How to Compose Music - Drive & Energy | Mikael Baggström | Skillshare
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28 Lessons (1h 54m)
    • 1. Welcome & Introduction

    • 2. Energy & Drive - The Foundations

    • 3. Note Timing Variation

    • 4. Note Length Variation

    • 5. Dynamics & Accents

    • 6. Syncopation

    • 7. Rhythmic Fills

    • 8. Straight vs Triplets

    • 9. Layering for Power

    • 10. Layering for Augmentation

    • 11. Rhythmic Complexity

    • 12. The Power of Silence

    • 13. Practical Guidelines on Rhythm & Drive Summary

    • 14. Strumming

    • 15. Chugging

    • 16. Arpeggios

    • 17. Ostinatos

    • 18. Rhythmic Blocks

    • 19. Comping

    • 20. The Playing Styles of Rhythm & Drive Summary

    • 21. Step Input Recording

    • 22. Step Sequencer

    • 23. Arpeggiator

    • 24. Pulse Engine

    • 25. Rhythmic Gate

    • 26. Echo Effect

    • 27. Workflow Tools & Tricks Summary

    • 28. Congratulations You are Amazing!

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About This Class

Do you want to Master Energy & Drive in your Music?

Welcome to my course on mastering the energy & drive in your music. My course will take you on a learning journey. And your end goal and destination for this journey, is to unlock the secrets to energy & drive in your music, by the power of rhythm. 

Not rhythm in the form of drums & percussion. But driving, energetic rhythms from any instrument that can play notes. What I call, melodic rhythm.

Get Powerful Guidelines on Rhythm & Drive

Get practical guidelines on using rhythm & drive, so that you can use the full power of drive and energy in your music productions.

Master the Playing Styles of Driving Rhythms

Learn the fundamental playing styles and sounds of driving rhythms. So that you can create, shape and add energy and drive into your music. For example: strumming guitars...pulsing synthesizers, or ostinato string patterns…

Learn Amazing Workflow Tools & Techniques

Learn some of the amazing workflow tools and techniques, so that you can create and shape new driving rhythms much faster. For example: arpeggiators, step sequencers, and rhythmic gate effects.

Now take Action

So are you ready to level up as a composer, by learning how to create, shape and use: driving rhythms in your music?

Then let’s start your journey, right now! =)

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of

See full profile

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1. Welcome & Introduction: welcome to my course on mastering the energy and drive in your music. My course will take you on a learning journey, and your end goal and destination for this journey is to unlock the secrets to energy and drive in your music by the power off. Not rhythm in the form off drums and percussion, but driving energetic rhythms from any instrument that can play notes. What I call Melo Dick learned the fundamental playing styles and sounds off driving rhythms so that you can create, shape and add energy and drive into your music. For example, strumming guitars, pulsing synthesizers or ostinato spring patterns learn my best workflow tools and techniques so that you can create and shape you driving rhythms much faster. For example, using or Piggy Agere's step sequencers and rid making gay to fix, I will also give you practical guidelines on rhythm and drive so that you can use the full power off drive and energy in your music productions. Hello, my name is Mike and I am a composer just like you. I have composed and produced music since 1998 and I teach my knowledge and experience in music because I love to motivate, inspire and educate creative people like himself. So are you ready to level up as a composer by learning how to create shape and use driving rhythms in your muse? The Let's start your journey right now. 2. Energy & Drive - The Foundations: Let's start your journey by defining what rhythm is. Here is my definition. Rhythm in music is simply a pattern off sound and silence in time. Drums and percussion is, of course, the foundation of rhythm in most music. But that's not what these courses about is about. ALS. The other instruments and sounds that ad energetic drive into your music what I call Melo dick rhythm now. Why is rhythm and drives so incredibly important in music? Well, to be honest, there are some styles of music that should not have much energy and drive in a rhythmic sense, like ambient and atmospheric music or a background underscore in movies, for example, however, for most styles of music, rhythm is the very core and foundation it is what will add the forward momentum in your music. It is the groove and patterns that is impossible not to feel when you hear it. Driving rhythms is what will make people know their head, tap their foot and feel the urge to move their body to your music. Essentially, rhythm is the guiding foundation that will lead the audience throughout your entire music composition, your music story. So how do you master the energy off driving rhythms in your music. There are several ways one rhythmic playing styles. The main way is to use various rhythmic playing styles. That, of course, depends on the specific instrument you choose, such as strumming, comping or or pigeons, for example, to performance techniques. Next, you need to focus on the special performance techniques off the instrument you want to use for the driving rhythm. Sometimes you can use palm muting like on a guitar on a bowed string instrument. You can bounce on the string to create a short attack and short notes and three special tools and effects. Finally, you can use special effects to add rhythm into a sound like really mitigating effects or page aviators or pals engines. In these cores. We will go into the details off all these aspects so that you can learn how to practically ad and shape the driving rhythms and add a peak energy into your music compositions. Congratulations. You have now learned the foundation off driving rhythms in music. Let's continue your journey right now, 3. Note Timing Variation: I will now share with you some of my best practical guidelines on creating rhythms that will drive your music forward and add energy. Remember, these are guidelines, not rules. You don't need to full of them, but I think you will benefit from being aware off them so you can apply them however you like. Let's begin one note timing variation. I always recommend composers to be careful with quantum ization on any instrument or port in your music, because all the tiny timing differences is not on Lee. What makes music more organic, human and alive? These slight imperfections in timing even makes your overall music composition sound fuller , wider and deeper in sound. Personally, I either recalled all the notes with my media keyboard and then use a lower Qantas ation strength if I quant ties at all, or I simply adjust the out of time notes manually. So, for example, here is a piano port I recorded manually with my Midi keyboard, and then I automatically get the variation in the note starting points. As you can see here. If I assume into the grid lines here, they are not perfectly at the Milli. Second off the grid lines. So that's how you get a more human feel. Now you can still get a few notes slightly too much out of time. And let's listen to this first. All right. So that was Ah, kind of. All right. Actually, as for us, the timing goes, except there were two notes that really stood out to me, which were these lost ones here that came too late. So listen to the end there again. So there are really two ways you can fix the timing issues you have in a performance that you recorded on your medic e board. The first way is the classic way of using conversations. So you simply select almost that you want to quote ties. And then you said the quotas value that you want to push the notes towards in the grid lines. So let's say this. I don't play any fast 16th notes, so I could set it on eight nose like that. So and then you simply used equitized strength. So instead of using quanta izing fully to the grid like this, as you can see now, every note stores exactly at the grid line, which you want to avoid. You can dial back the strength so you can quote, ties the entire performance and then dial back the strength of it. Let's say you don't only use 50% but in this case since I were pretty happy with the timing of the performances, the only lost two notes. Really, you can use the manual shifting off notes. And in Lord, did you do this by holding out the bolt or option key and then the left arrow to the which moves it slightly to the left or the right ever to the right. You have to check out what? How you move notes in your DW, but you want to move them very, very slightly. So I think the default in logic is 10 ticks and one tick is the smallest distance in the sequence of that. You can move in old, see if I hold down old and move these to the left. You can see it moved slightly. I want to move them 10 takes again. So let's listen to the lost sport now. Much better. Now let's say that you don't manually record your port with your midi keyboard, but rather write it in into your sequence, thereby adding nose like this and changing their values. The problem with this or one problem is that the you get the starting point exactly. Owned. Agreed for each note well, To get variation in the North timings, you can simply select all notes and use a humanization feature in your DW. In logic, you go to functions me to transform and then humanize. And here you want to check out this position, and we can, in fact not to use these ones. For now, I will show you those later. But again here you can see 000 and 10 10 is the smallest here, which is 10 ticks. So now it will ran allies the starting politician by 10 takes. But let's overdo it just for the sake of this, by increasing this a bit on. If I now operate, you see that randomized a lot, so let's undo that. And if you simply use around 10 takes and I do it again, let's be soon. First, how it sounds like as you can hear very stiff and robotic, so select all and add some variation. Let's do 20 takes, in fact. Oh, great and he could see that there knows moved ever so slightly here in the grid, they are not perfect. You can see these disliked early, this likely late in the great, and now it sounds like this. They re very, very slight difference. But this these differences, these variations will all add up on in a full track where you have variation in the starting point off every note off every instrument, you will truly get a full, wide and deep sound, much like an orchestra where all the string pray players, brass players and so one play slightly slightly before or slightly after the beat off the grid. So that is how you add variation in the note timings. Now let me show you one lost example of a rhythmic drive on shallows and Viola's with no timing variation, which sounds like this. You could really hear that every note starts perfectly on the grid, which you want to avoid. So let's, um, solo these and then check out these shallows and about by almost the same performance. But if I assume in here, you can see that every note has bean and altered with the humanization setting, too randomized. The starting position on this is becomes really apparent. If we listen to to this performance now, can you hear the kindof blurry rolling character between the notes? It's not super sharp on the beat off, every note is like slowly, a smoothly moving together into a more human performance. All rights. Now let's continue your journey with rhythmic drive and the energy in the next video. 4. Note Length Variation: to note length variation. Your rhythms will also feel more alive and soulful if you vary the note lengths of all notes with tiny timing variations, meaning, for example, that if you use eighth notes, you add a slightly different length for each note, some a tiny bit shorter than an exact eight note and some a tiny bit longer. If he record using a Midi keyboard, you will get these note length variations automatically, just as you will get the timing variations. If you don't record the port yourself, you can use humanization features in your D W to control both note timings and links. So now we're back here at the Piano port I manually recorded by writing in the notes into the sequencer, and I have already humanized these thought in position. But now let's humanize the note length because now this note is exactly the length of this note, and these are exactly the same length. And so so if I select all of them and then use the length humanization feature here at slightly more, in fact, operate now and you will see let's invite assuming to make this more apparent like so now I operate, and you could see that they or now humanized in length as well. This became. I think that's slightly longer now than this one on, but soon back out. So listen to how it sounds now again, a tiny difference. But it all adds up. Of course you can steal, and I recommend, in fact, that you use the manual method by increasing the length. Let's say you don't want a gap here. Won't increase that a bit like so. Perhaps you want Thies to be slightly shorter than this one longer, thes ones more staccato, this one a bit longer. It's 12312 on. You start to hear that live feeling in the performance, with the tiny variations also in note length. So in reality, no two notes are exactly the same, like 16th knows or eighth notes and so on when played by a human performance. So this is how you can add variation in the note lengths as well 5. Dynamics & Accents: three. Dynamics and accents often note timing and length. The most powerful aspect of rhythm is the dynamics how much each note is accented. Some nose in your rhythm will be the main accents and should therefore have the highest velocity values in MIDI. If you want your accents to stand out even more, make sure that the dynamic differences between the softest notes on the loudest notes are very high. The more contrast in dynamics, the more powerful your accents will become. So whether you record your performance on the medical board or manually air the notes in your sequencer, if you want to put more emphasis on the accents, make sure to use the high velocity level or play the notes horde on the media keyboard compared to the rest of the notes. So let me make an example here. If I play something like this that's basically around the same velocity levels, so on those notes. So if I want to bring out the accents, I simply push harder on the keys or increase the velocity level in the sequencer like this . So now let's get back to the Chelios and violas here with the rhythmic drive and I have now temporarily set all the notes at the same velocity value, just as you would end up with if you manually add the notes with your mouths in the sequencer. So now it sounds like this. It's perfect Velocity valleys, which means a completely static dynamic all over the performance. So if you had recorded it with your MIDI keyboard, even with stepping put recording, you would have a variation in the dynamics. But you can solve this to with the humanization settings. So now let's check this. We have Velocity randomize Station Tuesday. Now we don't need this one or this one because we have already at the variation there. So now let's do a random my station setting on the velocity values. Let's go with 15 or so, and if we operate now, you will see that the Kohler's changed slightly here and now. It sounds like this, so you already hear that it comes more alive when you have variation in the dynamics. But another power to peer is to use manual the velocity settings to just where you want your main accents to be. So it's a in accent here on the one simply select those notes and increase the velocity for those notes. So now those are a bit stronger, I say. In fact, you don't have them on every middle of the board and first off the board, like so and where here, that increased those philosophy values. So let's see how they cells away, right? Much, Much better. As you could hear it has the dynamic variation and also the accents where I have chosen to have them. 6. Syncopation: four Syncopation. Single patient can be defined as an unexpected change in the rhythmic flow. Basically a sudden addition or change that break the flow off the fundamental rhythm. If you add an accent where it is not expected, that is also a form off Syncopation. Another way to add Syncopation is to squeeze in a subdivision. Note into your rhythm, for example, adding a note in the final 16th division over a straight for for rhythm. So, for example, normally you put the strong emphasis on the one and a three. Let's say I play chords like this one end to end three end for end one and two and three and four. And but if I choose to play the cord as the accent on the fourth off the boar instead, that is Syncopation like this one. Aim to entry in 23 and one on again. Any time you break the main flow off the rhythm, it can be considered Syncopation. As you can see here, it's only eight notes until these 16th knows at the end off this boar here, so listen to help their cells, or perhaps taking a straight drive like this on adding in groove by adding Syncopation with your left hand like this. So as you can see, Syncopation is all about adding variation in the groove that is unexpected in the main flow off the rhythm, and I find that this can add both interest and complexity to your composition again any time you do something that breaks the flow of the main rhythm that could be considered Syncopation. 7. Rhythmic Fills: five. Rhythmic fills fills or like Syncopation, also breaking the flow with the change in the rhythm but compared to Syncopation, which can be used over a longer section fills or deliberately used in certain places during the composition to mark a shift or section point, for example, drummers often add a little feel at the end of every fourth bore, either to spice up the rhythm with a twist or to prepare the listener for a new section in your song. A more pronounced field is usually played in the transition to a brand new section of your song, for example, when you go from the verse to the cores. So I think it actually would be best if I show you a rhythmic feel on dramas first, because it's so very much used and so apparent. So if you check here, you will see that there is a feel here and also here in the final eighth bar. So if we take a listen to this, listen to the field coming up here and then the field before the new section, much more apparent there. So this is actually usual way a drummer would use rhythmic feels at the every fourth bore and every 84 for a new section. It's amore pronounced rhythmic feel. So of course, that's just a simple guideline. Every four bars, or so you can add rhythmic fields where ever you want to. But the point is that they do spice up the groove and add more variation and interest. So, for example, let's take a simple straight rhythmic drive like this and then spice it up with a rhythmic feel. Before the cold change, you get the point so rhythmic fills are used basically as extra spice and variation in your rhythm, but also to mark a transition point, which could be between courts or between two sections of your composition. 8. Straight vs Triplets: six straight versus triplets Straight, Nell's or by for the most common. These are the regular note values. Rome. A whole note down to a 64th note, or even smaller sometimes, but that is extremely uncommon for straight notes. Each note value is divided in half from the previous one. So whole note have note, quarter note and Zohan triplet notes, or 2/3 the length off. The standard noted, is based on so triplet notes or amazing for spicing up the groove of your rhythm. They are used quite often in both orchestral and cinematic music, as well as many styles off Elektronik music and beats, for example, adding a triplet feel in the hi hats, or perhaps a more powerful triplet feel in the whole orchestration. So let me show you a practical example of using triplet notes to spice up your groove. So this performance I recorded manually first with only straight notes. Then I added triplets here in the later part off the seventh bar before the eighth bar stores. And to show me this, I have added the trip, it notes, as you can see in colors here, here, here and here, and then I have added muted notes in between them, just so you can see more clearly what a trip it note is. And here I have added eighth notes straight notes, which are also muted, so you can see that there are four straight notes here, but in the same length, those four straight notes take up you fit 123456 Which is because a triplet is 2/3 the length off the similar straight value. So for this, it is a death note, and this is an eight north triplet. All right, let's listen to these whole performance now and pay attention to the change in groove and feel when the triplet notes comes in. So, to me personally, a triplet groove when you add it like this into a straight groove, not only spies is up with variation. And like a Phil, it also adds anticipation, because your brain really loves to have the same groove or kind of drive in the rhythm. So when you get like a little filler here with triplet notes, you really want to get back to the straight notes. So that can be a great way to add a sudden surprise to your listeners. So of course you can manually writing trip footnotes in the sequencer by setting the quant ties to Trippett notes and snapping with the great tooth. Report notes. We can change it here. As you see now, the grid lines are in triplets, and the straight notes seem out of time in length here. So that is one way. But I actually prefer to play the triplets scene, and then I can quote ties and change. The timing's later, and that can be quite tricky because our brain is basically wired to have this straight beat. So I recommend that you really practice listening to and playing triplet notes to get a feel for that kind of groove. So let's say you start with a straight drive like this. Now try to L. A triplet feel into that rhythm. So now make sure that you practice triplet notes both on your media keyboard and in your DW to add that triplet vibe into your groove, your rhythms and drive. It can be a great way to spice up and add sudden surprises in your music story. 9. Layering for Power: seven. The Ring for Power. The hearing is one of the true secrets of music, composition and production, because music is a mix of only three fundamental colors rhythm, harmony and melody. So basically all music is based on layering notes and sounds and ports to paint the full story by stacking sounds, meaning layering the same breathing performance. You will get a more powerful sound, for example, having 1/16 note ostinato string pattern layered with the same rhythm on a plucky synth. So to show you the layering for power principle, I will play these three parts here, which are the same performance but on different octaves and on different instruments. So shallows, violas and violins Onley using the chill owes it sounds like this. If I had the violas an octave above, you get a little bit more power on the same performers. I can also add the violins on top of that. Of course, you can still layer for power with the same rhythm, but add a bit more variation in the hormone is because now it sounds pretty simple because it's layering this same notes on top of each other in all the octaves I would recommend going into, for example, the shallows or violas and and shifting some mills around like instead. And so one. So the layering full power principle is about layering the same type of performance rhythmic wise. So regardless which knows he used, which could be a harmony, an octave or even a unison off the same note. The point is that you layer them on the same greed value as you can see here. That is what will create more focus, depth and power to the performance by layering the same rhythm on another instrument and port. Let me demonstrate the laboring for power principle on the media keyboard. So let's say you start with a rhythmic performance like this. Now, if you want you layer for power, you could, for example, add the the same rhythmic performance and octave report like this. Or you might want to add a hormone into this, and I will keep that on the same note this one and it will sound much bigger and more powerful. Or you might want to have the same harmonic distance for the entire rhythm, but same layered, rhythmic drive. As you can see, you have lots of flexibility. When it comes to lay ring full power, you simply start with a rhythmic drive, which can be on any instrument and any type of performance. So, like I just played on, then you layer that in most cases with another instrument which could play the exact same note, you could play that, for example, on a synth as well as on this string port. Or you can do an octave apart, which I just showed you. eHarmony import or even switched the harmonies in the rhythm, but still there year every note like this the so the laboring for power principle is actually really easy. You simply layer each note off the performance when it comes to its rhythmic placement in the greed, then you can still change which notes you play on the layered performance. So take action now and practise layering full power in your driving rhythms, and I will see you in the next video 10. Layering for Augmentation: eight, they ring for augmentation. You can also use layering for augmenting some parts off the rhythm, which means to choose specific notes for layering inside your rhythmic pattern. When you layer always some selected notes in the rhythm like this on various instruments and sounds, you add depth, detail and interest in the overall sound. It will also increase the dynamic contrast, which is why I call it augmenting the rhythm with layering. For example, let's say your drums and percussion has the main accents on the one and the end between two and three. Then you can layer other instruments in your composition to augment those divisions in the greed. You can do these either by playing on Lee those notes with the layered instrument like string stabs, for example, all by playing an entire rhythm with the layered instrument and ex ending the same notes as the drums and percussion. So the main point here is that layering four augmentation is about selective layering off notes. So if we go back to this performance, which is layering for power now, with all these three parts, I could instead go and delete some of these notes on the violins to selectively lay your only some notes, but I only want to layer the one and three. It's no tear, etc. Like so and so now we have Butt's solo only the violence now, and we have hopes. That's the real note. And we have that. And if we hear that now layered with these, the violence are now layering for augmentation. So these knows will, of course, B'more accented and emphasized in the whole performance. So listen now. Now let me show you the same technique on my Midi keyboard here. So again, layering four augmentation is about selective layering, so I don't apply the exact same rhythmic drive to both these layers. So let's say the first layer is a drive like this. Now let's play a layer with my left hand and selectively layer only some of the notes that I play with the first part. So let's say I only want to layer the one like this, or perhaps I want to layer those two. Then it could start like this. Let me demonstrate this on a drive on court now, so let's say you have a C minor like this. I could layer for example, the one on the final port like this. Don't don't don't don't don't Let's do that with a knock saving the base on. Of course, you don't have to use an octave all the time. You can do running baseline harmony or whatever, as long as the layer is on the rhythmic value. So let's say I or Peggy age a bit here with the base or something like that. So go ahead now and practise layering for ornamentation, which is about selective layering off the rhythmic drive. 11. Rhythmic Complexity: nine rhythmic complexity. Another important aspect is the complexity of your rhythmic patterns From this simplest full four straight drive to the crazy NBC complex patterns you can use rive Me complexity as a way of adding variation in your music compositions. Some sections of your music might have a mawr simple groove, while others have more notes in the rhythm and more complex patterns. I will demonstrate these now on the drama tracking logic, because usually the drums or simpler as you can see here, is as simple if I drag this towards here in the intros and verses and then become more complex and loud in the chorus sections. So let's say you have a simpler drum section here and then going into more complex listen to the difference going from this section now with simple rhythms, which means less notes in the rhythm to this busy pattern here. So these same concept applies to any driving rhythms in your music compositions. So when should you use a B C a rhythmic pattern? Well, basically, when ever you want to add more action and drive into your music, which could, for example, be a big chorus section. But also in transitions and rhythmic feels. I will show me another example with drums and bass, because bases, another instrument that is often playing long sustaining, knows where you want a simpler groove and then gets really BC in action type playing style in the rhythm. So listen to this before and after simple versus complex. So practice now varying the rhythmic complexity in your musical positions, both for the different sections in your track, as well as four feels and transitions. 12. The Power of Silence: 10. The power off silence. Finally, you can use the power of silence when you create your rhythms, because music is simply a pattern off sounds in time. In fact, sound and silence have equal importance in music because you cannot have any music without using both. I recommend you to always consider adding silence as a way to spice up your rhythms, either by simply not writing any nose in certain places in the grid, all by muting parts in the sequencer for extra effect, which can work great in transitions, for example. So let me demonstrate this by playing a straight eighth no drive without skipping any notes , which means not adding any silence like this. If I add silence on one of those notes, it completely changes the rhythm like this. So let's check the piano roll. Here you have eight notes, a straight drive, and there is no gaps between 2/8 notes, which can sound now. Let's use the power of silence and insert silence somewhere here in the groove, Let's say, and now we will get a completely different group. Listen to this, so of course you could go full silence on all parts new tract like this, which can work really great for transitions for building anticipation. But most often, if I go back, you simply air silence on some ports while others are still ah, having notes. So let's say at silence in the upper bass octave like so. But all the extent, let's say on the one and three year, like so something like that. And then you add variation here, look removing thing, this one here, which steel is very different from the straight rigid drive. I also love using the power of silence, sometimes in between chords to build anticipation and some tension here in the cold progression. Something like this, for example. So go ahead now and practice using the power off silence in jewel rhythms by either leaving gaps in the rhythm like, for example, the leading notes like so or even muting entire sections of notes or parts in your sequencer. 13. Practical Guidelines on Rhythm & Drive Summary: congratulations. You have now learned all my fundamental guidelines for driving rhythms in music, composition and production. And remember, guidelines can be broken as long as you're aware of them and know what you do. Now let's make a quick summary of these rhythm and dr guidelines. One. No timing variation to note length variation. Three Dynamics and accents Full Syncopation. Five. Rhythmic Fills six straight versus Triplets seven. Laboring for Power eight. Their ING for Augmentation nine. Read Me, Complexity and 10 The Power Off Silence Now Take action. Practice all these guidelines on various instruments and sounds in Jordi W Right now listen to how they impact the rhythm groove an overall sound of your music composition. Have fun experimenting with rhythmic drive. 14. Strumming: now I will teach, demonstrate and show the playing styles and sounds off driving rhythms. Of course, you have almost unlimited creative choices for driving rhythms in your music, But these are the fundamental playing styles I personally use as a music composer. One strumming One of the most classic ways to add rhythmic drive is by strumming a string instrument. For example, an acoustic you tour on electric guitar all, perhaps a you. Clearly the drive comes from the strumming patterns, which can be anything from really slow to super fest. You can strum down Oh, or pause for any beat or division in the grid. You can also control the sustain off the strumming sound by muting the strings with your poem and the holder. You press your poem on the strings this shorter, the sound will become the mix of these techniques, which can be summarized as up, down, mute degree and pause is what creates this drumming pattern. Most often used 1/16 no division at the starting point to create your storming pattern. Slower and simpler patterns means less drive and energy, like, for example, four simple straight quarter notes or even as a simple as a single down stroke on each new chord change, let's say on each board. While faster patterns, of course, adds more excitement and energy to your driving rhythms, you can choose which position on the guitar Nick, where you strong your cord. So the furnace down the neck hair is the warmest sound. Like this, then the next position. If I change this to two on the other quarter, played as well, it will go further to the rich, which sounds brighter on this. Plugging actually has 1/3 position I can choose, which is very close to that which is very bright. Here's a power tip. You can spice up your strumming pattern by throwing in some single notes as well, and those can be either sustaining notes or palm mutes with various amounts off Newt level . So the first way is to actually strong in the course and play the courts on your media keyboard. So I have set up the strumming engine here, but I will not use the pattern creator here. Instead, I will use the specific strumming keys in this plug in, and then I choose the cords right here. You see, I switch the courts. So from C Mayor, this is the up strokes and down stroke. I nto palm mutes on the court on even further for beauty on. And I can also play single loads like this from the court. So I have six strings here in the sea quarter on actual court, which means you can throw in some single knows like and then most guitar plug ins also has a built in astronomy ing engine, such as this one where you can create your patterns from scratch. If I click this, you can now choose the up strokes and down strokes to create your own pattern. So let's do something like this, like that. And now we can play it. Ah, that is something I created now. I didn't change the loss today, so it sounds pretty static. Uh, other than that, you can also use the built in pattern library and simply select one of these patterns and try them out until you find something you like. And you can then switch between the patterns in real time in your sequence or by key switching between these strumming patterns. So let's choose would say, if I can find it here in these witches to use that one. So as you can see, there's lot's of potential using guitar electric guitar or you Khalili plug ins, the strumming engine built in to create your patterns or even strumming in real time on your mini keyboard or writing it down in your sequencer. The great thing is that there are many guitar plug ins and libraries to choose from, which are capable off manually strumming the rhythm with your media keyboard or use a strumming engine built into the clogging itself. All right, so that was the strumming playing style for creating driving rhythms in your music. Now let's continue with next playing style. 15. Chugging: to shagging. Chugging is the term used for heavy use. Off pull muted power chords, mainly on electric guitars with heavy drive and distortion applied. Basically, it is very much like creating strumming patterns. But I decided to make this its own category because the final sound energy and character is very different from standard strumming. The most important differences, of course, use power cords for shagging rhythms. A power record is technically not a cord, but eHarmony over a perfect fifth, meaning you have the root note off the cord, plus the harmony of a perfect fifth above it, which is seven Seminoles. Also, the octave off the route is often added, so +151 basically the foundation off the chugging rhythmic style is that you favored poorly mutes over sustains. And then you choose which notes to accent in your pattern by quickly releasing the poem for a brief moment to create a sustaining sound. The heavy use of palm muting means you can play these shagging rhythms much faster than a standard strumming pattern without getting a muddy sound. The classic power chord on an electric it, or is using the three lowest strings with the lowest string being the root note off the court. The second string place, the fifth above it and the third string placed the octave above the route. Here's a power tip. You can also vary the amount of strings you chug on, just like you can when a standard strummed chords. So if you want a very focused chug, you can sometimes only use the lowest string or perhaps the two lowest strings. Then you can mix and blend. How many strings? Extra moan for each charge to create more variation in the sound off your driving rhythm. Now let me demonstrate. Playing shagging rhythms in one of my favorite electric guitar begins for this purpose called Shredded. And as you can see down here, it is divided into two different ports here on your midi keyboard. So the left partier is power. Courts like this. Ah, and if I play a soft velocity level, I get the pool mutes, which is the actual chugging on right port appear because he this color is individual strings. So let's see if I can find so this is our core on the lower E. On. This is all based during off the so you can actually switch in between, uh, using the single bass note and the power record, which is a great way to do the riff est rhythmic chugging styles on drips. Ah, let me give you a power tip. And that is to double track your performance on electric guitars with chugging rhythms like this. So that means that you have two layers on the chugging rhythm and panned them to the far left and far right in the stereo field. So if I play the 1st 1 which is a more of it or hear it in the middle and the other one you will hear in the middle. But it will have a wider and deeper and more powerful sound on the same power called toe. Compare this and now, with a double tracked performance, much more powerful If you don't play guitar yourself, I recommend looking at electric it or plug ins focused on RUK and heavy re styles like metal. These are better if you want to add that powerful chugging rhythm to your music, because if the library focus on heavier styles on guitar, it will probably have more dynamic layers and round robins for the poor mutes, which is incredibly important 16. Arpeggios: three arpeggios or Pajot means broken chord. This means that instead of playing all the Cornell's at once, you play the notes of the chord one by one. So instead of playing the chords in a book style fashion, let's do an a minor. You break the notes up in the court and play them one by one like this, you complete, uh, up and down like that, work jump around, or what every patent you want, as long as you play the notes one by one. The amount of patterns you can create a form and arpeggio is almost infinite because not only can you jump around between any off the notes off the cord, you can also repeat some of them in another octave, and you can also choose the length as well as the dynamics for each note. So instead of simply playing in or paid you in one of the common ways, which is up like this, you don't abdominal don't up. You can, for example, play in many octaves like this. You can also repeat the notes or jump back and forth. You don't have to have a constant flow up and down, so perhaps like this. And if you want more drive and energy in your or Paju, simply pick up the speed, for example. Instead, off quarter notes like this, you can use eighth notes like this, uh, even 16th notes, right? So that's perhaps too fast to play. But you can ride these arpeggios into your sequence or manually with your keyboard and mouse. And if you want to add some groove into your arpeggio pattern, simply mixed different note length values in the pattern and be creative with adding forces here and there as well. So basically choosing some of the notes in the arpeggios patron to hold for a longer time and some very short and also adding some posters to spice up the groove like this. For example, here's a power tip. You can spice up the or paid you even further by adding a harmony or even a chord here and there inside your pattern. Technically, that is not or pay jiating, but nevertheless, it is a practical technique that I use often, and it will serve really well as an accent inside your or pidio. So basically, if you play a C major arpeggio daddy Horman by playing two nodes, even a court like this. All right, so that was the or paid you playing style. Now let's continue your journey in the next video. 17. Ostinatos: four Austin AUTOS These is one of my personal favorite ways to add energy and drive in my music compositions, mainly because I love to compose cinematic and orchestral music. But this style can work in lots of Sean Gers. I have even used it incorporate uplifting and motivational music. Basically, an ostinato is a repeated phrase that focus on the rhythm more than the pitch. Let's compare this to a repeated riff. A reef will feel more like a unique performance that can be catchy on its own. Basically, you remember a brief but not really in Austin auto. Another difference between a repeated reef and ostinato is that an ostinato patterns often uses the same note length for each note as well as the same playing style. For example, staccato or speak after on strings because the main row over an ostinato is to add drive and energy by bouncing on the notes in a rhythmic fashion. That is why it is generally not memorable on its own, but it can contribute incredibly well to the energy in your music. In Austin, auto can be as easy as a straight drive like eighth notes, for example, or a very energetic drive like 16th notes. But it gets even more interesting when you start to experiment with different rhythmic patterns and include some variation in the notes use as well. Here's a power tip. You can layer two or more ostinato patterns on top of each other to create a richer and more complex sound. Generally, these works best if you use different instruments in different ranges. For example, von Austin Auto on shallows and another pattern on Viola's an octave above it. So let me demonstrate this by showing you two different performances, one on shells and one on violence. And if you check the piano roll here, you see that they have a completely different rhythm, but layer them on top of each other, and they not only complement each other but create a much more energetic drive. So let's listen to the Chelios first. And now let's listen to the viola drive in solo. All right, And now let's listen to them when I layer both these two performances together so that Mr Lake both and now we can see them both in the piano rolls. So take a listen to this thing much more powerful and energetic. All right, so that was the ostinato playing style for creating driving rhythms that will add lots of energy into your music. 18. Rhythmic Blocks: five rhythmic books. This is a term I came up with myself, to be honest, but it is used very much in many styles of music, and I personally use it a lot in my own compositions. Basically, it is playing short notes in a rhythmic fashion and in a book cord style. Mainly I used piece Takata or speak Otto playing styles own strings to create these rhythmic blocks style overdrive. But you can use any type of instrument that can play very short accented chords. Staccato is a particular performance technique, which results in a short, pumps you playing style and is mainly used on orchestral instruments like strings, breasts or woodwinds. There are various versions off this short accented playing style that you can choose from, or even a mix between, like speak Otto or status Imu, for example, and the different variations have their own characteristic sound. Now let me demonstrate the rhythmic blocks playing style, so basically there's two things to consider. The 1st 1 is the instrument you use. You want to be able to switch to a short note articulation or in some way control the length off the sound. When you hit the notes. So I have Chelios loaded up here. If I have a long note selected, those are great for melodies and long courts. But for rhythmic books, not so much. So you want to, in most cases, switch to a short note playing a style like staccato, stuck a T Seymour speak Otto. And now we can play like this very short, distinct attack with a shorter length of each note. So the next thing to consider is to play chords as books, so no radios and not melodies. You want to play like strumming on guitar. So let's say, from a major to diviner on now you can play a rhythmic pattern, just as you would strong Mona guitar like this or on breast. It can sound like this. Playing rhythmic blocks is almost like strumming on guitar on a guitar. You can vary the amount off poor mute to get a shorter or longer sound for each muted strum . You can also play the rhythmic books playing style on the instruments that has a distinct attack but a slightly longer release than for examples. The cattle strings and the piano is a great example, but since the notes are not as short as a staccato or speak cattle playing style. It won't work for superfast 16th note rhythmic look patterns. But it can work for moderate temples like this, for example, and when playing rhythmic looks on piano or a similar type of sound that has a distinct attack. But it's life a longer released. You can think of this as almost like strumming on a guitar with open chords. It can work for moderate temples, but as soon as you increase the tempo too much, it becomes to Mahdi. Let's compare these two stock cattle blocks rhythms where you can vary the length by switching between different short nose articulations on the instrument you use. So, for example, using stock a tous Imo, which is a really short articulation to staccato, where you want to add an accent. So in this particular instrument, you can switch between status Imo and staccato here, and it is mapped to the mode real, as you can see here. So stick a tasty meal will sound very, very snappy on Staccato has a slightly longer sound. In the short note, you can switch between them and you staccato as an accent because it is slightly longer, just like you would on guitar by releasing some of the poor mute shortly. And so one hears a power tip. If using full chords is a bit too thick in your mix, you can use to know torment is instead. I do this a lot to give room to other instruments and sounds, and another advantage of this technique is that you can choose to add more notes only in certain places in the rhythm that you want to accent. So, for example, using Onley to note harmonies for the main rhythmic book pattern and then add a food cooled on Lee, we want to extent that beat. So let me demonstrate this technique by playing a simple cool progression from several major to major to tell later on them back to. But in the first part of the sequins, I will not use the full block course of C Major because I want to play that rhythm faster and by reducing the amount of notes, it will not be as dense in the mix. So instead of playing it like this with full chords all the way, I will play on Lee two notes on this See made a court here in the beginning like this, for example. Congratulations. Now you have learned about the rhythmic blocks playing style. Let's continue in the next video. 19. Comping: six comping rhythms. Now the final fundamental playing style I use for driving rhythms is what I call comping rhythms. I use this term to define a mix off playing styles in a rhythmic performance, a mix that has the fundamental purpose to add drive to the harmonic storyline of your music , meaning the chord progression. Basically, you can use book courts in various lengths and rhythms. You can add some single notes to spice it up, which can be called notes or passing notes outside of the main cord. Okay, you can play the chords semi broken, which can, for example, mean playing one note than two notes than one note than two notes and so on, and you can or page E eight corn oats or even scale notes outside of the court in whatever speed or number of knows you choose. The point is that a comping rhythm can be a mix off all these things from super simple two very BC and complex. Here's a power tip. You can get a much more organic and human vibe in your music composition if we record the comping rhythms without or with minimal quoted ization, and you can even add groove into the performance, just like bass players and drummers love to do by playing some ports just before the beach or just after the beat. All right, so that was the final off what I personally consider the fundamental rhythmic Dr playing styles. 20. The Playing Styles of Rhythm & Drive Summary: congratulations. You have now learned all the fundamental playing styles for drive and energy that I come back to again and again as a composer and producer. Let's make a quick summary off the mall. One strumming to shagging three or pidio owes four Austin autos. Five rhythmic blocks and six comping now take action because it is the best way to move forward on your journey. I recommend you to practice all these types of driving rhythms, various instruments and sounds in your D. W. Right now, good luck and have fun playing the sounds and styles, off drive and energy. 21. Step Input Recording: I'm now going to share my personal favorite workflow tools, tricks and techniques for adding rhythmic drive to your music compositions. Let's do this one step input recording Almost every D. A. W has this kind of feature. It's basically recording notes with your many keyboard without the pressure off getting the timing right when playing it live. This means you can write Newport's without stumbling and messing up the performance. It is especially good for fast ports like ostinato patterns or rapid or pigeons, and the good thing is that you can still mix and blend between single notes, harmonies and chords. However, I would like to point out this. It is important that you first develop an instinct for the various note values, meaning that you have a good sense for which note length you need to add to create your performance in the sequencer when you use the step recording input method, this also applies to the note values you add as a rest or pours in the party right now. When you practically used the step in food recording method, there are two things you need to be aware of, the first being what note values you should use for every note you add. For example, straight 16th notes or perhaps eight note triplets. The next thing is, of course, which those notes should be, and that port you manually decide with your media keyboard for each note. All right, so let me show you how to use step input. Recording in logic Pro X on It might be different in your dear W, but the principle is the same. First, you need to create a medically somewhere. What's ah, it here. So this is empty. Let's go into the piano roll and make sure that your marker is at the beginning off the created medically. So now we have the greed here. There's no notes here. Now, in logic, it works like this. You activate meaty input. So if I trigger something now, or my media keyboard, that will create a note askew, See here. But what about the length of these notes? Now you have two different options for setting the note value for each step in the step input recording process. The 1st 1 is to use keyboard shortcuts if you have set them on, remember which ones correspond to which note value The other option is to bring up these step input keyboard, which is here under window and stepping for keyboard, and here you can actually see the note value that is selected. So now here you have a whole note, half notes, quarter note, eighth notes and so on. So to record with the step input method, you create an empty. Medically, you bring up the piano roll, make sure that the marker is at the beginning of the clip you set median put to own on. You can bring up this step input keyboard or use keyboard shortcuts, and now simply choose which note value you are going to add for each step. So let's do a simple eighth note drive. So select eighth note here and then play the notes Way have, which was super easy and quick to create this rhythmic pattern without worrying about timing issues and performance mistakes. If you had recorded this live with your medic E board now you can even do these with harmonies and chords if you choose this button here. So if I now play way have now, let me also demonstrate how you add rests or forces in between notes, and you do that with note values as well. And this button here or the Air O key on your computer keyboard. So let's start with 2/8 notes. I have set the eight note value here. Then play. Let's say I want to add 1/16. No, no, on another court. And then I want a rest for 1/16 note until another court, which is going to be here. So simply select this or your right arrow key on your computer keyboard presidents and you see it jumped over 1/16 note, and I can add another here and now we have. So, as you can see, these can be super powerful and really speed up your workflow for your driving rhythms. But also it will work for, for example, chord progressions. Here's a power tip. The main downside off stepping put recording is the same as manually adding the notes into your sequencer. With your mouse and keyboard, you end up with perfect timings and note lengths for each note in the grid, which of course, is completely robotic and our natural Your savior. Here is the humanization features inside your G A W. You can add slight random ization to the timing off each note as well as the length of each note. And in case you programmed a flat velocity level for all notes, you can even randomize some variation in the velocity levels to, however, I prefer to directly add the velocity variation with my MIDI keyboard in the step input recording face. So here I have recorded a performance using this step input recording method. And as you can see, especially if I still mean here, each note stores exactly on the grid line and they also all exactly eighth note in length, which is a natural because you will always have tiny differences in timing and note lengths in a real performance. So if I simply select all these and then in your DW, you have to check for the humanization or random my station options in the logical found find them here functions meaty, transform, humanized, and now I can humanize both the position, meaning the starting position, the velocity, which I really don't want to humanize, because I already recorded the velocity values with my media, A keyboards I can decide like that, but I also want to randomize some variations in the note lengths. So if I now select Ah, see if I can assuming first. Like so. So act all and then operate. Look what happens to the beginning of each note and the lengths Tiny, tiny variations this one bestowed beat too early This wanna beat too late. But these minor imperfections is actually what makes a performance sound mawr human, alive and organic. 22. Step Sequencer: to step sequencer. Some software instruments come with a built in step sequencer, which is similar to step input recording. But instead of creating the performance inside your main sequence, er you add it in the step sequencer. I find that this method works better when most of the notes in the rhythm or the same pitch , because otherwise it can be a bit tedious to program the pitch shifting for each note. But for driving baselines or very rigid ostinato patterns, a step sequencer can be really fast and efficient to work with. Here's a power tip on some step sequencers. You can add some humanization to the timing and groove. Take advantage of these two Adam or organic feel to your patterns, so I will now demonstrate these steps sequence or method on one of the most classic synthesizers ever made, which is the Roland 303 And this is, of course, an emulation called Foresee um, by the 16 group. But basically step sequencers were used very much in the old days of music production and especially electronic music production. So here you can see this looks kind of, ah, like a keyboard, and these represents the different notes, and here you can see the steps. These are 16 steps, so basically you program for each step which no to use. You have to turn on the notes, and you can also, with this particular synthesizer, make an accent on a note or even a saliva to the next note. So first step. But say we do a simple be tierro or rhythm on the F here. So turn on the F on the 1st 1 turned on the F on the next one. You can see you can go to next year and if here and let's do an F and then a slide on this F to the fifth position. As you see, it can be quite tedious, if especially if you have lots of different notes. But if you only use the same one, it's pretty simple. So you go through each step like this and, ah, let's see. Did I have a slide in there? Yes, to this one to this one, and with a little step sequencers, you can actually change the pattern length so you don't need to use a LSO 16 steps so you can see patent length here And then I will click this then, like so now this is an eight step pattern, and it sounds like this, uh, then I can justice sound, uh, turn on some distortion and I have a pattern going on and I can add, let's say an accent on the 1st 1 here. Let's do the only first. And on the fifth here. Ah, see. And you can hear the slide here if I remove it now. So this can be a great way to first focus on the actual driving rhythm, the patterns, so to speak. And then you can add acts and slides and do all kinds of cool stuff with the actual sound. So, personally, I find that the step sequence the method works best on driving baselines like this, especially three or three type basis. 23. Arpeggiator: three or Peggy Ater. Now here's a really great way to add drive and energy in his super quick and easy way. Of course, it is not as powerful as writing your own or Peggy airports manually in your sequencer. But in many cases, a simple, flowing arpeggio line is just what you need. The classic or pidio patterns include up don't up, down and down up. Often you get a random option as well, and you can change how many octaves the or PDO rams on. And sometimes the ORP aviator even comes with Patton presets. There are basically two or page aviator types. The 1st 1 is used as a medium effect in your D. W so that he can use it on any instrument plug in most D. A. W's actually has a or Peggy ager built in. So let me demonstrate using the ORP aviator effect as a meaty plug in in your DW. So I have a simple retro and looks in there the so the usual way to create an RPG A is, of course, either to play it in like this with your mini keyboard or to program it in manually by writing the notes in the sequencer. The or Pidie Asia effect helps you create an or paid you pattern much faster. Ah, and you can use a meaty effect like this in logic. And this is actually the built in or paid viator in logic. So this is no third party again. So if I load this as a meaty effect, it looks like this. And now if I play a chord or anything on my mini keyboard that will be translated by the pattern the or petty gators, it's so if I play, let's say if major here, you see if place, ah, those three notes in or on or page aviator fashion and you can set the rate how fast it plates. So it's 1/16 note. Now let's do an eighth note. You can also ah, change the order from going up to down, up, down. You can also get their variations on this and also the or OKC Rangers. You can do quite a lot with the NRP aviator plugging. Actually, not only playing if I turn this off on and so on on with many or paid you to plug ins again also switched to the automatic mode to a manual mode, which is the greed here. So now if you check down here, I can set the pattern length. So let's setting on Ah, four note pattern. And if I now play, it plays here. But nothing here. So I can actually choose to play well for skip this one. And even if I want to, let's increase this pattern to eighth and you see this Ah, symbol Here it is actually the court. So if I switch to this, this will play the court on the first beat here and on the fourth. So the most important settings, of course, within ORP Aviator plug in is the speed how it plays the notes up or down and so on the oak tapes and then the pattern. And also ah, you can, with most or ph plug ins use instead of the custom pattern the factory present bank eso Let's changed to this one and see how that sounds thin. Simply go to the next one until you find one that you like and perhaps make a few changes to it. Now a final tip on this is on snappy or pain radiated. Sounds like this a delay works great. I personally like using a stereo delay on this. So if I bring that up, I have added here without it. Sounds like this, which I find very useful. The second or Peggy ager type is those that are integrated into the instrument plug in itself. Which, for example, can be a synth or any type of software instrument. I have loaded up all nous fear now, which is one of my favorite instruments on. I have lauded this preset here, which is a very snappy and plucky type of sound because these short and snappy sounds are actually the best candidates for or pay deviated lines like that. And if you look up here, you can see ORP, which is short for, or page aviator. So you need to look for these signs. Or or it might even say the full word or paid viator on your specific instrument like its zenith or any type of instrument. Begin and then you can activate it. Here and here you see the pattern these step length I control with this was due an eight step pattern. Then which notes I want to trigger is on this here. So that's the only one. And ah, then I can also control the volume on this particular or pay jitter on each. If I create a pattern, let's do a nak sent on the one and I can also with this or pages will control the step length. So if I reduce this, it will become even pluck here, listen to this first if I turn it down to a very small value gets very, very snappy and a plucky. So the upside of using, built in or pager only synth like this is that often you have special controls like here you have swing, you have the and the velocity per note and so on. So this is actually an advanced or Peggy a tree. But the downside is that you are tied to these particular symptoms. So if I want to use this pattern now on another preset or another instrument, that's not really possible. Whereas if you use a meaty effect ah, or page ager, you can actually use status and then switched out Which instrument used on that particular or Peggy ager pattern you have created. All right, that was the AARP aviator effect. Now let's continue in the next video 24. Pulse Engine: four pals engine A great way to add driving rhythmic movement to any sound is to use LF those LFO stands for low frequency also later, and basically it is a way to add a palace ing rhythm to any parameter you want, not the notes themselves, but on the actual sound. For example, using an LFO on the filter in the synthesizer can be a great way to automate a reading Dr. And the great thing about Ella phones is that you cannot Onley sink them to a note value. For example, eighth notes. You can also control the wave shape, which means how the pals rhythm feels and sounds a sign. Way, for example, makes the Powells. It adds to the parameter mawr smooth while a square wave jumps rapidly between two values you set on the specific parameter. You have mapped the LFO two. So you have the speed of the other foe, the way form and finally, the Dept. Which means how wide off arranged the LFO controls the parameter it is assigned to. Here's a power tip. You can use one single LFO to add that particular rhythmic pals too many parameters at the same time and with some sings and plug ins, you have access to more than one LFO, which means you can, for example, have two completely different note values. Sink to the L A foes to create more complex blends off rhythmic pulses. So, of course, there are specific plug ins you can use that will add a pulsing rhythm to yourselves. But my favorite is the classic LF all and I will demonstrate these in all miss fear and here you have the LFO section. So I have loaded a sound first, which is a sustained pad type sound like this. I have removed all reverb and the way to make it really clear and dry so you can clearly hear when I add an LFO two a parameter. So as you can see here, you have several different unique telephones you can use. So let's use the 1st 1 and hear all the main features the wave shaper. So the sine wave will go like this is in a soft motion for the parameter you map itude, and then most often you sink in L f o to the temple of your song and set it in a note value . So let's say 1/4. Nope. And the depth is how wide the range of the parameter will move. So those olden main aspects the way form off the info, the rate and the depth. Now here is where you map the LFO in this particular plug in So L f 01 is the source on then I have applied it to the amplitude because that will make it very apparent. And the amplitude is simply the level off this inter Sizer and I have set the depth to Max and 1/4 note is the rate. So now if I play before, which is no pulse and if I unused this so the LFO you can actually see it. It's a pulsing from left to right here which corresponds to basically it makes this one go like this even if it doesn't show here. So if I know play the same cord, you can hear the Powells in the amplitude. And if I change it to, let's say in eighth note, get a faster, pulsing sound. Now if you how a sine wave sounds and if I changes to a square wave which you see here it it will hold between the outer edges off the range and then instantly changed to the other side, which will make it even more apparent that Paul's here that short attack. So if I I can also move this to the lowest setting, which means that the and is actually totally off until it goes up with Beautiful, which basically acts like a rhythmic gate, almost said that this to back through the middle. And now if you see this is on the outer edges, which again? The NFO is practically moving up to the highest setting off the AMP and lowest setting, but you can decrease the depth, so it just makes a gradual. But now it goes like this. Basically, the further I decreases, adolescent will will hear the actual Powell's so you can actually make a more subtle movement in the sound. And then you can also, um, at this, like in a un distinct fashion. So now the rate is simply a hurts value, and that I find works well for very soft movement like this, and one of the most amazing aspects of using L A foes as pals engines to add the rhythm to any sound is that he can map Anel a photo, basically any parameter in your instrument. So now I'm mapped the L A. For one to the amplitude, and you can use the same LFO two map to several parameters. Or use several Ella foes. If your instruments has them like Oh, Miss Fear has a different, unique NFL's, and then you can map. The 2nd 1 was say, as a son wave with 1/2 note pattern. Just add some movement to, let's say the filter. So if you have LFO two here, you can map that to the filter cut off. So listen to how these sounds now. Now you have to separate pulses. This one is not as a parent on the field through as the EMP, but you can add lots of difference parameters to different levels or on the same one I can use to L. A. For one, Teoh, you map to the cut off also as well as the EMP, so I can go into the modulation sources here and see that l A. For one mapped to. Now it's map to and and cut off like this. So go ahead now and practice, using elephants to create pulses on your sounds, mapping two different parameters, trying out different way forms, rates and depths, and you will have lots of creative options to create driving rhythms inside the very sounds of use. 25. Rhythmic Gate: five Rhythmic gate If you really want to cut up your sound with a pattern off sound and silence a rhythmic gating Pugin is exactly what you need. Basically, with a rhythmic gate, you program a pattern that either let's your sound pulse or it closes the gate, meaning an abrupt pools in the sound output. The simplest rid mitigating for gins are often called trans gates because they have been used heavily in trance music over the years. But there are also more advanced, with mitigate effects that gives you control over the morphing way forms where the gate is applied. Here's a power tip with most rid me, Gate begins, you can mix how much off the gating effect you want to apply. 100% of course, means a fully focused rhythmic vibe, but you can also choose to dial down the mix off the gating effect of it to keep some off the original sound. I like using these trick on pads and long sustaining sounds, for example, because then you can add the sense off rhythmic drive, but still keep the main harmonic bed off the cords you use. All right, let me show you the gating rhythmic effect in three different ways. The 1st 1 is to actually use the built in or pay gator or media effect. ORP aviator, as you just learned. But instead of making in or Peggy Ated pattern, you first go to the great mode and then choose the amount of steps. Let's do four steps. Activate them all. And then you activate this ah, cored mode on every step because that means it will simply trigger every note at the same time as you play on your media keyboard. So, um, let's see. Then you can reduce the length of them like so, or go into options here introduced. Nope. Length here and now you will hear the pals that I created in 4/4 notes here compared to the initial sound, which is basically a string pad. If I turn it on again and then you can, of course, make one of them perhaps longer to make it an accent. So that is one we're using an or page aviator as basically a rhythmic gay defect. In this way, in the next way is to use a gait is Pacific Gate effect, and I will show you two different kinds. The 1st 1 is called Step Affects Unloaded Pro X, and it's actually it is a gate effect for basically opening and closing the volume, or level off the sound you feed into it. But it is also quite advanced because you can add these gating effects on different modules . So first I will show you a simple pattern I created here. Let's turn on the steppe of X and listen. Now, Uh, Andi, I prefer to use really rhythmic eight effects like this because you can get that super snappy sound, which they are paid. EA Director is the one involved like it's not capable because here you have control over the envelopes here. Attack, Holding release. You can also make them shorter, really easy here. Super short if you want. Let's make a super super snappy rhythm like so again. Compare that to the original sound. And of course, you can get creative with the amount of steps you use in your pattern and how you program each step in length on where to place these open gates and so on, but also with most written the gays, you get a preset libraries. It can actually try out different rhythms. Let's try this one. Now. The most important thing when using a really mitigate effect is first, the amount of steps they use in the pattern. And then, of course, how you program the pattern. If a note is own in any way, it means the gate is open. It can be portly, open or fully open. But if it's nothing here, this whole here is actually the gate closing, which means you will hear that the sound abruptly closes these up more clearly. Oops, I think it also shorten one of these notes, and there will also be a gap here. So let's do that for these, and you will hear the the pulsing gating effect. So you have to experiment with what kind of rhythmic drive you wanted used again. Compare this to the original sound on if it's on now. Finally, I want to show you the most advanced form of rhythmic eight. If I turn this off and open up this one called Gatekeeper and here you can actually even dial in the curve for how the gate works between the closed and open states. So if we try out this one. Let's listen to how it sounds, and you can diao in these to be very abrupt, as you can see here. Now it's like a square, and you can also make them more smooth where it changes. So this is a super advanced form of rhythmic eight, but I like to use it very much on sometimes. If you get clicks in the sound you can use, there's often a smoothing algorithm that's basically cross fading here, where the getting gate is working. And, of course, you can always go into the preset library. And this comes with a huge bank of presets, rhythmically gate effects to try out. So I have lauded this one here. Lets try that well out. All right, so that was the rhythmic gate effect, which can be a great way to really shop up your sounds into a rhythmic drive. Now let's continue in the next video 26. Echo Effect: six. The echo effect. The delay or echo effect is probably the easiest way to add rhythmic drive in your music, even if its main purpose is to add depth and a sense of space. It can also make the port feel more busy and rhythmic. I find that it works particularly well on slower or pidio rhythms or comping rhythms to add some rhythmic movement and complexity, especially on piano or peeking notes on a guitar, for example, However, if you programme fast rhythms and things you want to be tight and focused. I recommend avoiding using the delay effect. For example, ostinato patterns or chugging on electric guitar will often work best without any acre applied. Here's a power tip delay effects, heavy tendency to decrease the clarity of a sound. So I often use filters to remove the low end and high end off the delay effect because you most often want a tight and focused low end and a crisp and clear high end. Also panning the delayed sound out using a stereo delay, fully panned, left and right can help in keeping the original sound more clear. Finally, some delay effects have something called ducking which means that the delay effect is reduced every time a sound is received so that the delay effect becomes more prominent in between the notes. Which is great because it doesn't have to fight as much with the original sound. So let me demonstrate using the delay or echo effect on a plucky short sound, because that's when it usually does its best job. So I have loaded this precept, and without it I can play something like, and it's very dry and lots of space between the notes. So if I add a delay, those knows will echo and add more to the drive. Listen on, especially if I Arpege ate them. So if I turn it off again, Theune, of course, as I told you, you can use low cut in high cut filters to remain, have the and clarity in the low end still and the crispness off the high end. So I usually go up all the way to you, about 200 hertz or so to really keep the low and tight and clear. Often, when you do this, you can actually increase the output on the delays, arm or echo. I have now loaded a simpler echo effect, which is a mono delay effect to show you the most important aspects off the delay effect, which is first the note value, meaning the timing off the echoes, then feedback, meaning how long the echoes lost. Four. Before the die, they die out, so they will gradually die out with any value except 100% which will continue to echo at the same level, continuously or zero, which means no more echo than one single. No. So if I put this on 1/4 note and have zero, you'll hear one echo and nothing else. If I put it on 100% you will hear continues echo. So let's reduce that. Of course, in most cases you will dial in somewhere in between, perhaps like 30 40% or so like this, and accept the timing and the feedback. The next most important aspect is a mix between the dry signal, meaning the first note you actually sending to the delay that the real original sound, so to speak, and the wet signal, which is the delay or the echoed signal. So if you have Syria percent wet, it will not do anything. No echo. If I reduce this and have this on 1% I will not even here the first note, I will only hear the echo. So did you notice when I press this? There's no sound when I press it, but I hear the echo. So in most cases again, you have mics off these values. The final trick I like to use personally is using a dotted note value, which means that if you play a straight drive, the delays or echoes will be in between the straight nose to basically fill up the Space Admiral rhythmic drive without disturbing the original sound as much. So I found these technique works great, for example, for driving bass lines like this without which, of course, is not as rhythmic as if you add those adopted echoes in between. All right, so that was the echo effect or delay effect, which really can add more drive to your rhythms by filling up the spaces between the notes 27. Workflow Tools & Tricks Summary: congratulations. You have now learned all my favorite tools and workflow tricks for drive and energy that I come back to again and again as a composer and producer. Let's make a quick summary off them all. One step input recording, too. Step Sequencer three or page Viator four Pals Engine five Rhythmic Gate and six The Echo Effect Now take action because it is always the best way to move forward on your journey. I recommend that you practice all these types of workflow tools and techniques, various instruments and sounds in your D. W. Right now, good luck and have fun speeding up the workflow when creating driving rhythms in your music . 28. Congratulations You are Amazing!: congratulations. You have now completed the full cores and learned how to add shape and perform ports. That ad rhythmic drive and energy into your music Compositions now take action because the only way to move forward on any journey is to take is step forward and then another step. And so one practice all the tips and guidelines you have learned in this course and focus, especially on the foundations, off driving rhythms, the playing styles, off drive and energy workflow tools and tricks for adding drive and practical guidelines on rhythmic and drive. So take action and remember my mantra for success. Learn every day, practice every day and create every day. My name is Mike, and I wish you good luck and great success as a professional composer.