Okay, so there we have our transition elements, and I think it sounds pretty good. Um, it shouldn't be too much, you know, Um, just some uplift and down lifters, and you can actually copy them like I did, because, after all, they're just transitioning from one element to another and just introducing different parts off the track. So, yeah, that is why I'm using it. And as I said, you can download the open down lifters packed sample back four free on her site as, um, in the same way as you did with the other sample packs in the previous video that I show you right at the beginning of this course. All right, so now we're actually going to go to the mixing states. So see you in the next lecture. 20. Mixdown - Part 1: all right, so it's time to create the mix down off this track. So I have been resting for a whole day now, so I haven't produced or doing anything with music in a whole day. Sonae, my ears should be fresh for this mixing here. So first, just to get a different perspective off your track. So if you're bored with the same track or playing all all the time You know, even though I've been resting for a whole day, maybe this track is already boring for me. And I will actually scrap this instead of just, you know, ruin this song and just delete that and doing one new song. And then I'm would be producing that for all day, and then I'm bored of that as well. Take a listen to the track first to get some perps perspective off the track. So what I'm doing here is to have the very speed on against here. And how you do that is to go here, choose custom, and they can just right click somewhere here and choose customize control bar and display. And from here, you can choose very speed. This will get this dialogue here and now you can choose different pitch off this track. So if you take a listen to the original and then choose, let's say, um yeah, 2% up. You thought this track is actually being pitched overall, like in just some semi tones, and it sounds good and it gets me, um, gets the track to sound a bit bit different, but still sounds like it was before. So I'm going to do now is to play this track you're full selected like that, and I'm going to do now is to take the mixer and then just take a look at the levels. So when I'm playing the track, I'm going to actually take the levels and lower them or make them higher, depending on what I hear. So if I hear instruments, that sounds way too loud that I'm going to lower that and then if I hear some instruments that I I think maybe this appears in the mix that I'm going to take up the level some only going to take care off the levels now. So let's take a listen. Uh, yeah, there wasn't too much off leveling in this track. I think it sounds pretty good already on. This is because when I produce, I always set my levels correct. So if you're producing music and watch the whole course from start, you will see that I'm doing the levels already when I'm producing. So if I take an instrument for is this or let's say, important strings, I was lower the volume and then take it a bit higher when I listen to Ah, the strings. And this is the same concept when I'm doing an arrangement very quickly when I'm producing the music, then I add music and also makes that level immediately when I add this instrument. So if I if I have, ah, let's say four bar loop with just a kick drum, let's say some drums and let's say a base or a main sense. Then what I do is to take those four elements and just create a very, very basic arrangement with only those sounds. And then when I add sounds, I'm almost forced to set the levels correctly because then it wouldn't sound good with the other instruments that I over it already have in the arrangement. So that is why it's very important to arrange the track quickly. As soon as you have some kind of idea. Just arrange that and then add instruments upon that arrangement. And one more thing that is very good when you're doing this or doing in this way is that you will create the track very fast. You will actually finish the track faster. Then if you would have have, like, a four bar loop and then loop that and then try to you know, you don't wear no where to go after that. And yeah, So that is why I always use the quick arrangement. And then, yeah, then it's all falling in the in place, you know? All right, so now what I'm going to do is to e que different tracks. I'm also going to group the different tracks, so I'm going to group the tracks depending on what kind of element they are. So 21. Mixdown - Part 2: so I would have all of my main sense, including the bass sound in one group besides this piano. So I'm going to add a piano to the main sent group as well. Then I have all of these drum machines here, so I'm going to take these. And you can't really create a track stack with the drum machines because they really are grouped with a lot of different instruments that you can see. So what I can do here is to I can actually delete some of the tracks here and only use the track that I have in the piano Roll the drum machine. Or I can just bounce them in place, toe audio, basically, and that is what I'm going to do. So I'm going Teoh, select this. Just bounce in place like that press. OK, that's going to bounce that. All right, And then now, just take a look too. See where we have the other ones like that going to delete that, regenerate that region as well. Um, Unit going to do the same thing. I think this was the Hyattes. If I'm not wrong here, yes, someone to bounce that in place as Well, okay, so now we're going to take those off. Well, let's see here when we're had it there and there and you do that as well, it's Now let's take a listen. If it sounds like it was before, too much reverb. Let's see. All right. So we also have the Hyattes there, some going Teoh copy them over to exactly the places that we had them before And then just take them away like that. And then we had these. I think this was the snare. Oh, I know there was high. It's as well. So I'm going to bounce that in place and copy them over to same place here, delete the regions and mute that track as well. And I think this was this narrows. Yeah. So this narrows. I'm not going to include them in the tracks tax. I'm going to take all of those bouncing places, Set them, Let's hear at the same. So they lined up like this, and now I'm going to select them and create track stack something stack. And now I have this. So let's call this drums and let's see here where we had drums have some drums here someone to add that as well. And I think that was it. No, we had that one as well. And that one going to add those as well. So now we have all of drums in this drum group hero drum tracks back. What I'm going to do here is to put on O t t on like this. Also going to put on a compressor. So drums I'm going to go for a preset here drums, and I'm going to have, um Let's see here. I'm going to take an up to drum kit, and what we're doing now is two and one. I actually why I'm using compressor on the drums channel here is because we want the drums to sound like they are one. So now we have different drum elements. So this is a one drum loop. This is one drum lope, and this is the third, and so on a so far. So instead off, like having five different drum sets. We want them to sound like one drum set, so we actually gluing them together. You can you can say it like that because we're doing here is to lower the highest volumes or the highest peaks off the drums. So let's say that this drum set has one snare that is very loud. And let's say this drums that here as a high at which is very, very quiet. Then it's going to take up those quiet parts, make them a bit louder and take the very loud snare. Let's say in this drama appear and make that lower. So that is what a compressor thus, and what we re going to work with here is or aim for here is to have this gain reduction go up to a maximum off minus five. So you do that by going to threshold here, basically, and just put this, um, back here or forward. Let's take a listen to somewhere where you have a lot of Trump's, which is in this part here. You see, it's actually lowering the different peaks here, and we don't want to overdo this with a drum. So that is what I have it on maximum off minus five, which is a very nice rule toe have here. All right, so let's make this a bit quieter here, and yeah, they would have our drum section. So when I going to do now is to take Let's see here. Um, yeah, I'm not going to use the FX is. And as you can see, I also added some vocals here, and this is because I'm doing kind of a remix from this track. So I'm going to show you how I added those vocals in a later lecture. But for now, I'm just going to focus on the mixing. All right, so let's e que the tracks. I'm going to start with a kick drum first, and I don't want any e que on my kick drum at all. So I'm just going to go to the next one here. And the next one is the reversed reverb that we hand. So let's solo it. The only thing I want to do with this instrument here is to take off the low end. So let's do that. But we still want to keep some low end, so Ah, take a listen to this part here. We don't want to lose the main sound off this this instrument here. So that is why I want to lower the low end, but not too much. And so why do you want to know where the Lohan and I'm going to as you're going to see here . I'm going to make the low end quieter in almost all of the tracks besides the base and the kick drum, and this is because you can't have too many Easter. 22. Mixdown - Part 3: Heumann Instruments playing at the same time in the low end frequency spectrum, says, You can see this is the frequency spectrum and this is the lower and this is the high end off the track. So if we have too much going on in this area here, which should be Lohan and yet which should be basically based sounds, then you're going to have, ah, very, very rumbling sound in your overall mix. You don't want that because when you have that it's going to take over all of these sounds here. So that's that is basic rules off music music theory. So what I'm going to do is to lower the Lohan on basically all of the instruments besides the base and the base drum or the kick drum. We also don't want ah, lot off instruments being played at the same frequency spectrum area. So let's say that you have a lot of things going on in this side here, and then you have no sounds in this area here. Then you will see, or you will actually hear that the your overall track is going to sound empty, so we want the tractor sound very full and we want to have every instrument or a to least every element, having their own space in the frequency spectrum so they won't fight each other. But the most important area is in the low end section here, So what you can do to make this process easy is to go to the steer out track and put channel EQ you here and make sure to have the analyzer on. And then you can play around with the track and see where we have a lot of different information in the frequency spectrum it. So let's take a listen to a drop section and see where we have Ah yeah, a lot off sound coming from different frequency spectrums here. You can actually immediately see that it's something missing in this section here. You can also see that the sound is going like this. You can see with the cursor here, so it's a lot of low end, and then it's going lower, lower and lower and lower. And that is how you want attracts to be because it's easier to hear a lot off base or a lot off low and sounds. But if you're going to have a lot of information in this section here. Then you will start to have a lot of problems with your mix because it will sound like someone is going to kill your ears. You don't want too much going on in this space here. And you know, if you have heard anything around 10,000 to 20,000 Hertz and a lot of that sound, then you're going to ego. It actually hurt your ears. So you don't want that to happen. We also don't want to happen. Teoh have a lot of flow and you know, So I'm going to Yeah, I'm going to have its like that here. And then I'm going to take a look one more time here so we can see we're missing something or where we should add something here. I think that's the drum section here. They're going to lower it somewhere on here. So it's better to lower some different areas in the frequency spectrum, then actually rise it. Because if you start to rising a lot of sounds and you start to make it louder and louder with the EQ, you, then you're going to manipulate the sound a bit too much, so it's going to start very artificial, so you don't want that at all. And I'm going to solo the drums group here and go back to our steel channel. EQ you and take a listen to the drums so you can see there are different. A lot of low end going on here, and this is only drums. So let's take a low cut here. I'm going to low cut it to around there, and you should actually low cut it some around 200 hertz if you don't want any base in that sound. But if it's not going to make any difference off the sound, you can actually roll that even higher. Let's take a listen to the drums here, so if you're not hearing any base or if that low end is not very important in the sound, they can just roll it back. It's better to do it like this, and it's better to safe with the base with the low end here, because then when you get your actual based sounds that should be in that area. Then they would actually sound very clean and very nice. All right, so there should be Ari Key for the drums. But as I can see here, I actually did it with a stereo out. So I'm going to do is to move this week you to our drums track Here we have the cure for the drums here. All right, so let's go to our main sentence here and we don't have any care. So let's get our cute and let's play this main sense sound in this section here. All right? This looks good. I mean, it goes from here and it's like this curve, you know? So I'm not going Teoh do anything with the overall lead care, but I'm going to take a look at the individual sounds. So what I'm looking for here is to just take off the Lohan. Basically, from all of this sounds here. And I'm going to take a look at the noise here as well, and c at Take a look at the eq you here. So let's solo this so you can hear. It's starting to sound too much in the high frequencies. So I'm going to take a high cut here as well and just high cut it to around Ah, 16 k some around there, and I'm also going to take the low cut here and cut its to around there as well. So let's take a look at those strings. And as I can see, we already have any cure for. That's that we did in the production stage, so we're not going to have any low end problems there. So let's take a look at the Super League here now. So do the same thing here. I cuts summer around 16 k and low, cut some around 200. 23. Mixdown - Part 4: 200 or near 200. Take a listen to it now. Yeah, and that actually sounded pretty good. So we got rid off a lot of different frequencies there. But this sound is still sounding good, so that is going to make way for the base to come forward now. So let's take a listen to the overall son. I'll see if we have Ah, clearer based on the difference is subtle, I think. But it's still better to safe with all of the sounds and just roll back the loan off them. So we have that may since here, let's take a listen to this. I'm not going to do anything, but I'm going to have the low cuts on here. So let's stay clear at the FM base. Yeah, and there are a lot of different clicking haIf witnesses in the sun, and I think it's generated by the compressor. Have we had? So I'm going to roll off high end here, so we still want to have that a main sound coming through. We don't want to destroy that sound, but we still want to get rid of all of the high high end here that we don't really want to hear in this sound. So let's am be this so we can actually enable and disable the Cube by just clicking here. Let's take a listen to the difference. Yeah, I think that sounds better. So again, let's take a listen to the overall sound here. Alright? Sounds pretty good. I think so. Now what we're gonna do here is to take a look at different instruments that we have that's see at the drums are in the drum section. Main sense are there. And this sound this is the plucks on the very reversed plaques Allnut we had and not without even like playing it. I'm going to take off, roll off some low on here because we don't really need that. In this section where the drop is, I still hear it very clearly, So yeah, just as I said before, just safe the sound and just put some low cuts going to do that with this instrument as well. So yeah, is it? Gets he Also, some of the tracks are clipping. So, for instance, this main synth tracks That curious clipping is in the red. But that's all right. It's because I have a lot of different instruments going on to this mixing bus here and you can clip the individual instruments that it's fine. Ah, you don't want to clip the stare out. That is the most important thing to know. But that is actually more for the mastering stage. But still, um, I'm just letting you know right now that you can't ah, clip the master, but you can call it all of the other instruments if you want to. And it's not going to create any digital distortion at all if you clip the individual instruments. All right, so I'm going to take this track now I'm going to export it to one single audiophile one a II FF file. And from there we're going to start a new logic project where we're gonna go to the mastering stage of this track. But first, just to ah prepared this track for mastering. I'm going to lower the stereo out volume here. So what we going to do here is to lower the head room, and that is what it's called when the peak is at its highest. So let's say we were at the highest peak off the volume in this section here. Then you want this output volume to be at around minus six decibels? It's our, um, sealing off minor zero, that one. So let's go to the limiter here. And what we're gonna do is to put the output level to around minus six. Yeah, and because this a limiter, it's already limiting the sound. And I'm going to put a limiter within my mastering. So I'm going to take off this limiter and just take a listen to the track without limited on. So I'm going Teoh, go to utility and go to gain plug in. And from here, I'm going to lower the overall volume off the track. So now it's peaking at around minus seven somewhere around there. And that is pretty good for mastering. So I'm going to export it. As I said before toe an audio file and ah, yeah. So let's see you in the next section. We're going to cover mastering off the track 24. Exporting & Bouncing The Track: Okay, so it's time to export, distract or bounce it. Let's go to bounce and project or section, and I'm going to take PCM here. File formats. Let's go for a FF. This is basically the same thing. Wave ISS. The Universal waves sound wave all your file type A F F is the same thing as wave, but it's Apple's own five type, but it's going to give you the same sound quality. So, yeah, I'm going to go for a FF since I'm going to work with logic. When I'm mastering the track as well, let's to start and end 1 30 That should be pretty. All right and mode. We're gonna choose offline. Normalize off. This is very important, and this is important because if we choose normalize on, then it's going to create Logic is going to actually make the volume higher for us and try to level out all of the different volumes in the song. And we actually want to do this ourselves with the mastering, and this is because it's actually normal, is not taking care of dynamics in the track and loves the stuff like that. So when you're just doing normal eyes and put it to own than all of the low parts in volume in off the track is going to go up and, ah, nothing else like that. So it's not going to take care of the actual dynamics and stuff like that, so it's not going to sound really good. If you do, it's with the normalize on. Um, otherwise it's look, it looks pretty good here. So I'm going to go with okay here and let's save the store documents. I'm going to call it eat X one ah, mixed down like this. And now logic is going to bounce this for us. So when this is done, we're going to create a new logic project file, which is empty, and then we're going to put some plug ins in there. We're going to adjust those plug ins. We also going to take care of the different levels off the different parts of the track. So the intro way would level different and the drop we will actually lower the volume and the brake section. We will make it a bit higher just so we level out the different levels off the track so we don't want the Inter to be very, very quiet and then just suddenly drop is very high, you know? So that is why we are going to work with the different volume levels in the mastering stage as well. I'm going to show you that in the next lecture, so see you them. 25. The Mastering Stage - Part 1: Okay, so we'll come back to the mastering stage. So I have this or your father that we bounced out in the in the previous video here. So I'm going to take this file and drag this into logic, and now it's going to ask us. The added our your file contains temple information. They want to import it into this project. Let's do that. Now. It is seen 1 20 PM here, so you can see it also imports to different markers that we had So you can see her. It actually shows us where the intro drop break. Ah, bridge and dropped two section is in the track, so that is very nice as well. So what I'm going to do here is to go to the stereo out. I'm going to put ah no titty plug in first. So let's get that very low there. Then I'm also going to put on an e que and I'm going to go for the liner face e que And this is the same e que as the channel eq you on that we're using when we're producing. But this is a lot better when it comes to quality and it uses a lot more CPU. So if it would be using this one on all of our different individual channels, when we're producing our track, then your computer is going to start. You know, logic is gonna crash because it's too much of CPU using and and other stuff like that. So that is why I use the liner face CQ on the Master. Only since we're going only going to use one instance off this plug in here. All right, so next one is going to be, Let's see here, we're going to use a compressor. So a compressor just like that, I'm going to choose a preset here. I'm going to go to compressor Tools and Studio Clipper. And let's leave it like that for now. And then we're also gonna go with, um, that's your dynamics, and we're gonna go with adaptive limiter. So they were are all right. So And I'm going to play this track, and I'm also going to play it in the highest. Yeah, when When there's very much going on in the track. So around this part here. So first I'm going to go for the compressor. And as I said, before We're aiming for around minus five db with threshold here. So let's take a look at that. Great. So now we have our e que let's put on analyzer on. So we want to have this enabled. And let's take a look at the frequency spectrum here. So the only things you really want to do with the liner phase IQ, you or Aneke you on your master is to lower the volume in some off the frequencies that you that you want to even out. Because if we just, um, compare this to what we had earlier on that you can see. It's a little bit of a bump here in the higher section, and this is because you can hear a little bit of a drum sound that is coming through the mix. And I don't want that to be like, really loud or in the upfront, off the all of the other instruments. I want that to be kind off in the background. So that is why I used the E Q two e que that a bit lower so we will get the curve to be a bit straighter as well. You can see that if I compare this with without a queue and then we take you, you see this bump here and it's still a bit off a bump there, but it's not that prominent, so we don't really like very much here it you can just almost like, feel it more. And that is why I wanted Teoh do that with this CQ. And you also want Teoh make this section around 200 hurts a bit lower, and that is depending on if you have a lot off low and going on. And why is it around 200 hertz? Because that is where you have the box Innis off your son. So when you have a base and you feel like the kick drum is sounding like like it's being played inside of a box and you have, like a flat kick drum sounding and you wanted to be sounding more round and have more of the low end in it, then you can cut a little bit off around 200 hertz here, but just a little bit, you know, you you don't want to overdo this, and if you need to, we do this and you want. Let's say that I do it like this and it sounds actually really good things. You go back to the mixing stage, do that on the instruments and then come back to the mastering. Great. So now the next plug in that realm here is the adaptive limiter and same thing here, the limiter. But it's in a better version here. So what I'm going to do here is to just put the gain up and out. Ceiling is going to be 0.0 s it is. So let's take a listen to this. All right, So what I'm going to do here is actually Ah, get back to our limiter. And with this mode setting here, you can see it's called position, which does the limiter. Exactly. It has the same quality like that active limiter had before. But this limiter is taking up a little bit more of Cebu. So if you can do it with adoptive limiter, they can go without one. Otherwise, you can go with the limiter as well. And what you want to do here is to look for the reduction. So you want to actually make the gain higher, like a lot higher if you have a lot of headroom in your master, so you want a reduction off around 2 to 3 d B. You can even go to 5 60 b, but that was sound already sound like too much, But it also depends on the track, you know, because if you try to go for a reduction around 6 to 7 db if you're creating, like, very calm, music can sound Ah, a bit too much, I think. But if you go for A e g. M track that has a lot of energy and a lot of things going on there, you can go with a reduction of 6 to 7 db some around there. So what we're doing with the limiter here is basically toe push the volume all up to zero, which is the ceiling for ah when the track is going to clip. So as soon as we above zero or minor 01 then we're going to clip the channel, and some says that you can use even, plus zero that one. And if it wouldn't clip even though it's red 26. The Mastering Stage - Part 2: even though it's read here in logic but almost always going with out output level 0.0, and it's going to show me minor 01 and then I'm sure I'm making sure that it's not clipping , and then you can make the volume higher or the perceived volume higher. So even though you hear more then the output level, it's still the same. So it's not going to clip here. So as soon as I rise, this volume here is going to sound louder because it's going to push a lot of the way forms here. So it's actually going to be, Ah is going to push the lower volumes a lot more. Ah, always almost like a compressor. Thus, um, and then it's going to show us reduction. But if you overdo this, then you will actually hear some kind of clipping. It's almost like it's clipping, but it still would show us my No. 01 here. So a nice rule toe heavier is to take a look at the reduction and not go above 3 to 4 db summer on there. So let's take a listen to the track now. - Okay , guys, I think that s it for this track. I think it sounds good. Um, good sounding, master. It's pretty leveled out, and it is said in the previous video that we're going Teoh create kind of automation off the volume so we can make some parts of this track higher and some parts of the distract lower. And I don't really think that we need to do that in this track, since I think that even though you can see her in the break section that it's it looks like it's very quiet here. But I still think it's it sounds like it's it isn't too quiet there. If you take a listen to this track, this and section have to drop and then to the break. I mean, it's sure it's quieter because it's a break section, but but it's still it doesn't sound like it's too quiet. I mean, if I would raise this volume here in this section, I think it would be too much. I don't agree with me. I think that sounds already pretty good, but I'm going to show you anyway what I meant in the first place. So what I usually do here is to take this track and I do this master plug ins Channel Strip , as I did here, but also take up one plug in on this order, track here and put on a gain utility like this. Now I just put the automation off the game like this, and I just automate the volume off the different sections that this section we don't feel like it's too loud enough. So I'm going to make this louder. And then I'm actually automating the volume to the drop in here. It's very like it's very loud in the beginning when I'm doing it. So usually I do it like this because I think the intersection is very quiet in the beginning, because it's not too many instruments playing there, you know, it's usually my interest has kick drums in it, or some random like in this case, natural voice or cafe voice, you know. So that is where I usually do it like this. I automate the beginning here and take the volume so it's going t o to the drop section here, and sometimes I even go even lower with the volume. So right before the drop like this, and then when the drop hits. It actually goes up in the volume on this because you want all that power in the drop section. But I think this would still be too much here. Let's take a listen. Okay, That actually sounded pretty good. So what I'm going to do here is to, um, take the volume here instead. So around, let's say zero. So it's starting out at zero, then it's getting a bit too. 27. The Mastering Stage - Part 3: getting a bit lower here. And then with the drop, it's it's goes back to zero. Here should be a bit earlier here. - I can't see that. I'm starting to lower the gain a bit here in the end section to drop. And this is because we start adding more and more elements with the drop here so it can sound too much, and especially when we have a lot off cut of going on here as well. I'm just comparing the different volume levels off this section on this section, you can see visually that this section is a look quieter than this one here. But it's still I'm listening for the perceived volume. And this is, um, how powerful the soundness when you're listening to it here and here. And I almost I feel like it's equal right now because we have lower the volume obits here. So that is a pretty good section to just drop or end the drop here. - Okay , guys. So I think it's it for the track. Now, um, you can work and work a lot off different stuff. As I showed you in this course here, I did. It's pretty quickly for this course because otherwise this course would be like, Ah, 100 hours long or something. Perhaps s O. This is just to show off for you guys how I do. And just so you can see how I work and you don't necessarily have to do the same way. I mean, I learned it from different sources, different sections. I'm actually apple logic, pro certified users. So I know my things in logic. But I mean, there's so many music technologies you can use and you can actual experiment. And I mean, there isn't, like, rules out there for music. There are some rules, like quite a few rules shelter for music that you really have to work with, such as with the EQ. You hear low end and other stuff like that. So But I mean, other than that, I think this track is done. So what I'm going to do now is to go to file, bounce, project or section go the same thing here, exploit like this, and I mostly going to export it as an MP three file. So I'm going to go with a bit rate stereo, highest one, and that it's actually it's you don't have to worry about anything else here. So in the next lecture, I'm actually going to show you how to turn this track to remix by just looking for a vocal . And then you take that vocal and make it a remix of this track, and you don't actually even have to do anything special with the track. You can just have it like it is and put vocals in different places, experiment with that and created as a remix. So the track is done, but it's still one more lecture if you wanna watch it and watch it. So if so, let's see you in the next lecture. 28. Turning A Vocal To A Remix - Part 1: Alright, guys. So in this lecture, I'm going to show you how to turn this track toe a remix. And I actually already did this. I imported this vocal from Dulip on its I D g a f and it stands for something that I can tell here, but still, I'm using this vocal and I'm going to play this vocals for you first. And then I'm going to show you how to do this. And you can actually apply this technique to all of the different vocals you can. Um, yeah. You can just download some different vocals that you find a Capellas or something or you can actually sing yourself, You know, um and then you can do the same technique ass site as I'm going to show you here, and then you can put it to whatever track you're creating. So it's a really nice technique, and it's very easy to create. Remix us this way, and it actually sounds really good as well. So let's play this track one more time with the vocals on you Call me often. Lead. That's funny. I guess you've earned my self too busy for your business. Go find a gun The ones doing If you think I was born yesterday, you don't need already crying moment way No, you're all in the park This you took all that sweet talk but I in Copeland by cut you off I don't need so you can try all you Your time is up. I'll tell you what we owe. - No , I don't Give them You get to know you. No, you're all it. You go that way and so on and so forth. So what I did here is that I took this modify this I capella and I imported to logic like this. So I just dragged it into logic. And now you can see this a cappella is sounding a lot different than this one that I did in the strike Here they are friendly telling me they only tell me what you miss me. That's funny. I guess you've earned must. And that is the original. So it's in a total different pitch in a different key. And it's in a different temple as well. So what I did here is that I went to Google. So let's do that. And I search for this track. So what that gave me for result was this song key BPM. And it showed me that the keys in G my major here and it is in a temple off 97 BPM. So let's get back to logic here and double click this file. So just that acapella file whole file and what I'm going to do is to go to the functions and time and pitch machine. So from here, I'm going to As you can see, your original. I'm going to change this to what was it? 27 17 bpm. And now you see her destination double click on this and put the BPM that you have the temper. You have so 1 20 Be Pam there. So make sure that the temple is set to original here, and the destination is set to whatever temper you have in your project. Then go to process and paste. And this can take a little while to do so. So it's done. So now you would hear this track in the same tempo as this track. So let's put this actually with a kick, Trump's we're going to move it a bit and soul of the kick drum as well as a vocal here, just so you can hear that is in the same tempo. But I'm usually have to, um we have to set where the starting point iss for the vocal. So let's just play then You will hear displayed from this section here as well, so we have to move this. 29. Turning A Vocal To A Remix - Part 2: have to move this early differently? Tell me. He offered only tell me. You cannot see that the peaks here is actually lining up with the lines here in the arrangement. So you can see we're very, very close. So let's move it a little bit here. That's funny. I guess you earn myself well. I'm too busy for your business. Go front of going on, stewardess. And because if you think I was born, you said that you have got me wrong. I don't think he often late as you can hear, it's lined up correctly and it sounds good. It sink with the tempo. And now we actually done so you can just have it like that's And now you can just copy different regions so we can just select with the Marquis to like this. And I can copy this over here, for instance. And now it can play business like something like that, You know, a snippet off off the vocal, um, and it will actually be sync with them with the track. And then we also want the it to be at the same key s our track. So we can do here. I'm actually using a waste plug in. And I know it's 1/3 party plug in, and this course should be all about, um, creating music with the building clients. And if and free planning is, of course. But I'm actually going to show you how I did this with a base waste plug in. And then I'm going to show you how you can do the same thing within logic as well. So when I'm using here, ISS I'm going to order units here and I'm going to use the sound shift there, see your sound shifter pitch in stereo mode, and now you can just go with the semi tones here can go up or down, and what I'm doing here is to I should listen to the track, Teoh my music to my instruments here to my chords and just match the courts with this vocal . Let's play the course that I have here that way, So I want to move this one step in the right section. So let's hear just doing this for myself, all right? So I'm going to take this here and drag. It's to here. Great off. So that's here. So close. Let's see e don't need already crying. They're very close now. Somewhere in there, I think already crying way sounds great. So I do this with the sound shifter plug in and just play around with the semi tones here until it sounds good. But you can also do this by selecting the audio regions that you have here for Ah, vocals. And they could go to the region here and you can go to transpose. So this is the same thing as the semi tones here. So we got to minus five to make it sound good with our track. So I'm going to do the same thing here, minus five on transpose. And let's take a listen to this. You don't need already crying smooth. Wow, that actually sounded better than some of the sound shifter playing. And yes. Oh, the transposed function in logic is pretty new. It came with I think version tender three or something like that. And we didn't have this before, so yeah, and when it was new, it sounded really bad. So that is why I always use sound shifter. But I mean, now it even it sounds good. I mean, it didn't sound like bad at all on it wasn't even a noticeable difference between the waste plug in and the transpose. I think actually, the transposing logic sounded better. So yeah, this is the way that you do this with remixes in logic, I think just do the same tempo as your project. So not. First, you will find the temp off the regional. Just make it slower or faster, depending on your projects file or project Temple and then set them same key on the vocals . Ask Your track is in, and then you can just try to rearrange the voice in a different ways here, as I did here in this two tracks here. Alright, guys, I think that's it for the course and for this track. I really hope you learned a lot with this course, and I hope to see you in my next course.