How to Release a Professional Beat Tape | Riley Weller | Skillshare

How to Release a Professional Beat Tape

Riley Weller, FL Studio Teacher

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28 Lessons (4h 34m)
    • 1. INTRODUCTION

      6:17
    • 2. How to Ask Questions + Leave Review

      1:22
    • 3. FREE RESOURCES

      0:55
    • 4. 1-1 - Benefits of Beat Tapes [Overview]

      8:48
    • 5. 2-1 - Mindset Before Starting [Overview]

      20:28
    • 6. 2-2 - FL Studio Template Overview

      17:53
    • 7. 2-3 - Setting Up An FL Studio Template [Walk-through]

      8:33
    • 8. 3-1 - Creating the Beat Tape [Overview]

      11:15
    • 9. 3-2 - A Mixed Beat Peek

      11:40
    • 10. 3-3 - A Mastered Beat Peek

      19:53
    • 11. 3-4 - Export Settings and Process

      6:21
    • 12. 3-5 - In and Out Times + Song Ordering

      7:41
    • 13. 3-6 - A Glimpse Into ISRC Codes

      7:02
    • 14. 4-1 - Folder Structure + Backups [Overview]

      11:13
    • 15. 4-2 - Folder Structure Run Down

      22:14
    • 16. 4-3-1 - Creating a Demo Reel - [Part 1]

      29:08
    • 17. 4-3-2 - Creating a Demo Reel - [Part 2]

      18:20
    • 18. 4-4 - Using MP3Tag For ID3 Tagging [Free Software]

      8:13
    • 19. 5-1 - Online Distribution [Overview]

      4:50
    • 20. 5-2-1 - DistroKid Walk-Through Example Introduction

      0:38
    • 21. 5-2-2 - Uploading Music to DistroKid

      13:11
    • 22. 5-2-3 - Update Video About DistroKid and My Beat Tape Uploads

      4:33
    • 23. 6-1 - Releasing the Beat Tape [Overview]

      6:34
    • 24. 6-2 - Staying Professional While Marketing + Promoting

      8:12
    • 25. 7-1 - Creating the Artwork [Overview]

      2:24
    • 26. 7-2 - Photoshop Artwork Template Rundown [Digital Beat Tapes]

      5:21
    • 27. 7-3 - Photoshop CD Cover Artwork [Physical Beat Tapes]

      7:17
    • 28. OUTRO

      3:35

About This Class

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After releasing 8 beat tapes on Spotify (as of Dec. 2018), I want to share my valuable insight to my workflow of putting together a professional beat tape. (My beat tape series is called: BEAT TAPES By GratuiTous.)

Over the years, I have talked about why releasing a beat tape brings way bigger benefits than releasing single beats.

So, I finally decided to create an in-depth course covering all aspects of putting together a beat tape from:

  • What All Goes Into Releasing a Beat Tape

  • Tips and Strategies to Save Time and Actually Complete the Beat Tape

  • Setting Yourself Up with Templates to Speed up your Workflow

  • Releasing, Marketing, and Promoting Your Beat Tape

  • Putting Together a Physical CD Version of Your Beat Tape

The knowledge you will learn in this course will help you to stand out and stay professional, all while not getting burned out, and still having the burning passion to create your music.

A beat tape will take your productions to the next level because it forces you to complete a big project.  Just think about the amount of practice you'd obtain through the process!

If your beat tapes contain 10 beats per release you'll not only learn the mixing and mastering for each track, but also learn how to blend each song into each other as your listener goes from track to track on your beat tape.

The course first starts with explaining:

Why even consider creating a beat tape and how much value it brings you as a producer:

The amount of practice, branding, and experience you will obtain is immense!

It also forces a lot of those producers who have troubles finishing a project.  This gives you an end goal, as well as an amazing portfolio to present to any potential clients.

We then step into your mindset before jumping into creating a beat tape:

You have to think, if you're going to be creating multiple beat tapes, it's important to take time out beforehand to set yourself up with various techniques I talk about.

This will save you TONS of time and also keep you structured down the road for future releases.

Next topic is about actually creating the beat tape:

You get to see one of my personal beats which I have mixed, and a whole walk-through of how I've set it up and prepared it for the next stage, which is mastering.  (Note, we do not actually mix and master tracks in this course, I do however walk you through a real-example and cover my settings and mindset.)

We jump into the mastering, where again, you are walked-through a real-world example of a beat (Keys for Christ) which is actually on Volume 7 of my BEAT TAPES by GratuiTous series!  We talk about my mastering chain, why I've ordered plugins the way I have, their parameter settings, and what your end goal is with mastering for your beat tape.

We even talk about best export settings, ISRC codes and what they are, and the fade ins/outs of your songs so listeners can experience the most emotion if listening to your beat tape from start till the end.

I've also snuck a section in about folder structure for proper backing up:

It's very important you stay organized because this is no longer just a single beat.  You are creating a series for your fans to follow.  If you have missing sounds years down the road, you will be very disappointed in yourself for not staying organized!

I've also included a video on ID3 tagging your MP3's in case you offer a free download version of your beat tape on your website.  This makes your MP3's look professional with the proper information being in them, as well as your beat tape's artwork displayed as they play your song in their media player!

We then talk about online distribution (DistroKid, CDBaby, Tunecore, etc.):

To get your music onto steaming platforms like Spotify or for sale on digital stores like iTunes, you need to use an online distributor.

And if you're like me, you'll notice there are TONS of online distributors available.  However, sometimes when there's so many options, it makes it hard to know what's the best choice.

I explain my personal thoughts and suggested resources for finding the right online distributor for you.

I even include a video of actually uploading a beat tape to my online distributor so you can fully see the process!

I then give you some suggestions and tips about marketing and releasing the beat tape I've tried over the years:

Everything from what kind of platforms and tools you have available to release/market your new beat tape, to some good and bad real-life stories I've experienced through my own marketing attempts.

Creating your Artwork:

Finally, we talk about your artwork.

I explain how to set up a template, how I've approached my artwork, and we also get into how you prepare your artwork if you were to create a real physical beat tape to get printed to hand out!

This course contains so much information I would have loved to have had before creating my own beat tapes! (The amount of time, effort, and mistakes I could have saved myself.)

But hey!  That's what this course is for!

You'll save yourself from making these same silly mistakes and set yourself up on the road for solid beat tape releases.

Each release you work on will just get easier and easier!

I hope the best with your music!  (Let your music do the speaking for you when it comes to revealing your skills!)

# GratuiTous

Transcripts

1. INTRODUCTION: all right. He was going on everybody. I'm gratuitous and welcome my newest course how to release a professional beat tape. So over my years, so far I have released seven beat tapes, and I feel that as a producer, they just give us a really good way to brand ourselves as well as show what we're capable of as producers. For example, on this beat tape, you know, I have 17 tracks and goes everywhere from like, dance tracks the hip hop to kind of urban kind of beats. So, you know, if someone's gonna take the time to listen to this this actual physical beat tape, you know, they're probably gonna listen to at least maybe one or two tracks the three tracks, and they're going to get a better sense of who I am as a producer. So this course is more catered towards the producer who has been producing for, you know, a couple of years they're starting to maybe trying to sell their beats. They're trying to get their name out there. So I have just found that over the years I've decided to release these tapes, and I've just found that this has been a better way to met. Like to put my time into my music. It kind of gives a Siris for my followers toe. Listen to Andi. Throughout this course either is gonna be breaking down. You know, the kind of tricks and tips that I have learned over the years of releasing these beat tapes. You know, like now they're currently on, like, Spotify and your iTunes and stuff like that. My purpose for these beat tapes is actually not to sell them. They're strictly just for promotion purposes, just to kind of show my skills. You know who I am is producer. Someone listens to my music. They kind of see, you know, what I'm capable of making for myself. I'm not really focused on one style of music. I like being very versatile, a late creating different styles of music. I find that more fun. It also would allow you to work with more artists down the road to so usually how we do things with courses again. I usually take this notebook. Try instruction. Of course, I have a lot of videos I want to cover in this one. So this is gonna be a good course. for you guys. So this a little bit about myself. So my artist and producer name is gratuitous. My real name is Riley. Well, there I first started up with beach struggles dot com. It was website where I did a long tutorials and stuff like that and Web articles. I also had ah sound Kit website, where I sold premium sound kits from popular producers and really premium sound designers was called Sound pack flier dot com. And over my years of producing, I've also worked with the Grammy nominated Artistas. Well, so, like I'm saying, I have released 70 so far. So this is my only physical one. So, uh, this course I'm going to be showing you how to put together a real physical beat tape. There's pros and cons nowadays to a physical beat tape because you know the way society is going, CDs are kind of getting phased out. Even new cars, whether being produced, they're not even coming with CD players anymore. Even like laptops, they're not really coming with Stevie drives. So this course is more focused on the digital aspect of credit. Your beat tape, you know, putting it all together, having your tracks structuring them, getting them ready to release to the public. But I also have a section in this course to actually put together a physical beat tape in case you want to go this road. Because, really, this is kind of like a producer's business cards. So, for example, if I was, like, a social event or whatever, and I was talking to someone, and somehow my music came up, you know, I always have a couple of these. Like like my jacket pocket. I could easily just kind of pull one of the zone just here. Check this out again. All like my details on here in terms of like, my website. My name, um, you know, all that kind of stuff, you know? So if they want more information on me after the listen to the music, they could easily find my website. They could find my contact page, my email all through that kind of stuff, you know? So here's just a little look at it, you know? So it turned out really, really good. I did the whole thing. I did outsource the graphic design. Graphic design is another skill that here is the actual CD. Okay, So in this course, I'm just gonna be covering the whole aspect of, you know, from the creation part of your beat tape to, you know, kind of all getting already with, like, the mixing and mastering. You know, I'm not sure you the mixing and mastering. However, I am going to be specifying some fundamentals which will really help cut a structure, your beat tapes and get you going. Because when you're releasing these tapes, they're super super good for practice. It allows you as the producer, to get a real sense of how to release a really physical product. You know, put the real world, you know, like even if it isn't physical beat tape, like you're still putting together Ah, compilation of your beats and it takes a lot more time and effort. Uh, just a single beat that you released out there. You know, you kind of got to think about the order of your songs, The spacing in between your songs, these all these things to think about about you and your brand. But this over my years, I've just found that this has been an awesome way to spend my time is when I released one. It's kind of like here, you know, people who can kind of get excited for the next one. They can listen to a lot of my musical once, Um, and it's just kind of a Siris for people to get excited as I keep releasing beat tapes. So yeah, if you guys want to check out the course, this is gonna be a really, really cool in depth course for those you who already a bit seasoned making your beats and I'll lose all just be passing on tricks and tips, which I have discovered over the years to speed up your workflow. You know, it's all about kind of creating templates so that you could has kind of caught thean paste , for example, when it comes like your artwork. If you look at my artwork for my beat tapes, um, this is kind of a special one. This is I've created this one has a greatest hits. So as you can see here, I have volume 1 to 5. So what I did was I took, you know from volumes 125 I took my favorite beats and I compiled them onto this kind of greatest hits one. So this artwork is different. But if you do look at my other beat tapes of a show you an image here, This is what they're all looking like now, you know? So all I'm doing is I'm just changing the colors in them, and it's just speeding me up so that I'm not having to focus so much so much on that aspect . It's just a matter of literally changing a number from Volume one, Volume two, and you just change the colors and then you release it. So during this course, also be kind of using this white board a little bit here and there, just, you know, I thought I'd try something new. Um, so if you guys take the course, I look forward to see you guys inside and let's get started. 2. How to Ask Questions + Leave Review: all right. Hey, I'm gratuitous. And thank you so much for taking the course. The reason why I'm making this video is that I just want you to be aware that I also have other music production courses. Currently, I have 16 music production courses. They're based on FL Studio. However, the information does apply to all music programs. There's the odd video, which is FL studio specific. But for the most part, I teach the fundamentals which relate. Oh, everything to do with music production. E que compression sampling. So I just want you to be aware that you guys could be leaving a question as well as leaving a review. Okay, so I want to show you how to set that up. Okay, so let's start with how to lead. Ah, question. Okay. Soto asked me a question on skill share. All you have to do is click the community tab and just click basket question. And that's that. You guys can ask me a question. Post it and I will receive an email from you. And then I will come and answer your question. I'm really active with this stuff, and I want you guys to learn Okay. In addition, to leave a review, all you do is click the reviews tab Now. Skill Share says that you have to watch a few lessons before leak. Leaving review, Which makes sense. So, you know, after you're done watching, of course, just click the button here, leave a review, and I would really, really appreciate it if you would leave a review. All right, Now you know where to leave a question as well as a review. Again, I really appreciate the review. You know, it's gonna help my courses get to number one, hopefully help grow my online course business here. So again, I'm gratuitous, and I hope you guys enjoy the course and learned a lot. 3. FREE RESOURCES: So before you guys get into the course, I just want to share that. I've included two free things for you guys to have. The 1st 1 is I've included my fl studio template. You'll see that later on in future videos so you guys can have a free download to my efforts. Did your template obviously the as an attachment to this video and have also included this beat tape released checklist and I've broken it down into two categories. OK, so this is before you actually start working on your beat tapes for the first time, and then I've broken it down into before you actually released the first beat tape. Um, you know, and even if you release, you know, be tapes in the future, this is just kind of a little check list of what to look over before you actually go out there and release it. So again, I'm just going to include thes as attachments in this video. So you guys come down the you guys can have him and use him. Hope you guys enjoy the course again. They'll be in the video attachment here 4. 1-1 - Benefits of Beat Tapes [Overview]: Okay, So in this video, I want to talk to you about why I feel that beat tapes are better than single beats. Okay, so for me, it all comes down to my time. If I release a single beat, I feel that it can kind of get lost in the crowd with all the other beats. Whereas if you start creating a beat tape, it allows your followers to kind of, you know, have something to follow, but also get excited a boat. And as you can see down here like momentum. So what kind of goes that in a second? So we'll start from the top here, so I just feel that beat tapes are really, really awesome for branding. They just allow your name to be there again. As you're releasing more and more beat tapes, it's just a way for people to follow you. So, for example, if someone has only found over double your third beat tape, Biko wall looked back over his first and second and they might realize that in my case, I've really seven so far. So it's like, you know that they have so much music that they could listen to And then, you know, for me I've also released a moment Spotify and stuff like that. So, um, I'm the reason why I have done that is just for easy listening for them, because again, my whole purpose behind these beat tapes is not to sell them. It's just for marketing and promotion. Just always have my name out there. I would rather have someone listening to my music, even if they're not paying for it in someone else's music kind of thing. That's kind of like the whole mindset, so I just feel that be tapes artist Boston for branding. Because when you're dealing with single beats versus beat tapes, I just find that the single beats kind of get lost in the crowd. Your beat tapes will help to, you know, kind of establish your brand. So the next point I feel with Pete tapes, why beat like, you know, going to beat a Pro is better is it allows you to show your skills and your variety because again, like I'm saying for myself, I really don't like creating just one style of music, like kind of creating dance tracks more hip hop kind of urban kind of beats stuff like that . Okay, But again, that's just my style. You guys can, you know, obviously, like that's the whole point of music, like you create what you want. But what I'm trying to get across to you is that, you know, if you send someone a beat, their only you know to kind of have a tunnel vision on you. So if they've only listen to that one song from you that one beat from you, they might think that this is the only style of music that you create. But again, if you guys do check out my beat tapes, it's like my variety, you know, is from like this end of the spectrum down like this end of the spectrum is just like, um even when I talked to people, have a conversation with them if they asked me. It's like, Well, what style of music do you create? And it's just like I don't really have a genre. But when I go to make music will sit down and look at the tempo. And if it's a 140 beats per minute, it's like, Well, I've been working around that temple a lot lately, it's like, Well, let's bring it down to, like, 82 beats per minute. You know, Let's just try it out. And it's just like, um, you know, again, that's just that's just how I work. But what I'm trying to get across to you is that when someone listens to my beat tape or your beat tape, they're going to see the variety on it. They're going to see that. Well, this guy has a lot of versatility, you know. He's really it's possible for him to work with a lot of different artists. You know, anyone from who only sings over like dance tracks or someone who wants, like, more Vika A rap track. Um, so again, just my opinion. But I just feel that beat tape allows you to reveal your skills to the world. Ah, lot better than just releasing a single feet. It also kind of kind of a Siri's, right, like you know. So when someone, uh, listens to your beat tapes, you know, if you have a email list and you just send them an email blast, you like, Hey, I've just released a new beat tape. If you have 1000 people are 2000 people on that list, you know, So those people can stay excited on your new releases and just how it goes. Like when someone is a fan, you know, they might have a certain favorite volume. And, you know, even your new music might not talk like your first volume or your 2nd 1,000,000,000 Like no matter what. The second volume could have always been like the favorite. And amongst your fans, it's like That's maybe what they will talk about is is like, you know, maybe if your second volume or whatever. Okay, so now just with the momentum. So just like I talked about like, you know, if you have an email list or whatever, you know on like Social Media, all that stuff to, you know, if you keep releasing these tapes, whether you do it like every three months every six months, you know whatever your time frame is because treating a beat tape is a lot more. There's a lot more tiring than releasing a single be obviously right, because it's not just creating, you know, 10 beats or creating however many you want on your beat tapes. You also have to mix them, so they're all kind of balanced together. You have to master. So they're all kind of balanced together. You have to be thinking about you know your spacing in between as well as the order of your songs. You know, you gotta get your artwork. If you're gonna be releasing like Spotify, you have to upload all that stuff too. Then you get on the marketing of releasing it on social media. All that stuff, however you'd be doing that with this thing will be to. But as you can see, it could be a lot more tiring. But if you kind of keep consistent, you know, every three months, every six months, even if it's just every year, whatever it allows you to have momentum with your fans on, they could get excited for your next release. And then again, if they only find out about you on Volume three, that means that they can go back to Volume two and Volume one and then for myself, I just have a page of my website that is just a landing page where they can go and check out my music to download the beat takes for free, you know, have a little demo reel. It kind of gives him a case test between each beat and then if they want to download, I have a button there, too. So that's just how I approach it. Now, one thing I haven't really touched on yet is the practice. So when you release a beat tape, it's giving you a taste of what it feels like to release a riel product to the world. Okay, so when you create just a single be, you know, you created, you know, mix it, master, and you send it out there. But when you're creating a beat tape, it's like you're preparing a product for the world. And that takes a lot more effort and practice to perfect. And not just that. So let's just go to the mixing stage now. So you're not just mixing one be anymore? You'd be mixing 10 beats, okay? With the master, you're not mixing one b, you're mastering 10 beats, and you're not just mastering them. You also have to make sure that they kind of blend together. For example, you want their volumes to be very, very similar. You don't want your list in there to be listening to track one, and it's really, really quiet than it does attract to it. It's just super loud and goes to track three really, really quiet and then, you know, as like they're driving or earbuds or whatever. You don't want them to have to turn up and down the volume. So that's where you know, mastering and keeping your volumes consistent is very, very important. But when it comes to the practice, this is just such an amazing way for you to kind of replicate what's going on in the real world. One. You listen to your favorite artists when they create a studio album or whatever. You're kind of forcing yourself to apply. You know all these things to your own release, so I can't really stress the practice enough. It's actually you know, you get tired that there is just because there is so much involved. And if you're the only person involved in your productions, like you know, if you're not collaborating with anybody, vicious your beats. If it's just you're mixing your mastering, it's very, very tiring. But at the end of the day, I do feel that the rewards of, you know, the beat tape wrote outweigh, um, I guess the pros of the single beat. Okay, so that's just my opinion on why I feel that the beat tape row as a producer is a lot better. I just feel again. Let us do a quick recap. It was just awesome branding. You know, if you're creating volume one, volume 2,000,000,003. It just allows your fans and listeners to follow you over the Siri's. Okay? Again, it shows like your skills and variety for me. I have everything from, you know, hip hop, dance and stuff like that. Again, the momentum kind of keeps it going the Siris for your listeners to listen to. And again, I can't stress this one Enough. The practice. You guys will get so much practice. You guys have become better at mixing better mastering better at, um, you know, making the most use of your time and stuff like that too. So there you go. That's why I think beat tapes are better. You guys can try it out on, you know, just let me know what you think 5. 2-1 - Mindset Before Starting [Overview]: Okay, So in this video, I'm gonna be talking to you about your mindset before you go ahead and start creating a beat tape. Because if you go about it the wrong way, it's going to kind of damp in you, and you're not gonna want to keep creating beat tapes. But if you set yourself up really, really simple, it's gonna save you. Time is gonna make the whole process a lot easier. And you're gonna be on your way is gonna make it a lot more fun, you know that you're gonna want. Then you're gonna want to create your next one your next when your next one. Okay, so the biggest thing that I have found over creatively seven beat tapes is reusability and maintain ability. Okay, so and I do that with templates. So, for example, like I was saying, with your artwork, this is my greatest hits. Okay? And if I do ever release another physical copy, um, I would just change the color. And instead of having volume 1 to 5, I would have volume 6 to 10 or something like that because I was just doing every five. Um, but again, my artwork for the beat tapes and I'll show you an image here. This is what they are right now. So for me, all I have to do is just change the number for Volume one, Volume two and then I just have to change the color and that's it. So that's really, really easy for me because I don't have to spend time, you know, creating more our artwork whatever as well as when people see it. They know that that's your beat tape. OK, it's just a different colors, just a different volume. But they know that that's the image for your beat tapes again, it's just like the branding and stuff like that. Now, the next thing I want to tell you is you want to create a good title. Now you may think we're like, obviously, but I will tell you something here. So as you can see this, this is free beats by gratitude is okay, So free beats by gratuitous and like the kind of handwriting there. So this is cool, cause that was my whole intention just to give it over free their free beats by gratuitous . Here you go check him out, like obviously not that they can use, you know, for commercial purposes or for recording over. You'd have to email me and, you know, write up a contract and stuff like that. But he gave my whole purpose. Behind this was just a handed out for promotion purposes, the free to listen to. But I got to the point where it was like, Well, I want these to be more accessible for people listen to So I was uploading them to Spotify , and they're starting to get rejected. And it's just like, Whoa, what's going on here? And they didn't like the free vite because Spotify is in the business of making money, right? It's a It's a subscription based service. So it was like, Well, I already have these printed and having 1000 of them, So I had to actually end up changing my Siri's from free beats by gratuitous to beat tapes by gratuitous. In my case, it actually worked out really good, because free beets and beet tapes was actually the same amount of characters. So in order for me to change this online, because if you go to its gratitude to start column slash free dash beats that website link . You'll see that I have beat tapes by gratuitous with this same image now. But since these air physical coffees, it's like I can't change it. So what I'm trying to tell you is you have to be thinking about a good title that you could be using for the long term. Because I'm telling you first hand, this happened to me. You know, you might be thinking like, Oh, it was pretty stupid. Teoh Name it free beats by gratuitous. But again, my whole soul purpose was the handed out for free. And then as it kind of progressed, it kind of grew into something a little bit different as kind of like who? I didn't see this coming. So in my case, my beat tapes are actually just called beat tapes by gratitude is volume 123 and that's Yeah. So something to think about. Okay, Another thing is attractive artwork. Okay, So, again, sometimes when I, uh, for myself when I released stuff, sometimes I'm kind of like I don't know, I don't really care so much about the presentation. Sometimes I just more would rather someone who doesn't like the beats, Whatever But this is an industry where people really do care about looks. OK, so when it comes to your artwork, when it comes to like, you know, the way you dress, the things that you say, you know, all that kind of stuff. People pick up on that stuff and they care. So my first beat tape, Uh, this is volume one. I'll show you the image here. This was what my Siri's started with. And it was This is ugly green. Uh, you know, the Volume one? It was all kind of like, kind like scribbled. It was all like, you know, off of a program called Escape Again. I was just trying to everything free and cheap because I wasn't making any money, really, Back in the day as I was, I was releasing these. So it's trying to do everything as affordable as possible. But as you can see, it is a really ugly image, okay? And then comparing now to the same volume one with the updated artwork. As you can see, it's just a lot more presentable. And then also, I think Volume five, I started to change it a little bit, got a little bit more that are looking. And then, um once I released, I think Volume six I was like, Okay, and that's where I released. Ah, more attractive image. And once it started to go on to Spotify, I was just kind of like a I guess I should really be spicing up this image, so that is presentable to if you know, someone who's never heard of me before. They hear one beat. They like my style, you know. At least it's more attractive for them. So again, I had to go back to all those old images, and you re update them with Volume one volume 2,000,000,003. But the thing is, as we go further on into this course, when I created an empty three version for people to download, I embedded the image into the song. So, for example, when they would double click the song and it would pop up in like Windows Media Player or iTunes or whatever it was, show the icon of you know the artwork. So I had to go back to all those beats, had to change the image for going one's going to each one. Each volume had like 10 songs, right? So I had to change out the artwork for all that from old ugly one to the new updated one, just to kind of keep it consistent. So as you could see, that takes a lot of time and energy, and it kind of dampens, you know, your effort going forward. Right? So, you know, creating the beat tapes and just putting it out there was fun, fun, fun. And then you kind of get to the point where now you want to structure yourself. You want to, you know, with your brand. You want to stay consistent. You want toe, you want to look professional. And if I had, you know, the old volume one and then on Spotify, I had the new you know, Volume one and stuff like that. You know, nothing is consistent. So that's why I took the time to go back and change it from free beats for gratitude is to beat tapes by gratitude. Is I updated the artwork? Um, so I wish I would have done this from the beginning, but again, it was just how I was starting up. I wasn't really making money. My whole mindset towards the attractiveness to stuff. I was just like I just want to release the music out there Wanted out there at the time. You know, I didn't even have Photoshopped. I have photoshopped now, which is how you know I am doing some things. I'm not super good with photo shop. A lot of times, let's take a picture and then always puts a text over it and the needs of filters or whatever kind of make it, you know, look a little bit more presentable. But, you know, the images now look a lot better than what they did before. So again, you know, that's just all to do with the reasonability and maintain ability. So if you have attractive artwork, you know you're not gonna have to go back and do all these things that I'm telling you. Because I'm telling you is like that takes a lot of time and effort and it just makes you tired. And then now when it comes into, like your next beat tape, it makes it a lot easier. But it kind of dreamed you a little bit too. Okay. And another one you guys want to think about is how many tracks do you want on each beat tape? So for myself, you know, I think I fluctuated a little bit in my earlier volumes, but I think I've broken it down to about 10. I found 10 was a good number again to get your practice in a swell. As you know, Beach Release gives your listener quite a bit of music to listen to attend. Now, if you were thinking, Well, I'm gonna release 20. It's just like, Well, the thing is, how much effort are you putting in as well as the not a time you're putting into each release? Because if you release a tape with 20 tracks, it's like, Well, you could actually just cut that in half and you could have actually had two releases. So you could have broke that up and you could have released one every three months since, you know, and so that you could still have time to do other things in your life because, you know, as I have progressed as a producer, just I've just been feeling that everything is about balance in your life. In a sense of yes, you want to put time into music But you also can't forget a vote going for a walk or reading a book that's unrelated to music. And it's just stuff like that. So again, I'm just passing these things onto you for you as a producer so that you can enjoy what you're doing. You can get your name out there, your music of their your brand out there, um, but kind of give you some of these shortcuts to speed you up. So for me, I have found that 10 has been a good number for the amount of tracks each release. But you guys can, you know, choose for yourself if you want to, like seven or 8 12 Whatever is, I just feel that, you know, if you keep it consistent, you know the amount of work that's gonna be involved, your listeners will know. You know how many tracks it is. And it kind of creates just a Siris for your be tapes. Okay, The next one. So do you like your track choices case? So this is a big one too. So as a producer, I do like listening to my own beats. Okay? Like, you know, So as you create your be. It's kind of like enjoying your hard work. Okay, so you know, if you fear at work, you put some earbuds in whatever, and you could just throw him one your beat tapes. And as I'm listening, there's some tracks that I really, really like. But then there's some tracks that were just that, you know, they always find myself hitting next. Or this is a big one, too, if you're not listening on your buds and you're listening on a speaker that is in the public. So, for example, if you work on like a construction site or whatever, you have people walking in and out of the room and stuff like that. And nowadays there's so much music out there that nobody knows, really like when it comes to like, who's this artist or who creates this be just because there's so much music available. But what I'm trying to say is, like so some of the beats that I've created on these beat tapes it's like if I'm listening to them on a speaker in a public area such as a construction site and I'm in the room, someone walks in, you know, some beats. I don't care. It's just like, you know, Yeah, I like this beat, you know, and I could have a conversation of that person, but there's some beats on that tape, which I just find it so annoying. And it's almost embarrassing. Now, from their point of view, they have no idea. Like they have no idea that I created the B they have. You know what you mean? But Justus use the produce you're listening to, and you're kind of like you, and you just kind of hit next or whatever, Right? So what I'm trying to tell you is when you are putting these beats onto this beat tape, make sure that they are beats that you enjoy too. Okay? Because if you're gonna be listening to this beat tape, you want to be able to, you know, play that track in a public place and not have to worry about you know, that kind of awkward feeling of like, Yeah, I don't really like you. I don't know. It's hard to explain because it's like I still like the song. But maybe if lyrics were over it, or depending on the environment or the situation you were in Sometimes obviously some music fits that situation better than others. So it's just one thing to think about because, like I said, I've released seven. And you know, over the years of listening to those these beat tapes over and over again, there's just some tracks that stick out, and it just kind of like you and I always find myself heading next. But the thing is, also wanna have earbuds in? You know, I feel more comfortable this into that track. So, you know, at the end of the day, just make sure you're choosing tracks. Which do you enjoy to that as you're listening to them in a public place that you can feel comfortable? You don't listen to it with a stranger or with a coworker or whatever. Okay. And there's two things I want to talk about, which aren't on this list. The 1st 1 is giving your music away for free versus selling it. So again, my whole purpose behind these beat tapes is really just to give them for free, because I would rather ah listener listen to my music rather than if it was for sale and they don't buy it. And now they're listening to someone else's music. So that was just my mindset behind these beat tapes, and that's how it's kind of carried through. Obviously, you guys could do whatever you want, but I've just found that that's that was my whole purpose. Behind these beat tapes is just for promotion and branding purposes. Because the thing is, you know, if people actually do start liking your music, you know things are going to grow and they're gonna progress. And then maybe you can kind of trail off and you can maybe start creating something on the side, like for myself. Like I started to create, like, a serum, presets or sound one presets And, you know, maybe other producers start to follow. You know, like they like your beats to cause just cause someone is a producer doesn't mean that they don't listen to other music or other people's beats. So this is kind of mawr, an entry into me as a producer. My brand, you know, people are kind of getting to know my style, what I'm capable of. It's kind of more like a business card. That's kind of how I treat these beat tapes. And when it comes to the selling versus giving away for free because I just think that there's so much music out there nowadays. You know, people can torrent or they can just, you know, stream or whatever music is so accessible to people. And I would rather someone, uh, be able to easily obtained my music to listen to if they want to listen to it versus, you know, having to sell it and nobody listens to it. So again, that's always been a debate. You guys can do what you want with it, but that's that was my approach with these beat tapes. And then the second point I want to talk about is creating a greatest hits. Now, this is just something that I have done, and I didn't even think about this Intel. I think it was actually my fifth beat tape. So how I approached it was I just thought that every five feet tapes I would take my favorite beats off of all of them, put them together, and I would create a greatest hits, and I just thought that that would kind of structure and kind of break it up a little bit because let's say released Volume 11 is just like, you know, like each volume is its own volume. But I just found that if I kind of broke it up into fives, Andi just kind of released a greatest hit. It allows me to keep content coming out as well. As you know, this is kind of the cream of the crop. So, for example, if I goto Volume one, it's like, Well, I've already took my time to create these beats and hand select what I want on that tape, right? Like I already took the time to pick my favorite beats to go on there. Now this is the favorite beats out of those five beat tapes. And so when someone listens to this, it's like I just feel that, you know, these are the best beats out of those five feet tapes, which you know, kind of sift down when it comes to actually create the physical beat tape. You know, there's pros and cons because, like I'm saying, like CD players are becoming less popular, obviously like with new cars and stuff like that. But a lot of people still do drive older cars, so there is still potential. And the thing is, you know, this, like I was saying, is like a producer's business card. So if you do have this out to somebody on the street, or even to a family member or whatever, old friend, you never know who's hands. This is going to end up in. You know, it could be someone who really benefits you, who has connections within the industry or whatever. So that's just the way you know, kind of the industry is. So if you guys do do a run with a beat tape, I would just recommend doing that kind of a little smaller order. Maybe like 200 to 500 I would still recommend doing like this kind of greatest hits thing. You don't have to do the physical because again, you know everything is still downloadable on my website. I just decided I want to try a physical copy. The last one I want to say about this with the whole the whole beat tape stuff, is your progress for me. Like I'm saying, I really seven so far. So for me, I can go while we back to Volume one, and I could look, it's like, how far have a cup in terms of my mixing in terms about mastering in terms of my feet creation in terms of my brand in terms of how much content I have released out there on. And if you continue to progress like this to you will see a progression. You will see how much work you have done and put out there, and it's just kind of ah, kind of rewarding. You know, it also allows you to sometimes kind of sit back a little bit because with your music to sometimes it's just time. You just need time just to, you know, your music's out there. Hopefully, you know, people are listening to it. You guys could be checking your stats on like Spotify or whatever and time. Sometimes it is what it takes. Four things that happen. And you know, if a year goes by two years ago by and if you have released two or three peat tapes, you know you can always go back and see how were they performing and how far have you come ? Are you on the tape? Five. Now it's like That's a lot off. That's a lot of effort you put in, right? So that's my mindset before starting. Okay? It's all about creating a template. Um, because you want it to be simple and you want your time to be, um you want to use your time most effectively a good title. OK, so don't use free in your title. Because if you want to be really seeing on like Spotify and stuff like that will be covering that stuff in a later video. Eso gang. Since I use free, I wasn't able to do it. I had to change all of these. And I believe this having a volume six or seven. So it wasn't like it happened in Volume one or two. It was like Volume six or seven. So way deep in, it's like that's six times 10. That's over. That's like over 60 tracks, which, you know, I had to change all this stuff. You know, just I it makes you tired. You know your artwork. Like I'm saying, even if you are kind of like me and a sense of your like Oh, you just want your music out there, take the time and just make some attractive artwork. You know, you can hire somebody with these websites now or like I did. I just took a picture of my studio and then I just kind of spice it up a little bit with photo shop, and I just put texts three beats by gratuitous volume one. What or whatever. Is there enough freebies? Be tapes? Um, how many tracks again you You want to balance your time first? The effort. You know, in my opinion, I don't feel it's necessary to be released in 20 tracks on your beat tape just because that's so much effort for a free product. Um, I feel that 10 beats, give or take is sufficient. It allows your listeners to really enjoy your music. Still get excited, you know, building that momentum. But it also saves you the time and effort of creating. You know, it still takes a lot of time. Don't give you wrong, but it just cuts that time down, and it allows it to be a Siri's your tracks. Trust me, just make sure that you choose songs that you personally enjoy. It will make you enjoy your beat tapes a lot more and allow you to listen to them in public places and then just the progress. It's so cool to look back and see. It's like how far become like for me, Even with these courses and stuff like that, you know, I can see it's like that was my first course are released and even if you go and if I go in , like listen to it, it's kind of just like like I could just tell, like, you know, I'm just starting or whatever. Um, it's just cool just to see where you've come. Okay, so that's this video we will get into the next one. 6. 2-2 - FL Studio Template Overview: hurry. So I just want to talk about you know, the benefits of having a template. So in a later video, I'm gonna be talking to you about a Photoshopped template for your artwork for this beat tape. But in this video, we're going to talk about fl Studio. That's the doll I use. But whatever doll you use, you know, you guys could be creating your own templates within those Dawes. And then whenever you are going to start making your beat, you already have things set up, and it saves a lot of time. Okay, So for example, in my case, it's like, I know I'm always gonna have a limiter on that track, because when it comes to the mastering stage, you know that that's just ah, a part of mastering your limiters. Always last to prevent your distortion. Um, I have a loudness meter. This is ah, a kind of a newer tool that's out there. This allows you to get L U F. S. Um, you know, if we're allowed in this normalization, I'll cover that a little bit more once we get into Ah, more like the mixing and mastering and export videos. Um And then I also have, like, a compressor on here because it's kind of a little trick in the industry. As you're making your beat and mixing the track, you can actually have a compressor on the master bus, and it makes your mixing a little bit easier when you're on the individual tracks because they're all being summed into this compressor is kind of gluing it together a little bit nicer for you. Um, and as you can see further on here, you don't have like, a river by Have another reverb. I have a delay. I have a serious separation for wide nous. I have distortion and parallel compression. These are just tools that I use very often as a mixing. And instead of me having to go in set up all these sends there already created for me. Now I'm gonna be showing you a video that I've released for free on YouTube. I just added it into this course because that's a video where actually show you how to set up a template like this. But I just want to talk a little bit about it before we go to that video. Okay, so a few things you want to think about with your template is you have to be thinking about speed, too. Okay, because if you open up too many plug ins within your template, it you know, it always makes the project slow toe open. And you know that kind of gets annoying, especially if you're track only ends up with, like, three inch demands and, like a little drum loop. And that's a complete project because sometimes that happens. Sometimes you only have a certain amount of instruments, a certain amount of sounds, and it is a complete project. And then sometimes you know you have thons stuff, and it's a very, very big project. But on those little projects, if it takes a long time to load because of your template, you don't imagine here, you know, we've just had tons and tons of stuff, tons of plug ins, always opening when you know we're not even using them. So that's just one thing you have to think about. But for me, it's like when you create your template over your years, you will keep coming back to tweak it, and you will kind of fine tune it to get it to where you want on Ben. It's just a matter off. You know, this is your template. This is how you work. So again, you know, if we just go to the master bus here. So like the time it takes for me to take out a limiters click here a ghost select, I go dynamics. And, you know, I go at the fruity limiter. Or in my case, I use Fattal's or plug ins or going pro L. But it takes a lot of time, every single track, like so again, if we go back to our beat tape, we have 10 tracks. You know, if you've only made the B and here in your mixer, if there's nothing set up for you in terms off, you know, um, sends or on the master track, it's like now you have to go in, set that up every single time. But if it was already set up for you, it's like that just saved you, like, you know, 30 seconds to a minute with the clicks. And sometimes it's not just the time. It's also the effort that you have to do to get to that point. And so I'll just give you a little quick example here again, I show you most of this stuff, um, in the free YouTube video. But I just want to cover this just, you know, it is more updated. So here, just take a look. An instrument, years going guitars. And this is how lately I've been making a lot of my beats is just with a single guitar note . And I actually have created a course on this is called organic beats. You guys could just search it up. And so I just take a single guitar note, okay? And, um, I just normalize it. I trim it up a little bit, making a little bit shorter, and I put an envelope on it. And this allows me to now play this guitar as an actual instrument style, back to release you just a little bit. And if you just plays guitar, Okay, so we have this guitar right here, and so I'm just gonna wrote this to track seven. So there's gonna press control in l or you can just right click and go Channel roading goes roots like channels to this track. Because there had it highlighted. Also, another little trick is if I f two and backspace and remove it, it's still being rather to track seven. But on here, I'm just going to push, shift and click. And I'm just gonna have to just to give that a color. Okay, So a trick with FL Studios. If you have a colored beforehand before printing to your mixer, the color follows it. And again, that is just ah, little quick trick as you're mixing. Because again, if you're mixing on a big project when things were all color coded, it's be too up because everything aligns that if this was colored and right now, let's just click it in here. And what if I just go? Um, G tar, I'm gonna click here, and that same blue is right at the top. OK, so hit that. So as you can see, you know, guitars here, guitars here and guitar is here and again. Once you get into a big project, when everything's color coded all over the place, it allows your workflow to be fast. So with me and my template, like so I have two rivers here and again. That's just for a different flavor. But at the same time, I can still always add a river onto this sound. Or imagine I'm just going to go Drums started. I always type in capitals on this mixer Insert here. So go drums bus. Okay. Or drum sub the sub. Okay. And we just give it this green. So imagine I just had kick one, and I also had a kick to, so I'm just gonna click both of these. I'm gonna hold on control and shift, and you can click on the other one. We're gonna hit f two, and it is gonna give him both that same color. So now, as you can see, kick to is going to the master kick kick one. Here's going to the master as well as drums Bus. So what I would do is again I'm gonna hold on control and shift, click thes and get a right click and go wrote this track on Lee. Now this drums busts like these kicked These kicks have to go through the jumps bus first before it goes to the master. As you can see in the cable case of Kick one is going to jump a bus to. So now what? I was trying to say is like on this jumps bus, like you can add, you know, a reverb. You know, Imagine you're working with a piano here. Whatever. It's not too often You had reverb on drums, but what I'm trying to get across is imagine this was like a piano and maybe had two recordings, and you blend them together. Whatever you can, add the river one here, and you can also use these re verbs if you want. You know you can cut a dial than what you want, and it's just really cool, because template with the sands of stuff allows you to mix really, really fast. Um, so the biggest thing when you're dealing with sends is certain effects, such as reverb and delay sold from the river pier. So the dry is all the way at zero. OK, we don't want the dry what the dry means. That's the original signal. The wet is your affected signal. OK, so if we were to apply this reverb effect on to the actual guitar sound, then we can kind of blend in between the dry and the wet to get where we want. Okay, but if it's being used for just ascend than on the send. What we want is just the wet. Okay, we wanted just for the effect. So in this case, get if a perfect atar here, Uh, as you can see, the guitar is just going to the master I have no effects on. So what is played again? So, you know, there's no effects on it. Now, if I click this right here, you can see that the cable is routed. So Qatar one is going to the master, and it's also going to reverb one, and I can simply blend in the amount I want. And when it comes to the mixing time, you know, it's really, really cool because, you know, you can use the same reverb for multiple instruments, but in this case, you can see the drums bus. I've only apply just a little bit on the guitar, have added a lot more again drums. You really don't apply reverb on the drums too often. And if you were to, um, you know, you would often use like a low cut to really carved out lows. So it's only a plan to replace the highs that were drums hit hard, and then you can still get that effective at the river up into the more mid highs. So just for an example, now I'm gonna play the guitar with the effect. Okay, so now let's play the second River Bond, Kid. We turn these off case a very, very dry worst try the second river with all of it together. Okay, So just applies. Most of these effects also like some delay. So the delay is very, very quiet was really boost it up care, dial it down a little bit. So the stereo separation is very, very powerful. It craze wide nous. So let's just open up the delay one here, though, So we'll close the river. So again you could see I put the dry away to zero the wet for 100%. And you know, you can always change this stuff up each song, but it's already open for you. Another thing I do on the delay is and I think I was not in there even though I don't have it in the river herbs. So, on the delay, I have opened up in e que and have carved out some low end that way. It kind of cleans up the actual delay sound on. And it's not really interfering with the original signal as much a kind of also, you can do it the other way. So many times I also put ah, high cut filter, and this is kind of muffled the delay. And again, like I was thinking, it allows it to not really get so much in the way you still hear it. You still here? You know the the awesome sound of a delay, but it's not really interfering with the original signal. What I'm trying to say is a lot of times you can kind of boost up the volume a little bit louder and get it's not really interfering as much. Okay, so this program, some notes in here just for you guys to kind of hear how it sounds, I'm just kind of tinker with, you know, are announced. We'll that just a little kick drum in here to, um, make it sound a little bit more realistic. So does add the guitar in here. Got a new pattern. I'm just gonna put on every single beat. Okay? And what is put the kick drum in here. So this is what it sounds like. I was gonna kind of tweet thes knobs. So the stereo separation more will increase it. Making really what kids look into style back. But I don't want fill it up with Q on each of these weigh kind of carve what we want and just as you can see, like, you know how fast it is Cut some of the guys. So I was gonna highly both of these and we're going to just keep the highest way. Yes, as a distortion on this. This is really good for fullness. Turn it down here. Now. One thing I will tell you guys before we wrap up this video is there's actually two ways that you can affect the amount of effect. OK, so the 1st 1 is down here like I've been showing you with these dials here. However, if you are turning down this what you're actually doing is you're actually lowering the volume to go into the send. Okay, So what that means is, if less volume is going into the sand, that means that less volumes going into the effect which means that the effect is not being pushed hard. Okay, if you set the effect to have a large amount and if you decrease the actual volume, so you're still getting tons of effect, But now you're actually just lowering the volume. So there's just two different ways now. One other thing I talk about quickly is there's also signal routing in terms of Siri's and parallel processing. Okay, so right now, well, the signal is going into each of these tracks you know is going into the reverb is going to revert to its going into Syria separation and distortion. So that's in parallel. Okay, so what it's doing is it's actually kind of tapping off this point, and it's whatever the signal is at this point is kind of duplicating it. And now distortion could do whatever it wants with it. And then then it goes to the masters. If you click on distortion, you can see that goes to the master. So what I'm trying to say is, from this point, this signal now becomes in parallel. So you able to have a lot of different parallel tracks. But if I were to put let's say an e que, on here, okay. And If we manipulate this sound this guitar sound, it is actually gonna affect the signal at this point. So what that's doing is that is actually the signal is changing going into all of these. So, for example, I kind of here there's a little bit right in this area. There's a certain note. Let's listen to it again. He's got a soul it open. I think it's right around there. This is kind of ah, opponent on that. Little more like around there. Just bring that back a little bit. But what I'm gonna do is I'm also gonna bring back up the highs because, you know, we still want a break. Just kind of those frequencies. Tradeoff way. Okay, so again, what I'm trying to say is this e que is actually in Syria's. So whatever we do, you know, if we're gonna add on another e que another compressor, the signal is getting affected more and more and more. And then at this point, all of these effects are actually being now sent a different audio signal, depending on how aggressive you are on your settings here. But if we have no effects, that means that it's just taking a dry signal and were affecting. Uh, you know, this signal, We're just taking a parallel path, and you know, you're applying these effects on, But if I were to add an e que on. So since this e que is in Siris with the signal, it is, you know, applying what I've done here, Okay? And then at this point, all of these inserts are actually seeing this signal now, OK, so it might be a little bit confusing, depending on where you are in your production career. But that's kind of the gist of a template. And you know how to use this template a little bit in the next video. You know, I do a full breakdown. This video was more just kind of an update. Kind of get you guys started. You know how to be creative, Because again, like I try to tell you guys through this course is all about your time. The more you can set up these templates, the more that you can set up. You know, things that are going to save you time yet still produce high quality and not hinder you, You know? Why not? Why not take advantage of it, right? So that's my template. That's how I use it. Hopefully you guys enjoy the SEC, this next video and I'll talk to you guys in the next video. 7. 2-3 - Setting Up An FL Studio Template [Walk-through]: Okay, so here in fl studio, people file, you go new from template. Um, usually, I usually just work on an empty. So as you could see, this is like what an empty template would look like. You know something in there you can add in all your own effects and etcetera, etcetera, but legal file new from template. As you can see, I've created my own gratuitous. Okay, so we click that you're going to see that I have my reverb place. There's a Parisian, and I also have parallel compression on here, too. So what I've done is I have applied a river and inside there you turn down the dry to zero and you want the wet because the wet is like your effect. And then if you click on like, let's say this, this one can click here. Then this is how you can blend in how much effect you want. So let's say you have a piano or guitar and you know something else, like some plucked sound. If you want the piano to have less reverb, you could just do this. And if you want to clock to have more reverb, you could just dialing more. And then I have also applied an e que On each of these, in case ever want to fill, throw some low end, which I do probably 99.9% of the time. Just so it doesn't muddy up my low end so that my drums, you know, it can hit through pretty hard. And then sometimes we do on the high end, too. And then same with, like, the delay as well, Uh, stereo enhancer. I just said things that kind of like a default general idea. And then, like, depending on what track I'm working on, you know, I want more distortion. I'll add more distortion. And then, if a certain sound I want to have more distortion on such as, like, lead, then maybe I'll add distortion on this insert as well as wrote it to their for want. Like you don't do different flavors or something like that. So that's just kind of a quick overview of how I use my mixture template. Um, no. So, like, if I had, like, an instrument here, like guitar Okay, so now if I wrote it to, like, let's say six, Okay, put that to six. And then if I come here So right now it's dry from lots of effect to see Guys, come here. Delay stairs separation, distortion. All this stuff. So on bond. And then again, whatever you don't want, you could dial back. You just turn off, etcetera, etcetera Case. So I'm just gonna show you how to set this up. So how you set up your own template from scratch is again, you're gonna go filed new from template an Empty All I do here is held on shift and click or you pushing the middle scroll wheel. Or you can press F two, uh, mystical river and just have to to give it a color. Or you can click this and choose whatever you want. You know, this is how you make it your own. And I think up here on the arrows on, uh, to see what they have here view and colorful mixer. So you can set these two, like, really extreme colors. I usually right now I have my that medium anyways, so there's a river and they just go delay okay. And middle set up some stereo separation. Okay. So, like I was saying like What I do is on here. I'll open up like a reverb, so river and free river. So the wet I put full to dry down. Now for myself, I usually put just a little bit of pre delay in there. It just helps to revert to stand out a little more. And this decay. I'm just going to turn down just a little bit. You could even increase this loca like I was showing before. Like like I was doing it e que But you usually apply an e que Just because just lost more flexibility. And then I will increase this high a little bit just so that your river get like that shine that shimmer like the bright end And then all this increases damp just a little bit, just so it doesn't dampen like my reverb like tons again. This is just like a general template that I have that I can always come in once on every single new beat I could tweak it, you know? So the river prison sound the same for every single track. Or, you know, you can always tweak this kind of stuff or whatever you want to do. So I just leave it like this for now. Um And then here's school, like an e que and the food pyramid. YouTube Or just look at that. The delay is the same thing. Eso delay the dry going all the way down. And then however you want to set this up like usual with my delay, I will just put a little bit of offset in there. Maybe the feedback just a little bit less. And then I get up putting Q and here, too. Okay, then on the stereo separation, we're going to click the arrow and then where I have stored it. So imaging and produced to your enhancer and then whether you want to go left or right licious go left this time and put it 4.5 again. You can always hit F one and help menu comes up and you can read this stuff for every single plug in and explain what it does. So this snobbery here is this one here. Okay, so this is the base of of what it is. And then even on the master, what I would do is that like a meter plugging on there so you can kind of monitor higher levels of doing, like our mass your you're peaks and stuff like that. And then I'd also put, like, a limiter on your to just that. You don't have to be doing all this stuff on every single mix. It's like you open it up, you make your beat. And then, you know, if you do decide to master in here, it's right there. Or if you want about two, though, Okay, I send out to say this you just single file you're going to save as, um I'm just going toe my sea and down here in program files. Um, you can come here to image line. I'll see you 12. It's in your data data, whatever you call it. Uh, on. I think it's in projects. You're gonna have templates as minimal. And then you just I just creating folders, so just go like tutorial Capitals tutorial. Click this, you know, tutorial. Okay, so now if you go file new from template, it won't be there. So you do have to close that full studio. Reopen it. Okay. And so now, previously, we opened up the empty template. So from file new on the minimal. So we went empty. That was that. And then here's the tutorial. Okay. Now, if you want to give it a description like I did, what you're gonna do is you're gonna come here to projects templates minimal and then in tutorial. So, um, what you can do is just go right Click new and you're going to go text document and, you know, tutorial dot nfo and yes, agree, changed the extension on If you don't have these end extensions, I think it's in view. And then over here on options, you'll change folder and search options and in view, Tijuana uncheck hide extensions for known file types. So watch this. If I turn on and apply the N f o and F o P should be gone, which they are, so apply it. And then that's how you can change your extension all at the end of your file name. And then in here I just had a a text editor called sideline text. You just go description equals. Then whatever you want to say so description for this tutorial and say that some people file new from template says description for this tutorial. Okay, so if you come here, so look like let's go empty. So if we open up one of the empty ones, you can see that they have their descriptions of an empty template, and then they have this menu icon index, and you could just, like, set one of these numbers, so I'm not sure what the range goes to. So if we go to tutorial and I'll put it went to the same number. So again, I'll close. Fl Studio one more time. Case single file new from template. And then there has little icon. Where is the gratitude is one doesn't does famous the empty one. Okay, so now all you have to do is like in my case, I click on gratuitous and it loads and it's done. So I have all my stuff set up. So again, if we want added guitar, I just at track six year so nothing right now, but factually the reverb and delay and all these. And there you go. So that's how I set up a template again. If you guys want the f. O. P. For my template, the download is in the description. All right, so thanks for checking out the video. Hopefully, you guys like my template on If you guys want more videos. You guys didn't subscribe. Just stay tuned for more and I'll talk to you later. 8. 3-1 - Creating the Beat Tape [Overview]: All right. So in this section of videos were just talking about actually creating the beat tape. Okay, so the first thing you want to think about is again, like for me. I am thinking about you know what genre. So I like to kind of, you know, many choose Herbal three hip hop through dance for urban again. That's just kind of random numbers. It could be five dance to hip off stuff like that for your style of music. But the reason why I think like this is because I don't want the whole beat tape to be all dance music, because I feel that that would give my listeners, um, you know, if someone was new to listening to my music kind of the wrong impression of what style of music I create, because I like to create some dance tracks like to create hip hop urban, any kind of beats. And that's just what I like to do. Obviously you guys do whatever you want to do, but you just got to be thinking about, you know, when it comes to actually creating these beats. Is your style always the same? And if it is well, then that's that's what it is. But for me, my style isn't always the same. So I don't want to be having too many hip hop tracks or too many dance tracks to give the listeners you know if they were new or whatever. Um, the wrong impression of my style of music. So let's just something to think about as you're creating your beats or if you have beats that air stockpiled that you just never released. That's also really beneficial because you could just kind of pick and choose. And it kind of saves that step of creating. And then you're just kind of into the arranging and the mixing and mastering stage stays you that step. So it's just one thing to think about is when you're selecting or creating your beats. Um, you know, think about what style of music do you want on that beat tape? Okay, now, further into this section, we're gonna be talking about, you know, into the mixing process. I'm not gonna be actually showing you how to mix a beat. Okay? I do have other courses showing you that kind of stuff. This is gonna be more about when the mix is actually done. How do you prepare that mix? To get it into, like, the mastering stage? Uh, you know, for this beat tape in terms of your in and out times your export settings, uh, you know, the expert process of how I do it, For example, Uh, are you just gonna export the song and then bring it into one dog project and master all your tracks within that file, That project because there's pros and cons to all that stuff. For example, if you have 10 tracks and you bring 10 mixes into one project and you master them all in there, uh, that allows you to kind of reference them all in between each other really, really fast. It will allow you to hear your bowling balancing and stuff like that. But according to that is just you know, it takes Atmore more space in your computer and stuff like that. This is more files to deal with. Um, so, yeah, when it comes to the mixing stage, I was going to kind of give you a rundown on how I set up my songs to get them ready for the master in stage. Okay, now mastering is when you take that mix and you might tweak it a little bit with some eq you. You're bringing up the overall volume of the the actual songs on then The biggest thing is just a level consistency. Also, sometimes like you. Q. Balance. You want to be looking into that. It's a little bit, you know, if one super bright or ones super dull. You know, you just kind of wanted maybe balanced in just a little bit that way. But the biggest concern really is just the level consistency. You want it so that when someone you know his next every single song is really, really similar in volume. And nowadays there's, uh, love Miss meters, you mean has a really, really awesome meter. There's one that's free. Believe this one that's paid now, so but I'll show you all that kind of stuff as we proceed in the mastering stage. You know, you have a cure, fade outs and you're spacing. This has a huge impact with somebody listens to your beat tape as a whole. Okay, so I know nowadays since like, you know, with digital, we have like playlists and we have we could listen to this artist and then right away it jumps into this artist or that it jumps into this artist. But if someone were to listen to your beat tape as a whole from beginning to end, the way you structured it in terms of your fate outs and the spacing So, for example, you know the songs ending and, you know, you might be counting 123 and start rate there, or it might just like one bone. You want to start quick, you know? So whatever is you just kind of that's something in the mastering stage and it all comes down to when you're actually listen to your beat tape as a whole goes from song to song. Um, you will kind of here doesn't sound natural, Does it kind of fit the emotion? Does it kind of enhance the motion? Okay, so now that you're actually done like like the mastering whatever in terms of like, the loudness of exported them and stuff like that, what I do is I usually put them into a playlist, and I was structure my songs in which I think they will, you know, kind of sound best. You know, for me, it's all about kind of emotions. So it's kind of like the first song doesn't have the most impact. And then what comes after that song? And then again, that's rolling the fatal space and coming to play. So you know, you might need to lengthen one or shortened one or whatever but on the testing on different systems. So once I have my songs, export and everything are all structured. I have almost only spacings. I will listen on like earbuds headphones in my car in my studio, maybe maybe on TV or, you know So it's just about kind of listening to your tracks on different systems just to hear how your music translates into the real world. Because, you know you don't really want to release your music if you only listen to it into your studio. Uh, it's just one of those best practice things. Listen to it on multiple systems. Hear how it sounds, you know? Is it sounding how you want? Is it balanced? Um, and that's just going to save you time later, because again, once we release it, once it's out there, it's a lot harder to change than if you just do it right the first time by taking the extra couple of minutes and then the I s our C code. So what, these are you embed them into your file of each song. And if that file ends up in like a radio station or whatever, this is what they can use to pay you royalties. It goes through, like in here in Canada, go like so can. But in the States you guys have, like as cap in B m I and stuff like that. See, Sack, I think to. But it's just I'll cover that with you once we get into that stage. When I actually released the physical beat tape, this was through dis makers and they were awesome. I'm in Canada, so sometimes it's kind of hard to find a distributor which is affordable and all that kind of stuff. So dis makers, I believe they're kind of with CD, baby, that kind of a sister company or whatever, But as I did like the physical release with them, you know, they assign all their own eyes or see codes, Aziz Well, is when you are actually distributing your beat tape for me. I was using Destro, kid, I still and at the moment to release the tapes on the Spotify and stuff like that. They also give you the SRC codes again. It's just like anything when you're releasing a product when it comes to you PC code or if it's like a book is having an ESPN number in this case is this is the highest are I s our C code for each individual songs. So in case it plays, they know that this money goes to this song, which would be this artist kind of thing. Okay, so with the creating the beat, a process just to go over it again So the genre again, I'm thinking about variety for my listener. I don't want it to be like all that, like dance heavy or hip hop heavy. I just wanted to be a nice balance in terms of my skills, Um, you know, and the love them to enjoy that when it comes to mixing the beats, Um, mixing is a very, very tricky thing. It is. It takes a lot of time. It's an art, Um, especially when you're mixing 10 beats, which are all going on the same beat cape. For example, if you just mix single beats and just release them out there, a lot of times you don't really have a reference, so it might sound good. But when compared to another track, it's like, you know, it's not sounding so good. That's also another thing to mention in the mastering stage. A lot of people do use reference tracks. So what that means is they will take a commercial release, you know, one of their favorite songs on the radio, but also bring that into their music program and they will switch in between their master to the commercial master. And that's kind of a reference point because the commercial master, it's like, you know, you have the best in the industry working on these tracks, right? You know, they're very, very expensive rooms, very well acoustically treated very, very good ears. These people have, you know, very knowledgeable. So if you are referencing off of commercial track, that's a nice little trick to do so that you can kind of, you know, that your masters kind of in the vault in the ballpark. So just to continue on with the mixing. So, like I say, I'm not gonna be going over how to actually mix your beats in this course. But I'm just gonna be showing you went to your mixes, actually done how to get it ready to get out there, Okay. And then they went to the mastering. These is just kind of the biggest points that I want you to understand. This is like the level consistency you're spacing and fate over because that's emotional and impact. If they're listening to your whole beat tape, you know, if they're on their phone and they went albums and they chose your beat tape and they want to listen to it from beginning to end, you know, they're going to get the most emotion out of what you have created and prepared for them. And then you have testing on different systems again. All this stuff takes time tiring, but it's the difference if the difference between being confident when you're releasing it too. You know, if you always listen to into your studio, you kind of ah, blindsided. Okay. You only know once rate. So because a lot of times, like in your room, um, certain frequencies are boosted or their canceled out see Might be mixing too much of this in or not enough of this. And so when you're just listening on these different systems is just giving you a reference point, and you can easily come back a couple quick changes and get it to where it sells balanced and in the eyes are seacoast just allows you to make your money, if you know, even if people are streaming it again. My purpose was not for again making money off of these tapes. But since they are on Spotify and iTunes and stuff like that that people do purchase, you know? Yes, I make the money. But that was not my purpose behind this. But it's just something to cover for completeness of this course. Okay, so let's get into the individual videos kind of covering, you know, creating the beat tape 9. 3-2 - A Mixed Beat Peek: Okay, So in this video, I just want to give you guys a little overview of one of my mixed beats that I have currently released. It was on my beat, takes by graduates Volume seven and the track is called Keys for Christ. Now, as I was going over this beat, I noticed that the way how he mixed it was not, I guess, proper. However, I think this is gonna be a good example, because it's also going to show you as long as you know where you want to get for the end result. That is really what matters, but in proper terms that you do want to be mixing your track to like that minus six decibels. You know, that's typically the loudest you want your peak to hit, and then you would move into the mastering stage. But because I've mastered various mixed and mastered this track in the same FL studio project, my levels were actually quite loud going into my master and on the master track, I actually ended up turning down the volume. Quit a bit. So as you can see here on my input, turn it down by three decibels and then on the EQ You here again? I've turned it down by minus three decibels. So for whatever reason, why did that? You know, I'm not sure. It must have been the, you know, as I was working, but again is kind of like my end result. Um, once it kind of went into the limiter and my loudness meter, then it was like, Well, that I still got my end result. And I really feel that this track turned out very, very beautifully. So I just want to give you just a little overview, and then we're also going to create a mastering video going over the master chain on. You know what? I'm looking for my compressor and eq you, you know, Clipper and all that kind of stuff. You know, like, what's my end result? Okay. So as you can see, you know, I'm still using, like, my template, so you don't have my reverb as a send a second CEO on the Q get I'm filtering out low end a little bit of the high end just to kind of clean up that reverb. Um and then I'm also compressing it, I believe to Yeah, I'm using as a compressor. There's not side chain. Sometimes that's what I do on the delay side of things. I would put a compressor on here, and you can side chain, you know, if the piano is being readied to to the delay, you can reduce the volume of the delay. It's kind of like a little pro tip. Really, really cool trick. But as you can see, you know, I have my sense here, just like we just previously talked about in the template video. And so actually this be I created a long, long time ago, but for myself, I just stockpile all these beats into, like, one of my folders in my music folder. And as I was going through, it was kind of like, Oh, I really like that beat. You know, I brought it in and, you know, it was like, I'm gonna put this on my newest beat tape. And so from that point, you know, I started to organize it, and I started to, you know, arrange it, mix it, master, and it was ready for release. But the track was pretty much already created, you know, I think actually, I added in this part here, and it's the symbols up here. But the reason why I say that is because over my years, like I've just noticed that, you know, things have changed on how you do things. For example, as you can see, this is the new version of how I produce Right So everything's in capitals and stuff like that presidency. This is always kind of capitalized. Just the P is a capital. The rest is lower case. So that's not how I write stuff. And, as you can see, so the kick sub So that was me. Writing kicks up nowadays. So again, that's just how I kind of flow on my mixer inserts. I always like to write in capitals, as you can see appear. You know, my piano is all uppercase, but here is just capitalized. Just the P has the capital. The rest of his lower case Over the years, you know he will find the way how you do things, but I like to work a certain way. That way. I can always kind of go back, and it's just it's just organized. It's just my flow, Um, otherwise you go back 556 years and, you know, you've always kind of If things are always kind of different, it's kind of hard to know why you did something a certain way. But anyways, so, as you can see, everything here is just all nice and color coded. You don't have, like, my drums here. They're all being ready. Toe kicks up. You know, on here is you can see, you know, I have compression and eq you and distortion on the drums. But I'm also using the distortion send here you also everything that was just kind of previously showing you. Um, but this is just pretty much how my layout would look. And this is how I would mix a track. You know, I have my intro goes into a chorus, goes into kind of like a verse one to look a breakdown back into, like, the chorus right here. Um, I get another little break down back into the chorus, and then that's the end of the song. This is a very, very beautiful song. It's more like a ballad. You guys will hear it in the next video when we talk about the mastering, but half the battle is really setting yourself up in terms of color coding. That way you can see where everything is going isn't too big of a project. It's actually a pretty small project in terms of instruments, mostly just having the piano. Um, I have a synth in right here and then an AARP, and I think that might pretty much be it for my instruments in this song here. So, yeah, have silence one here. This is some of this. Yeah, that's just a riser. So I think I only have a piano since. And then our and yes, I was concealing. That's a really, really simple song in terms of instruments, so it's not super busy, but again, the more you're organized, the easier it is to mix. So, no, I bring all my instruments in here I create, you know, a sub us when it comes to drums. That way, if I want to lower the volume of these drums altogether, I could just do this Or if you want to compress them altogether, e que them all together. But at the same time, I can be more aggressive on the individual ones on, and then, yeah, it's just a matter of you know, balancing your volumes is you can see year of kind of pan stuff around a little bit. And once you get your track to where you want it to be, then you're onto, like, the mastering stage. Okay, so once you have mixed the track, once you've arranged it once, you've added in all your kind of I call this stuff audio painting and I've actually written a book on it. It's on Amazon, you know. So you have, like, your intro here moves into that. So it just sounds like this, right? You know that I have these reverse symbols, so this is just letting are listed or know that a change is coming so typically for myself , once I mix the B, once they've arranged it, then I'm onto this audio painting and it's kind of, like, always kind of transitions or, you know, preparing our listener for what's next in our song. So if we listen to us again with with the reverse and forward symbol now would be into the next part of the song. We kind of built a little transition preparing our listener. Now I know it's not just a simple As you know, put your all your instruments in their adjust their volumes and you're good to go. You know, there's a there is quite a lot of knowledge that goes into a good mix, but for the most part, you know, if you put your instruments in here, color coat TEM Um and then yes, so you know, you adjust your volumes. If you feel that something is the standing out, you can apply some e que or maybe some compression if you want it to be a bit more consistent or if you want to mould the sound a little bit and then if you're going to be mastering it yourself within this own project, you don't really have to worry too much about your overall level because you can adjust it later. But if you are going to be sending it out for mastering, you know you don't really want your track to be over minus six. So in that case, you fl studio makes this really, really simple. He hold on control and shift, and you can just click and highly everything, and you can just adjust the volume so I'm gonna hold on control. Let's bring them all down a little bit. You know, if it was just kind of going over that minus six, that just gives the mastering engineer total control over your your song. Okay, so I hope the best in your mixes mixing is an art. Uh, don't be afraid. You know, if if you feel it's really, really intimidating, just keep practicing. You know, what I would recommend to you is when you're first starting, always have the original copy and then safe a copy, and then you mix off of that one and then make sure you export off of the original version as well as your mixed version and just compare them back and forth with each other. And over your years, you will start to notice that it's like, Yes, you're mixed version. It's just an enhanced version of the original, because the originals typically usually always sounds pretty good in the mixing. What you're wanting to do is just kind of wanted to clean it up a little bit. You don't have to be super aggressive because nowadays we're using a lot of digital tools, which were really, really, really high quality compared to back in the day. You know, back in the day, you know, maybe, like they're recording equipment and like their preempts and stuff like, they weren't as clean as what they are nowadays. Um, and also when you were recording all of your instruments, if you didn't get a clean recording, that's where intensive Q and compression are coming into play. But with US producers, this bedroom producers like you know, we have this piano here. This comes from nexus like this. Is this piano like? That's an amazing recording, right? Like it's just very, very high quality sympathies sent some of the since sound, so I probably acute it that way. So it does kind of sound different. Look at how every acute so as you can see. So if I take off the e que so the effects are quite aggressive on it. But with the eq you so you can hear. I probably did that just maybe for one so it can stand out better on in my mix. But I might might have also cute that way for in effect, you know, kind of gives it like that telephone effect. So in the mixing stage, you're just trying to clean up your track, trying to get it sound balanced. Overall, people always say you want to hear all your instruments to super clear, but sometimes that isn't the case. Sometimes an instrument is actually just acting as, ah, fundamental. And what I mean by that is it's kind of like if you remove that instrument from the song, it's like something's missing. But if you add that instrument back in, you can hear that the song sounds super full, even though you might not be able to hear every single note of that instrument. So the biggest thing when you're mixing is you have to be thinking about your song as a song, Okay? And you know, don't be feeling that you have to queue everything or compress everything. Just listen to the song as a song. If you like how it sounds, it's like that might be all you need to do. And another thing I will pass on to you is mixing in solo is very, very dangerous. OK, and what I mean by that is imagine Nick, you know, like you're listening to your whole beat here. Whatever the just a century here, you just like, kind of like Okay, I'm just gonna solo it out here and hit play and you're gonna start queuing. It's like, Well, you're now e queuing this sound solo and you have no idea how it's sounding in reference to your whole track. So ah, lot of times I will seek you as the song is playing. You know, I might I might just highlight just this area and I'll allow it just toe loop over and over and over and I'll adjust my e que. And the biggest thing for me is the volume balancing. So what I mean by that is, if I've adjusted my eq, you like this. So I have this huge cut here. That means that it's making my sound quieter. So I'm making sure that I'm boosting up the volume and want to turn the plug. And often on that, it's a fair comparison. Okay, that's very, very important. When you're mixing, it's all about the fair comparison to the before and after. And if there's a really, really problem frequency, then I might solo it out. You know, I might come here, then solo it out, and I might work on that problem frequency. And then I will always bring it back to the mix near to the whole song to give a reference . So hopefully those are just some tips to get you going on your mix, and, uh, we went to the mastering video game. 10. 3-3 - A Mastered Beat Peek: Okay, So now onto mixing and mixing, like I was saying, is an art in itself. And, ah, mastering is very, very similar to the art of mixing it, except is requires different set of skills. It requires your ears. It requires to acknowledge to how your audio performs on different systems. You have to understand about phase. There's a lot to know in terms of mastering. And like I'm saying, it's just a different set of skills. So let's go to the master track here. Okay? So, like I was saying this track, I actually didn't mix very well in terms of having it to that minus six decibels. Um but at the same time, because I knew I was mixing and mastering in the same track, I just simply just came here to my compressor, and I just reduced it by three decibels. I must have reduced it only by three. Because I wanted the compressor to be compressing the way it waas. I'll explain my settings here in a second. Okay. And then here on the e que as well, I, uh you know, I have reduced it by three decibels to So what I did there was just because if I reduced it by six, that means that the compressor isn't hitting as hard, right? It isn't compressing as hard. So if I did by three, then it might have been compressing. It's a little bit harder. I might elect how it sounded, and then I lower the volume again afterwards. Now, again, this is not proper. It is. I guess the word for is gained. Staging. Okay, You know, you want to have it that minus six or whatever. And then when it comes to the mastering stage, what you could do is you can actually open up a plug in simply as a gain plug in, like whether that be an e que or, um, you know, any type of effect, which you can just kind of boost up the volume but not apply effects on. So, for example, if I were just open up and e que here, So for example, I would just come here and click this and I would I would just write, gain, give me, give it a color and was gonna use my scroll wheel. Put it up here and now imagine. I actually did mix my tracks properly and had minus six for my loudest peek. Okay, so if my track was at minus six, then what I would do? Is it all these effects were off? Okay, I would open up my limiter, and what I would do from here is I put my limiter to minus one. Okay? And the reason for that is if my track gets converted to MP three because during that conversion process, there could be inter sample peaks is kind of a different topic. A little bit advance. As you can see, I s p his inter sample peaks. Okay, this will just prevent distortion in case there is a spike in that volume. And minus one has become quite standard, I believe. Kind of in the industry for your limiter. Okay, you'll see videos where people go point or one right? Make. So e gs minus 0.1, or they would go minus 0.3. Okay, But in my experience, minus one And from what I've seen in other videos as well as my own readings, minus one is just a lot safer. Because if it does convert to MP three, you're good to go. You don't know where you felt like the distortion. You're giving yourself a lot of ah, wiggle room. Okay, so now if my track was that that minus six, what I would be doing is I would be boosting up my volume and tell the track is, you know, hitting that limiter quite hard or whatever, you know? And I would also be opening up my loudness meter at the same time during this process and for myself, for my Volume seven beat tape, I went for about minus 11. Uh, value F s integrated. That's kind of like the average volume of the whole song. Um and so if you are boosting up your volume and it's hitting the limiter quite hard, but you're not able to get to minus 11 like if you're only able to get minus 13 or minus 14 again, minus 14 is quieter than minus 11 because we're always working our way up to zero in digital. So zero is the loudest you can get in digital minus 11 is where our target is. So, like I'm saying, if you're only able to get to, like, minus 14 and you you find that your audio signal is hitting that limiter pretty hard. So, for example, if you're getting, like 4 to 5 decibels of gain reduction very, very often and you're also hearing audible distortion, then that is where you're gonna have to start compressing a bit harder to get your track upto a louder volume. And that's just kind of how the mastering works. Okay, so I have my limiter set, okay? And you always want your meter after the limiter, okay? Because that's going to give you a real reference of what your listeners going to hear if we had this meter before the limiter or if we had this meter before even the gain Your meter is not going to get an accurate signal of what's going on in your master version. So you're limiter is always after all of your effects, and then your meter is always after the limiter. Okay? It's always the last plug in. Okay, So, again, this is just how I flow will cover that one more time for you. So if my goal is about minus 11 now, this is kind of a giver. Take number. You guys can always read online to see you know what to call him in or because each I guess vendor might play their music at a different loudness. But the biggest thing for you is to make sure that all your tracks on your beat tape are all very, very close to this integrated loudness that you choose that the number you choose. And that's because when they go from song to song that generally it's going to be about the same loudness. Now, after you have mastered them all, it is up to you to make sure you listen to them one by 11 after another. And just here is it was one way louder than the other, quite noticeably louder that you can come back in here and you can just dial it down, maybe half a decibel or one decibel or boosted by a decibel. But again. So if I'm going for minus 11 I'm going to boost my gain into my limiter, which is that minus one. And if I'm not able to get it up to that minus 11 again, that's telling me that. OK, well, now I'm gonna have to start compressing a little bit harder. Maybe adjust some eq you because you're around 2000 hertz. Whatever will allow you to get more loudness of your track. It's a little bit harsher on your listeners ears, but you know, you might have to be a bit more aggressive on your cue. Decisions may be cut out some of the lowest or whatever, so that you can kind of get more more brightness and there to make your tracks on louder, You know, whatever it takes to get. It's like listening that minus 11 then. But again, you don't want to be changing this song. How it sounds totally so it sounds weird, but I will boost the volume up into the limiter to get it close to my target. In this case, I'm just telling you around minus 11 and I'm just kind of using these three back and forth to kind of reach that target. Okay, so I'm boosting up my gain. I'm watching my L. U F s. And then I'm also watching my limiter to hear what it's doing to my track. If it's being too aggressive and it's really, really audible, that's just telling me maybe you have to back off my gain a little bit, maybe have to use a little bit heavier compression or a certain CQ techniques so I can get them in a similar ballpark. Okay, so let's remove this gain here, and I am going to play this track for U S O that you kind of hear how it sounds. And although cover my settings with you, Okay, I'm just going to reopen this project because in the last video, when I highlighted everything and brought it all down, it's kind of changed the song. So let's reopen this. Start fresh, okay? And as you can see, when it comes to, like, the templates like I was talking about right now that this project is just loading So as you can see, you know, is taking quite a while to lower that could have all these plug ins to open while this sounds toe open. And you know, if every single song opens that slow, it kind of makes you antsy. You wanted maybe do something else. So that's what I'm talking about with the template and stuff like that. You want to kind of, you know, have your plug ins, which you know you always use, and that way it's not kind of bogging down every single song. Okay, so we're gonna put the loudest meter up here, okay? And I'll put the limiter just up here as well. And so I'm just going to cover my effects. Okay, so I'm gonna hit play here, and I'll just talk over the beat. Okay, so here we go. Guess so for this compressor. What I did was the volumes already pretty loud going into it. Okay, so but I just reduced it by about three decibels. Um, just so it's not driving so hard into my compressor, but as you can see, my thresholds about minus 18. But again, this is just a reference point in terms of your track. So minus 18 it doesn't really mean anything because it's it's a It's a reference to the volume level of your song. If my song was at minus 24 and my thresholds at minus 18 is never going to compress. But if my song was at minus three and my thresholds at minus 18 then it's gonna be compressing, probably all the time. So my goal behind this compressor was I just kind of put it around the middle of the song that way. It wasn't compressing like way down deep into the body, which is unnecessary. And as you see, my ratio is very, very little. 1.51 So it's compressing very, very little. My attacks very, very long. Case was not clamping down on the actual song. OK, it's allowing all the transients to get through, and my release is kind of medium just fast. This'd again. It's just kind of to help level out the overall song and just to kind of, yeah, you know, just make it sound more consistent over the whole song. By no means is this compression, you know, really, really reducing the dynamics. It's more just kind of treating an overall balance. I guess you can call it kind of gluing the mix eso again. How I used these plug ins is I'm always a and being, so I'm comparing. And when I turned often on, I want the volume to be pretty much the same volume. I just want to hear the difference in the effect do I like the effect and in this case this isn't a fair comparison, so I really don't know if this compression is benefiting my track and I can't even really show you. You know what it's done? Because, you know, Mike, I've reduced it by three decibels. I've only boosted by one. Um, and you could hear it's much louder. Want to take it off? But my general idea behind this compressor was just to balance the overall song. I have it. A boat in the middle off the audio of the audio signal. A very, very little ratio. Very, very long attack. Kind of a medium release just to kind of balance the overall song. Okay, we'll go here to the EQ. You again? I've just lower the volume again. I guess it was being quite aggressive into things Clipper and the limiter. I'll explain those after. So in the mastering stage, it's all about very, very, very little moves in mastering. Many times we're dealing with point to 5.5 point 75 one decibel. As you can see, one decibel 10.5 point five. So mastering is very, very subtle in your moves. So I'm not telling you how to master um, or just breaking down. You know, the general idea of mastering and how to approach mastering your own tracks Okay, so it's just very, very subtle moves in mastering when it comes to your eq you because you know you've already mixed your track. That's how you want to sound. But you know the benefit of having someone else master. Your music is typically, you know, they have trained ears. The room that they're listening to their music in is different than yours. Okay, cause you're room typically amplifies certain frequencies or remove certain frequencies, so that can skew your judgment. So if we go to a different room to listen to your music in and typically mastering, engineers have very, very good rooms, so that allows them to have a more accurate judgment to your music. But again, a lot of us don't have the luxury or the funds. Or sometimes we just wanted master ourselves, like for me. I want to master my music myself. I want to be the last one to touch my music before it goes out there. I want to know you know exactly how it sounds, and I want to be happy with it. So this is just kind of how I approach in terms of, you know, with my EQ you very, very subtle moves on the pro que here it has a mid side mode. So I boosted around here just in the mids, and that kind of allows kind of the more upper end of the like. So the upper end of the low end of the kick drum. Okay, this is more of the frequency that kind of hits you in the chest. I'm just kind of boosted that up. That's also kind of in a snare region to and again. That's just kind of maybe amplifying the kick drum and the snare hit a little bit more. Um, this is more of a creative touch, but very, very subtle moves on the EQ You here. Okay, come here to the multi bank compressor. So the benefit of a multi bank compressor is Each band is like a compressor, Okay. Except you're only compressing a certain frequency area off that song. And let's see if I have adjusted all of these toe have the same ratio and stuff, and I have Okay, so this is something I've learned over the years, and it's kind of a cool approach, So on a multi bank compressor, if you actually dial in the same settings for all the bands. Okay, so if you see here, the ratio is one point 12 to 1. Come here, 1.12 to 1. Same here, 1.12 to 1. So all of these are They all have the same settings. However, they might react differently to those settings. And this is the benefit of a multi bank compressor. Because if we're dealing with like a vocal, for example, even if a certain sound goes over the compressor, it would compress the whole vocal, and it would reduce the volume of the vocal and make it sound pump e. But if you use like a multi bank compressor on that vocal, you can compress just certain areas of that sound, and it's not reducing. The overall volume is just reducing. Maybe the harmful frequencies like that you don't like, and it just allows your track to kind of breathe more. It's kind of dynamic. It's moving here on this compressor. That was my whole idea. I wanted just this to kind of glue the mixed together, um, and then I e que just a little bit. And then I put a multi van compressor on here. Very, very gentle on my ratio. Typically, what you can do is you can have kind of a low threshold. So, you know, minus 20 threshold and low ratios again for that gluing where you can have higher thresholds, higher ratios. It won't allow your compression to be so audible. But in this case, I actually kind of have you know, a little bit. Actually, no, this is this is about a medium threshold and a very, very low ratio. Again, the whole benefit of it was just a kind of balance out the song kind of glue it together, but in its own frequency space, okay, and then a clipper is a very, very cool tool. So this is something I learned to boat later on in my production career. And this one is by, like, a multimedia if they're t racks. Siri's. So this is a really cool clipper because it allows you to have a soft me or ah, hard knee Festival Clipper is really, really similar to a limiter, except you don't have the attack and release settings that a limiter gives you. So if you open up a limiter here Okay, so if I go advanced here, you could see that I have attack and release. Okay, so it's very similar to a compressor. In this case, it's like your attack and releases. Like at zeros. You're able to push your volume very, very loud. And you're not hearing the effects of the pumping of a limiter because it's just a limiters . Just reducing the volume of a sound just like a compressor is a clipper doesn't reduce the volume of the sound like it just literally clips it off because the attacks at zero and the releases at zero. If the audio goes over that threshold, it literally just shaves that peak and it's gone. It causes distortion, but sometimes you just don't hear that distortion, and that distortion could actually be beneficial. Sometimes it can color a sound, or it can make a sound stand out mawr. And when I say that I'm typically thinking more about, like your kick drums and stuff like that, sometimes it just helps, um, hit a little bit harder to be a little bit more prominent in your mix. But that's where I used this Clipper force. If we listen, let's go a little further in the song. So as you can see, you know, this Clippers being quite aggressive. And if we come here to my limiter, So it's showing that I have inter sample peaks. Okay, but again, I have put into that minus one to kind of play it safe for myself. Okay, so this clippers pretty much doing most of the work in this track in terms of getting that loudness. And so as you can see my other, um, fast. You know, I was talking about minus 11. That might be a little bit loud. It looks like maybe I went from minus 12 in here. I'm just gonna fast forward a little bit, okay? Just let it go. Yes. You know, I went for both minus 11 to minus 12 somewhere in there, but yeah, just the biggest thing is, when you are working on mastering that, you are, you know, getting your tracks in the same general area of volume. Because when it goes from one song to the next, you know, they're all similar volume that your listener can enjoy. But so far, that's the chain. Uh, this compressor was just used for glue I just kind of tweaked it a little bit on my EQ. You again? Mastering. We use really, really subtle numbers like point to 5.51 Decibel is getting quite aggressive and mastering the multi bank compressor. You know, again very, very subtle on my settings on the ratio. But again, it's just for gluing. So if you look, if you look at it, you know, fast food a little bit with think the kick drum, okay, lets go like a little bit resuming on the scale. Okay, so, you know, it's very, very gentle. It's reducing it just a little bit helping the overall balance of the song. Um and the limiter is you know, it's not even really doing anything in this case. I just put it up minus one, and I'm not allowing it to go over, um, classic Clipper here. We open that up again. So again, this is mostly doing a lot of the gain reduction. Um, but depending on your hardening or softening, you kind of just gives you a different flavour. So this is this has been a really, really cool tool that I've used over my producing career. And then This is just a loudness meter, and this is actually free. I believe that you Lean has two versions. He's a free and a paid one now, Um, but there you go. So, you know, you just kind of aim for your target. L u f s. And that's kind of what I go for while I'm mastering. And while I'm doing this again, I'm just making sure that, you know, do I like how it sounds? Um, you could also be used, like a reference track in comparison to yours to see what their loudness is to kind of hear the overall balance of, like, their acute yours or or how consistent there's is to yours. Um, so, yeah, that's kind, like the mastering process for me as I'm working on my tracks, getting the ready to export. Okay, so now we will go on to our next video, which is exporting 11. 3-4 - Export Settings and Process: Okay, So in this video, we're just gonna be talking about the export settings. So I have some good news for you, and that is audio is pretty simple when it comes to exporting. So if you've ever worked with video editing and tried to export your video, you know, I find that those settings are very tricky and confusing, and there's a lot of information to know about with them for audio, for the most part, if I feel it's pretty simple and straightforward. So when I upload my music to District Kit, which is my only and distributor if you're using city baby or two Encore whoever I upload away file. It's 16 bit, 44.1 kilohertz. And so, if you were to actually record your voice, you know, for your lyrics in your song if you recorded at 24 bit 48 kilohertz at the end of the day, I always converted down to 16 bit 4 to 4.1 for the actual audiophile like figure for your master. You know that you're gonna be uploading, and for the most part, that's pretty much it. It's just that simple. So if I come up here to file ankle export. Okay, so you can see FL Studio gives you different options, so ah, way file is a lost lists format. So this is what you know. The audio files would want to listen to your music in and again. This is what I choose to upload to my on line distributor. MP three is just like a compressed version is like there's two different types of, like compression. There's a audio compression in terms of the sound is loud and quiet, and it just reduced the dynamic range. That's one type of compression. Another type of compression is actually data compression, so it's actually just removing data of the file to make the file size smaller. But he comes with a cost. So the high end typically on these MP threes. Ah, lot of times you started here kind of like the swirly kind of sounds. That's kind of the best way I can describe them, but for the average person, they really don't hear that. But if you really compared to the way of to an MP three, you do start to hearing these kind of negative artifacts. But make him saying I use the wave to upload. Ogi is just like the same as MP three. It's just kind of an open source version of it. It's a compressed version like like data wise. F l A c is. It still compresses the data, but it's a lossless. Kodak. So it's free lossless audio. Kodak um, you still get the high quality audio in comparison to the wave, so you get the actual same audio quality, but the file sizes just smaller. But to keep things simple, I just used wave. It's just asked me, you know, for a folder where to save it, I'm just gonna go save. So as you can see, these is just the settings. Okay? So if you want Teoh export both a wave and MP three, you can adjust it right here, and you can adjust your your amount. You know how high quality when your MP three to be? So I'm just gonna do away, though. So as you can see it 16 bit and it is 44.1, I'll show you that in a second for the quality for the re sampling, I put it at the highest. Okay, I go high quality for all plug ins. I go disabled maximum polyphony. Uh, this is just to do with it Limits the amount of notes that could play at once or just just disable it. Dithering is kind of tricky. So your daw works in 32 bit floating point. Ah. Whereas when you convert it down to a 16 bit file, um, so dithering you always wanted dither when you change your bit depth. So, like I'm saying, this is 32 bit floating point, which is what your doll works in. And if I'm exporting to 16 bit, I wanted dither. But in this case, if we, uh, exported to 24 bit, you wanted dither. But if you were going to again, uh, convert from 24 bit to 16 bit, I believe you'd want to dither again. Typically, you only want together once, and I actually on my plug in it offers dithering. So I actually used the dithering on the plug in versus FL studios. But if you don't have plug in that does dithering like on the limiter, you know, just enable that and you guys are gonna be good to go. It's a really, really subtle thing is just to do with, like, the noise floor and a thing called quanta ization air. It's a bit of scope for this course, but one Indo you could just dither. And, you know, you guys are good to go. And as you can see, this is kind of like miscellaneous stuff. Um, you know, So, yes, we want enable the master effects, you know, enable the instead of facts, you know, So if there's effects on here, we want them to work. But as you can see, this isn't so much the audio quality. This is more, you know, when you export the song, you want to sound exactly as it is in your music program as it is in the file. And that's pretty much all this is. So if you want to ever have stems. So, for example, if you're gonna collaborate with someone or if the mastering engineer asked for stems to master your track in if we weren't mastering the song, and here you can go split mixer tracks and it would have all of the individual inserts in their own way file on Yeah, so that's pretty much it for my settings Okay, So pretty much. The biggest thing is just wave 16 bit my qualities at 5 12 and high quality and disabled maximum polyphony in this case, yes, you'd want together because you're going to 16 bit again. Your dollar is 32 bit floating point. We're going to 16 bit. And then this is just making sure that your effects are working and stuff like that. And that's how simple it is to export your song for upload to these distribution services, you know? So it's pretty simple, you know, it's just a way of 16 bit and just to show you so how FL Studio How you can change the sampling rate is right here. It's 44.1 or 44 100 where you have 48,000. Okay, so in my case, I work in 44.1 kilohertz, and then I just converted to 16 bit and I'm good to go, So that's just it for my export settings. Like I'm saying for audio, it's really, really simple. So if you guys have any questions about the export settings, always feel free to message me and another. Another important thing to is make sure to read what? The distribution services asking from you. A lot of times they just say, you know, upload the way file, and that's it. But, you know, I always just kind of read around a little bit. Get some information before you start exporting all your songs, then you're good to go and then you realize, or do I have to do it this way and it kind of slows you down. But from what I showed you here, this is what I've always done, and it's kind of a tried and true method for myself. 12. 3-5 - In and Out Times + Song Ordering: Okay, So in this video, we're gonna be talking about the in and out times Now I set these up actually, inside of this f l p where I've arranged the song. I'm so this will only happen once you actually start listening to the beat tape as a whole . You know, from someone to song to To sung to To some three You know, how does it transition? How much time do you want in between those songs? So in this case, when I export a song if I feel that the song used to be just a little bit longer I will come here. So as you can see, what I've done is I've actually just dragged this to make it longer And the song will will be exactly however long I have adjusted the longest pattern. As you can see, You know, my piano is the one that goes the furthest. You know, the simple stops here this master volume envelope ends here. Um and I've adjusted it to hear if I just it to here. You know, this is making the song longer. Even know there is dead silence there. And this is how I do it. This is what I found has been really, really easy over the years, because again, this is just one file we're mixing. Mastering and exporting from that makes it really, really simple. So if I need to adjust something in terms of, let's say the piano is too loud or too quiet, I could just reduce it and export Or, you know, or if it's not loud enough, I could just come toe to the limiter or whatever effect and just kind of boosted up a little bit and export it. If I wanted a little bit longer, I can stretch it out here and then I can go and test in between the songs and like a playlist, You know, that I'm listening to or I can kind of set them up in another F L P to listen from one song to another. Typically, I would listen to this in like a playlist. So if you're in iTunes or whatever, or you know, Windows Media Player or I guess that was the groove music, I would just highly all the songs I would right click and go add to playlist. In my case, I am on Windows so I would put them into groove music. And I would just listen to the 1st 1 cannot print near towards the end of the song. And I listen for that transition and the case is perfect now, or that needs to be just a little bit longer. So I just come here, I would adjust the length and I would export it. Now, I'm just going to switch this video. We're going to go to another a project where I've actually mastered all of the songs all in one f l p because, like, I'm saying so great here. What I've done is I've mixed and mastered all in the same project and of adjusted actual length in the other. I guess way of doing it is you bring all of the mixed way files, and I would actually export them as 24 bit. And then I would bring them into one project and you would see all the wave files for that beat tape. Okay, so I'll show you that. Okay, So, as you can see, this is my other attempt at mastering all the tracks in one file. This is the most common way that you'll see, you know, mastering engineers do it. And the reason why they do it is because typically, you know, an artist is sending the files to them, and then they bring them into their doll. Typically, they have, like, mastering programs. Um, fl Studio is capable of mastering. However, you know, you're not able to click on this track and kind of embedded with, like, the metadata are, you know, like, I SRC cosas stuff like that. But by doing it this way, it's really easy to, you know, right Click here. And you kind of solo it out. Just a hearing in terms of comparison. Um, but like I'm saying, there are pros and cons, like in this case, what I would have to do if I warned this track to be, you know, if I wanted the guitar to be louder Sometimes you can get away by adjusting the e que, But at the same time, since your queuing the whole song, you know, you might not be queuing just the guitar. You might be queuing the guitar and maybe like the piano with it, and it's like, Well, no, everything's getting louder with that. So if I were to actually want to increase the volume of the guitar, I would have to go to the mixed F l P and have to increase its volume and have to export it . Come into the mastered version again. You know, this f o. P that we're looking at and then export again, so it has to export twice. So the way how I do it is I only have to export once if I want to change, right, cause if I'm mixing and mastering in the same file, I would just go in there, increase the volume of the guitar and export it. I'm done. But at the same time, you know, when it comes to the transitions for the lengths you know, at the end of the song, that makes a little bit tricky because, you know, I have to export. Then I have to listen to it all together. Where is here? You know Aiken easily kind of here in between the songs and the reason why I have adjusted them like this is just so that you know, I know like the actual order that they're playing in, and then a z can see right here These are just volume fade outs. So you know when the song is playing, playing, playing and then I just kind of faded out. So, like I'm saying, like so there's this way to master your track. I just want to show you that this is possible. I attempted it this way because, you know, I just wanted to kind of mix things up since I was doing the beat tape road and I was like , Well, I usually see it done this way. However, I've always been doing it the way how I do it, and that's mixing and mastering in the same file. And then I actually just listen to the file and make a playlist right? Have all my beat tape songs ready? I put them into a playlist, and then I tried to organize them in what order I want them to be in, and I just kind of work off of that. If I feel that one song needs to be a little bit longer in terms of the in or out times that I can adjust like the fade in or the fade out, I can extend the length in this case, you know I could easily extend the length here, too, right? It's just a matter of just clicking and dragging it. And this does extend the length. As you can see, I actually did cut off the length here because you can see it ends right here. But I've cut it off to their right. So we go back. It's actually here. So as you can see, you know, I've done that there. But I just find that when I mix and master in the same file, that's just me. That's what I like. That's my workflow, um, efforts. Do you? You know, it is capable of mastering your tracks in terms of like, it's loudness and stuff. But it's not really a mastering program that you'll see, you know, other mastering engineers use. There's one buy Steinberg and you know, so it actually orders your songs, you know, in a horizontal way. That way you can actually really listen to the fade ins and the fade outs like, you know, it would actually be like this, you know that you can actually says the fade in and the fade out and you know, it adds and all likely kind of metadata if you want. Like I asked to see codes and all that kind of stuff. But I just want to show you just for you to be aware of, You know, the approaches that you can take to mastering your albums and getting them ready again. I like mixing and mastering the same track, exporting them, making a playlist and then just comparing it that way. You know, what I'll do is I'll put him on like my phone or on my iPod and then on my way to work, I will be able to listen to it. And like a real world example. And also I'm testing on a different sound system to write. So rather than always listening in my studio, if I'm driving to work, well, now listen to that whole beat tape in my car. So that's just how I flow. That's how I like to do it. And that's just the in and outs. Okay, So again, when you listen from one song to the next, you just got to kind of think this is the transition rushed, Is it? You know, joining it longer, joining a shorter because silence is a very, very powerful tool than audio production as well. Okay, so in terms of like my song ordering, that's like, I actually do that, like the playlist in, Like, Groove or on iTunes or whatever. And then once I know I will actually create a little text file inside that folder that my beat tape is in. Create a little text file and I will organize them that way, you know? So I'll know which is first. We're just second. And then when I go to upload, you know, that's it. I'm good to go. 13. 3-6 - A Glimpse Into ISRC Codes: Okay, so I just want to quickly cover I SRC codes. Now, this isn't something I do for all of my tracks, because again, when I'm releasing it to an on line distributor, they are assigning I SRC coats on my behalf like they create them for me and, you know, it's really, really simple. They keep track of him and all that stuff, and then it is good to go. But what? I released my physical beat tape. I believe dis makers was asking me to put my own I SRC codes in. And at that point, it was kind of Ah, point where you know, I stopped and I you know, I didn't know what I didn't know what to do or you know how to create. And I asked her c code. So since I'm in Canada, uh, I have this, um I guess a tool And they're called connect music licensing. OK, And when I signed up for them, they approved my application, and I got this. Pdf. Okay, so this is just a pdf that we're just gonna cover quickly. So you know the reason why I'm showing you this, You know, like my number and everything's because if he were to use my number, you know, that means that you're making me money. So obviously you're not gonna be using my number. So I don't feel that, you know, by showing you this No, there's any there's any harm. It's actually really good example. So again, So since I'm in Canada, you can see here This is like an IRS our C code example. So I will start from the top here. So my name is Riley Weller. Here's my recording names Gratuitous. And 6 to 8 is what has been assigned to me. Okay, as I guess that's my registrant code. So another thing that they tell me here is that they do not keep track of the IRS or see codes. I would have to manually keep track of them myself. And when I released the physical beat tape again, I just created a text file and I wrote the song name, you know, And then I also put the I s our C code. I assigned to that song name in that text file. So I just read that quickly for you. So in this case, again, if you're in the States and stuff like that. You know, United States, um, it could be different things for you, so obviously you're gonna have to read further into it. But this is this how it is in Canada for me, So connect music licensing does not require you to provide a list of the codes you have assigned. Okay. So again, I am manually creating thes, and I'm assigning them to the songs in my case for the physical beat tape. Um, because they do not keep a record of my individual. Iast recedes. So I am solely responsible for keeping a detailed record Of all the codes I create and a sign the same. I SRC should never be assigned to more than one musical work. And that's even if, um as I was reading into this. So, for example, imagine you released a track and then it was remastered. Um, I've even read that sometimes people assigned a different eyes or C code for like that remastered version, because I guess they're kind of like two separate songs, and you can track them differently. You know, it's the same song is still a kind of a different version of that song has been remastered . Okay, so we'll go over the following example okay of how to structure. And I asked her c code. So these will be the first I SRC coz I create. So I must have signed up for connected music licensing in 2016. So how it works this See a is, uh, my country case, Because here, my country codes, or for Canada 6 to 8. That means that that's me gratuitous. Okay, 16 is just the year, and this will change every single year. And so that's how this recess, because I'm not gonna released 1000 songs in a year, so we'll just read that quickly. So 16 is the year of reference. The year that I Estrosi is assigned. You do not need to apply for a new registered code each year. You simply changed the year of reference. That's it. So this would be south 17 or in the right now, which doesnt 18. So this would be 18. And then after you update your year of reference to reflect the new year, you can reset your designation code. This would just reset back to one. Okay, so the designation code is what you will change for each track I asked her sees can't only be 12 characters in length. So the designation code for your 10th track will be, you know, tan right here. Okay, so each registrant requires only one registrant code. Again. The registrant code is the red that's assigned to me. That's how they know it's me. Okay, so each registry requires only one registrant code that you can use to create. I ostracize for both your audio recordings and music videos, which is kind of interesting. Okay, so the audio recording and music video for a particular track should be assigned to different icer sees. Okay, so that's just something interesting to take into account. So your audio recording, which would be on your CD, would be different than your music video audio. Um, so here's some responsibilities that procedures to be observed by the registry, which would be me. So the ice air sea should should be embedded into all audio and video works at the final stage of audio mastering slash video editing and included in all relevant documentation concerning a recording. Okay, because this is how you get paid. So it is important that you added in its how they can track your music. So the registrant is responsible for assigning the designation code. Okay, so that's just the green one here, you know? So if you released 100 tracks in the year, this would be 100. Okay? And then again, once the actual year resets, then maybe 17. Or in this case, spring, how we're in, she doesn't 18 and then you go back to one in this resets so the registrant must keep up to date record of all. I s er sees it a bit assigned. So you know, again you can't just create a text file and just update your I s er sees as you go. But again, when you're releasing it through an online distribution service, like again destro kid or CD baby or tune core, they will apply and I ester c code to that track if it's ever been released before. But what this point is saying is if you have released the song before, and now you're just uploading it to you in a CD baby, for example. So it's your responsibility to let CD baby No, you know, the current highest. Our c code for the song you're uploading again. That way they could properly use them. OK, so that's just a little general overview of SRC codes a game. I really don't use Thies too often. It was just because when I had to release a physical beat tape, I had to actually embed the I s our C code into the song so that when they're on the physical CD, you know that you put in your car on the disk, you know, So that is always available to, you know, if someone did put the disc into their CD player that they can pull it up and they can see the eyes to see code, then they know who to pay royalties to. So I just thought this was really cool. You know, this is a real world example of you know who I am, and this is, like, all of my stuff. And this is how I would use it again if you were to use it in your own tracks. I think you just be making me money. So if you do, Thanks. Um, but this is just how it works. OK, so this is the little overview and I asked her, See, codes. This is my understanding of them When I signed up, this is what I received and I just thought sharing it with you would just be, you know, really eye opening. 14. 4-1 - Folder Structure + Backups [Overview]: Okay, so in this section of videos, I'm just talking to you about my full. Their structure. This is really, really important for the long term of your music when it comes to backing up and preserving . So, for example, if you want to, you know, back all this stuff up onto, like a CD free long term or onto a hard drive, however you wanted for your backups. Usually it's good to have multiple forms of backups in case one fails, for example. Like I just said, you could put one on CD or DVD, and it's like that is just that backup for that volume. In addition, you could have a hard drive for all of your beat tapes and then just have, like, the CDs. Individually, however you want to do it. But this folder structure has been really, really helpful to me. Over my years, I've had a lot of troubles finding a really awesome folder structure, but I have found one, and this is what I'm sticking with. Its been awesome in terms of organisation, especially if I move computers. Um, you know, missing files is, ah, horrible experience, as well as a tiring one So this isn't like the full thing. I made it really simple on here. I will go on my computer with you and show you why I do things and how I've done it. So let's just go over this quickly just to kind of show you the folder structure for the long term. Okay, So how this is working is each arrow is like its own folder. Okay, so the music folder is, like the parent come down. So it has sounds. Albums of beat tapes, those air. The three folders inside of Music folder now inside of beat tapes. As you could see, I have two other folders. So for each volume, I created zone folder and then inside of each volume I have artwork. Devil compilation. Okay, so go over this more step by step. Just want to show you what the arrows mean and stuff like that. So I create a specific music production folder. Okay, inside that music folder, I have, like, my sounds. That's my one hit. Sounds like my kick drums collapse as well as I keep my v s t is in there too. It just allows for really, really simple organization I know where everything is. Me. I'm also a recording artist, so I have my albums on the inside of albums. It would do the same thing is what you see here. So in this case, we are in detail. So if we keep falling beat tapes, If we double clicked on that, we will now see for Volume one. Volume 23 My case up to Volume seven at the moment and working on Void. Eight. So great. Now let's just say we went into Volume two. So we double click Volume two inside of the volume twos folder. I have my artwork. Okay, So again, that's just beat. Taste by gratitude is Volume two and then how I approach that is, if I would have a Volume three, I would literally double click on volume twos. Photoshopped file. I would click save as and I would make it Volume three. Now on. I will just go and change the number from 2 to 3. And then I would just change the colors of the background and, you know, just it all now be in volume threes folder. So that's it for our work on the demo compilation. So What I do is if you come to my website. I had a little teaser demo compilation for listeners to hear what to expect on that beat tape. And what I've done is I've just taken a little snippets of song and kind of blended them together, made a little devil copulation, and I create a specific folder just for that. So mastered are the actual official files. These are the files that I would be uploading with destro kid to get onto Spotify or iTunes and then the MP three on the skip The mixed this for a moment. The MP three is what I so I would take the master, which is wave files or 16 bit, Um, 44.1 kilohertz can. And then what I do is I would just convert those two mp three and I create this old specific folder with this MP three folder. Inside all the files I bring them into, ah, software called MP three tag. It's a free software, and it allows you to put 83 metadata into the MP three. That way, if anyone downloads this beat tape, uh, the double click on one of the songs they have. The artwork they see is by gratuitous. I could put my website into that MP three and everything like that. Okay, so again, the Masters that the official wave files um, the MP three is what I would use to allow people to download. So what I do is once it's all 83 tight, all the information is in there. I would actually put an image from the artwork into the MP three folder to I would right click it and I would make a zip of it, which is what this is. So this is a zip of the MP three version. So what I do is, since this is all in Dropbox for me, it's just ah, again, it's all about backing up. So this is a backup, because in Dropbox, I would burn this to a CD that's a backup. And then we're also put that onto a hard drive to, because, you know, it's no longer like an individual track. This is a beat tape. This is a Siri's, and it's you don't want to lose. That sounds. You don't want to lose anything to do with these. You want to always be able to go back. If you want to remix it, do a remix like, in a sense of actually change it off or whatever. You never want to lose this stuff because you've created Siri's. So since this is a zip, I literally would just right click on it and Dropbox and go caught the download link. I'll go to my website, and I will pace that end. So this is what the listeners are actually downloading. Okay, so we'll cover the next. So the mixed is the FL studio files. In addition, I am backing up all the individual sounds from each FL studio. File further on in the mixed again. Once we go help on the computer, you guys will see more in depth. And so again, there's two different approaches you can take to the hold mastering thing. So in the mix, what you can do is you can actually master it inside of here to even though it's in the mix . But when you export it, they go into the master. That's the official files, for what you can do is you can have the mixed you export the mixed inside of the actual folder each song is in there. Andi, you bring all those into a mastered project file and then you have mastered them all, so you can actually compare them. I've done it both ways over my years. I have more lean towards, um, mixing and mastering in the same file and then just exporting it to here. The reason why I say that is it's a lot easier to make a change. So, for example, if I feel that it needs to be louder, I can simply just open up one project file boosted up, exported to hear the master. And I'm good to go or if I feel that an instrument is just too quiet. Whatever. Since I'm mastering in the same project file, I have total control. It's not like I have a mixed file. Now I have a master file and then I have, like, I'm talking fl Studio Project fouls liken SLP right, because if I have an F L. P for the mixed the actual beat and they have an F l P for the master, so let's to have to open up to different projects and then I finally have to export it, whereas if I have one F l p, which I'm mixing and mastering that same song and again when I'm doing my testing right when I was talking about headphones, earbuds, a TV speaker, your car, different systems. If there's anything I want to tweet, could change on that. It's a matter of just opening at one project file changing when I feel I need changed and I can export it and I can go and listen to it again. I've found that that has been the easiest way to do my quick tweaking, and that's pretty much my folder structure again. This is this a really simple version of it. I do have a separate courses called a specific music production folder. It will explain why I have have it set up this way. You know, just over my years changing computers, you know, as time goes on, your computer gets older so you upgrade your computer. Having missing files is a horrible experience, and it's like you as a producer, you want to be making your music like you want to be focused You for all the time that you have you. I wish I could be spending it. You're making the music and releasing it. But the thing is, it's like you also have all these other things going on in a sense of the backups, right? Like what if your computer crash, you know, and you have no backups going on, It's like that. That would suck, You know, all you'd have left is this, like, the MP three and let the master version if you release it on like Spotify, whatever, you just kind of a gallon back. But all you would have is just a 23. So losing that f l P would be a horrible experience. So that's why I've structured it this way again. I back up all the individual sounds of each, uh, feet. FL Studio makes it really, really simple. But again, that course explains all that kind of stuff. So let's just have a simple folder structure. We're gonna go over just kind of Maurin debt just to let you guys can stay organized for the long term because the game ones, when it comes to backing up, it's really, really important to have a structure. And then if I were to do Volume three, all I would do is I would open up to Windows. I would see volume twos here and I would see volume threes here, and I would literally just create all the same folders and that's it. Okay, that way it's like every single folder is exactly the same. I've done everything in Volume three, the same volume four same building five and down the road. Because the thing is like in seven years, it's just like you come back and it just like, you know, things can change so fast. And as long as you've stayed consistent, you know it will help you. Maybe you remember back to Volume one. Another thing I have done to because, like I was telling you with my stories over the years of like, you don't natural beat tape, um, title, you know, when it was free beats to be tapes or the artwork cover was kind of ugly in us, a little more attractive. My folder structure wasn't always this way. And so previously I think what I've done is you know now I set them all up this way because again, you know, it's just like you want to organize. You want a professional, you want consistent So sometimes I think because ah, my volume one and volume to it was different. I just left a little text file in there and, you know, left myself some notes that if I come into the, you know, mostly Volume one and let's say it is this a little bit different than my newer ones? Because, you know, like, I'm seeing things change over the years. I can simply go to that text file, and hopefully those notes will help me remember why I've done something a certain way. Because maybe we're talking way too much time or maybe just wasn't possible to get in exactly the same, okay? 15. 4-2 - Folder Structure Run Down: Okay, So in this video, I'm just going to cover my music production folder in regards to my beat tapes and how we structure and organize them. Eso that again. It's organized as well as I know that everything's backed up properly. Now, if you want more information on my whole music production folder, have released a course on it, and it's called a specific music production folder. And I just cover why I set my folder up the way I do. But over my years, I've just discovered, you know, I have set up my folder a certain way, allows me to be organized. I don't have to spend time thinking about you know where to put sounds or where to back up . And it's just it's just super organized. So if you want, check that out again. It's called a specific music production folder. In this video. We are just going to focus on the beat tape folder, though. Okay? And as you can see here, these like the ire, sir. See codes where I keep track of all of my songs. Okay. Okay. So here is be tapes, K. So, as you can see, this is how I have organized and as a release, 89 10 11 12. You know, if I do continue with this Siri's again, it's just really good practice. Teoh, keep doing this. Um, this is how I would do it. So as you can see, I have beat taste, but graduates volume one all the way to eight and then this is the greatest hits. Now, one thing I want to warn you guys about when it comes to Windows is you have to be careful how long you make your titles. And that's reason why this is beat taste by gratuitous greatest hits, volume 1 to 5. And the reason why I have done that is because Windows restricts the amount of characters you can have. So, for example, if I open up number one here and if we continue to go on, like, really deep into our folder structure, OK, so if our actual titles of our sounds is super super long, um, because you can see the actual path is right up here, right? This is how long the path is. And if this is, I think it's 255 characters. You guys can always just look it up. But if you're titles aren't super long, you don't have to worry about it. Okay? But it's just something to think about. It has happened to me over my years of creating my tutorials. And, you know, if I had ah folded within a folder within a folder and then I had, you know, a title with a really long name. And then you go to transfer that file onto another hard drive or something, you know, sometimes getting air and say It's like there's too many characters. Things can't work. So that's just one thing I want to pass on to you guys. As labeling your folders, make sure they're just not super long. Okay, so as you can see, each folder is for each be tape. So if we open it up, you know, this is how I have organized every single one. So this is Volume one, gonna Volume two. You can see it's the same thing. So I my artwork demo compilation mastered mixed MP three and the Zip, but just like I showed you in her overview video Previously, right, go to three Same thing. Let's go to seven. Same thing Let's go to A I have not yet released eight as I'm creating this video right now . Okay, So this is how a structure eight. The one I'm currently working on. I'll cover this with you, uh, later in this video. Okay. As you can see, I've worked like this. Okay, So just to kind of cover, you know what? What I do in each folder. So, again, this is beat taste by gratitude is Volume one artwork. The reason why I do this is just because, um, if I would just write artwork within this folder, You know, sometimes there has been no swap files, like, especially with FL Studio. Sometimes that pulled, like so, if I would label verse 14 the recording of Verse one within a song. And then I go to my next song, and I also record verse one and this label it verse one again. Once you start moving files around your computer or if you move to a new computer, sometimes FL Studio doesn't recognize the proper path to the verse one. So it might be pulling in the verse one from your other song. And you you go to hit play and you're just like, Wait, you're like that Vocal is from the other song is playing in this song and you're like a What's going on here? So that is the reason why I've gotten in the habit of putting the acronym So again, this is beat takes by gratitude is volume one and you see the whole way through for Gore like five. It's just what I've done just to keep it simple. Uh, that way no files are ever going to get mixed or crossed. So inside of artwork, what I do is I have the Photoshopped file. I have the original file that I worked on a long time ago. And then I believe that this is the file when I used escape Escape again is just a free software allowing you to kind of create stuff like for vector based stuff. And I created this. But again, here's like the Photoshopped file and you know, this is what the image looks like now, right here, right on. Then. You know, that's the same thing for all of them. Okay, But now I believe after six, I didn't have that old style of artwork. And another thing too is the beat tapes that I was releasing for download on my website. Um, this is it. The original one. So I'll open it up here and I'll show you. OK, so as you can see, I have the u r l in here, and I said that you're not allowed to put the u R L in. So that's the reason why I have two different versions. Okay? And this is also sorry. Open it up again. Again. This is like the free pizza by gratuitous. So I just kept it the way it waas. Um, but now this is the beat tape. So, as you can see, there's no u r l in there. And this is the very first, um, updated look that I used and then I just kind of replicated it for all the other volumes. Case orders continue. Okay, So the demo compilation again, I opened up a fl studio project file and open that up and I'll show you quickly. So as you can see these, they're just kind of like the tracks that I have loaded in from beat taste. Bugatch would responding one on what I've done is I have just put, like a transition in between each track, kind of giving it like that kind of demo reel kind of feel. After this video, I will actually show you a demo reel that I have created, like a tutorial that I've released on YouTube. It's a free video, but I'm just gonna included in this course because it I think that will be useful for you. If you want to present your be tape on your website, you know, just the way how I've done here, I'll let you listen to this is kind of quickly, Just like little transition. Okay, Some like that will come here to this. Okay, so they kind of fade in, fade out with little transition there. OK, so that was just the f l P file that we were just in. This is the exported MP three. You know, I don't need a wave file because I'm just uploading it to my website, and typically you want it to be, you know, a bit of a smaller file. That way, if someone's on their phone, you're not really taking hundreds of like their data as they're streaming it. And then here I have just backed up all of my sounds. OK, so once it loads here. So these are all the sounds from that fo studio project file? Yes, it is. That is backed up. You know, all the all like the MP three versions of it, Whatever. But it's okay, like, you know, as long as when I open it is exactly as I saved it and instance Where? In FL Studio. I'll show you how easy Fl Studio makes it to back up your sounds. OK, so imagine you're working on a full composition and your jaw, like your kick drums. All your collapse, Um, snares, high hats, all that kind of stuff we have to do is just go to file, okay? And you go to export and your school project data files. Okay. And what you're gonna do is just gonna find where you want to save it, and that's it. You would hit. Okay? And it would actually just look like this. Okay, if you go demo comp sounds, you know, that is the sounds. Again, if you're working on your full composition, it would back up, Um, all of the actual individual one hit sounds that you've used. And then when you go to back up on like, a hard drive or you're gonna burn it to a disk, you have backed up all the individual sounds that you'll never lose them. In case you know, let's say over your years you might. You might look at when you get like, your sound kept folders and you're like Oh longer is gonna delete that one. I never use it. When you do it like this, you can go ahead and delete that sound kit folder. You don't have to worry about it because you have all your sounds backed up. Now I'm not suggesting you just to go around. We just leave a folder. But if you know that you've gone through all of these songs, you've backed him all up in terms of like their one hit shots. Then you don't have to worry about, you know, losing sounds because this song is good to go. Okay, so that's just the demo compilation folder that's that's all looks gets to the F. O. P. This is the exported version, which I had put on my website just to kind of promote it, and then these are just the sounds from that demo compilation. So the master thes air the actual official files, which I would be uploading to something like District Kid or, you know, if you see the baby, um, or again, if you're going to make, like, a physical copy, this is what's gonna be the final copy. This is like the lossless, the high quality. Um, so the mixed this is where the dizziness happens. This is like the rial folder structure happens. I'll cover in just a second. Okay, So in the MP three, all I've done is I've just taken all of these out of the official mastered, which is the lossless high quality. And I just converted them to MP three, okay. And then I i d three tagged. Um, So I will also be showing you a video after the dem A real video, and I'm just gonna show you how toe 83 tag your MP threes. Okay, I just use it with a software called MP three tag and then all they would do Here's I just right. Click and I would go send to, and I would go compressed. And that creates a zip folder out of this MP three and and I just rename it this because when someone goes to download it on my website, this is what they actually received. When they go to read it, it actually says beat tapes by gratitude is V one. And so if we open up MP three again, you can also see that I've also included an image, you know, just so that when someone opens it up, they can see my image. You know, the actual artwork, they get all the files and then sometimes you can even add a little text file in there, too. If you want to say thanks for checking out my music, you can always say if you want to sign up for my newsletter or some other way if they want to stay up to date with with you Still, you know, whether that be like your Facebook page or any type of social media. I really like The best way is like your newsletter. Okay, so now we're going to get into the mix to Let's just check out hip to your heart, please. Okay. So what I have here is the actual f o p. This is where the actual song is okay. When I export it again, it goes to the master. Okay, so that's hip to your heart. Please listen to the actual high quality version of it. Okay, so we're gonna go back to here. So now we're in hip to your hops folder, and then what I do is again once it's open in Apple Studio, I then export the sounds to here. And these are all the backed up 11 shot Sounds from that song. This way. I don't have to worry about, you know, losing any files. It's good to go for you know it for, like, the rest of my life. Really? Right. So that's just one example. Let's maybe go to a different beat tape. Let's go with me. Volume five. Here, Let's go mixed. And this check out Real gangsta. Okay, this is a really that's like one of my favorite tracks have created. It's a real hip hop track. This actually used to be. When I used to run the website beat struggles where I did a lot of my tutorials. This used to be like the kind of theme song on that website. So again If I were to open this up, I would just go file export. And then what was it? It was a project Data files. Okay, so if we just check out the one shot sounds here, So, as you can see, I didn't use many one hit sounds in that at all. This doesn't save like the instruments like your V ST's, because, you know, that's what your actual project is doing. This is saving the theist he's you used as well as the Midi notes as well as you know, like the mixture, slider positions and the effects that you've used that's all saved within your doll. This project. Okay. And then the one hit sounds These are what you want to back up, just in case you know anything you know, if you lose anything, whatever or if you delete a sound kit, you still have, like, your kick drum your shaker, your your snare. You know, all that kind of stuff and again. So that's pretty much how I use this beat. Take folder to stay organized. So inside the mix, okay. I actually create a folder for each song I'm working in. I then you know have the actual project file. And then, as you can see here I go 80 f and again. So that is just the acronym of after the fact and then go dash sounds. And then inside here is where I would export all the sounds. And sometimes in fl studio, you know, again, if you were to transfer computers or whatever and you go to open this up if it doesn't work , all I would have to do is literally just click it, drag it in here, and then I could open it up and then I'll be good to go. Um, the reason why I keep it outside is it just looks cleaner. And right now, since I'm on this computer, you know, FL Studio will recognize everything because I've kind of set it up this way. But when the missing file starts, toe happen is when you start to move to a different computer Or, you know, if you transferred it to a new hard driver assumes that stuff starts happening, there's like path confusion. So a path is just this. OK, So as you can see, you know, my Dropbox is on a separate hard drive. It's not like my C. So I just do that just to prevent any, um, you know, lost sounds or pulling in sounds from the wrong song and stuff like that again, it's just over my years I have had lost sounds, and it's a horrible feeling, especially when you really like to song. So that's how I approach my beat. Take folder. So again I just create a B take folder. I create a beat tape folder for each individual release. Okay, inside that release put artwork Demo compilation mastered makes empty three Annas it. The artwork is you know, it's just the artwork again if I were to create a different volume. So in this case, Volume eight, I'll cover this with you guys in a second, so you know, Volume seven. So what I would do is I would literally open up this this project file for photo shop, and then I would go so save as and I would save it into Volume eight. Okay? And I was just rinse and repeat the process, and it's just really, really simple. I don't have to worry about creating a new version or or whatever, even here on the greatest hits. You know this artwork. So it is going to go to the CD jacket, So as you can see right here and once that, we'll just go to the So as you can see this, you spit the free beats and, uh, you could sit like my your l was in their stuff like that, but, um, again, they don't want you or else. So I changed it to this. This is what it is now, this is like the official If you were to see it online or, you know, on Spotify or whatever, this is what it is. But this is what it used to be. Okay, and with the gratuitous beats and stuff like that. But again, they don't want the your l. And it's well, it can't be free beats and changed it to that. You know, I was pretty grateful that, um, free beats changed exactly to beat tapes. As you can see here, you know, it's the same amount of characters and just worked out really, really good surprise. It worked out that easy because, you know, if it was just one different character, I would have had to resize like the title, and it just would not have been fun. Okay, so I'm just gonna quickly cover the current beat tape like that I would be working in. So in this case, I am working on volume eight. But if you know, let's say I was going to start around a newbie tape Volume nine. This is how I approach it. So usually I have beat stockpiled that go from beat tape to be taped to be tape. And so I put those in a folder called Potential. And as you can see, these urologist potential beats that, you know, I might just listen to one day and be like, Oh, you know what? I like that one. I'm gonna I'm gonna put it on to the beat tape and it's gonna save me time. I don't have to worry about creating a beat anymore. Now, if I just want to maybe add a few instruments or start structuring this song by building the arrangement, we're doing things like, you know, like the audio painting, like I was explaining before again, I've written a book on Amazon called Audio Painting. It just explains how to prepare your listener for what's next in your song. But as you can see, I can just quickly take one of these beats and I'm good to go like, you know, it's that quick again. Sometimes I might feel that, you know, this be might just not suit this beat tape. You know that current release I may have enough dance tracks or it may have enough hip hop tracks, but if I'm onto it new beat tape release, it might be like Oh, yeah, I want that track. You know, that's a nice hip hop track or I want that one. That one's that was pretty aggressive. Or, you know, just whatever the feel is for that that release, you know, I can kind of pick and choose. OK, so that's what the potential is. So even if I'm, you know, in my spare time, whatever. If I just kind of make a little B and it turns out really, really catchy. But I just don't have enough time to finish it, or I just kind of think to myself like, Well, that's a really good beat. I'm just going to store it for later, and if I end up using it, I will be good to go and again. So if I open up one of these So as you can see, I'm even saving like sounds from the current project that I'm working with Then So, for example, like I was saying so if I just kind of worked on a B and I didn't really get time to fully finish it, I will still create this folder like you're seeing. I'll create the F. L. P within it, and I'll also just create the sounds. You know, it only takes a second FL Studio makes it really, really fast, and that's why I do it. If it took a long time, I probably wouldn't. But now I don't have to worry about if I lose sounds, whatever. So that's how quick that is. And then the need finishing. So this folder is if a song is just kind of lacking something so something is missing. So whether that be, I need to still add instruments and complete the track, or I need to actually arrange the track or the track isn't mixed or is not really mastered or doesn't really have any like that audio painting stuff I was talking about so again. The need finishing folder is it's just kind of these tracks or just missing something, and you know they need to be tweaked still. And then once I e actually master it, you know, I might kind of bring it into, like, the Master folder. That way it kind of pulls it out of the need finishing it's kind of Vinik into the next stage. It is mastered. It is kind of good to go, but I'm not 100% with it, okay, And then in the complete, you know, I will drag it into here. And when it's in here, I'm making sure of a couple things. So first of all, yes, the track is actually done, and it's ready for release. What? I'm also making sure that I've backed up all the sounds, and I've prepared it so that I can have it for the long term for it. The rest of my life, I've had prepared the song for backup and for release. So now it's a complete product and it's good to go. And then once everything is done, so once all off these I would go into mastered and then once they go from mastered into complete. I would then actually start to build this folder structure, and I would just put it into the mixed So once they're actually complete here, let me just open up two folders here like I'm saying so once it's incomplete, all the tracks you know, once they're done, I will then start to structure volume eight, just like Volume seven is, and all the complete beats would then go into mixed just like you see here. So thes air all the tracks. As you can see, here's the project file, and I have the sounds which are all backed up and saved. Okay, so again, that's just how I approach it. Over my years, I've had some bad experiences which I have learned from, and that's why I set out my folder structure the way I do. It just allows me just a flow fast and kind of go with it. Also, um, as I am working on this beat tape the need finishing is kind of like these are the ones which have had selected, you know, whether I have created the beat or I've pulled them out of potential, Okay, but the need finishing It's like, these are the tracks which I think are going to be going on my newest beat tape. So in this case, you know how many tracks don't have actually have 12? So this doesn't mean that all 12 of these air actually going to make it onto the beat tape because they're like I was saying, I think I have started to go around 10. You don't have to kind of like this, actually double check case. So if we go to be tapes and we go to seven, so we're gonna go mastered, so as you can see, I've actually released 11. Okay, so there's 12 items in the folder, but not including the FL piece. This is 11. So I've been lying to you guys, so I actually started releasing 11 again. I don't always keep the stuff memorized is just kind of I will just reference the previous beat tape, You know, What did I do? And I just kind of go off of that so you could see Volume six again. I have released, um, 11 tracks. Checco, Volume five. Let's see what I've done there. This has 11 tracks to you. Okay, so it looks kind of like 11 has been the number of which I have been choosing from a beat tapes. If you go back to volume eight here, need finishing. I actually have 12 and hair, so that means that one of these aren't going to make it onto the beat tape. But like I'm saying so this is kind of the holding ground. It allows me to kind of sift through my beats and be like a These are the kind of the ones that I'm thinking about, and I just kind of work off of that, you know, once they finished them, you know, they just kind of go to this process again. This is just how I work for each beat tape. You guys do whatever you want. I'm just kind of showing you my flow to get you guys going, and you guys can kind of take what you want out of it. 16. 4-3-1 - Creating a Demo Reel - [Part 1]: all right. Hey, what? Something pretty this is Gratitude is to be struggles dot com in this video, we're gonna be creating a Demel riel, and I'm actually gonna be doing this personally for myself at the same time. So you guys will get to see what I'm doing, Why I'm doing it. So what I'm actually doing in this video is I'm creating a personal website for myself. I'm creating like a home page, So assure you here. So as we scroll down, you can see I have, like, my albums. You keep going, have, like, my beat tapes. And when you click on this Ah, pop up appears. And I have, like, the image of my album. I have, like, the description of it, but I have an audio demo. So inside that audio demo, um, I've just kind of taken snippets out of the album and kind of faded that you know, what kind of crossed them over recusing Effexor. Just kind of like fading of the volume and stuff like that. So I've done, we've only just met. I've also done the light to my dark, but I have not yet done. What's it going to be life or death. Okay? And that's what we're gonna be doing in this video. I'm gonna show you how to, um, bring all of your files and kind of take Oh, certain parts that are kind of like you know, what you feel is the most energetic or like that you like most about that song, and then you can, you know, again using effects or like, fades. Volume fades to kind of bring in the next song and stuff like that. So I'll play one for you guys, just ah, you know, just so you guys can get an idea of what we're going to do, and then we'll go into fo studio here, and, um well, actually chop him up a line. Um, you know, a range of Malek kind of stuff. So this is what it does. So you open it up, you just click play. And so this is the audio demo. Now, Now, as you're listening, just kind of listen for my transitions into, like, the next song, like, that's what we're going to be doing. So I'm trying to present this beat tape and, you know, about two minutes, you know, because really like the beat tapes for the 45 minutes half hour. Just trying to chop it up, make it nice and quick, but try and bring out the best parts. Um, you know, So that person's like, oh, click, you know, and then they could download it. So here we go. - You know, so you can kind of hear, like, you know, just like the effects I used to kind of bring in the next song. Play you guys one more just You guys kind of here. - Okay . So, um, yeah, we're gonna go into your to FL studio. I'm gonna load up, actually, um, let's just go like the light to my dark. So yes, all to save what I've done there, so I'll show you the light to my dark. I'll show you, however, arranged it and just kind of some sound effects. I may have done volume in this. Sometimes I do. Sometimes I don't. Um I actually haven't done too many of these until I actually started creating that website there. So for for each album, I want to create one, right, So so far I've done 12 and then 34567 So I've done seven so far. This will be my eighth. The 1st 1 was an experience. You know, It was just kind of, like, add your songs and stuff like that, and then I just kind of got with the hang of it later on Not to say that I can create, like, professional radio, standard kind of ones, but ah, you know. Okay, so anyway, so it just kind of goes like this, you know? You have, like, your first snippet. I just kind used, like a sound effect here. So hopefully like the sound effects. Okay, so it feels like my sound effects. Then it's like, Boom written to take the next song. Um, you know, again next song into the next song, but and have it that this transition So So that would like the transition in. Okay, So let's go to what's it gonna be? Life or death? Um, this is my third album. Okay, so here we are. We are in What's it going to be? Life or death demo compilation. Um, so it's just going to be a little demo reel, So, um, yeah, you know, I kind of already have an idea of like what songs I like the most on this album. Like sometimes I might not even include a song just because it's like, you know, it made it on the album But it might not be like my favorite. And then there's certain parts in each song Where to me I like I like that spot like the most so many times I want to chop that specific spot. Oh, just to kind of make it stand out in the demo reel. Right? So, um, you guys listen, um and then I'm just going to kind of like, fast forward to you know what I want Keep for this snippet for the sake of others made to look a meeting. Okay, so I think in this song, because in the second course, I kind of have, like, a background ad lib. So listen. So in the second chorus, I have, like, you know, like that, like the main vocals, which is like, we stand our ground. But then I have, like, a background vocal that kind of sings. We stand our ground a lot more in depth, so well, like, is this a former time? So that's kind of a background ad lib. Um, what I'm gonna do is I'm actually gonna chop this just like the very, very beginning. Um, the very beginning. I feel kind of has, like, an emotional feel to it. So listen to it again. So I might only put it to vote, maybe, like, 11. Or maybe maybe just a little bit more, because he also got to think, um, you don't want it to be like a 10 minute demo. Really? Like, as you can see here. So although these up, So this one is a minute and 30 seconds. This one is two minutes 25 seconds. And I haven't done this one yet. Or the secret treasures, As you can see, this central zero, Um, and then volume one. So a minute and 15 seconds only. You know, I'm just thinking nice and quick just for the person to listen. And then if they want more than click the download button and they can download it, you know, 1 30 two minutes and in two minutes about that to 10. Um So I think my, um, time I was going for was about a minute and 30 seconds, but then Sometimes some of these trap some of these releases. They have mawr saying that they have actually more tracks than the other ones. So, you know, if you want to fit more songs and that's just going to keep adding on more time, and then you also don't want to make the snippet too short because it just doesn't sound good either. Like, you want to present your album, you know, to the fullest, but also make it nice and short for that listener. So, um, let's listen here. Yeah, Okay. So right there. It's just so what I do is, um it's not the left Ault soul. It's the bolt by the enter on your keyboard so ago, Ault and Shift and I will just chop it there and click and right click, and I'll delete that. So, um, let's listen toe song change. Okay. So I could even maybe go back just a little bit more. You like that? Um I usually find on a drum hit of So the same working on this song right here, Right? This drum, like the next drum hit, will usually cut it right there and then play the next song. Kind of Ah, it's like almost like the listen is ready for that next drum hit, but then also booms to change. And it's kind of it's not too out of sinker. And I think that because it's kind of going off of the first song so comes in here. This song's pretty aggressive, so that's also something to keep in mind. Like sometimes all spread out, uh, the aggressive songs to like the dance songs, you know, all thrilled with the de Meriel. Um, it's all just a opinion. Your choice, you know, more Common said. He's coming. Okay, so it's a big buildup, but it's also quite long. You know what it means. So from a listener's standpoint for to keep the energetic, um, the clap starts around here, but it doesn't start on like like like like the beginning of the loops starts a little later in. So might start. It may be on that. So around there and then our sorry here I'm just gonna enter, make this full screen for us a lot easier, and then, ah, hold on control and right click that allows you just a zoom and read in that area. Film that's really handy for this. And then you hold on ALTs. And then you can kind of find tuna and more. So, you know, once I actually find the spot I want, I will actually kind of fine tune it like that. So there's there's no gap in between them. Um, if I'm doing fade ins, you know, maybe, yeah, I would do a volume fade in and overlap, um, kind of thing, but, um, right now I'm not doing that. So, uh, listen for about here. So it see there is the hit, and I'm doing this over a little bit. We'll put you here so much that maybe Okay, so I might put it around here just to make it nice and quick so we can move on to the next song. You know, otherwise it's just too long foot. The listener toe really get a full perspective of the album, you know, because you got to think like we as humans, like, we are impatient. So, um right, So So I cut it off to get a taste of, like, before the course. That all sounds like boom hits the court. Okay, so I said, maybe around here that kick right here, Make story there. So I'll chop it around there, some like that, and then we get up the next song. So and then like I'm saying, like, all kind of do this and get it all set up for all of them and then I might not like the order because something is really important is once you kind of get yourself set up, Let's say, you know, you've kind of chopped up all the songs that you wanna have in the demo reel. Make sure that you stop hit from the beginning and you hit play. You play all the way through. Um, because what I will do is like I'm doing right now. I'll make all my chops and kind of get the song ready. Okay, I'll listen to it and be like, OK, the transitions, you know, they're they're pretty clean. And then from there, then I'll start getting some sound effects and stuff like that stuff like this. And I just started dragging them in there and then all, and then I'll kind of modify the effects to kind of suit the transition, that kind of thing. So we're onto our next one here, Theo. I said me right here will chop it off front on to the next, you know, because look, like we're already 32 seconds into this demo reel, just three tracks and we got, like, you know, 10 tracks. So, um yeah, so we'll listen here if you don't for the floor with your reason for living. I mean, expensive cars and nice toe having ball. But when two cases, goodness, but media treat their small but onto the next kind of thing. So lens up. But because most of these are all I'm starting from the beginning, let's maybe go a little deeper into the track. Theme This'll Life is lost with different paintsil island. Jesus, he loves me, so I might maybe started at the sins are gone because I repent. So I go, uh, maybe a topic here and see So having they will put it here having home right there. Stop it right around here. Okay, so I'll work my way. It's gonna go to the next song and the first brain that your brain that way that you must let you sprained your wrist over one Life Lord is merciful and compassionate. all call upon his name. Let him have his way in your life and transform you into the image of his son. Jesus. My life took a 1 80 Kissel. As I'm listening to this, I'm just trying to decide if I should actually play the course. Or if I should play the speaking part over the course. Instrumental. So you know, as we can listen, Here's the chorus vocals. And then over here gets into some talking and have his way in your life and transform you into the image of his son. Jesus. My life took a 1 80 degree turn and he saved me for me. A sinner. Let's see, The Lord is merciful. My life case. I might started around here. Kind of put it there, and Mingo hit into some talking some of that. So care. So, uh, I don't like the one I, for one would be over here somewhere, So Okay, so pretty close to here. This kick right there, that would be the next one. So Okay, So may chop it back there trying to find the one on here too. So, yes, I think the ones around here you're right. There I think it's that one. It's kind of hard. As soon as you look away. Uh, he kind of lose where you're at. So I'm gonna say it's this one, though. And, uh oops. Okay. Yes. Oh, put around here. Find to net the numbers over one life. The Lord is merciful and compassionate came. I just hit it right Right up into the talking. So go. So that's the first kick. Let's go with of the loop and do some light that so the Lord is merciful and compassionate . All call upon his name. Let him have his way in your life and transform you into the image of his son. Jesus. My life took a 1 80 degree turn and he saved me for me. A sinner. Maybe they're topping, of course, something that, um this one for me. A sinner. Yet only one friend board times get hard. No one cares. They're still there. Always by my side. Only one friend. Have you had a brother? Never down. Okay, so it's either this kicker, this kick that's on the one. So right there. So get rid of that and going to the next. So some of these songs, you know, it might not even want to put in. So convict me because it's just don't forget about King. His name is Jesus. No fake. Bring. There's no divorce. He wants to work together. Please don't go ahead, Kimmy. I'll cut it off right here on there. You know, just to kind of give ah, the demo reel. Just, you know, a little bit of variety and stuff like that. So do this. Get his name is Jesus. You know, So with with an effect or something like that, or even like a volume fade that I think that will sound like a pretty good transition. So what's to work together? Please don't Go ahead, kiss. So, uh, let's just leave it so mixed messages. Try all you can, but I'll never live standing. Garba Heart this day. Mixed messages side I do. The death was and you already want to The death on the cross and all these mixed messages inside. Okay, so put that around here, but I'm I'm thinking I'm just gonna hit the course. Struck, cleaned it out across death on the cross care. So that is the one. This is a kick before death on the cross. That's the one. So do that find you a little more? Okay, Some like that. So he wants to work together. Please don't go ahead. All these mixed messages side Just so the see you when I say go ahead. That clap I could liken might be able to transition it. Read on that clap. So don't go ahead. May we do that? Don't go ahead on all these mixed messages. Cats A little better. It's a little more energetic rather than what it was before. Don't go ahead on ahead. All these mixed messages inside. I just wanna be registered Your eyes that spoke so surprise. Surprise is you want to be castle cut off a little soon. Police mixed messages inside. I just wanna be purchased in your eyes. Boom. Some like that. No. Put on this on the one again. So and then listen because, you know so see, we're about two minutes. I'll be able to maybe make it under two minutes and 30 seconds. Kind of things because the auto with witnesses But on my mouth. And I just always the friendship any church students doing what's right just on my way. I want to keep around their kind of, ah, powerful part of the song. So right here. So what I'll do, Hot, actually is as I am watching. So right now we're gonna hold on hold and shift and cut that. But I'm as I'm watching, like, the cursor What everyone call it. Um, as soon as I stopped pulling my most there because sometimes, you know, look away and all sudden, it's just like, you know, because everything looks pretty similar. Like, um, so I'll just put the most They're looked down at my keys, right? Like my keyboard so I can hit Bolton shift. And then, by the time of look, couple forget. So that's the reason why I will leave my most there, cut it, and then I'm good. So bring that over and bring it over. Um, so I repeat the same thing twice here in this kind of like an outro kind of things. So I could almost use this part right there as a transition into the next song. So listen to it again. Claps so I can use those as a transition, like I'll still probably add my own transition with it. but that just kind of as his own flavor so cut around here and we'll bring this one in. So this song is more of a kind of Ah, um emotionally powerful kind of song. You know, it's a slower song. So, um, I just want to pick a spot in it where you know, hits hard. And it's also the last song, so I could maybe even faded out or something like that started, but finished strong serving nylon with disgrace from the Lord comes back. They'll have my head held high on the shame government because I obeyed his ways. We can do all we can, but this time I just pray power off the cross is changing your every day. You want money for Carter. What? You're gone. Don't beg galore. One single power to change but Williams with the black on your heart, Liam Car Cindy's that humbles you just to think of your past, giving praises my life. I try to speak through, but they just keep walking way. Stand on the ground of Jesus Christ in the power of the cross. He saved my life in their four endure until the end, trying through power to save and the blood that has free from all your shame and your iniquities on call on the name of the Lord shall be saved only by his blood and his saving grace. What's more important? Okay, so the beginning of this tracks pretty good. So I started all but finished strong serving nylon with disgrace from the Lord comes back, They'll have my head held high on the shame government because I obeyed his ways. We can do all we can. But there's times I just pray power off the cross is changing your every day. You want case of right around here is where I will, um, start fading out the track. Okay, so from here What? I'm gonna do somethin. Hold on control and click. So it actually highly, it's a song. Then you hold down control and enter. And as you can see, it highlighted just this area. So when I create an automation clip, it'll create it just for this area and not like the whole thing, you know, it's just gonna created right here. So now I'm gonna enter, make it smaller, and I'm gonna right click on the volume. And I'm going, Teoh, Fade that out a little bit, so I'll just bring it down. Zoom in and this, Okay, So faded. Faded out to about there. Uh, I'm gonna right click to copy this value, so it's not going to change. And then let's see, I wanted to paste it. Maybe around here, somebody, some of this power off the cross is changing your every day. You want money for what you got? Don't beg Galore case. So, um, let's see here. Okay, so I think it's maybe halt. No, uh, control. Okay, I think it shifts. So if you click on this and hold on shift, it doesn't allow you to move it up and down, But you can move it left and right, So it'll keep your volume. And then if you click and hold on it and then hold on, control, it won't allow you to left and right. But you can move up and down. So, you know, just kind of tricks with automation clips, but yeah, I like this one. All right. Click copy. And then right clicking go pastes Just good for workflow. So we're gonna hold on shift and click, and I move that may be back here a little bit and move the automation clip out a little bit enough a little bit so I'll listen to it fade out You know, make sure sounds nice and natural but then also has that powerful emotion to it too. So make it big and do this ham But this time just great power off the cross is changing your every day You want money from what you got Don't beg galore One senior power to change But Williams, with the black off heart cars do this or move it in and all faded a little faster. So over time the power off the cross is changing your every day. You want money for Carter? What? You're gone. Don't back a war with the power to change. Yeah, Mason like that and may push back a little bit Your power to change, but claims get the black heart. Yeah, Okay, cool. So that is the basic label that we have so far 17. 4-3-2 - Creating a Demo Reel - [Part 2]: Okay, so now we're going to get into actually adding effects and stuff like that. So, um, you know what I'd probably do from here is I would actually hit, stop, play all the way through, Make sure that the transitions actually kind of makes sense, like, you know, like, because as you listen, you could actually hear It's like, Oh, no, it just it sounds out of sync, you know? I mean, like, it's almost like you can have good transitions and you can have bad transitions, regardless, if you have, um, even sound effects in there. Um, but for the sake of this video, we're already almost, like around 20 minutes, half hour kind of thing, so I'll just start adding it's in transitions. I'll show you how I do that, and then I'll export it, and I will load it up into my website, and then it should work right here with the play button. Okay, So, um, let's just click some random effects. So, you know, this is the benefit of saving us your sound effects if you ever make him, you know, for transitions and rises and stuff like that. So, um, actually, I do have a free, um, rises in transition. So if you just google this if you Google gratuitous rises and transitions Volume one I have free rises and transitions that you can download. It's free to use. Um, I'm just thinking of this because for all my other ones, I have used my own sound effects and, like, I don't have tons of them. Like I have some, but not not times and tons. So, you know, I'm gonna be different this time. Use some of these risers, so we'll go with this. Maybe so, um, I guess we'll listen. Kill, Turn the volume a little bit and ah, trim it. Let's just see here. Amethi in a little bit, too. That sounds a little better. So Okay, I will use that one for something else over here. Some of that one sec. Um I heard a sound earlier. I played for you guys. Just go try and find it. Perfect. I found it. That was good. I want to put that right here. Um, just sounds a little more aggressive. You don't listless. Hlynur lets the listener know that something is changing in the track. It's kind of like a reverse symbol kind of thing. So put this here. Normalize it, trim it up. Um, make the out little. Okay, I'll go with that. Um, put this here. You're gonna volume a little bit, so I guess so. I'm going to extend the time of that Was a little too too quick. Done a little better. So maybe not even that one. With that, I might even do this too. I might just kind of chop this to here, um, to vote there. And I'm just gonna highlight it all now and zoom in, bring it over. Do you mean to get just to make it quicker? Um, so So I'm actually gonna chop it right there kind of thing. So this is just a little too there. So this is like, what I'll do, you know, especially my own time, will spend even more time doing this. But, you know, you guys were able to see what's going on and how it all works. So a line this up to vote there can think Kamen said play with that. So it turned out a little bit, and, uh, I kind of liked it, just as it was, so I don't live in expensive, expensive cars. And having I might cut it at that kick, maybe around here and I will do this again. You know, like I was saying, like, I usually listen to it all the way through, and then I'll find Tune all that kind of transitions just a little extra. And then it comes a lot easier when you start adding in the transitions. Whereas now I'm kind of doing both I mean, expensive cars and have a little more So, Theo, cool lord is merciful kiss. I'll cut right here. They're on their And I might include this too. Bring it up for him all over. Okay, so Well, listen to this Canary on this on this one and spring all over again. So there we go. Lord is merciful and compassionate. All call upon this name. Let him have his way in your life and transform you into the image of his son. Jesus. My life took a 1 80 degree turn and he saved me from moving kiss so I might just chop this one out. True boat here. So my life took a 1 80 degree turn and my life took a one. So I think I might have to leave that in because it says my life. So see, took away. So I want to keep that. So right around here, that's where my life my life took a one so unassuming on that make up a little bit more, you know, just to kind of, you know, you want you want energetic to e you know, like you want to also share what your album is. You know, like you want people to hear the actual song and stuff. But, um, you also to make energetic, too. So you gotta know when to when to cut it? I guess. So. My life took a 1 80 degree turn, and he saved me for me. Yeah, that one's OK. Um, it's a little quick, but, you know, it's pretty much like the end of the song anyways with that one. Um, keep that. Okay, so we're gonna go, um, kind of cool, sound effect. So this is what I'll do from here. Got a little out of there. So, um, I used in and out knobs, and I actually have a tutorial on this, so you guys can just search into Google, like in and out knobs, beat struggles or something like that. And you can kind of see how kind of you sound sound design with this stuff. Yeah. Yeah. Only one friend times Get hard. No one cares Were still there. Always by my side. A sinner. Yeah, Theo. And then sometimes what will do from here to is like, I'll take some like, these transitions, and I will make them unique. And then maybe they will reverse it and do stuff like this, too, So Okay. Wait. You sure? Yeah. Yeah. Only one friend. Tabs get hard. No one cares. You're still there? Always by my side. Only one friend. Have you had a brother? His name is Jesus. No fake. Bring. There's no divorce. He wants to work together. Please don't go. Castle will make unique again. Uh, reverse it, normalize it and, you know, sounds way different than you know, like it was before. So put this end of this a little bit, just to make the actual sound louder throughout the whole thing. So yeah, Okay, a little better. So he wants to work together. Please don't go ahead. So I make that transition a little longer quieter. He wants to work and get their Please don't go ahead on ahead. All these mixed messages inside. I just wanna be registered in your eyes. Okay. Well, he wants to work and get their Please don't go ahead on ahead. All these mixed messages side I just want to be registered your eyes that together Please don't go ahead on ahead. All these mixed messages inside. I just wanna be registered your eyes protective. Okay. So I'll find too in this one. So let's reverse it. So, like this Maybe maybe we'll play that. Find a post. Made us a little better. Cross it over a little bit. Protector protector. You protect that protective cases? Something in there just sounds off. So that kick drum, So could it offer onto your kind of thing and we'll bring it all the back? I will hold on ult again. Find unity there, Maybe put her on here. Um, produced little little more just so we can hear at this. So it's a little bit more. Um, And then since I moved that by itself, but a symptom of these over to and listen to that protective gear on judgment Day start. Kids last be a little louder. Couldn't even really hear it. So Kim No, by some. Cool. So so maybe less than that. You appear on started. I started off bad, but finished started bad, but finished strong. I can't just grab one from Edie appear. Maybe, Uh hey, this one editing here to you just kind of give it a little bit more. No, I wasn't. You being on that list put here. Um, I'll just make it unique just so I don't change it up on the other one, but finished strong serving Nile. Open disgrace from Lord comes back, they'll have my head held high. Okay, so then from here, you don't want to export it. You know, it doesn't have to be super high quality is just to get an idea of the track. Um, so I'll just save into here, and I think I was doing, um I was doing 1 60 so, you know, just to kind of keep it consistent with the other ones. Okay, so I'm just adding this into, um, my website right now, So I alway do. There's just so I don't misspell anything. Hef to copy it coming to here? So, um, this is this is web code and stuff like that says I'm using PHP, and I'm just using a variable. And, um, I've just set it up this way just so I can use this stuff all over my website without having to write. Do you? Are I Are you are you are l or whatever, but like often. So right here all do is always put in here dot mp three, and I'll save it. And then that goes into, um, some other code, and it will load up right here. So as soon as I refresh this right now is showing zero. And since I refresh this page, we should see our audio demo. So it has to 11. We play it, and that is what we just did. So Well, listen to a little bit of it just to see you here. Kamen said Okay, so that is you know how I make a demo reel. Um, I will probably go and find tune it myself. Just because you know, when you record a video is kind of hard to really focus and stuff like that. But that is the general idea of, um, how to create a demo reel. And then I was showing you how I'm using my demo reels in real life. Okay, so eventually, you guys will be able to see this website. I'm currently working on it, you know, fine tuning it before released to the public. Um, yeah, so that's pretty much it. You just click on this little pop up. There's my demo reel, and it's just really good for marketing. And, you know, whenever someone comes to my Web pages, just whatever I want to show him, it's just it's just all right there. That's everything that they need to know about me pretty much, you know, just nice and simple also show, you know, you click on albums that drops you down and beat tapes, drops you down, Um, and then even this sign up, this is pretty cool. So, um, I've added, like a delay into it. So if you click, sign up, let's say let's say you're here and you click Sign up, it scrolls down the page, and then a little pop up appears after you actually scroll down to kind of think because I put like a time delay kind of in there. So strolls down, boom pops up, You know, during the journey, the same thing is a sign up. So anyways, that is how you create a demo reel. Hope you guys learn to law and kind of, you know, summat, workflow and stuff like that. So beyond the local from a new website, it will be a Its gratitude is dot com and you guys be able to download all my music for free. Uhm you know, And currently if you guys go to gratitude is beats dot com You guys come down with all these beat tapes for free and stuff like that, I just release It's great for marketing and stuff like that. 18. 4-4 - Using MP3Tag For ID3 Tagging [Free Software]: Okay, so in this video, I'm just going to give you guys a little walk through of MP three Tag. This has been a software I've used for many years now, and this is what allows you toe idee three tag your MP threes again. As you can see here, you know, is putting in all this meta data into the actual file. So if we open up one of these files and right click on cold properties, OK, so you go details. Now you can see all this information which I've added in. So in the comments that put my website, you know? So here's me as the artist. Here's the actual name of the album. Ok? Ah, the year I've released it, What track number it is, what genre it is. So when someone sees this, uh, this is the information that the state that they see you can even be again adding in that the SRC code what you should be doing. Um, I I actually haven't which I probably should, but, you know, again. So I'm just making, uh, this information available to you. So in this video, I'm just gonna show you how to use MP three tag again. It's free. You guys just type it into Google, download it, and you guys can use it. And it's awesome. So I typically leave my actual wave files just the way they are when fl Studio exports them . You know, there's no information in them again. The online distributor ads all the information for me, But I would actually convert these two empty three first. Or you can actually open up the project file, and you could actually export both at once again. You can expert the way file and the MP three. So in this case, let's just take an MP three version here and was gonna copy this into here. So this is the copy. So I'm just gonna drag it into here and you click on it. We're just going to remove all this information, OK, Okay. And we're gonna right click on here and remove the cover, and we're gonna save it. Okay, If you compare the one that is inside the MP three tag, which we just removed all the metadata from and saved it, comparing it to the one that does have the metadata, you know, has the image it has the title as the track number, and I'm just going to remove this preview here. So in view here is gonna click there. Okay. So as you can see all the information which is on the actual official MP three, which has been I d three tag compared to the one that isn't has no information. Okay, so I'm just gonna click this. We're gonna drag it in there, and we're just gonna leave the title to change. Change. Gonna come. Copy. Okay. So I'm just going to take it from here. Hold on. Shift and press. The home button highlights everything to the left of it. Hold on control and see and copy just that. So what, you want to make sure that you do is you click on it started not on the actual title, because it will keep doing that. You just took over here. You want to make sure it's highlighted. Okay, so going to come here to title and I'm just gonna pace that in there. OK? Now, when I just hit save here, You know, we are gonna enter more information in. I just want to show you here on the title that this change going Come. Copy will be entitled. Okay. There you go. You can see it right there. Now. Okay. Change. Gonna come. Copy. So that is the title that they actually see again. Sometimes when thes mp threes get played on certain systems, like even in a car or whatever. If you haven't, I d three tagged it. Sometimes the title doesn't come up in. You know, I've experienced that before, so when the i d three take it kind of, you know, sets all this stat, You know, guess is like a standard. And, you know, it starts to read this metadata, and it should be displayed properly. So again, here for the artist, I would go gratuitous. Uh, the album Mrs Go Beat tapes. Actually, I actually write this in capital, so its beat tapes by gratuitous. And this one is Volume seven. Now, for a little pro tip here to save you time, I would actually drag all the songs in here. Okay, so I would just do this, drag them all in and drop them in. And I would update all this metadata, but not the title. Okay, cause the title is going to be different. Obviously, for each song, however, most of this information is going to be the exact same. You know, maybe the genre isn't so, and the track number isn't because, you know, change that comes in the number 1 24 times number two. But besides that, I would put to be taste Burger Trudeau's Volume seven. All of them are gonna have that. All of them were gonna have the same year. All of them will have the same comment, because I'm gonna put you know, my website in there or something like that. And in my case, since I am the only recording artist and producer who has touched this music, it's simple. So it would be my name, my name. OK, but we are just working with a single file here. But that's just a little pro tip, which I've discovered over the years. So in this case, let's just say I released in 2017 or whenever I released it, uh, track title. In this case? Yes, it's number one genre. Let's just go like hip hop or something like that for the comments. You know, I'm just gonna put its gratuitous dot com that's just my website. Um, the directory is just where it is. So don't worry about changing that. I don't think the album artists I would go gratuitous. And then here you go, graduate us again. Sometimes I put my first and last name here, um, and then I don't put a disc number. And so now for the image. What I would do here is this is actually 1000 by 1000. So if I open it up and we click this and we go file information, we're going to see her on the left. It's 1000 by 1000. Now, I feel that this is too big of an image to embed into your i d three take into your metadata because it's actually adding this amount of, you know, file size into that MP three, and I just feel it's unnecessary. Um, so I would actually right click on this. Okay. I'm just gonna go at it now. You want to make sure rate off the bat, okay. You will. You will file and save as so you want us to create a fresh copy. Okay. So obviously which my desktop for now. And I would just go. Um, Dash 300 by 300. And I feel that that's usually a good size, I think, and I'm just going to save it as it is. Okay, so now I'm just gonna click resize because you could see down here, it's still 1000 by 1000 and the size is 300 and pretty much 50 kilobytes. So I'm gonna go resize right here. I just go pixels. And this has put this to 300. Okay. And the maintain aspect ratio is on, and we'll press, OK, And I was gonna press control and s. And now you can see it's only 50 kilobytes, and it's 300 by 300. And this is what I would be using to add into, you know, foot the metadata artwork. So I'm just gonna drag this in from my desktop here. Sorry, I have a couple monitors, which I can see other things which you can't right now, But this is the file that we just worked on together. OK, so this one was the 1000 by 1000. This is a 300 by 300 again it smaller in size. It's smaller. It's a smaller image, but it's okay. I'm just gonna click and literally just drag it right there and we're not. Now when I hit save Way could see all the information is going to be added. We have changed going Come coffee. We have gratuitous. We have the album title right there. And if I were to double click on it and open it up, you could see you know, the artwork is there and everything closes out here. Now, if I were to right, click, remove, cover and save that. And first, OK, and if we double look and see that again, you're gonna see there's actually no artwork. Okay, so that's kind of just like the difference. Also, when you open up like an iTunes and stuff after you have i d three tied, you know, your songs that you listen to or add to iTunes. You know, it kind of creates a cool color around all your songs. Kind of like the actual panic team colors of your album. It's kind of a nice touch that they've added in there, but that is how used MP three tag. Okay, so you don't try and let me know if you've any questions is totally free to use. Guys can download it and that's just what I do. Toe 83 tag my tracks before I release them it for download on the website. 19. 5-1 - Online Distribution [Overview]: Okay, so we're gonna do a quick video on online distribution. So there are a lot of companies to choose from to get your music out there on Spotify and iTunes. And what you have to do is you have to be using an on line distributor. So these companies like Destro kid, which I'm just suggesting here because that's just what I use. Um, there's like CD baby. There's like, tune core. There's a lot like I've just named, like some of the more popular ones, but to help you. Oh, there's a guy named our UK and he is a website called Armies Take. And he has an awesome article, like an online Web article covering all of, like the online distributors, you know, just giving his own recommendation on just over the years. And that was really, really helpful to me. So there's different, um, against deals that they offer you. So, for example, with Destro kid, the deal that they offered was you pay a yearly fee, but you taking a lawyer royalties. But then let's just say of a city baby, for example, what I recall with them, you know the deal could always change and I might be telling you wrong. So obviously, just go to the website check of their deal. But their offer was like it was like $40 her release. So in my case, since I have, you know, seven beat tapes like eight with with the greatest hits, right? So that would be, like, you know, eight times 40. Okay, so it's like over $300 and then they also take a commission. So the thing is, if you were a really, really popular artist and you're making you a lot of money off your royalties every month, they are dipping their hands on a percentage of your earnings. Even if you were making tons and tons of money, you know, so it kind of works this way. It's like the more money you make, the more money they make. Whereas if you go with, you know, this business model, you just pay, you know, your yearly fee. But if you were making lots of money off your royalties, you know you're pocketing that. So again, it's just kind of you gotta figure out what was best for you. I just found that if I pay $40 a year. And if I really is to be tapes a year, it's like I believe that Still probably cheaper than releasing to beat tapes to one of the other services where I'm having to pay $40 each release. Um, yeah, so, yeah, with online distribution. So you have to be using a distributor to get your musical like Spotify iTunes on all these other streaming services. When you are using these services, you will see that they give you all these different off streaming platforms as well as stores. And most of time you can choose which one you want. And which ones don't I just select them all cause it's like, Well, I want I want my music out there So I used districted. I actually released. I think it was like my first album, maybe on CD Baby, as when I first started Thea Album's called We've Only Just Met, and then I started releasing these deep tapes, and it was just like a Well, now I'm having a lot of releases, and I don't want to be paying $40 every release when I'm I'm really not expecting a big return off of the music So I just thought a district, in my case was cheaper. Alternative just to pay whatever their fee is our per year. And if I do make some money off of it, it's royalty free. And then again, just Checco Ari's take hey, actually wrote a book on the music business. I actually did a review on his book of us. Check it on the website. It was a super super cool book. Um, it kind of So you kind of broke down like the new music business, like dealing with social media and really, how to make it. So you know, there's a little little plug for his book and his website there. His art. That's how he found his book. I was on his website trying to figure out, you know, what distributor do I want to use? Because since I have seven beat tapes or eight feet tapes, that was just like, this is gonna be a lot of money. Um, So, through his website, I decided to go with a destro kid. And then I also found his book through his website, too. So that's some tips for online distribution again. Uh, you know, districted or city, baby. All of these platforms, they will give your music the I S R C codes for each individual track. If you are releasing an album or whatever, I believe they also will give it. Ah, you PC code sometimes too. Uh, don't fully listen to me on that. All the sea do your own reading and stuff like that. But I do know the I s our C code. They do apply for you. Okay, so, um you know, do you research figure out what's best for you? I like districted just for the price yearly fee as well as 100% royalties if if I make any . So that's online distribution, OK? 20. 5-2-1 - DistroKid Walk-Through Example Introduction: all right. So I'm also adding a few more free videos, which I have actually released on YouTube. And this is the actual process of me actually uploading some music onto Destro kid, which was national beat tapes. And through that process, that's when I actually discovered that might be tapes were being rejected because of my name. Free beats by gratitude is, and that's when I had to start changing it all to be tapes by gratuitous. But I just thought if I added those videos into this course again, it's just gonna help you see the whole process and just a lot for completeness of this course. Okay, so I hope you guys enjoy these videos again. They're on YouTube, but I hope you guys enjoy. 21. 5-2-2 - Uploading Music to DistroKid: all right. Hey, what's everybody? I'm gratuitous of an artist and producer based on Canada, British Columbia. In this video, I'm going to show you how to upload your music on destro kid to get out there like Spotify , iTunes and stuff like that. The reason why I have chosen destro kid eyes just cause I like their unlimited uploads. There are a lot of pros and cons with a lot of these online distributors, you know, just from my own research and stuff like that. Um, one website, which is really helpful is Ari Ari's take. I'll leave a link in the description below. He would over each distributor, like kind of, um, point by point, given that the pros and cons for me personally, I released my albums through CD Baby and they charged like an upfront fee. I think it was a kind of $40 around there to upload your album, and then they take a percentage of your royalties, whereas a district kid is you pay a yearly fee and you get 100% of your royalties. So that's one thing to mention is this industry is changing so fast in terms of all these different companies and what they offer. So what I'm telling you right now could easily change. But I'm just going to give you a little walk through through destro kit because I've already uploaded five of my beat tapes. This one, I'm uploading my six feet tape. As you can see here, I've laid it all out like this, and I'm just gonna walk you through how how I have been doing it and how easy it is And just, you know, um, if district it is for you. And if you are interested in district kid, I have an affiliate link in the description below. If you purchase, you save some money, and I get a part of your commission as well. So the first thing I'm gonna do is I'm just gonna sign in here, okay? And this is the first time I'm signing it off of this computer. This is like my music production computer and just making me do a two step authentication. Okay, So entered it in. And as you can see today, so far, I've uploaded five of my beat tapes. So what I have been doing in my past years of producing stuff like that as I started to release these freebie tapes just for, like, marketing promotion purposes, people down, the women listen to them. But I've been wanting to get them onto Spotify just because that's kind of the way the industry is going like, really, I don't even really want to sell these beat tapes, but that's just kind of begin like, that's the way the industry is going. People listen to music off Spotify and other kind of streaming services, so I want to get the music on there for people to listen to. I'm just going to go upload. We're gonna do like my six feet tape that I have released. So I'm going to set myself up here, and we will do this. So, as you can see, you have all like your outlets here, all your online stores, um, in this case. So what I have done is they have my master version. He's like the wave files, the high quality files, which I'm gonna be uploading. And then I've also created an MP three version which is available for free download, and the reason why I'm telling you that because I have them all i d three tag with all of the meta data, and this is gonna make it super, super easy to upload because I've already made sure of order the triple quadruple checked, making sure that, you know, there's no spelling mistakes, stuff like that. And I'll show you why this workflow is awesome. So I have 11 songs so right off the bat and come here to number of songs because if you don't put the number of songs right away, it only gives you one track. Okay, so that's what I'm telling you. You know, put your number of songs. So 11 synods you can see it's gotten bigger. The scroll bar and we have tracked 23 etcetera, etcetera. So again, with older stores, I've put my, um, number of songs on this album. Um, now, when you put your artist's name in, since I have distributed some music on CD Baby in here, it said, we have pulled in another gratuitous from somewhere else and they asked, Is this you? And then it gave you the option, yes or no. And I went yes, and then also on Spotify. It's a issue, yes or no and yes, it was I went, Yes. So just so that all your music is going to the same artist page. If not, I guess it would create a different artist page for you and then the release date. So since its January 1st, So it's the new year. So I'm not concerned about a certain release day, I guess. You know, if this is important to you, um, you know, you could check into this more with the site. Click here for info, the pre order. So you know, again, this is not important to me. So now we're onto the record label part now something that district it doesn't really advertise very well is their pricing structure. I think you actually have to kind of create an account before you can Kind of reveals that to you. So there's three. There's just like, um, the individual kind of like a middle Pakistan, and there's a kind of enterprise package like more publisher style. I went for the middle, and the reason is because it gives you like the record label, and it also gives you better stats and stuff like that. So I selected the middle option, which they currently have again. Like I said, all this stuff changes. So who knows in a year from now if it was like that? Okay, so now I'm going to my artwork. Now, there's a few things I want to mention to you, which are important. Um, I guess these online distributors don't like kind of any advertising on your actual artwork . So in terms of like, as they're saying, done here like Twitter, name any kind of your l's to like your website. So, for example, this was my original artwork, but since now I'm releasing it on one of online platforms. I've done it like this. So I removed the graduates, beats dot com. So you're not allowed any kind of you RL's or anything that, um So this is the artwork that which I will be uploading and they're saying 3000 by 3000. And it has to be a J peg case of J p G. Not a J p e g case, you know. So anyways, so understand. Click and drag that in, and that's gonna be my artwork, Kay. So this is my volume six feet tape. Now again. So I'm gonna come back over here and I'm gonna go back one more time. So what I'm gonna do is I'm gonna f two. And it was gonna copy that because since I've laid out like this, I don't have to really type things in which leaves room for air, because with this stuff, you want to double triple check. You want to make sure everything is spelt right, because going to the process of changing it. You know, that's just the headache. Just do it right off the bat and you're not gonna have to worry about it now. In here, you could do with your pricing structure. You know, if you're trying to sell your album to make money, in my case, these air beat tapes, which I just want people to listen to it if they purchase them, you know, it's awesome. Money is always awesome, but that's not my intention with this music. So, uh, primary genre, so selector genre. So what I've been doing since he's there might be tapes that arm or dance based, but I also kind of have some hip hop tracks in them too. But, you know, these are all their options at the moment, so just for you guys to see, in case you're interested. Um, but I am going to be selecting hip hop slash rap. Okay, so now we're onto uploading our first track. So now this is where me laying this out is really helpful. So all I have to do is hit f two. I copy that, and I just put in the title and then for your song title. You know, depending on if you had any featured artists or remixes and stuff like that, it's letting you know a specific way on how to write it. So just really make sure you read this over before you submit your tracks. But in my case, I have no features or anything. It's just an instrumental. So songwriter. So I wrote this song. It's original, so which means that I own the copyright. I don't have to be doing anything else. So let's say another artist wrote it. This is you with that cover songs and getting sample clearance. But I wrote it so I don't have to go through that. There's no lyrics. I don't have to worry about explicit lyrics, and then you can set the individual track price um, and before to the audio file. So instrumental. So does it contain a vocal in my case? No, it does not. And then you for track, has an I s our C code. You can enter in there. So, in my case, actually got these physical CDs made, which will be another beat tape of maybe a greatest hits of all my beat tapes. And those have their own eyes are see codes, which I guess I would be putting in here just for tracking in terms of revenue and stuff like that and so on to the audio Fowler here. So I'm just going to copy this link here, pasted in here. So this is the MP three. You don't want to be uploading MP threes. Go. In my case, I have all of my wave files in here. So I think they say that they can upload to 24 bit 90 96 kilohertz at the moment. Um, under just 16. Bit 44.1, which is standard seat equality. Okay, So as you can see my first track, So I m materials first. Your heart. Um and I opened that, and that's that one case that so you know, I'm explaining what I'm doing. So it's taking a little bit longer, but so showers of love. So copy it. Put it here, Uh, instrumental showers of love going to the next one. So I'm just gonna do this and then I'll talk to you when I am done. Okay, So I've done all my tracks. I'm going to do a double triple check, and I'll show you what I do. Just a double triple check, just in case you want. No. Now, this is one of the cons that I don't like a boat district kid, but this is where they kind of make money with their add ons. So the story maximizes. So if other in restores come out or anything like that. So let's say a new Spotify comes out, they will automatically add it. So that's one option. So with Sha Zam, you know, with that app, I think it's 99 cents a song and they charge per year, so that's not really cool. I think like a lot of distributor's include this in their price on and then leave a legacy . So if you were to stop paying your yearly fee. All your music comes down with destro kid, so you can select this option. And then it's this even if you die. So, you know, like I said, all these online distributors is pros and cons. You guys can check the link in the description to go toe Ari's link. Um and yeah, he kind of explains the pros and cons of each now done here so you can select it to YouTube music. So for my understanding, this isn't Let the content i d. Thing where you can get from AdSense. This is actually into YouTube music, kind of like YouTube version of Spotify from my understanding. And then So you click. I recorded this music. So in other words, it's like you are the copyright owner. You know, this is all this legal stuff, and then I'm not using another artist's name or anything like that. So, you know, and then have agreed to the terms and conditions and then before you hit, done, make sure you go through each song, make sure that all the titles, everything is how you want it because it's a headache to go and change things. You want it done right, OK, so just to confirm these are all the stories I'm smiting it to. This beat tape has 11 tracks. That's good. This is my artist name. And yes, I do spell it with a capital T near the end there. Whether these online distributors thoughtful that they're not always iTunes and Spotify stuff is good. The release date. That's not a concern for me. The preorder again, our concern. My record label. Um, there's my artwork. So this track is called free beats by gratitude. Is Volume six making sure it's spelt correctly? Your price, your genres? So, no, this is what I do on the track. So, you know, I make sure that the title is correct. Um, all this stuff, you know, it's all kind of default for me in my case. But if you're selling does have explicit lyrics, you know, make sure, um, but I'm just making sure that the audio file is the same as the title. That's probably the biggest thing for me in the moments of showers of love. Showers of love goal should be achieved, achieved, and also another thing I'm making sure of is Track eight is actually track eight here. So see times to remember 88 So, as you can see by me, uh, pre making these MP threes with all the I 83 metta info, it's just really makes it super, super easy to upload your music. Okay, so that is it. I believe that my album is ready to send out to the world. I'm just gonna click done, and then this is just how it works. So for some reason, my artwork was giving me an air. I don't know why, but I just clicked on it again. And then I selected it through this menu rather than clicking and dragging it. And I didn't have any problems with my other be tapes. Yes. So this is just gonna upload all the tracks, and then I will talk to you when it's done. OK? So as you can see, it's done. Um, now we can check on the status or if you want, upload mother album so we'll check on the status now. In here, there is more options, the upgrade. So I just expand this Just could You don't longer need folder. So these are the features. So this is like the content, I d thing. So this is $15 a year, Plus, I guess some revenue. So again, you know, these are just add ons. There's that legacy, and I think the story maximize. Er, if other stores come out, I'm not going to select any of those. Um, I'm just gonna leave it as it is anyway, So that is the process toe. Upload your music onto one of these online distributors, whoever you choose to go with. In this case, I chose destro kid again. If you want to save some money, you could use my link below. You save money and I get a commission. And then from what I've read from online about district, it is they're actually very, very fast to get your music into stores like some people have said, like that day, even or within a day. But typically give yourself about a week. Don't rush this stuff, do it ahead of time. And then if all like the pre order stuff or even that that's scheduled day is important to you. Make sure you're planning that stuff ahead of time. Don't rush the stuff, you know, be people be prepared 22. 5-2-3 - Update Video About DistroKid and My Beat Tape Uploads: All right here is going, everybody. I just want to give you guys a little update on my experience with Destro kids. So in the previous video, I was talking to you about how I was uploading them. But now I want to tell you about my experience of how it all went. So this is what happened. So when I first uploaded my beat tapes, I've always been calling them free beats by gratuitous and all along, I kind of thought that was kind of weird, you know, cause, like my whole intention behind them was really just for promotion to make the beat tape. Call it free beats by gratitude is volume whatever and handed out for people for free downloads look and listen and kind of build promotion through that way. And it kind of came back to bite me because, um, thes online distributors, like they are into in the industry to make money through selling music. And when they saw the word free, they didn't like that. So I'll show you here. So what I ended up doing was I had to turn them all into beat case by gratuitous instead of free beats by gratuitous. I do feel that this kind of is better for my brand anyways. But the thing that I don't really like is it kind of. It kind of doesn't really show where I've come from, because in the volume one and volume to stuff like that, like the artwork was honestly, so gross and like, so horrendous. But like I'm saying, it kind of shows like where I've come from where it started. Um, but in the Volume six, you know, my graphic design skills kind of started to get better, and I started to kind of care more a little bit about what brand in that sense. But what I ended up doing was I just took the Volume six beat tape. I ended up changing the background overlay and, um, you can see it kind of changed up like the colors. And also another awesome thing was free beats is the same amount of characters as beat tapes. So especially in the greatest hits. So even as you can see me like break here behind me when second do this So you know, like my release I've done here. So like, that's what the physical beat tapes that hand out to people is like for branding this in real life. Um, again, it hasn't assuming on a character so didn't even change up the artwork. So that was the bright side of it. But anyway, so I just want to make this video just kind of giving you guys a little update on my experience with Destro kid. Because when I first uploaded with Destro, kid, it was kind of over. Let the Christmas season, um, you know, and like, New Year's and stuff like that. So it was really, really busy and even all that their social media with facebook and stuff he let us know they were saying It's like a times are gonna be slow because we're all in, you know, grabbing time with our family, etcetera, etcetera. But this time around, I uploaded are actually had to re upload all these beat tapes. Um, and it was around January 7th. The time was a very, very fast. I think one of these beat tapes, like volume one or whatever was like in iTunes, like that same day? Pretty much. Um and yeah. So whenever you upload, um, music through destro kid, it sends you like the verification, you know, So all your music and artwork will say these air good, we're sending it off. And then as soon as it's live on iTunes, you get like an email sings live on iTunes are Spotify. You know it's live, and that's just really, really cool just to know, like the process of what's going on. And one more thing that happened to me was so my volume to actually has a remix of one of my own songs. And here's the thing like I'm the copyright owner. I own all the material, but they are really protective in terms of copyright of someone else. So when they received that kind of raised a red flight for them and they sent me an email like all automated just saying It's like, Hey, this is a remix. You know, it's like, Do you have permission? And if you have permission, like from the other artist, we need you to get that artist send in an email. And so what I had to do was, in this case of volume, to its like the last song on this track, Um, so I sent the email in like at night like seven o'clock at Nitish and they responded 3 p.m. The next day. So, as you can see here, I sent this email in January 7th at 7:44 p.m. And I received a reply on January 8th at 3 27 So what I said to them was like, Hi, district kid, I have remixed my own song off this. It was originally off of my We've only just met. That's my first album. Of every released, um was called There's No turning Back. That's a song name. So I said, I own all the copy rates plus material and there's any way to proceed And they straight up just, like, replied to be and said, We've sent it off, We're good to go. And then I started to receive calls, update notifications like when it came to being live on Spotify and iTunes and all that kind of stuff. So I just wanted to do this little update video in terms of, you know, letting you kind of see how district it works. You know, if it's if it's for you. I haven't been with them long yet, but so far this is my experience, and I just wanted to kind of, you know, do this video just to come and give you a full rundown on the process. 23. 6-1 - Releasing the Beat Tape [Overview]: All right, so now, onto probably the hardest part about your music. And that's, you know, releasing it, getting out there and marketing it. So I'll just kind of cover to some things, you know, just kind of get going by no means of by great marketers, it is something I do have to learn, read a boat and even potentially go to school for just so I could learn to get even my own musical there better. But this is just kind of what I do, and it might kind of help you. Okay, so on your website, um, you know, having in your top navigation bar, what I do is I have, you know, a place for, like, my music so they can click it, and it is takes its like music page. If they want to download my music, It's all just kind of really, really simple. Over my years have just found that having things really minimal minimalistic as well as really, uh, things that just kind of makes sense. So, you know, for example, if someone comes to your website, they won't listen to your music. Where do they go? If they want dollars, your music. Where did they go, Right. You don't want to make it hard for them. You just want to make it simple. Because I know, like, you know, if you have a lot of information on your website, you can get really busy. And it kind of defeats the purpose of people visiting your website. You know, the visiting for a purpose and allow them to, um you know, achieved that purpose. So it is in the top navigation bar if you want to have the heading like music or, uh, even if you go music And then, in my case, I am recording artist and producer. You know, you could have you hover. It can show you two tabs, one for albums with repeat tapes. Or you could just have it music. And then you can have two sections on that page, one for homes. I want to be tapes. If you use like something called WordPress or something like that, they offered you a sidebar. So let's typically usually on, like, the blawg page, where you write your articles, where people confined your different articles. Your sidebar is usually a popular place. Teoh market Your newest thing like for me. Currently, I wrote I just released a book on Amazon. It's called Audio painting, so currently I have that up there. But for your music releases, you guys get released, Repeat tapes or whatever. Another thing to think about is you can have the link open up in a new tab so that they stay on your website and plus go to, um wherever you want them to go for your music. For some people, they don't like that they don't like the, you know, it opens up in a new window, but I don't know. I usually like to have things open up. A new renews a lot of times s so that they stay on the page. The pop up is also another way to effectively market stuff on your website. Wasn't that is for email sign ups for if you are. You know, if you just released from you beat tape, you pop up and say, just released. When you beat tape, click here to check it out, and then again, when they click the link, you can go in a new tab to Spotify or even if it takes it to your own music. page where they can download, you know, the MP three zip file that I was showing you before. Now, on the newsletter, we'll talk about that just kind of quickly. So, you know, as a you know, anyone who's really has a business, an online business, a newsletter is so effective because it allows your marketing to get right into their email . So email is just such a special form of marketing. Okay. And thing is, you know, as you continue to grow its like, you might started getting to sign ups a day. Five sign ups a day, 10 side out today, and your newsletter list starts to grow when you first start up, I used mail. Chimp and I still use Male Jim, but they were, you know, awesome. They like to have 2000 subscribers for free. They like, have automation and stuff like that. Currently, you don't think companies always changed and stuff like that. But you could descending your be taped to your newsletter. And the thing is, with being a producer, it's like, you know, you have a lot of flexibility on how to use this newsletter, right? So, you know, if you're releasing your beat tapes. Yes, you could market that. But if you are also creating sounds to sell or courses to sell, you know, or even if you really sit tutorial or even if you just want to kind of stay up to date with your email list, you know you can sometimes send them a survey and say, You know, I'm wanting to create some tutorials. Is there anything you want to learn or, you know, stuff like that? So you know your newsletter is a very, very effective way to build a relationship with your fans and followers. Uh, don't forget to send an email every once in a while. You know, if someone's on your list for a year and you haven't sent an email and then they get around an email, your performance probably isn't gonna be as effective as if you sent an email that you once a month There's something like that just happen to kind of think about. You know, you can't really sound like your social sites with a link to where you're wanting it to go , whether, like Spotify or your own website Facebook stuff like that. Another thing. I'll bring up to your attention is a lot of meat. There's a lot of music blog's that review music. So if you have released you be tape. Whatever you know, feel free to send your music into these, uh, these music review sites. And if you get a review, you know who knows how much traffic they have. Um, something you guys can do is there are websites where you can enter in the U. R L So, for example, imagine the website was music reviews dot com. You can enter a music reviews dot com on to, uh, these websites, which monitored the traffic, and they kind of let you see. It's like how much traffic does that music blawg get like, You know, if they're only giving, like, 50 views a month, you know, Is it with your time? You know it might be you never know, like those 50 people could be your 50 new fans, but that's just something to think about. Sometimes you can, you know, see how popular website is and see if it's worth your time and stuff like that. Um, you know, for example, a couple of those websites would be like S E m rush dot com or a trips the Wrist of websites, which allow you to modern through the performance, like the links and everything that's going in. And you can also find similar websites if you want to release your music is that way. So releasing and marketing your music is a totally different course again, I have to learn a lot myself. But that is just kind of what I would do to release it. My newsletters, polity, my biggest one. It allows me to keep in contact with my subscribers, um, and just kind of keeping that relationship still intact. 24. 6-2 - Staying Professional While Marketing + Promoting: all right. So just want to make one additional video in terms of marketing and, you know, handing these out to people. Okay, So if you do ever go in public and you're just like here checking on beat tape here, check out my beat tape. I've had some good situations and had some awkward situations, which I, which have maybe more mature on how I approach people and when to approach people. And so I'll start with this. So when you first start as a producer, like you are just on fire, like you just, you know, you're creating your beat, your just your telling friends, family members, and with some people like some family members, you might get some good response. The some family members you make. It's a bad response. And you know, over the years you start. You kind of start to get thick skin. You know, in a sense of you create your music and that's your music. Like, you know, if Soem doesn't like it was like, that is their problem. Because that's you. That's your music. Okay, So what I'm saying is because when you first started here on fire, like you just you just, you know, if you have these beat takes when you first started, actually, you know, if you were like me, you were probably burning discs you're writing on them, and then you look really unprofessional. So you as a producer, Alex, amateur, right? If you find some random person on the street, maybe had a conversation, or if you have a coffee shop wherever you are, right away here, I have this be taping. You know, they see you have, like, maybe four burned, and then you just like here, just like your writing. If you have messy writing is just like, Okay, so this is a huge step up. In that sense, it's very, very professional when you're gonna hand it out to someone, it's very, very appealing. That's the whole purpose of getting these. Even if someone doesn't listen to them like, you know, obviously I want them to listen to it. But, you know, again, since CD players air going away, we're kind of at that stage in this world where, you know, it kind of sucks because, you know, this is a professional product which I could handle someone and I feel confident. Been listening to it or visiting my Web seo or whatever. But now when you hand these out, you have to approach it in the right way. Okay, So, for example, if someone eating, you know, be very, very careful in just walking after someone came and which I felt maybe tape, because buddies even like a burger. And you just raise their because, like I've done this and it was like, is just so awkward, you know, he's like, uh, most full of food. You don't need you just like, yeah, here. You just kind of walk away like you don't need. So that's one thing. Just be careful when people are eating or, you know, stuff like that. Um, if you are walking in, like, a park or whatever, so you know, that's usually pretty fair game. You can walk up to somebody and say, You know how you approach them. You say, Hey, I'm a music producer and I created you know, these tapes. Would you like one, you know? And then if there's two there, you could maybe you say you guys each want one or, you know, stuff like that. This one time I actually skateboard a little bit. So where I live I went down downtown. It was like a parking is a nice boardwalk. So was escape wearing down there tons of beat tapes and backpack. And then there was the music Three girls and escape. I skateboarded by them and I was like, Well, I'm gonna go get a beat tape. So I turned around and I skateboard up to them and I'm like, Hey, excuse me. And I think it's like the altar now. And they're all looking at me like I had you guys beat tape and like, these girls were like typical girls always on the phone and stuff like that. What they said to me, they're just like, Is that fire like is it is a hot fire. And I was like, uh, you doing me like you put me on the spot like they have no idea who I am. They don't know my skill. They don't know if I've worked with anybody they don't know even if I have money or making money or they just think I'm just a random guy that they know who is just trying to make beats office laptop and he talks a big game about it, right? So, you know, because I am taking this professionally, you know, I'm trying to approach it. You know, as I talked to somebody, it's your brand, your identity. You know, we're trying to be professional. So they So what I'm trying to say is they have no idea who I am. So it is what I said to them. I was like, uh, I don't know. It was like, Do you guys want one? And they're like, Sure, and they just like we all took one. But the thing is, like, you know, they're making fun of the Not really like, they're more just making fun of the beat making community because a lot of people, like I'm saying, you know, like theorist in their bedroom on the laptop. And then they go have some drinks with some friends and meet some girls. Whatever. Yeah, makes beats and, like, you know, you mean like this kind of that. So when with me walking up to them, you know, they thought I was probably just another another guy. You know, another bedroom producer, which you know I am. But at the end of the day, It's like, you know, this is a lot more professional than the average bedroom producer trying to hand out there . Beat tape, right? So, you know, that's just some kind of experiences, which I have experienced over the years of handing these out. Um, for me, you know, I have escaped part close to where I live. So if I go skateboarding, there's a lot of younger kids there and, like, you know, on the type of person where I don't really care your age like I usually get along with people or I can connect or ask ask questions. You know, it keeps me young. In that sense, I'm able to, you know, figure or talk about what's going on in the school right now, like, you know, in high schools or even middle schools. You know, because if you've been out of school for so long, it's like you don't know what's going on. Like if you don't have Children which are in school like I have no idea what's going on in school so I could become out of date easy. So even if I'm not the skate park, you know I can build relationships with some of these kids, which were, like, so good at skateboarding. And I'm like, OK, I could kick, flip, like some grounds, whatever. But, you know, I could hand these out, you know, if they came in and check this out and like, by no means that they have a CD player or like their laptop, whatever. But, you know, they might have an Xbox or they have a piece for something like that and they could slip this in. May be making me listen to what they want. And also the other day, my websites on their right. So, you know, I have about 1000 of these printed off, so on the list, the hand these out really, really easily. So what I'm trying to get across to you is you know, at the end of the day, if you had these out, more people are probably not going to listen to it just because of no CDs being available, stuff like that. However, the potential for maybe someone you know for the line and in the right hands of somebody for, you know, just that conversation piece that you could have between somebody or like I'm saying, it's just like a business card. Even if you get business cards created, you know, there may be 100 100 bucks, 200 bucks, whatever. And you know, to get 500 of these printed off, it might cost three or four be $500 whatever. But, you know, this is a very attractive business card. So that's all I want to get across to you about these kind of beat tapes, you know? So take what you want out of it again. You don't have to do the physical route, but just to kind of share my experience with creating the beat tapes for C single beats and actually putting together a physical release. So another thing I mentioned about this beat tape, which I've been talking all throughout this course is, you know, putting together a full project, you know, you kind of get a taste of it. And putting together a really physical be tape was actually a real taste of putting together a really album, as if I were a recording artist on tour and I go to these places and, you know, at the end of the night or even throat my night of if I was to signal or whatever on the merchandise table. It's like, you know, you have your CDs on there on display, right? So, going through the whole process of putting the recordings onto the CD with the artwork presentable and, you know, these are ready to sell. I am ready to sell this. You know, I would just need the CPC code or whatever. Um, but that's it, you know, So going through the whole process of making sure the artwork is good, making sure all like the track titles air Good. You know what I mean. So you know that all of them line up, you know, having all the i s or C coz, um, you know, making sure you have the funds. All right, so that's just some stories on the physical beat tapes. Hopefully, you guys take a lot out of that 25. 7-1 - Creating the Artwork [Overview]: okay. And so for the artwork, there's a few things I just want to tell you about. It destroyed, kid. Described by their specifications. Okay, so they suggest toe have 3000 or 3000 pixels. You know, a nice big image. That way. It's gonna look nice and clear wherever you are releasing it. They say a minimum of 1000 by 1000 is okay. It's just nicer to have bigger cause. You can always bring it down, but it is harder with an image to kind of make it bigger, because it will be all pixelated, and, you know, it won't look, if I was going to send the artwork along with the MP three zip file to my listeners, whatever, I would probably resize that 3000 by 3000 down to 1002. 1000 just so they don't have, like, a huge image in that folder for no reason. And then, yeah, the biggest thing with this, too, is you want to square a perfect square. Okay. Another thing. You know you don't want any you RL's in the actual image. Um, again, if you just search like district kid artwork requirements, Whatever you not just destro, kid. You guys can also look like UBCV. Babies are tuned cores, whatever. Just to get an idea, because if you're creating your artwork, you want it to be in line with these online distributors. That way, if you're not having to redo your artwork later, you just want to do it once. So if you just do a little bit of research on what the online distributor's suggest to you for the artwork, then get you only do it once, which saves you time and makes the most use of your time. And then if you are sending it for physical copies. And this is something that I kind of feel home to a little bit strange is in photo shop, you have the ability to save an image as a PdF, and that is what they want when they're printing for a natural, real physical coffee. So that's pretty much all I have to cover with the artwork. You know, again, when it comes to the title, when it comes to, uh, you know your artwork, you can't be obscene and stuff like that. So, you know, 3000 by three thousands probably never you should go for no year or else. And again. If you want more information, just check out these online distributors. What they're suggesting in a separate video, I actually will show you, You know, a walk through a photo shop and how to prepare a real physical. He taped coffee. Casey, do you want to go that route? I will just pass on what I've learned again. I went through disk makers, okay? 26. 7-2 - Photoshop Artwork Template Rundown [Digital Beat Tapes]: Okay, So in this video, I want to just do a little walk through of my template that I use for my beat tape covers. As you can see, you know, this is the same cover that I have been releasing for all my volumes now. And I just change the colors. That's all I do even in here. Ah, lot of times I will just duplicate the text here or all kind of at a background like borders. And I'll give those different colors or whatever again, That's just like my style. Like how it kind of did it. But my actual background overlay, I will just change that to a different color. This text hero give a different color. And then, for my gratuitous, I will give that just different colors. Is, as you could see, too. So for my actual canvas size, Okay, so I'm just gonna put this two pixels here. You can see that I've put it 3000 by 3000 which is what district had recommends. So that's, you know, the size that I put it, um, also again. Like I said, it's always easier to make the image size smaller. So for example, if I do export it at 3000 by 3000 it's always easier to make your image smaller rather than stretch it when you make it bigger. You know you can look really pixelated and unprofessional and really, really bad. So in terms of like my template, you know, that's pretty much it. You know, I just took a picture of my studio at the time, and that's what I've been using over and over. And I just change, like the background color or like again, like the color of my texts and stuff like that. One thing I do want to bring to us. His attention is when it comes to the texts you choose, just be careful to be using actual free fonts. You know, if you guys go to de font dot com, make sure that you're actually choosing the free license, not one where they're saying that in order to use it for commercial purposes, you have to pay. I just want to let you be aware of that because you never know. Okay, if you have released 10 of these Kennedys beat tapes and they start to get really, really popular and you're starting to make money off of it. Eventually someone might catch on to like, Hey, that's my you know, text that I've created. And they might say I want compensation, whereas if you're choosing a free one or if you do want a commercial one, you know, then you could pay for a licence. You know, I know a lot of people are like whatever, and they kind of take the risk. But I'm just passing that on to you because, like I'm saying, I have experienced these things already in my production career when I had to change. You know, free beats by gratitude is to beat tapes. It's just you just want to protect yourself so that you set yourself up once and you never have to go back and change anything. So in this case, this is a template that I'm using, and I'm pretty sure I'll just continue using it As time goes on. Who knows? Maybe at 10 maybe I'll change it up, and now it's gonna be a new image or, you know, whatever my approaches. But for the time being, this is my artwork that I have released for seven volumes already for my 8th 1 I'm probably gonna do the same thing. I will just, you know, start changing the colors or whatever, but I just again just wanted to walk you through that. And then So in this case, if our toe actually, um, release a volume eight, all I would do is I would just go file, and I make sure I go save as because this allows me to save it wherever I want. So in this case, see, I'm in volume seven. I would literally go to the Volume eight beat tape. So it will be tapes go Volume eight. And I would literally just go v eight. And I would say that right there, Okay. And then when it comes to this, you know, I was gonna impress t and click right here, and I would just go eight. Okay. And then, you know, from here, let's see. Um, so cover overlay on his double. Click this. I'll bring this over to you guys. And then, you know, I would just start changing your changing around the color here. So story like, I just think I have multiple monitors. Um, let's bring it down here. So you could see it all. You know, miss school, maybe like this color. And this is just kind of how I would work with it. You know, sometimes I'd like black and go, OK, and then for the drop shadow. So we're just gonna stroll down here ago? Drop shadow. Maybe I'm gonna make this white, okay, Just kind of mixed it up, OK? So just to kind of give you an idea of how I work, um, with my artwork template again, this is just something that stays be tons of time. I've created this artwork. It's my template. All they have to do is just change the number, change the colors and just kind of tweak it. You know, where I feel that it's different enough from the other volume, but it's still saved me so much time from having to create a new, um you know, new artwork, Um, and especially, you know, it saves me money because I'm not having to hire someone to create artwork because for myself, like I could do a little bit of photo shop, but by no means of my and my amazing or really, really creative with it, I'm more of the person where I could just take a picture like this. I could just add, like, a filter on up here. You know, just whatever I want to do. I the nationals, Really? How a lot of times how we create stuff on photo shop, you just kind of click around also is like it looks really cool and just kind of work with it. But I just make sure I use free fonts. Even this one here, I believe, actually paid for this font. It was There's a really, really cool font. So that's my artwork template. Hopefully, you guys find the artwork that suits your beat tape so that you guys can continue on if you choose to create the Siri's, and this is my approach with it. 27. 7-3 - Photoshop CD Cover Artwork [Physical Beat Tapes]: Okay, so in this video, I'm just gonna walk you through how I've set up my artwork here. If you were to want to get physical copies made of your beat tape. So I actually got my artwork done by 1/3 party, someone who is a professional with artwork. And then I got them to send me, uh, the four shot file so that I can probably export it and get it ready to send off. So before we go over this, I'm just going to go to Google here, and I'm gonna show you what I've typed and Okay, so what you want to do is just type ins, disk makers, CD cover template again, I went with this makers for the company to create my CDs and was, click the 1st 1 that it gives me here. Now you'll see that they just give you a bunch of different templates. So these are all different styles of cds that you can release, you know? So there's that the DVD templates or, um, you know, stuff like this, Like, even USB drive templates. So the one that I chose was the jacket template. Okay. And so in my case. Mine was this one. This was the jacket. Okay, Click. Download. And then there's also the CD you have to download as well. Okay. It's like there's the jacket where the CD goes into, and that is the actual disc. Okay, so you have to download both and then it's showing that depending on what software you use , you would click. So our CD and DVD templates are available in the following software. Click on the icon office after you're using for specifications and export instructions so you can click the photo shop one here. In my case, that's what I'm using. And, um, you know, just kind of show you how to bring in their template, okay? And how to properly use it. Okay, so just to kind of keep one keeps rolling down here. Okay, So, you know, you're just gonna open up their template, follow these instructions, and then you just design your artwork according to what they have specified, and then on the actual export settings. Okay, so I'll go back here and Google. So I just typed in dis makers CD cover, photo shop export settings. Okay, so it's saying that we have to export it with this pdf setting. And as I mentioned, I just thought, you know, like when I was exporting, I was like, Well, this experts to a pdf. I just thought it was kind of weird, but I guess it allows the image to be very, very high quality so that when it prints, it looks very, very cleaning. It's not pixelated and stuff. Okay, so let's go back to photo shop here. And so I have just created all these center lines does. This is just for myself, just so I can have everything nice and center in terms of, like, you know, just all the little fine details. But the's light blue lines is kind of awkward. Blue lines like I've added these in these air just rulers. You know, I'm just talking as if you've never used photo shop before, But so what you'll get is you will get, um Let's just close this. You will get this template. Okay. And so what you have to do is you just have to kind of design within it. So let's just, uh I believe my third party, um, designer created a different copy and he removed uh, this stuff in here. So if I just take everything else out of here and we just look at just the template, okay, so are maybe we'll keep that background in. There's a little easier to read. Okay, so here's what The legends. So, um, the blue is the bleed rule reader here, So make sure your design extends to the outside edge of the bleed area to avoid white boards under print. So, as you can see, the artwork has gone outside of the blue line. And that's what you do for a thing called Bleed. Otherwise, it's saying that you're going to get a white border around where it's cut because you wanna have the ink past the cut, okay? And the trim line, So trim line indicates the edge of your final print. Okay, so I guess this is like what it has left over and then tow. Avoid any essential items being cut off. Keep text and critical design elements inside safety area. OK, so in other words, when you're designing, you want everything to kind of be inside of the green, and that's pretty much how you go. A boat designing your artwork here is you see, You know, this is within the green. Everything here and we go to the front now. So you see everything. His within the green. And that's all that kind of, you know, fine details. So, you know, I'm getting cut off here, but as you can see, a vote, the pink is where I'd be cut off as they look that trim line is, then the greens just like the safety area. And as you can see in the other videos, if you go back and look at, like, my artwork and how it turned out. Okay, so now if I want to save this to send it off to print, what I'm gonna do is and was gonna turn off the guidelines. Okay, So this is the final artwork. Um, I don't believe these rulers. I get a saving to the image visit. Just stuff for center purposes. Um, you know, just double check your artwork afterwards, Always make sure. So what you do is go to file and you actually don't export. You actually go save as okay. And then here, you're gonna click on this and you're actually going to select Pdf as you can see or hear Photoshopped Pdf. That's what you have to click and again. Like I said, Like in in the beginning, I thought I thought it was just kind of weird. So I'm just gonna give us another title. I'm just going to say uh course. Okay. Go save as now this other menu pops up here. OK, so it's gonna press. Okay, here. So this is where you set your settings. So let's go back to that here again. So from the top medical file and save as within the save as you're going to select the Photoshopped Pdf like we just did. And then within the save Adobe pdf windows like this for your adobe pdf preset. So for a preset, we have that right there. Case that's when we want. And is there anything else they want us to do? This will generate the pdf and stayed in the location where you've done it. So that's it. Okay. So, as you can see, I've set this preset, and I believe that you'd be good to save it. And this is what, uh, the end result looks like, Okay, so if you notice like how it load it up kind of loaded up all weird and stuff, right? Yeah. So I guess this is just a really, really high quality image that you get, like, a nice, good resolution. Looks nice and crisp. Um, again. Notice that it is free beats by gratuitous. Because this was the actual physical copy I got printed. I never changed this to beat tapes. I only changed the digital version to beat tapes, so that's just kind of a little walk through of how to set up your photo shop. Um, you know, template to get it going. If you were to release a real physical copy, Um, the previous video was more of the digital wrote, if you just If you just creating a digital version of your music, Um, that was the artwork template for the digital version. I just created 3000 by 3000 and then I can change the volume number and just the colors, and you know the text of stuff like that. But this video here is if you want to a physical wrote to send off for print 28. OUTRO: All right. So that's the course on releasing a professional beat tape again. You know, this stuff takes a lot of time, but, you know, imagine you guys were holding this like, this is this is pretty cool. It's a pretty cool little accomplishment. Uh, it's a lot of work that I've put in, Um, and pretty much this course was just more, in my opinion, on why I feel that beat tape is more effective for producer, you know, bedroom producer, trying to get their music out there to the world. It just allows you to get you know, you're variety in the ears of the listener who is listening to show your potential. In addition, it just allows you to practice so much. In all honesty, it has made me such a better producer in terms of the whole aspect of the whole thing. You know, structuring my song. You know what song I want? First a second. The spacing in between the mixing, the mastering, producing the beat, a swell. This is balancing my time, you know. And also it allows you to kind of finish a project and finish a goal. And sometimes you can take a little break for a little bit because sometimes that's what you need. Like you know otherwise your baby constantly working on this beat and then get tired. Then you go do this or right? So if you have kind of movie an end goal of create 10 beats, mix them, master them, put him together, release them, doesn't have to be on Spotify when you first start, that's I did that way later. Like, for example, I think I was on be taped six or even seven when I actually started to release it on destro kid. So just to kind of give you a timeframe, so I only release those just for the sake of promotion and branding online. And then it finally got to the point where I actually created this before even putting it onto districted because, like I said, so it created these was all It was a super exciting. I was handing them out and everything. And then once I started uploading districted, I realized, Well, I can't use this name anymore. Can't use the free beats title had to be no beat tapes. So, you know, take it one day at a time I would say, You know, with your beat tape, try one, see how it goes. See, You know, see how you progress, you know, because when you're mixing one, be in releasing it. That's in all honesty. It's pretty easy to do that if you have been producing for 234 years already. Once you start trying to put together a whole little thing here again, even if even if it's just the digital version, um just kind of no allows you to have an end goal. It allows you to work towards a project. And it really does make you as a producer get a taste of what it's like if you were to work with a real artist. Now, you know, the only difference is now you just working with locals, you know, And then you might have a different person there to help you with the marketing, because now you're two people collaborating on the project. So hopefully you guys like the course. Um, you know, if you do, please leave a review, or you guys could message me if you guys would like to see ah course on a different topic. You know, again, just for you. Feel free to message me. And I can maybe create the course if I feel I have enough knowledge in that area. But, um, yeah, so thanks for taking the course. And at the end of the day, you know, just make sure that you're having fun, because if not, you're gonna get burned out. Try not to compare yourself to other people. You know, if you're just trying to make it in this music industry, you know your skills are a huge part of it. But, you know, at the end of the day, having your connections is very important to, so I'm gratuitous. Thank you so much for taking this course on how to release a professional beat tape again. Please leave a review, and I will see you in my next course.