How To Rap Like The Pros: The Verse | Nathaniel Hamilton | Skillshare

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How To Rap Like The Pros: The Verse

teacher avatar Nathaniel Hamilton, Hip Hop Artist & Songwriter

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (51m)
    • 1. Intro

      1:52
    • 2. Whats a Verse?

      1:26
    • 3. Drum and Word Placement

      2:18
    • 4. Copying Flow Patterns

      1:36
    • 5. Replacing Flow With Words

      3:40
    • 6. Exercise: Fit the Words to the Flow

      2:37
    • 7. Creating a Song Concept

      1:56
    • 8. Creating a Word Bank

      0:41
    • 9. Creating Flow for First 4 Lines

      2:53
    • 10. Flowing at Different Tempos

      3:27
    • 11. Exercise: Flowing at Different Tempos

      1:26
    • 12. Adding a Few Words to Start

      4:12
    • 13. Adding More Words to Finish Lines

      2:52
    • 14. Finishing the Verse

      5:29
    • 15. Adding Backups and FX

      8:53
    • 16. Additional Tips

      2:50
    • 17. Conclusion + Final Project

      3:02
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About This Class

Hey everyone!

My name is Nathaniel (Northside Nate) and I will be your instructor for this course! I make a living using the tips and tricks that I provide in this course and I feel that you should be able to do the same. I will be teaching you how to build a solid rap verse step by step from the ground up. Some of the things we will be covering in this course are as follows:

1) Flow Creation and Counting Syllables

2) Copying Flow Patterns

3) Creating a Song Concept

4) Brainstorming Words That Relate to Song Concept

5) Starting the Writing Process

6) Adding Backups, Adlibs and other Effects

Plus a few more tips and tricks to help you create a professional sound.

If you're a complete beginner that's absolutely no problem at all because this course is tailored for beginners as well as advanced songwriters who may not be too familiar with rap music. I'm really excited to help you all on your journey. Let's get started!

Meet Your Teacher

Teacher Profile Image

Nathaniel Hamilton

Hip Hop Artist & Songwriter

Teacher

Hey, how's it going! I hope you're doing well. My name is Nathaniel Hamilton (Northside Nate) and I'm a professional hip hop artist and songwriter. I've been writing music for over 17 years and have developed a pretty broad skill set along the way. I've written pop songs, rnb, hip hop, and so much more throughout the years to keep my style as versatile as possible. Songwriting is my passion, it was my go-to whenever I needed to vent or express myself the best way I possibly could. I've worked with many different artists over the years and have always managed to keep up with the trends which has led me to become a pretty versatile emcee and overall artist. I love the seeing my clients express their joy when I assist them with their projects, that's what really pushes ... See full profile

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Transcripts

1. Intro: How's it going, everybody? My name's Nathaniel, also known as North Side Mate. And in this course I will be teaching you all how to rap, just like prose. So a little back story about me. So I'm a hip hop artists in ghost writer who's been writing music for over 17 years, and in this course I'm gonna provide you all with tools that I used to write quality hip hop verses every time. If you're new to this song writing, especially if you know that rap music in particular, it's absolutely no problem, because in this course I'm gonna cover how you can write a quality verse from the ground up with absolutely little to no experience required. So in this course, I'm actually going to be providing you with all the tools that I used to get paid on a regular basis by my clients. So some of the things that we're gonna be including this course ours follows right. We're going to be covering flow creation and counting syllables where we'll learn how to create a unique flow from scratch over a metre known or an instrumental. Count the total number of syllables in our float next, we're gonna learn how to mimic flow patterns where we'll learn how to copy different flows at different tempos so perfected. Then we're going to create a song concept using your passions and interests, we're gonna create a direction and topic for your son. Then we're going to brainstorm words that relate to our song concept, and we're gonna find as many words that we can relate to our song concept and find additional words that rhyme with some of those words. Then we're going to start the writing process where we take our flow song concepts and words and string them together to create a nice ride. Then we're gonna add backups and ad Libs to give our song the finishing touches it needs before the big release, plus numerous other tips and tricks along the way. 2. Whats a Verse?: All right, So what's a rap verse? Well, generally speaking, a rat verse consists of 16 bars, and this number can vary. But generally speaking, arabbers consists of 16 bars and each bar consist of four beats. You can also think of a bar as like a line. So the 1234 that's one bar and in the rhyming the next line that he would do that would be the second bar. So I went to the school that I got my tools. That would be one bar. 1234 I went to school and I got my tools. So in old school, like early two thousands, you know, nineties hip hop music commonly referred to his room bath. The kicks fell on the one and three, and the snares were falling to four. So back, with the kick being the blown on the snare being back in modern trap music. The difference in the rhythm is that the snare tends to follow the third beat seventh beat , so we'll be like one to center for 56 snack for want soup. So you know, I mean so your your snare just falling on a different down B to create a different vibe. In this course, we're gonna be dealing primarily with modern trappings for our examples. 3. Drum and Word Placement: here is an example of a boom bat B where the kick falls on the first and third beats and the snare falls on the second and fourth will count the beats and see 2341231234 Here is a modern track B with a snare falls on the third and seventh beat. Let's count the beats with 6123456 months. 46612345678 It's important to understand the percussive elements of the music you plan on wrapping over because it really helps provide clues on where to place the rhyming words. Ah, good trick, when you want to start writing is to place your rhyming words on the snare and build the rest of your lines. Afterwards, you can place your rhyming words on. The kick is, well, as many other percussive elements in your instrumental feel free to experiment and see what cool patterns you come up with. In both of the following examples, I chose to place my rhyming words on the snare way right in every line, whether minds staying on the ground got a craft and design. Working on the Wordplay Master the romp with a modern day, futuristic back way with staying on the ground crafted Design Guy Bret, We shot working on the work Late Master the Rahm with the modern day futuristic back way in . Even though both rhymes were based on the same concept, they each had a different field because the rhyming portion was placed on a different beat . 4. Copying Flow Patterns: Alright, guys. So here is the first little challenge. Before we even get into adding words and constructing the flow that we want to use for our actual verse, I want to see if you guys can do this basic flow that I've come up with. So I have my Metrodome over. You set the 70 flag bpm and I'm gonna say a flow in an empty space right after my flow. I want to see if you guys can repeat and we're just going to do with this. And so we're comfortable with. This is exactly what you guys want to do when you start your writing process. As soon as you think of a faux, make sure that you can repeat that flow over and over again. And so you barely have to be for two. Let's go. No, no, no, no, no, no, no, no, no, no, no, no. Non and okay. No, no, no. Non and no, no, no. So once you feel comfortable doing that at 75 BPM or any BPM that you're more comfortable if you need to go lower, go lower. The whole point is not trying to speed up the process you want to start very small at a temple that you're comfortable with, then gradually increased. So you're able to say these words faster temples. So try that a few times, so you feel comfortable saying that flow pattern and then we'll go on to the next step. 5. Replacing Flow With Words: All right. So in our previous flow example, there were nine total syllables in the floor that we did not. No, no, no, no. So, in order, Teoh, you know, find words that would fit in that flow pattern, they would just have to equal nine syllables. You could come up with any set of words as long as their total syllable couches, nine syllables. They will fit perfectly in the float, Right? It's just about timing your words to fall into the pockets. So No, no, no, no, not right. So they lying that I'm gonna choose to use is I can go up and I can go down, right? But if I just say it like that, it doesn't really sound like it matches the flow because I'm not following the cadence of the original slow. But let's count the total number of syllables on this phrase so I can go up and I can go down. Wait a minute. That's nine syllables. So, theoretically, based on what I told you just now, I should be able to make this line flow with No, no, no, no. Let's try it out. Frank was trying at 75 BPM So we're gonna take those words. I can go up and I can go down and we're gonna try to fit them in the flow pound we create right? And we know that they're nine total syllables in those words When there's nine total syllables in the flow pattern created what's right? Let's go. I can go up and I can go down I can go up and I can go down the same thing I can go up and I can go down, Right? So same thing, Once you do the flow at different tempos into your comfortable, you would do the exact same thing with the slide you started at 75 ppm and you may decide Hey, I'm gonna go to 100 bpm next. You might try the flow there, So let's see what that was. Something like something I can go up and I can go down. No, no, no, no, no, Right. Something I can go up and I can go down. Right? So you want to keep trying these flows in these lines at various temples, and so you barely even have to think about following the beach Patties? Well, we've learned how to create a flow right? We started at a 75 BPM temple, right? Something slow, something that's manageable. And we repeated this flow over and over again at faster tempos. So we solidified it. Then we counted the number of syllables in that flow. When we took note of it, the next thing that we did is we found a set of words that equal the total number of syllables in the flow pattern we created. And all we did was instead of saying those words in a way like I could go up and I can go down, we followed the flow that we initially created and copy the cadence and were able to fit those new words perfectly. Now, in the following lessons will be creating a song concept which is gonna allow us to continue making our song and finding the descriptive words that we need to write a solid verse. See you soon. 6. Exercise: Fit the Words to the Flow: to test your skills a little bit more before we go ahead. Let's see if we can fit the following lines to the flow provided I'll say each flow pattern twice with a space in between. For you to try to fit the words and we'll start at 70 bpm and gradually speed up the temple on. So you're comfortable repeating these flows at higher temples? Keep trying. And so you feel like you have a smooth, consistent line that matches the original flow. Don't even worry. If you're having trouble, it will come with time. I'll show you guys how I fit the words to the flow at the very end. Okay, lets go. Gonna not none. None. None. And not none. And no, no, not No, no, no, no, no. None. And, uh, none in the nothern. And none and done. And none. And, uh, none. None. None. None. And none And none. And none. And, uh, Nana Nana Na Nana None in India. Gonna None in DNA. Not No, None in India. No, no, no, no, no, no, no, no, no, no, no. Hey, no. None in Uh, no, no, no, no, no, no. I can be anything As long as I try. I can be anything As long as I try I'll be your legend. I know I'll kill it every time. I'll be a legend. I know I'll kill it every time. Right in every day. No time to debate right in every day No time said debate Hey, I got a goal Ambition now to control Hey, I got a goal. Ambition now to control If you've managed to create something that sounds close to what I came up with Congratulations. You're so much closer to being able to write an entire verse. 7. Creating a Song Concept: Okay, So what is the song concept? Your song concept is basically the topic of your son. You know what your songs about the center of focus. So you know everything that you want to convey your thoughts, the direction that you want your viewers to take. You know, the journey that you want to put your listeners on when they hearing your music should all be part of your song concept. Right. So you know you want to put as much time into this part of your song is possible, right? The more descriptive, the more appealing, the more powerful that your song connect with listeners. You want to think of as many words as many theme? Many themes, different seasons, different temperatures, different colors, different flavors. You want appeal to as many senses as you possibly can. And you want people. It's almost there, you know, like is if you know, they can easily just build up the storyline that should portraying in their head you want to really put the listener in that zone. So once again, before we tried to go in and start writing things down, it's very important that we sit back and we try to brainstorm Exactly. You know the route that would want to take a song and a list of possible words that we could use that relate to our son concepts and words that also run with the main words that we want to relate to. Work, song, concept. So in these following examples, I'm gonna show you how to make a detailed word bank with a list of words that relate to your song concept, as well as counting the syllables in each of these words, finding rhyming words for them as well. This is going to save you the headache off, starting the writing process in the drawing blanks on what words that you arrive. Right. If you already have this knocked out out of the way soon as you go to start writing your lines, you already have Where is ready for your use? 8. Creating a Word Bank: Here's a list of words that I came up with that fit my song concept. I want to write a rap about nothing stopping my shine and staying motivated, so I chose the following words to fit with my topic. As you can see, I have a few sets of rhyming words in my list, such as Shine Rhyme, I in Line Flow No and Pro as well as flames, Name gain and faith with a few other rhyming words. It's important that we try to find a few rhyming words for some of our words to make the writing process a whole lot easier. For our 1st 4 lines, I'll be using a few words from this list. 9. Creating Flow for First 4 Lines: All right. So once you have your song concept solidified and you have the words that you like to use as well as you, you've already solidified your flow. Now we want to start to put it all together. So in our 16 bar verse, I highly recommend that you segment your 16 bars into four bar sections. It just makes it a lot easier to write a verse when you work on four lines at a time. So what I'm gonna do is I'm gonna demonstrate the flow that I came up with for the 1st 4 lines of my 16 bars, and then I'm gonna perform in at 75 BPM, and I'm gonna give you guys the opportunity to follow and try to copy the flow pattern that I created. All right, so here we go. This is for the 1st 4 lines of my 16 bar, right? And then the next four lines on a change of the flow patterns. So here we go. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Right. That's the first the 1st 4 lines of my of my first. So we're gonna do it line by line. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Then no, no, no, no, no. Right. So I started at 75 BPM. If you need to go lower, go lower. But you basically wanna go over those lines, right? So empty spaces that I left the second time I did it after each lied. You want to see if you can, you know, perform the same exact flow that did so I did my line. In an event in anti space, you would do the same flow, and you want to increase the Metrodome gradually on. So you're able to say this at a variety of temples. So I would recommend studying at, like, 75 bpm or lower if you need to. Like I did and increasing the BPM 5 to 10 bpm every single time until you get up to tempos of about 1 30 to 1 40 bpm. Because modern rap music, since that's what we're using for our main example, typically ranges from like, you know, 1 30 bpm toe 1 60 bpm. So it's very important that we gradually learn how to work with these higher temples so that when we're presented with beets that are in this highlight higher temple range, we have no problem, Floyd. 10. Flowing at Different Tempos: All right, So now that we have a flow on, we understand a syllable structure of the flow. Now we want to try toe, you know, increase the temple and try to say that faster. Templars. So we initially started saying flow at 75 BPM, so I'm gonna try. That's right. 85 bpm. Right. And we're going to see if we could do the same flow pattern A, you know, higher. Beat him. So it's 10 b cam higher. No, no, no, no, no, no, not not not not not No, not not. Not not No, no, no, no. I get No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, not No, no, No. Yeah. No, no, no, not No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Then I'm not No, no, no, no, no, no, no, no, no, no, no, no. Right. So I just basically said the flow to times when I left the empty space. And then I said the next line to time left an empty space. And this is kind of what you want to do. You know, if you want to say each line three times, four times five times before moving on to the next flow, do that. The point is, you want to solidify every single flow before you try to write another line. Right? So you solidify one flow pattern, move onto your next line, solidified out full pattern and keep going. That's so you barely have to think about solidifying Float when it becomes right. So we did that 85. Let's try one more. Right. Because the objective is to try to get into, like, the 1 30 He's the 1 40 PM, right? So I'm gonna increase it by 10 bpm more, and I'm gonna try to see if I can do the floor again. Let's see if we could do it. Okay? No, not not not not not not, not No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, not not not not No, no, no, no. Okay, That sounded pretty decent, right? It didn't sound choppy. he didn't sound like I was all over the place with the flow. Each line was clear and concise. Didn't sound like Iran sentence, so that's basically it. Now we want to take this process and we want to do this for every other line. Are soft, Remember, we're doing four lines at a time. So we just came up with the flow for the 1st 4 lines. Now we want to go to the next four lines and see if we can come up with a flow pattern for that. See you soon. 11. Exercise: Flowing at Different Tempos: try to repeat the flow we used in our previous example at the same time is me at the various tempos below. Let's try to do each won back to back, See if you can get all the way to the end. Not not Not not No, no, no, no, no, no, not not No, no. And they're not done. Oh, no, no, no, no, no, no, no, no, no, no, no. And I'm not Not not Not No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Not not know. Gonna not Not not not No, no, no, not not not not know. And I know that they're not not known. And then I'm not No, not not know. Gonna not not not not No, no, no, nothing And not not not know And I know that I know, Not known And then they're not No, not not know in a not not not not known and a nothing and not not not know And I know that I know, not known And then they're not No, not not know. And I'm not Not not not known in a nothing they're not, not not know And I know that I'm not not known And then they're not No, not not know 12. Adding a Few Words to Start : All right. So once we had the flow solidified and we understand the syllabic structure. Now we can begin to add some words. Right? But before you start filling in all of the blanks with words, I would recommend starting with, you know, maybe the ending rhyme for each line before you try toe, you know, fill in the rest of the world. So what I'm gonna do is I'm gonna, you know, finish each line with a couple of words from my word bank, and I'm gonna keep the rest of the flow pattern. Not not, right. So, for example, I'll show you what I mean. So I'm gonna set the mention of the 75 bpm again. And basically, what I'm gonna do is the same thing as the previous example so that I'm not not all of that , but I'm going to include a word at the very end of the phrase. And then the next line, I'm gonna ride with the first line. So here we go. Not not not shine, though not No, no, no. Rahm flows And then No, no, I No, no, no, no, no, no. Like, Bravo. No, no, no, no. Shine though. Done enough that No, no, Rahm flows. No, no, I No, no, no, no. Like, Bravo. Okay. So basically, I did the same flow example that we did. I just added shine, though for the first line, I added rhyme flows from the second life. I know for the third line brought vote for the Fourth Life. Right? And I left the rest of the lines the exact same. So what this will do is it helps you to piece together what you might actually saying those four lines. So if you can listen to the flow, you know, when the first line I'm talking about my shine, though something talking about my Ron flow Next line. That's something. Something that I'm talking about. I know. And then broad. Whoa. So you can immediately hear these words and start to formulate a story in your head about what she wanted convey in those four lines and it becomes so much easier to just go back and feeling blends. So now what we want to do is the same thing is the previous example. You started at 75 BPM. We're gonna do the same thing on we're gonna increase temple. 10 bpm. More So now we're gonna try to do with 85. So let's go. No, not not shine, though. Not that I know. Rob floats don't know nothing. I No, no, no, no, no, no. Like Bravo not never shine, though not not not run flows. No, no, no. I know, I know. No, Like Bravo. So you want a practice doing that as well? Say you're lying. Then save ending. Ride no anywhere from the World Bank. Set your second line and just add the ending word that runs with your first right. But don't even worry about finishing the whole line with Do this for your third and fourth ride. Just add like one or two words from your World Bank. Just put him in a select spot. I chose to just do the ending words and then try to formulate an idea first before you try to put too much effort into writing all the words feeling all your lives when we do this step by step instead of trying to overload our minds with just getting our ideas out right away, you end up with a much more concise soon flow that makes sense and that allows you to breathe and allows the music to breathe as well. You don't want overwhelm yourself, especially when you're just starting out. You want to take your time, get your flow solidified and just throw a couple words and one by one and see how things fit before you try to do too much. 13. Adding More Words to Finish Lines: All right, so we're so close. We're almost there. OK, we have our flow solidified for our 1st 4 lines. Okay, we understand the syllabic structure. And so we should know exactly what words to fit. Remember what our rule was. Once we understand the syllable count overflow as long as the combination of words that we use had the same civil count, we should be able to match the flow pattern. So what? I did Waas. I solidified my fellow, took some time off camera practice my floor, different temples. And I made sure it was in the pocket. Then what? We did Waas. We added a couple words in my case. I just added the ending words we rhymed he to. The lines were just ending words. Now, in this example, I'm gonna show you what it sounds like when you go ahead and you fill in the blanks. You know, you fill in the rest of the spaces words, so we'll do the same thing. Started that 75 I'm gonna go over the same four lines this time completed. I filled in all the blanks with words from my word bank as well as other words just, you know, joint things together. Okay, so 75 bpm Let's see what we have, Okay? Nothing. Going to stop my shine though Hummer right And designed these rahm flows You're gonna learn everything I know Until every line pro like Bravo again Nothing going to stop my shine Though I'm a right and designed these rahm flows you go learn everything I know till every line pro like Bravo No, no, no, no, no, no, no, no, no, no, no, no, man. And no, no, no, no, no, no, no. Nothing Going to stop my shine, though on my right and designed these wrong flows You go learn everything I know from every line pro like bra So once you get yourself familiar with your flow you come up with a song concept You think of a couple words that relate to your song concept You make sure that the syllable count in your words matches the syllable Count in your flow and you follow the cadence in the bounce of your flow That's literally all you have to do In the following examples I'm gonna show you how to repeat this flow at higher temples and we're gonna go through the rest of these bars and complete the whole 16 barbers using all of the tips and tricks that provided so far. See you so 14. Finishing the Verse: All right. So we have our flow solidified, right? And we have our word bank, and we know exactly the syllabic structure that we want to use. All right, so now all we have to do is apply the same steps that we use for the 1st 4 lines for the remaining 12. So I'm gonna go ahead and turn on my Metrodome 75 bpm and I'm gonna perform the lines that I came up with for the remaining 12 hours, including the 1st 4 lines that we did. Okay, Okay. Nothing Going to stop my shine though I'm a right and designed these rahm flows you go learn everything I know till every line pro like Bravo You did that with the greatest skill Got the faith You can rake up mail You got what it takes The ain't no debate It's all about lyrics and gain in the pill for real Did it just takes practice flow in every single chance you get Until you would not at bridge Just follow close and copy Ever re step will do it Just like it's a normal thing Fluent right And all these gorgeous flames You might be coming and norm this name. Just learn and perform. There's more game, right? So that's at 75 bpm. Now we're gonna increase the temple to 100 bpm, and we're going to just use the Metron, all right, before we go to RB and we're gonna see if we can wrap it. So if we can wrap this fall asleep, then we can increase the temple again, Okay? Nothing gonna stop my shine though I'm a right and designed these Rhine flows people learn everything I know till every line probe like Bravo You did that with the greatest skill Got the faith You can break up a mill You got what it takes The internal debate It's all about lyrics and gaining a pill for rail interest expressed just flowing Every single chance you get until you were not at Ridge Just follow close and company ever be set would do it like it's just a normal thing Fluent right And all these gorgeous flames you might become an enormous name. Just learning performed is more game, right, so we can do at 75 bpm and we can do it at 100 bpm Now. I haven't instrumental that I got off free beats that I Oh, it's called Got bars. Okay, this is a really don't be. I'm gonna see if I can flow these exact same lines over that beat. Because I just said that it's very easy to translate a flow that you're using over a metre known to a beat. So let's see how easy it is. So I'm gonna load of this beat. Okay, so this beats actually 128 bpm. So it's 28. Teach bpm faster than what? We just did that. But with practice, we're gonna be able to do this. Looks nothing. Going to stop my shine, though. I'm gonna write and design these round flows. You won't learn everything I know to let the long pro like Bravo. You did that with the greatest shell. Got the faith. You can rake up a male. You got what it takes. There ain't no debate. That's all about never seen gaining the pill for real. It just takes practice flow with every single chance you get until you were not after. It's just fine. No close and copy. Every step will do what, like it's just a normal flu right there. No, these gorgeous playing you might be coming. Enormous name, just learning. Perform this more game so you can see it's very easy to go from 75 BPM on the Metrodome. Keep practicing, increased the Metrodome. Find a B that has a little bit of a faster temple and just perform the same way. The only difference is between beats with a faster temple in a slower tempo is you just have to speed up the flow. That's it. Which is why it's very important when you're limiting how to rhyme and flow. You start at tempo is that you can understand, because a lot of it is just us not being able to understand exactly what's going on when the artist is performing at faster tempos. So if you're really trying to understand all the intricacies in the artist's flow, just slow the track right down, slow the bpm all the way down. So you're able to perform at the pace that you want and just gradually increase, and that's it. You keep doing this over and over. You make it a habit, you know it will be like natural will be like nothing after a while. All right, So you have your 16. Barber is done, and you want to know what the next steps are before you can release it on soundcloud or your favorite distributed. So the next step before we send it out is we can have some backups and I lives to the locals just to fill up all the empty spaces to make a much more full and complete sound in the following videos. On demonstrates you guys exactly out of record backups and I lives in which words you should be trying to emphasize to drive a point home for your listener states. 15. Adding Backups and FX: quickly wanted to demonstrate to you guys what a final product would sound like. You know, once you record your verse and then you add your backups, you know, or your ad lives. This is what a final record would sound like. So I'm using FL Studio, and as I said before the temple for this got bars beat that I found off of free beats that I owe is 128 bpm. So I have everything, you know, set for a 1 28 bpm. And I have my verse track here, and I have the two backup, so Well, listen to the verse tracked by itself A here. Okay, so it's very important that we notice what I'm doing at the beginning here. You know, I'm tryingto I'm trying to build up some kind of anticipation. I'm trying to build up some kind of excitement right before I start diverse. So I'm saying, Hey, yeah, let's go. You know, trying to try to make it sound cool, trying to make it sound appealing to the listener instead of just having you know, the intro completely empty and then just waiting, you know, have the listener waiting for the verse to start, um, four bars in or whatever you wanna You wanna, you know, lead in with some ad lives Just some Just some light words just to get the listener ready for your verse So let's go, Let's go You know, month look nothing gonna stop my shine dough I'm a right and design these Rhine flows You're gonna learn everything I know to let me live pro like Bravo You did and I'll give you guys a little mixing, You know, I mean 101 while I'm at it. So, uh, this is my verse track real quick, so I just have a nice little e que on my verse, cutting out some low end, cutting out some, you know, harsh frequencies here. And it's OK if you don't fully understand this, I'm going to create a completely new course going in tow. You know all the details about how to set your accuse and which frequencies are responsible for which sounds and whatnot, you know? So I have ah, compressor on my vocal to just to keep everything even just to prevent the volume from getting too loud. Have a de esser which basically does with the name implies. You know, it kind of removes the S sounds, the harsh s sounds and the test sounds. You know, your siblings then I have R E Q. Just, you know, for a quick little example. Let's have a little high shelf boost just to make the sound more bright. And I'm cutting out, you know, any excessive lows that I may have missed with the other each you just to prevent the sound from the desperate just to prevent the vocal from sounding extra Bumi. You know, with that extra low end like you know that sound when you hear the neighbors playing loud music next door and has that really like heavy low end? So that's what I'm trying to remove from the vocal here in the last one. Not at least, I have another compressor. Just attain the vocal. Keep all the levels equal. And then I'm also, uh, routing the vocal, too. Nope, sorry. That's the wrong channel. I'm rounding the vocal to another channel that has reverb on it, and I just gives the, you know, diverse a little bit more space with the beat. A little bit of reverb is cool, You know, You don't want to get too carried away. And I'm also equalizing the reverb two cutting out some low end and the reverb and some high end because I want the, you know, I want it to sound spacious, but I don't want the high end to overpower the first. And then from my backups, I have one going left. Well, not all the way left. I haven't going 25% left, 25% right? And I have both of these bust to a channel where I'm e cuing them together, both the left and right back up vocals. And then I'm also, um, using a Widener plug in just a wide in the back up so they kind of like wrap around the leave verse. All right, so we're gonna listen to what the backup sound like. So I have one to the left. I believe this is it. This go? Uh huh. Yeah. Hey, here. Hey. Okay. Yeah. So now you might notice that is a bit of the lay on the backups, too. And that's because I also have the backups routed to a delay. Plug in. Just to give you a little bit more of like a, you know, just to give you a little bit more of a feel. You know, these plug ins can be used for, you know, experimentation. But it's also good. Teoh use delay and reverb to create an atmosphere. You know, the last time the labeling on the backups God Sando Ron Flows. And if you notice what I'm basically doing for the backups is I'm just repeating the ending words. So, you know, uh, Ron flow? I know Bravo skill, skill mill. So all my rhyming words I'm just repeating them for both the left and right tracks. I'll play the right backups. Nothing goes Stop My shot, right Thes robs a right Bravo skill. So you want your backups to have some character, You know, you don't want them to just be monetarily. Bravo, Ryan, Flow. I know you wanna have some. You want to have some character in your backups, and then you verse can can be a little bit more, but not in this. Or you can have some energy in your verse too. But the key is you don't want all of the elements in your you know, your vocal to be monotonous. You know, maybe maybe you'll have your verse monotone and your backups with more energy. Or you might have a energetic verse And then, like, less energy in your backups as long as there's something that carries the energy of the song. So this is what it sounds like all together. Hey. Hey. Okay, Don't stop my Sando. Great design. These flows will know everything I know to the pro. Like did that is still got the fake. You could break up a male. You got what it takes. There ain't no debate. It's about thinking in the field, all right? And that's basically how you do it. So instead of just having, you know, your lead without any backups, But they don't stop much. Ondo, right? Design these flows. You learn everything I know to the line pro like Still got the fake. You could break a familiar. You got what it takes. There ain't no debate. It's about getting in the bill for real. It just takes practice. So when every single chance you get until you would not just posting copy, ever feel like it's just a normal so you can hear that just adds a bit more energy to the track When you have you No additional vocals complimenting your lead vocal So that's how you add backups And I lives to your song To finish it up and get it ready to release piece Okay Stop My Shinzo right Designed these Rhine flows You can learn everything I know to be lined pro Like you did that with greatest skills Got the faith You can break up a male You got what it takes That ain't no debate It's all about leverage and gaining the bill For real It just takes practice with every single chance you get to You would not just my little close and copy ever with you Whit Like it's just a normal What went right and no, the gold is You might be coming And enormous name just learning performed this morning game 16. Additional Tips: here is some final pieces of advice that you can take with you from this course. Some of this information has already been expressed, but I wanted to make sure that we clarified a few things so that you don't have too many obstacles in your way. If you're new to writing work with slower temples and so you perfect your flow, pay very close attention to the syllables to make sure that when you goto AdWords to your foe pattern, the syllable count remains the same. Try to switch your flow pattern every liner to to create variation within your run. Using the same flow for every line can become tiring on the year after a while. Ryan Multiple words together, as we demonstrated in our 16 bar verse. Double rhyme schemes helped to create more complex rhyme patterns. Rio fax peel caps, steel packs feel that etcetera find a section in the B. It's a place your rhyming words Before you try to write the entire line, you could place a rhyming words on the snare or kick to create interesting flow patterns. Record with confidence and spit your bars from your diaphragm to get the strongest delivery standing up. While recording can give you the energy you need to belt out strong vocals. Don't try to make your lines too wordy until you understand the basics. Every line in your rhyme should have a clear start and finish with the flow pattern understood by your listeners. Don't always start your rhyme on the first beat in the bar. You can start some of your lines on the 2nd 3rd and fourth beat as well. Leaving empty spaces throughout your rhyme can help create more space for the beat to shine . Use descriptive words that appeal to the senses to create more detailed, descriptive rhymes. The more people can connect with your lyrics, the greater success you will have. Gaining Fans also remember that there is no right or wrong way to wrap. His long is its own beat. The delivery is smoothing consistent, and your thoughts are clear and easy to understand. You're doing just fine if you struggle with your vocabulary and you don't want to read that the saurus and dictionary all day to improve it. Check out rhymes own dot com rhymes own, lets you enter a search word and finds a list of rhyming words that you can use. I still use limes own every now and then when I can't think of a rhyme immediately, keep practicing. Repeat, this course is often as you need and never hesitate to let me know what I can do or what I can include and my next courses to help you further develop your craft. It was really good working with you guys piece. 17. Conclusion + Final Project: All right, guys. You managed to get through all of these steps. So for your final project, if you have had no difficulty and you've managed to make it all the way here, I want you guys to find any instrumental that you would like online at any temple and go through the exact same steps that we utilize to create our 16 barbers in this course and just go. Go ahead. You know, write your own 16 barbers. Feel free to send me anything that you come up with. Use all the methods you know, matching a syllable count, making sure that your cadence matches the flow that you construct. Developing song concept. Coming up with the World Bank with a list of words that are related to your song concept practicing your flow patterns over and over and over again. And so you solidified them so you can say them smoothly without any stutters and just keep practicing and come up with a nice 16 barbershops at the end of all that over any instrumental that you like, and I'll be more than happy to listen. So what you guys do, if you have any questions, you can get me online at official Northside name on Instagram You can find me on Soundcloud at Northside Me. You can also hit me up on many other platforms at Northside. Also, check out my website Northside Nate Dossier If you want any tips and tricks if you're looking for song writing if you're looking for instrumentals, I got it off. So it was good working with you guys. I'm glad I could show you the ropes. I'm glad I could show you how to construct the solid 16 barbers from scratch using all the tools and tricks that I use to get paid by my clients that I appreciate so much. And I'm hoping that once you master all of the tips and tools that I taught you in this course, you can pay it forward and teach somebody else And just keep sharpening your pencils Keep practicing every day, and I wish you all the best piece Stay tuned before I go ST sold for more courses that I have dropping down the way because this is just scratching the surface. There's so much more information. And I want you guys to have so pretty state to him because I know you're releasing a lot more constant. All right, Peace