How to write Cinematic Percussion | Mikael Baggström | Skillshare
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32 Lessons (3h 35m)
    • 1. Your Journey in Cinematic Percussion

      1:06
    • 2. The Power of Cinematic Percussion

      2:14
    • 3. Cinematic Percussion in 10 min

      10:55
    • 4. Dark Caves of the Underworld

      12:40
    • 5. Race in Full Speed

      14:32
    • 6. The Battle of Final Destiny

      12:27
    • 7. The Tension in the Shadows

      10:55
    • 8. The Might of the Galaxy

      12:05
    • 9. The Canvas of Percussion

      14:53
    • 10. The Colors of Cinematic Percussion

      11:20
    • 11. The Fundamentals of the Drum Kit

      16:23
    • 12. The Great Impact of Layering

      6:10
    • 13. The Importance of Character & Depth

      11:22
    • 14. Introduction The Sounds of Cinematic Percussion

      0:29
    • 15. Acoustic Drum Kits

      5:52
    • 16. Electronic Drum Kits

      3:45
    • 17. Traditional Percussion

      3:15
    • 18. Orchestral Percussion

      6:25
    • 19. Sound Design Percussion

      5:29
    • 20. Tuned Percussion

      4:50
    • 21. Accents for Power

      5:24
    • 22. Dynamics for Expression

      5:17
    • 23. Fills & Syncopation for Spice

      5:15
    • 24. Frequency Focus for Color

      4:50
    • 25. Introduction The Guidelines of Cinematic Percussion

      0:20
    • 26. Rolls & Swells for Transitions

      5:22
    • 27. Sound Palette for Character

      3:11
    • 28. Sound Stage for Depth

      5:05
    • 29. Tempo for Energy

      5:19
    • 30. Time Signature for Groove

      2:48
    • 31. Timing for Human Vibe

      4:38
    • 32. Congratulations

      0:32
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About This Class

Your Journey in Cinematic Percussion

Are you ready to master cinematic percussion for your music compositions?

Do you want to create amazing percussion mixes: for epic power...dramatic action...intense energy...or perhaps percussive underscores?

My name is Mike, and I am a music composer. Just. Like. You. And in this course I will take you on a learning journey and adventure, where you will unlock the secrets of cinematic percussion.

  • Learn the Guidelines of Cinematic Percussion

  • Explore the Sound Palette and Colors

  • Discover Practical Tips & Insights

  • Get Live Examples & Demonstrations

  • Master Cinematic Percussion for Your Music

Take Action, and begin your adventure in cinematic percussion, right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer

Teacher

Hey Friends and Creative People!

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

MY PASSION

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

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

Friendly regards,
Mike from Sweden
Founder of professionalcomposers.com

See full profile

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Transcripts

1. Your Journey in Cinematic Percussion: Are you ready to master cinematic percussion for your music composition? Do you want to create amazing percussion mixes for epic power? Dramatic action, intense energy? Or perhaps, through Cassidy underscores My name is Mike and I am a music composer just like you. And in this course I will take you on a learning journey and adventure where you will unlock the secrets off cinematic percussion, learn the guidelines of cinematic percussion, explore the sound palette and Coomer's discovery. Practical tips and insights get live examples and demonstrations and master cinematic percussion from your music. I welcome you to take action and begin your adventure in a cinematic percussion right now. 2. The Power of Cinematic Percussion: the power off cinematic percussion. Percussion is one of the cool elements of music, because rhythm is present in every single part and performance you heir to your composition . Percussion is also by four the biggest family off instruments and sounds you can add to your music, ranging from a classic drum kit to orchestral percussion all the way to sound design elements. Percussion instruments and sounds in all types and colors can add so much to your music. Let me give you a complete list off the main ways. Percussion can be used for your cinematic music, compositions, rhythm and groove. You can use percussion to set the main rhythmic groove for your music, the fundamental beat that the listener will feel as the anchor off rhythm for your music, composition, drive and energy. Percussion is excellent for controlling the amount of drive and energy in your music and can be changed dramatically between different pores at any time in your composition, accents and impact. Percussive sounds are incredibly useful for boosting the power off any specific beats with accents and layering for expert impact, and you can also use percussion to augment specific melodic notes or chord changes. which will give them or emphasis in your composition, fills and transitions. You can spice up, create anticipation and build energy with pro Cassidy fills and physicians, sudden changes in rhythm, dynamic curves and so one variation and expression. Percussion can also have a lot of variation and even expression by changing the rhythms, adding Syncopation and controlling the dynamics. Now let's continue your journey in cinematic percussion in the next video. 3. Cinematic Percussion in 10 min: Hello, music raters Mike here. And in this video, we are going to do a challenge to compose a complete cinematic percussion performance in 10 Minutes. I already created the sound template for this, So let's start the clock and begin right now. So what I like to do with any percussion performances is starting with the main beat first , most often in the low winds of big drums epic Tom's or Tyco's Let's Start With the main big drums first and said The Temple at 1 40 then record. Let's say eight bores. Was that a Force? 12345678 years. Um, then let's Kwan ties those at around. I usually like to quote ties. Not entirely. 100% for ridden, perhaps 75%. See what we have. Okay, then I want to use these epic tomes and add a couple of more notes here. No, I didn't like that. Something less You use the low first, just low Tom, sir. Okay. Okay. In fact, let's do the titles instead. Yeah. Okay. So I have to but, um, it can be good sometimes to do like this, so I actually watch these here. I think this is possible. Yeah, like that. So I don't double every Aled beats, but in fact, have them separate like this. And then sometimes I just added different, colder. Let's do it like that. So when you go in and have look here, you can actually watch them separated by the color of the region. Um, let's do this. Epic it. What is the damage? Or may get an ensemble next. Something here. Something like that on then Kwan ties to around 70 or so. Let's do another cold room, that one just to have some separation. Then you can see them here. All right, let's add on the same track on the titles here, but on the higher ports, because were in fact, let's do this scenario because I want to have those basically s not only fills but also respected These main beats here. Something like this. Whoops. What I'm recording now. Okay, let's listen to only the big drums while we record the snares here. Like so. Okay. Oh, you like that? Something like that, Then let's see. I think we have to have 16th notes here because of that, with 70 this is another color for it, like so on. Then we get to the terms here, know that so fulfills just at some sticks for the high crime. It's like that Ozcan be bit tighter. I don't want any doubles here. This is another one for that. Some what? Blue on at some Schumer. We'll see from Shakur's here like that will see this. I want more grooving, so let's reduce it like that. The entire such is another cooler here. Something like that. I don't know what the timer is, so let's keep at it. These Tyco's now I want more meds. No, too much. Okay, so let's do it like this. Almost close. I think I got this one's room right there on Let's quant ties these guys. Okay, so these were bit too early. That's Qantas. Everything. Teoh Yes, extends that like 60% or so. Change this to Blue Colder. I want at some rules here, so I'm just going to go in instead of recording them. Doing it like this would soon gain like so. And then let's open up here so we can do you roll like that. See, Like that and on the snare a swell. I think I can cope with these guys here to the snare rights here. Let's see where all you know you are way off should be there. Let's move it up a bit like that. Okay, like that. Then, like some Thomas for filling up here. Or in fact, let's do this Metals like that. And then I want Teoh do some Cymbal crashes. Let's do some shimmering pushed. So that is basically a ride Cymbal like So let's go in quote tires and I think eight notes 70% and then let's have some crash Cymbals. Okay, Too much, too much, Way too much, right? Like that. And on Lee, the double symbols at the beginning. And at the end there is Qantas again. 55% stood like that. I don't know what timing is, so let's just fill up with sometimes here at the end to fill it up. Really? Okay, so the the beat was okay, but the actual let's see the sound was off. I need more reverb, so let's just add some reverb on it on. Let's do whole film music whole and then dialled it back and then let's see what do we have here? Some eight notes that 60% or so and then let's finish off with some supercharger. Some character here, some compression peril, compressions and separation. And let's see how it all sounds like. Stop the clock. No, wait. Let's add some sound effects. Hates that as well. Okay, so what do we have? Just have some finishing touch right there, like so or something. All right, we made it. So this is the sound of the complete cinematic percussion performers we just recorded wise . I should probably add some river about that final hit, but this is was already made live in 10 minutes, so I think we did OK. 4. Dark Caves of the Underworld: No, let's break down and analyze dork caves off the underworld. For this composition, I aimed for a dork, sinister atmosphere, rich in depth and space and with lots of air to give a sense off that space here or the guideline tags are used for this composition. So let's start by listening to the end result. First playing in 321 Next let's play the Fool percussion mix in solo. So playing in 321 So my first creative shores for this composition was to go for a low. To me, the temple I went with 110 bpm to give it that slow, steady pace, but still not too slow because I wanted some drive in the track. So if a comparatives to let's say 1 50 it doesn't give me that sense of space and depth and sense all the stress and ominous vibe that I wanted. The next created shores is the actual sound palette. So for this, I went with it, focus on Deep and Bumi sounds. You can hear this from, for example, these impacts these sub hits every other bore. The even the main base from here is very Bumi Lo. Then I mean, I have these giant drums, so they saw it. Tyco's, I believe, mainly in the moments, but as you can hear very deep and booming and focus overall. And so that is for the percussion. The next created shows for the percussion also is, um, I wanted to give a sense of that deep space of the caverns and caves in the underworld, So the bait is very minimal. There's not a lot of notes really going on. I mean, if I assuming here you can see that is very sports in its arrangement, lots of air in between. And also, even more important, these big gaps between each phrase really gives room for those in power big impacts on the reverb sustaining. So if you listen to it really carefully here on minimo and then to really make those fade out to give a sense of that big space also, another aspect of this is, of course, reverb. So most of these sounds have a lot of reverb. That one, obviously. But kiss, especially this one. Actually, I believe this is the most important one. So I have these middle hits way in the background with deep Spacey River. But this impacts I actually added even more reverb a dork, um, preset with hell heaven second decay to really I mean, compared to that one, I now get this That is actually the most important aspect of deep space in this percussive performance. Ah, next, the type of groove I shows that this is actually very straightforward, steady and simple. So not only not only minimal in the sense off, how many notes are playing, but also not much Syncopation or complexity going on. Just a steady so really focuses on the ones of each bar, mainly with some extra steady notes in between. And really hear this. If I focusing on the bass drum and the titles here, so on, if we assume innovate, you can really see it as well. So accent, accent, accent, accent on the ones and some steady notes in between like this right Moving on. We have the minimal high wrench ports. Yes, So not only did I go for a very deep and booed me percussive sounds, so I also chose to reduce the use off high range sounds, no high hats or shakers or anything, just the stick its which actually also have this gap in between. And just add some slide dr. And also layering Ah, the main percussion. As you can hear, usually don't play that slow on sticks. So you have this static that I get that. But here you have, which just adds to these giant Tyco's have some extra dimension to it and also have these symbols which are very low in the mix, actually more Raj symbols. Yes, to have some shimmer, which also adds to the depth and space because they sustain off to reach it to give a sense of that air. Ah, and finally, if we compare what I did for the melodic side, I went with using almost exclusively long notes because that will give more impact for the percussion, since the long notes doesn't ah, really, you don't really pay attention to them. It's only main of the piano playing the mellowed Exide, and everything else is just thinking basically only long notes except for these stabs here , which are basically just making what the big bass drum does to give them even more emphasis . But on their own hair can really here I haven't looks off thes low breast here. One note. One bore notes. Harmonics also in the high range here. That's because I want that creepy atmosphere, but also long, Qanbar notes with the long strings here. No strings playing the bass here, low notes, Um, basically only the goal to hear strings mimicking the leading melody. Low range and I also have this ambience droning sound. Lots of these long, drawn out sustained knows that, or mainly atmospheric in nature in order to give the percussive impacts and space in between the notes more room in the mix. So let's go through what instruments are used. So in the percussion, these metallic hits here I want to give a sense of that, you know, minds off Moria and, you know, metallic forging over metal and metal hits. I really think that goes well with these dark caves of the underworld vibes. I went with metal menu one here in damage for that one. Um, let's say yeah, and also here I also added extra reverb chamber guitar chamber, quite a long reverb to add more space, and you already saw of what I did with overboard with 11 2nd dork Abbas reverb here on these impact hits, which or ah, big organo kit from damage than these sub hits here, guest on every other bar, which are, um, really boosting that low end impact from gravity Subs menu. But see the boom drum here, this one here, the main group basically is insoluble drums heavy. Oh, city doldrums here on the these ones here with which also add some extra nose or from action strikes giant drums these steak, it's ah, which are these ones studio, and we get an insolvable just in the high rent. You have these stick. It's the symbols which are mainly ride Cymbals, direction from addictive dramas to so unordinary acoustic drum kit. I could probably add even a bit more reverb on those, actually. All right, so let's continue here We have ah, these stabs or Shelley and basis in octaves. In short notes eso let's listen to that on the roll for extra stab the low brasses Chibas essential from brass ensemble symphony essentials dark and low and ominous. The harmonics to add some high tension or high in sambal textures from Novo. I love those really creepy atmosphere, the low strings here so the basis or lush basis from a flutter strings. Then we have this main leading milady. Weighed by minimalist strings. Lo Gatto. Enough artists, shame the strings long here on da the ambience or the drone Sound this or actually drone our mass tradition. Gentle soul. Is the patch cold here? What? And then finally, the leading theme they want. The only thing that sticks out from the melodic side is the piano, which is predictive case. But asking here, I actually used a lot of the fixed on this one. So this is really important on its own. It just sounds OK up front on dry, I added a tremolo to the piano with a long or slow rate to give it some movement. Just a real feel replica, which is delay. That's some space and even more depth by this reverb. Hear rumor either. And only all that is what created this door caves off the underworld 5. Race in Full Speed: this'll video. We are going to analyze and break down my composition called Race in full speed for this composition, I wanted to create a sense of speed, energy and intensity of a racing scene or perhaps a core chase these war, my guideline tags I rode down before starting the track. All right, so let's start by playing the Fool composition playing in 321 on Let's Continue by playing the food percussion mix on its own, playing in three D bomb. So with all my compositions, I always start with setting the right temple. So for this track race in full speed, of course I want to go with an uptempo BPM. I went with 140. It all depends on how ah energetic you Maykel the rhythms. So since I had a very fast writing arpeggio here, I didn't need to push it any further because, as you can hear, it sounds pretty energetic, only using 140 which is on the lower scale, in my opinion, off a high tempo Ah, the next created shores. I went with waas, these BC ridden focus for high energy and and drive, So these are paid you is actually really fast, especially with those deal delay or echoes there. I also had it. If you listen to these driving ostinato eso, it really adds energy. And, of course, with the percussion. So not only do I have these main base from because that's has a little space in between, I have a lot of driving is men's like high hats. Tyco's the Shakers and Sticks really drive the groove over the track forward and have it forward motion. So when it comes to the sound palette, I went. I deliberated if I was going to go for an electronic beats style track, which I could have chosen, or for perhaps a pope of rock acoustic drum kit track, which I also could have chosen for this style of track. But I went with the hybrid mix of cinematic versus rope. So Aled, these precast attracts here or a mix off, for example, cinematic such as the Taiko drums. The base from here is actually an ensemble bass drums or an acoustic drum, but in insomnia setting, so I think it's four based rums being hit at the same time, the hi hats also insoluble high hats. Snare is, ah, contemporary rock kit and I have some stomps and claps which, of course, also or more pop rock style these shakers More on the pope is rock style stakes mostly used in, um, cinematic style. So all in all, I mean, I get this eyes mix between the cinematic orchestral sound for the percussion with the rock vibe. Ah, now, I also wanted it to have the percussion to have lists reverb and b'more up from for that focused, punchy sound. Which is why I if you listen to the Tigers, for example, I have very little reverb. So mawr closer sound. I mean, I could have gone with something that but I really dial it down to have it more up front. The based round it makes their some reverb there. But I mean, in most these cases, I actually dialed the river back in the mix. Do you know Tabby too big? Because I bought a that pound she feel, and that goes for the melodic instruments as well. I mean, these here, I, for example, I even muted the whole reverb on these short stabs on breasts. Ah, and I also chose to go with lots of high end. What I call was she Marie Drive? So these shakers, they stick, It's these jingles. The symbols on even high has all working together coming in here even with more. Because without those, you really lose most of the drive because those are what adds the BC rhythm. Basically, if I remove those completely, you get this instead and with them together, I really feel that drive, which I recommend you to do if you want to add driving the precaution focused on the high end shakers stick. It's Dingell's hi hats and even ride Cymbals, as I have. Thank you couple here like So that's so this. So we have crashes and then some ride Cymbals. No crashes again. Now, if we focus on what I did with the ah Mellowed X here of the melodic parks, well, mainly I went for really energetic drive. So, for example, these Austin autos here really drive the track forward. And actually, this is the exact pattern off what these are paid. You does here, but let's get to that later. Let's first focus on what I did here with the low strings, so I have these on more culture. I really had the time she feel for every note. So it's not only a bit low based rings about actually accented notes while these breast stabs plays. The main accents, um, in varying with these high violence here, which are really snappy, is short speak out of sound. I wish gets us to the main drive and main focus of this entire track. Which, of course, is this really edgy synth or paid you so I'm actually using Ah, let's see if I can get to it here. Tape effects smoke, which is basically this is an amp You had some driving some chorus echo on. And I believe I have Ah, let's see if I bring up. Yeah, I have used a supercharger here with a bright setting to really add it in the air of full saturation. Some compression, Um, with the e que I dialed, uh, reduced everything in the low end and some of the piercing one killer here hurts here, and then I, ah even increased the sterile with quite a lot because that will make it stick out even further in the mix. So if we make listen to all the middle ticks on their own. I mean, it sounds quite thin on its own, since I removed all of the low end compared to this, that Lohan took too much space in the mix, which I wanted the low strings Marco, two strings to take care of on. In fact, if you actually use eq you to reduce a lot off frequencies in particular the low end, it will actually cut through the through the mix mawr at the same level because, um, the base takes up so much off. It's, ah that I'm a kid room. So if you remove it, it will really cut through in the mix. All right, so those were my creative choices, which led up to this final composition. Let's go through. The instruments are used. So one by one, starting here with the first, which is the type of creator for these Tyco's which again white, uh, quite low on reverb is because I want that low. I even increase added some clothes. My and then I lay the the main group here is the bass drum, which is Medusa boutique drums. And the bass drum is in an ensemble based which, in my opinion, is basically a mix between a traditional rocket on cinematic drums. It has that snap and punishing focus of a rook acoustic drum kit. Um, but the insomnia herbal off these bachelor bass drums makes it more cinematic and deep and rich the hi hats or also batik from same parking here. So really rich sound there. And the snare which iss, um, addictive drums to here. You seeing this particular snare? Quite a close sound, some river, but not too much. The storms and collapse here are also Medusa, together with these jingles here, very potpie. Ah, in its sound. And then these shakers are actually from the axillary library over kissed repercussion s the X in Superior Drummer If you're using these more raucous here, as you can see, uh, the stick hits is action strikes bamboo sticks. And I have these in the middle between clothes and room. Sounds fairly dry and focused as you can hear the symbols here or from, uh, also orchestral percussion STX on the the sound is actually suspended. Symbols swell when factories to spend symbols for just the transition there. Going into the melodic side here, the breast steps are from forces for salt articulation. Full in samba was something like this just to mark those accents and fairly focused in the low to mid range the violas or novo here in speaking to hi here, Really piercing thin sound cuts through in the mix. The low strings are from Nova Low Ensemble, more Qatar. Okay, driving Synthes you've seen here is all Miss Fear. This is called aggressive tendencies. And then I just made this or pidio here at a lot off these effects tapes, smoke course echo. And what What is so earlier? Ah, some production and mixing techniques here to create this final song, which is really the main driving and focal point off this entire composition. And finally, the driving Austin autos or from cinematic strings to the cello is here in the mid range, which is the same pattern so that it's layering the driving since I, which is a really great technique. Ah, bonus tape. I guess that I recommend you to try out the year you're driving Austin autos with some kind of synth or paid your sin ostinato. Ah, and you will get that hybrid sound. And finally, for the mixing of these groups, I actually went with boosting the bright coloring off. Ah, the percussion group. Heavy compression. Quite a lot of saturation on peril mode. As you can see from this, what with dry knob to make it cut through even more. Make it more snap and it will boost those high, shimmering driving instruments. Whereas on the Milad IX, if we check here, I went with a warmer sound for the color here. Less compression, some saturation. But I really don't want it. Teoh take away from the high driving, energetic feel of the percussion. It's more mid range, I guess, with some warm undertones. Theo. Really here As soon as I bring in the percussion, How much these shakers, the high heads, um, calf threw in the mix. So that's it. That's the track race in full speed. 6. The Battle of Final Destiny: Now let's have a look inside and analyze a composition called of the battle over Final Destiny. In this composition, I wanted the final moved to be a mix off intense action with a sense of importance off the moment and the battle. These were my guideline tags I rode down before starting the track. Now let's listen to it in full first and then diving, and I will give you my creative choices one by one for creating this composition. All right, so let's listen to the food composition playing in 321 and then let's also play the percussion mix on its own. Eso. You can hear what goes on here with all these percussion instruments and port So playing in 321 So my first creative choice for this composition was to use high tempo. I went with 152 really lose that action and energy vibe. So let's compare this with what they want in again. Slower Temple, with these boosted accents, creates more off that majestic vibe. But as soon as I boost the temperature is really high, really get that energetic battle vibe. The next created Shorey's. I went with was to use lots of driving the percussion for added energy. And by the drive, I mean, I add lots of BC rhythms, for example, on the titles here. So lots of a lot of notes between the main accents. Of course, the main accidents are provided by the base from here. Okay, so those are the main accents. We also have these drum track here, together with the Tyco's takes care of the low mids to meets on. Then I added also some, uh, hi, Dr Shimmer here with the Shakers. Two different shakers, I believe it panned left and right with really fast pattern. And that really takes care over the energetic vibe as well as together with these high stick it. So if you listen to these together Hi Ah, fast patterns on high percussive sounds like this really as a lot of energy if I'm you, this can really hear that it's lacking that driving energy so high stick its and shakers and stuff like that works really well for adding energy. And then my third creative choice here was to use very powerful laboring for the main accidents. So the main accents again now I chose to go with, for example, this punch hit, which is really short, punchy, percussive sound design effects for most of these. So these are layering the bass drum. I also lay it with Mitt allocates here and the snare layers on a lot of those hits as well . Um, so all of these layers, even the rhythmic instruments here, layer on those main hits the ones I showed you here on the main percussion groove, which is the bass drums. And then I also used mawr crash symbol hits than I usually do, because crash Cymbals are usually like on the beginning of a new section on. Then you might use a ride Cymbal or something for simmer. But in this case, I went with Mawr crash Cymbals, and you can really hear it. If I again play the percussion mix and watch these symbols here, let's solo these you can hear. They are basically adding to the layering of this, so that boosts importance and add some sustained to those big hits. And then I also boosted the bass drum for more powers. If we go in here, I'm usually using a orchestral bass drum, but I didn't go with the standard. Let's say this soft beater I went with these tree three players version, which means that there are actually the sound is recorded with three players. He think the bass drum at different angles here at the same time. Which creates him or, um, Vaida deeper sound on. That really boosts it in the mix. Then I wanted to really improve or boost the battle vibe of this because I have already have the energetic and powerful vibe. Well, to me, there's no real battle without metallic sounds. So I added these ah metal menu Here there is a metallic. It's more in the high end. And then I also have this also from damage metallic exploding course, which really sounds massive. So I used some production techniques and mixing, too, not overdo. They're like the low, and I reduced a bit because that is taking care of already. But I wanted to add those, and if I just use the punch, it's here on the Tyco's. Let's listen to this. Consider that the main grooves. So the partner states the your castle bass drum and the Tyco's Now without these Theo powerful driving vibe But when I Adel's Mittal his both in the highest and the exploding course here, that really adds a sense over no sores, hitting metal armor and so on. And it is those details that really take the composition to the next level. Now my final creative choice here is if we go into the melodic side of things. Ah is I used, for example, these choirs here and various types of stabs on breasts. Ah, to really boost those accents with layering. So in this case, I have these choirs here. I believe it's storm choir Teoh. Oh, that I lay that with strings dabs here. Let's see, we have this instant phobia stringing some of short notes. I didn't stop there. I also added accepted steps here from Force a brass designer. So that is the lower part and then from sin phobia one breast ensemble, short nosed, extra short on that really boosts those Maine accents again here from the orchestral percussion with the Punch It. Now let's also take a look at what I did for the mixing. So for the percussion here, let's bring up. I used the supercharger and I actually went with a brighter coloring tone here. Quite a lot of compression on than apparel compression with his with dry. Nope, and some saturation to boost it in the mix because I really wanted to have that high metallic shimmering sound come through. That's what I went with a bright setting, as's for the melodic side. I went to the facts that in quite a lot of character there a little bit less compression medium saturation to really give both of those, um, mixing groups a different tones. So a brighter bore metallic tone for the percussion or shimmering drive a warmer, fatter tone for the melodic side. Now a couple of other things I didn't mention was this vice or here to build energy together with the type of role here before the track really starts. So if you listen to these on it, roll so these rising sound finishes with a hitch and the tiger roll just before the transition there, I also added, which I like to do for the mega hit final Cadence it here with impact like an explosion almost. And if we take a look at what I did for the instruments in the extract, just go through everyone. Ah, I started with this one the rising sound which is right and hit from native instruments. The impact sound here, in the end, is from gravity on this its impact metallic impacts from damage exploding course. Then we have the high middle, which is middle, many one also in damage. The Punch Dragon hits here from evolution. Short hits the orchestral base from is from orchestral percussion S D. X here with the three players Ah, version the, uh Oh, the let's go to the next one, the Tyco's or from Tycho Crater Bamboo Forest Dramatic theater This Get away Driver patch The scenarios from damage studio arm again and ensemble actually on the high drive is, um, usually here in session audio shimmer shake strike I used the left hand left impound right shaker stick it's or from action strikes bamboo sticks. Other symbols from damage symbols Menu. Let's take a look at the melodic side as well, so the choir is stone. Quite cheap stock. Otto's violence here, the driving violence or from Novo Ah, violas from let's see cinematic strings to as or the shallows the double basis or basis, because from a flotus the string steps are sinful by one short notes here, branch designer force who takes care of accent stabs for brass and laid with brass ensemble shortness in sim phobia one. So those all the instruments, I deduced you can use whatever you like, but those are my creative choices to create this. The battle off Final Destiny. 7. The Tension in the Shadows: in this video, we're going to take a look at the composition called the Tension in the Shadows. I wanted the focus of this composition to be in the range, but with a ticking and driving high end for added tension with a slow and steady the groove . These were my guideline tags I wrote down before starting the trick. So let's start by listening into the full composition playing in 321 on . Then let's listen to the percussion mix on his own playing in 321 So my first creative choice was to go for a quite low tempo. I went with 100 BPM for that really slow and stay divide. It was a low temple also leaves more room and space in between each note to give room for that ad. Attention. Ah, the next one was with the sound palette, so I wanted this overall to be had to have a low and deep percussion groove. So if you listen to this these big drums and these sub hits, this is really the main groove on since there's lots of gaps here. You really hear this really creepy, sustained off those sob hits there and then I went with the ticking. So this is a ticking clock, Dad. Tension as well as these metal hits have that industrial dork atmosphere and those really add a lot more high tension without those just door but with taking. And you know, the driving high range percussion can add a lot of attention. And ah, again, I added lots of air in between. The phrase is not only to give room for the subhead source over the symbols and also, as soon as they stopped these phrases, you really hear all of the taking king or when those sustain as well as that taking really comes through scenesters lots of air and space in between then ah, for the Millo dick side of their since this is really a simple, minimal groove which was what I was aiming for, um, for the melodic. The first thing I want to add was thes Boston autos both in the mid and the low end. And if we go in and have a look, I actually doubled each note to give this edited edited. It is stuttering character playing from here. So you have this stuff that that that that that that instead of that and that really has a low too. So if you listen to the percussion group and on Lee, the Boston Autos Really? Really Ah, adding the tension there. But not only that, if we go in and have a look at what I do here for whips for the velocity levels, So if I assume here, you can see that I have, of course, variation. But, um, you can see that I actually went in an increased the average velocities overtime. So these are getting louder and mawr intends as, ah, track goes long and the same with his low Austin autos. So you can basically, if I just drag line, the average is around here. It goes upwards like that, um, and that I can do with many other tracks of swells of, for example, these loop here, this percussive loot. As you can see here, it's thought that minus 20 decibel and go to minus 66 decibels, so it actually also increases. It is tent city, and all of those together, of course, build energy throughout the track, which also build tension now. Ah, the next thing you, except for these driving parts. I also wanted to have a very high, low end focus, just as with the percussion. So I have a warm cinespace with a pad since on a driving. So this one, I actually added the bass AMP to and then I reduced. The lo was range because these two tracks takes care of that. But all in all, I mean, this is a really warm and low. There's also describing Cintas this ticking sound, which goes well with the clock ticking, Um, plus taken here. They're very high focus on the low end on the main theme, or what the mellow do, if you want to call it that. Is this glockenspiel? Because the glockenspiel has this toylike character, which goes really well with a dark and moody score because it is so high contrast, it's feels creepy. The main team. Finally, I wanted to increase the 10 intensity off the final port here, so I added some pizzicato strings, which also have kind of ah, light character but really increases the tension level here and creepiness for the second part. So let's go through the instruments I used for the percussion or start with the 1st 1 which is, um, evolution hero sub hits. So these guys here So it's just a bit long hit. And then a shorter hit there. These based rums, these heavy bass drums from action strikes Tyco massive insolvable, actually. And ah, then I have symbols crashes from damage symbol menu this here, you seeing various intensity levels for the game dynamics there. So this lightning kit here, which is actually a ticking kind over lightning x three m lots of different taking sounds and I went with this clock here you have to study taking and the middle hits are from damage Metal Menu one like this. Since I already had the state of taking here, I wanted to leave some gaps in between complimented and give some groove to the ticking, so to speak, then for the melodic. The warm base here is ah, calmness feared lest a trillion. This patch here see, is 80 big and warm. Really warm zone. Well, lots of analog character. The pad seemed also Miss Fair Hollywood Studio Spring section. Actually, the low end the drive since here is what's the actually a rock P based pick like this with an arpeggio having our pediatric. Just just repeat it in eight notes. So I get that pulse and ah, then I get you the lowest noted shallows in cinematic strings. Tuesday Catto made Ah, Austin Audio is also cinematic strings. But violas, pizza Cottle's from Noval violin section here with actually on em on it because I didn't put this clean sound, I want to some drive to it on the then I think I e cute out. Yeah, the lows and the low mids to thin it out. Then I have this great she loop, which is cinematic guitars infinity with the percussive loop section, which increases in intensity basically both melodic and percussive Lou. But it has a glitchy character, which I find works well for attention. And the glockenspiel is from palette. All the do deca Mike's in this case. So those were the instruments and my creative choices for this composition called the Tension in the Shadows 8. The Might of the Galaxy: Let's look behind the scenes and do an analysis over the might off the galaxy. I wanted this composition to have a bold and majestic vibe, giving a sense off the great power off our immense galaxy. To achieve this creative vision, I wrote down the following key tags to guide my composition process. Now let's go ahead and dive into the creative choices I made In order to accomplish this. Let's begin by listening into the final composition first, and then we will dive in and I will break down my main creative choices. Step by step. So playing in three Teoh Next, let's listen to what the percussion mix sounds like on its own. So my first creative choice was to go for a low tempo. I went with 105 bpm. Why? Well, because I wanted to the track to have that majestic royal feel on DA You really get more of that if you have a lower temper, because every note and every release off every hit will feel more important. So if I play this now, you can hear compared to let's say, faster off 1 40 bpm, which, of course, sounds way Mawr like an action and dramatic vibe. My next creative choice was to go for a minimal type beat with really strong accents. And by minimal I mean, you will hear a lot off space and air in between those strong accents, which are mainly provided by these big drums here with big boom and samba. So those are the main accents that provide the core groove. And those is what you will hear mainly in all of the percussion makes if you listen carefully. There is other stuff going on, but it's no that basically of a pattern, and they are mainly lower in dynamics now. Since I wanted to have a kind of majestic and royal vibe, I chose to have these snares and more importantly, these tubular bells on, and they are playing every other boards. So two measures here between each hit because that craze that important vibe like listen to may I mean super important, like its church bell almost and the snares only play into the ones mainly basically here, so rolling to have that military slash voil vibe. On top of that, I like to use the timpani, which also adds kind of a royal classic vibe like that. So And you heard some Syncopation there? Um, yeah. So that's my next creative choice. As for the sound palette now, what you also heard there was, since the ones are so important for this beat, I mean one to hear, like the for the first in every bar. I also chose to basically on all transitions into the next bore. Have a kind of a role on the timpani on the snares, sometimes on these Taiko drums here. So, Ah, if you listen carefully to this Wiccan take, let's say the snares and the team. Funny on even this this epic it here you're basically boosting the importance of those ones by adding a transition of role, or you can have it with symbols. Well, I'd introduced one here. Of course, I have some crashes, but those are even more sports. As you can see down here, I have it on this and then off the four boss again and on the final cadence there. So listen carefully to the percussion makes here again. Let's watch it in the piano roll and you can really see that I roll into each you bore here . This is the first off, Ah, born here. The role here, a little roll, their stronger role here, here again here. So basically transitioning into, ah, boost the importance of those ones. Next we get you the what kind of sound pellet Isda's. Well, it's basically the classic orchestra percussion palette, but with extra boom. And what I mean by this is I do use some timpanist, tubular bells, orchestral snares and orchestral symbols from ST Kitts Tyco's, which arm or cinematic and has become more or less of a standard in orchestral music for movies these days. But then I use this epic it, which is damage Armageddon and sold because it's basically processed more heavily so low percussion with lots of slamming in the low end. And then these big drums here, or the main group, which is a big boom in Psalm ble. So that is way more than an ordinary bass drum would be in an orchestral percussion palette , so extra boost their on the low end not only on the sound palette itself, but also here on the percussion group. I have chosen to use fat colder with this, uh, supercharger plug in character and full fatness, some extra compression on site training and saturation to really boost the fat and low end . I really feel that extra oomph in the low end when I add the supercharger on the low or the fat color now. Ah, then I have these melodic patterns, of course. So for the rhythms meaning rhythmic instruments and parts that are no percussion, I've chosen short strings and short basis, and especially the short basis he will here is strong, um, augmentation off the strong accent. So these are the strong accents, the main groove. But if I watch it together with let's take these short basis here and go into your funeral , we can see that all the main accents or veiled here then I have some extra notes, of course. But on all main accents, I have those, and they are very high in dynamics. If I add the short strings on the epic, it, which also more knows you will hear it more clearly, really strong boost on those Maine accents. Ah, with these short strings and short basis, and then finally, for the more melodic side of things here, I know this is about the percussion, but well, the melodic side, of course, is really important as well for the overall character. So I have chosen very long drawn out knows to get that MAWR given more impact on importance , almost like the sense of a triple bill, just one hit and then it rings out. So if you check these melodic notes, they are very ah, long like, Ah, this is a full bore half, 4/2 bored half bore. This is quarter note beat, which is the shortest, actually melodic note. And if you listen to melodic in context, Terry, we'll really hear that via also strong, ah, focus on Big Breasts book in the low end, which, of course, helps in giving the overall character that majestic, really powerful vibe. So that is it for my creative choices. Let's quickly go through what instruments are used here for the percussion here. So this is for actually I forgot to mention this this mega hit I like to use extra important accents like the most powerful with a boost to sound design patch. This is insoluble drums, really big, powerful impact for the cadence there. Then I have the dude like this, the big drums here. The main driving part of the percussion is big boom ensemble in action strikes than the epic It Here, which is studio Armageddon. Insolvable in Damage, the Tyco's or from Tiger Creator, Using this particular pash air the timpani so from pallet symphonic sketch pad and, ah, then we get to the tubular bells. Also from palette here, the snares or from, um, what's this called Rhapsody Orchestral percussion, I think on then the steak. It's from also studio, getting in some of passion, but higher up you get these stick. It's ah, in the sounds the right symbol is from Let's see. Yeah, this is orchestral percussion one orchestra percussion STX in Superior Drummer three and that the Kratch symbol, or also from the same kit, which is more natural sounding orchestral percussion on. As for the melodic instruments, these short strings or insoluble shorts DVC in a flatter strings short basis basis Picasso from a flatter strings as well. Strings rush in Psalm Bill strings here off lattice as well on the scene, the armour violins, enough artists as well, so a lot of strings for all the stream ports. Then it's the first breath and SAMBAL. Here was his symphony essentials horns from four so trombones from four so and trumpets from four so 9. The Canvas of Percussion: Now let's explore the canvas off percussion and how you can use it for your cinematic music . So here I have composed an example, using various colors and types and, more importantly, roles for the percussion ports to create these complete example. So let's listen to it first, and then we'll dive in and explore what these percussion ports do in the canvas off percussion playing in 321 Now, when I write percussion ports for my music compositions, I generally consider the type of percussion, the cooler or percussion, the range meaning low range, mid range or high range, and more particularly, the role each percussive port place in the whole arrangement. So if you check how I have labeled these different tracks, I start with epic accents, which are very rare accents that provide extra emphasis and power most often hybrid sound design effects, such as In this case, I'm using damage dork impacts to just finish with a really hard impact. Then I have low accents, which are basically providing mawr emphasis on certain beats. But let's first start with the core groove. I like to ride that own, for example, a bass drum or any low percussion to provide the main beat. Basically, in this gains, I'm using studio Armageddon unsalable in damage. But I don't use to many, um, parts in it. I just lay out the main beat basically, and it sounds like this on its own. All right, But then I sometimes want to ADM or low and umph because ah, these doesn't have This is mawr slam, tie percussion more more in your face or just be compared to these low X And so what I started with here waas um big boom in ensemble sounds like this. But then I added some coloration to make it even warmer to push it even back More back in the mix for Bumi type percussion on. If I lay that on top of this, you can see. But it's only providing the one here and this excellent ear. So even few reports just add some extra deep low end as though accents on top off the cool groove and with low accents. You don't want to feel up too much with the deepest, most rumbling type deep percussion, because if you listen, it takes a long time before this sustained goes fades out face out completely. So if I had written it Mawr BC, like this be tear too close together. That would have made the whole make supermodel. So instead of just layer the main beats as though accents right, So that takes care of the main low and then continuing in the mid range. So this is the cool groove, basically, in the low mids where I'm using in this case Ah Teicher creators. I'm using Taiko drums, which has in this case more snappy feel more ethnic. But as you can see, it is a bit busier. Ah, but just barely and more importantly, so you can see the red here. The orders here. I still respect that main grooves or whatever you start with to write the cool groove that will be the essence of your whole percussive arrangement. So, together with the low accents and cool groove and then when I add the low mids, you know No, that that is a low mead boost. Basically. Now I also want to recommend that you don't need to fill up every space. I mean, if you listen to this and more importantly, take a look inside the piano roll it could say is that I actually includes spaces because especially percussion it, it needs to breed, especially in the low end and low. Mids needs to breathe to give room to those deep precast of sustains and reverb. And it's also an arrangement thing. You've owned your music to breathe because other instruments and pours will take over. So in this case, I have shows into use. Mead fills or feels in the mid range. So I always go to the tomes for this personally. So these are Tom's played with malice. You could do some ethnic world percussion, traditional percussion or something just to fill up these main spaces here. So if you take a look ah, these solo everyone and then go in and have a look. You can see that when it's a space here, this feels come in here again here again, and then a little feel at the end here. So now it sounds like this. All right, so I didn't have to do that, but I wanted Teoh, and he shouldn't do it in all cases. But if you want to fill up the space in between here and not have that complete sense of error. Totems are great for that. Any meat range percussion? In my opinion, you could also do something with the symbols. Perhaps, but then let's continue Teoh accents in the mid range or high in mid range of this case. I'm using snares for this. In this case I'm using, um, this plug in on DA I have some high arrange snares. I believe so. This is actually also feel, by the way, this is the rolls here, or small fills in in the whole context, but that be there, that better if you check here with the cool roof, um, at the same time, But But, uh, and you have the same. They are actually overlaying here, so I can't see them. But ah, if you listen to it in context, what's at everything And then the thes snares, which is But the core group is playing here, or so I can play on Lee. The core groove and the high accents to real will really get a sense for how they augment what's happening That that, uh And here you have this little feel here, but very much. Most of the Maine accents or main groove beats or layered here so they become like Mead accents like So So that takes care of the bows with these three tracks. The meets with these two tracks? Ah, of course, epic accents. Or on top of it all. Now let's get you the high percussion. So in my, um, opinion, you have different types of high and ah, colors for percussion in the canvas, so high, dry, high shimmer and high accents. In my opinion, high drive could be first couple high hats stick. It's clicking, ticking and such. I have gone for with C bamboo sticks to create this, and I have purse purposefully left these air these gaps here because that's where the midfield feels. Ah, come in. Right then, various types of a shimmer percussion, which could be shakers, which which are a bit a mix of a drive high driving high shimmer, in my opinion, but otherwise signed kind over symbols that are not that not have the crash type quarter, so ride symbols. In this case, I'm using actually an acoustic drum kit for this. So these are of course, not accents, but actually add some shimmer in the high range Ah, and you can do this with various shakers. As I said on its Ah, the more you add, of course, with the the more complex you make it, the more drive port. Ah, it becomes. But this actually adds a good sense of Aaron Shimmer. So let's listen to only the high drive and shimmer. Now what? What are these high shivering ports playing? Well, let's take a look way the core drive at the same time and you can see Bam atom, those three important beats that sets the foundation and here again, madam or layered even here in the high range, even though these are not accidents, just shimmer. It makes a huge difference when you do it like this, of course, and then they add some Syncopation and extra complexity. But, um, because you should not only just layer everything, of course, you want to add something different with each part. Here. Finally, the accents in the high range to the low access or the deep Bumi percussion, the meat accents or, for example, snares, stones collapse and stuff like that on the high accents. Off course, the main type of high accents is the classic crash symbol which could be a ah which also could be muted or choked if you want to. In this case, I just went for the long sustaining now with symbols just like with low X And since they sustained for such a long time the fade out Ah, you don't want to have a too busy. So if you get back and check the core group, always check the core group. By the way, that's a bonus tip for you. When you add some parts, do it in relation to the core group. Everything should basically respect and dance together with the core group. Whatever track were poor, that is. So now let's go in and take a look at what these do here. Um, thesis ones here hopes these and this. So let's see, Why don't you want to play here? So you have this Ah, here. So I don't have a temp. I actually omitted this note here and here. Death data just to you. So two off the main accents are available except here because you have more space in between that there are actually went with all three. If you have them closer together, like all these three, I would probably do these two as muted or choked Cymbal crashes, meaning you don't have that long sustain and then all they're sustaining on the final note . So the more BC it is, make sure you meet the civil crash in that this case. So once more, let's listen to it in if, where the final composition here. Now that you have seen what goes on under the hood and let's do it while watching, in fact, the piano roll for all these parts at the same time. So playing in 321 right, that's it. So I want you now to experiment with the canvas of percussion and consider mainly the cool groove and then fill up the can was with what rule the precast reports play. Are they there to boost the mid range with some extra complexity to add, some fails to add accents. United the low jaime mid or high. Are you going to add? Some shimmering the high range, some high end dr Perhaps some extra driving the mid range, which could be world percussion like hand drums like Congress or something like that or whatever you want to have something with an epic accent for specific beat. For example, the cadence in this case go ahead and experiment with a canvas of percussion for your cinematic music. 10. The Colors of Cinematic Percussion: Let's explore the fundamental ranges and Koehler's off a cinematic percussion. Now, when it comes to creating your own unique sound palette for the percussion, mix off your music composition, you should not only focus on the types of percussion instruments and sounds of use, but also and even more importantly, in my opinion, the range and cooler off your percussion, meaning the respective frequency ranges and character. So let's go through the main colors and ranges off a cinematic percussion right now. So here we are, inside the D W. And this is how I personally divide the different ranges and Koehler's over percussion in the cinematic percussion, low range, mid range, high range and tuned percussion, the starting with a low range If we open this up. So these are yes, some examples, in my opinion, the most fundamental low range cinematic percussion starting here. The 1st 1 is what I call deep booms or sub booms, low booms or whatever you want to call it. If I open this up, you can see I'm using his sampler, and I have different samples here with low booms, which can sound like this, for example, here very low and barely audible. It just adds that the low depth ah, which is used for the main low accents. Then we have big impacts, which comes also in different forms and colors and the same thing here I have loaded up in a sampler. Consult like this, so more in your face, but still, though indeed, and ah, then we have various types of bass drums. In this case, I'm using damage here with orchestral bass drum than timpanist, which is tuned percussion but still low so it can sound like this. And then Taiko drums, which is these big Japanese type percussion I'm using. What's the Taiko creator? And you can also use stick. It's on them to make. I loathe some steaks and these types off low percussion. The Tyco's have been much more used in the recent years, compared to if the classic orchestral percussion. So let's continue by checking the most fundamental meat range cinematic percussion starting here with Tom's, which can be various types off sizes on DA models like that Sanad drums, which can be solo snares or in samba Lesnar's something like this, and also different sizes and colors like piccolo. This now which has a more higher pitched sound. Continue with frame drums, and I'm using an Irish bodrum for this. So these are It's open here at the back, and then you use your hands. Or in this case, it wouldn't Tipper Teoh hit the drums with. And these comes in many different types of frame drums in the world Hand drums. Also, these traditional ethnic drums, in this case just calmed us to demonstrate this. Then we have ah ah Gong's and Tam Thames, which are basically big symbol type metal. Ah, objects like this. But compared to a symbol, they are more in the mid range than the hydrangeas. Chickens here, symbols here. Do you have the Tom Tom here on then what? I called punch. It's which can be, for example, stumps. So these are actually recorded by me? Um, my foot stumps And then also various times a processed very in your face. Sounds like that. And you can, of course, lady rich together life. Okay, um, that is the mid range percussion. Let's continue to the high range and see here what we have is so first we have various types of sticks. In this case, it's bamboo sticks. It can also be as you listen to earlier. The Taiko stick hates you have steak. It's on many different drums but also sticks together like this and comes in various forms there. Then we have what I call various types of clicks sounds which have also become more and more common in cinematic music. So this is actually, in this case with the clocks and takes. So we have, ah, small ticking clock here. We'll see if I can find where it is on the keyboard here, where you have some Metrodome. Even so, various kinds kinds off clicking sounds. We can provide that Powell sing underscore Tap Off Sound. You have various kinds off buttons quaking and so on. Lots of stuff there in the clicking category. Then you have the shakers category, which is also very big. If I just open these up, you can see various types. So you have the classic 10 Marine but egg shakers, all types of Shakur's, which can sound like this. Say here, all right, And then you get to metals, various types of metal objects being hit. So here we have this damage library. It's a mix between median high range. You have some made arrangement. The middle. You should have those overtones that makes it mawr high range, in my opinion than you have the woods category. So I will show with this. Ah, here you have risible this large would block smaller would block not that common in modern productions, but still first types of boudin objects being hits or any type of audit which has that dollar sound and not the harmonic overtones of metal being hit. And then finally, of course, one of the most fundamental high wrench percussion is still symbols, various types of the graph theory. And finally we get to the tuned percussion used in the cinematic music. So as you can see here, we have mallets, various types of mallets and the rain by. It's one of the most common than you have vibraphone and Seiler phone and so on, Kalimba. Ah, which can sound like this. This is a marimba, Theun, various types of bills. So here you actually have a glockenspiel, which is very high range, Like this. Uh, but some other instruments here that or sounding like bells, iss, for example, the croton lists or any kind of small bill that you sample, um, any type of sound that has that bell type, long sustained metallic sound. You also have the lower belt type sound, which is tubular bells, and, ah, it can sound like this so slow that up. It sounds almost like it's Church Bell. Actually, I see here, which is often used to mark an accent in the one on the beat, and then so mallets bells. One of the very common articulations used is protested articulation, So basically called venue bar talk pizzicato. You have a pitch, but it's still more percussive in nature, like like this. If I played here, it's smashing the strings with the BoE's with the stick of the bow, which creates that's percussive accent, which is excellent for percussive accents. All right, so those are the fundamental ranges and colors off. See an attic percussion And remember, there are many variations and forms for each percussive instrument, but thesis low range percussion, deep booms, big impacts, bass drums, team ponies and Tyco's than mid range. You have the toms narrowest frame drums, hand drums, other types of world and traditional percussion gongs. Ton shits, high range. You have stick hits and stick your sounds clicks in various forms. Lots of them shakers comes in various shapes and forms as well. Various types of metal objects being hit, boudin objects or any type of dull Um ah, percussive hit. And then you have the symbols, which can be crash Cymbals, ride Cymbals, suspended symbols and so on. She and percussion very stops of mallets like marimba, vibraphone, silo phone and so on. Bell sounds, which can be a glockenspiel, crow, tallest tubular bells, um, and so on. And then precast ever collisions, which can in most cases I go to Colette neo articulations on strings and, um, sometimes ball talk pizzicato, which I also considered to be more percussive in nature. But you can do any type of percussive articulation on many different instrument types, so that is the colors and ranges off cinematic percussion 11. The Fundamentals of the Drum Kit: Now let's explore the fundamentals off the drum kit, and it's great importance, regardless of what type of percussion mix you are going for in your music composition. So here I have loaded three different drum kits, one acoustic drum kit, one electronic drum kit and one orchestral, as I call this drum kit in order to demonstrate that, in fact, the acoustic classic drum kit. It's the fundamental drum kit that you need to master in order to create percussive performances and mixes in a cinematic music and any show Aunger Elektronik from's orchestral drums or traditional drums and sylvan. So if I open this up and take a look at a complete drum kit here now, the great thing about the drum kit is that it is already prepared for you to cover the entire range off a percussive mix. So let's start with the lowest drum in a classic drum kit, which, of course, is the bass drum, this one here. So the bass drum takes care off that low range power and depth in any kind of percussive beat. Now, next, in an acoustic drum kit, you have the tomes, these ones here, starting from the deepest tome and going downwards. In this case, we actually have five different ones on you can hear they are tuned differently and in them popular music styles. The terms are mainly used for fills in transitions, however. In orchestral music, Toms are also used as one of the main drums. But in most cases, they take care off that low energy and fills and transitions in the low range. Next we get to the Sanad Rock, this one here. Well, suicide, maybe depending if you hit it on the middle or the sides, you get a different sound, but that takes care of the mid range focus in pounds, and then we get to what I call stick its, which can be slamming. Stick your drumsticks together or hitting the side or this side ring off any drum, for example, on the the on on the snide room. You get this, but you can also do it on Tom's or any kind of drum, really, And that takes Carroll the mid range, click and tap. So, of course, there are many different styles of percussion sounds, but I call this like click and stick sounds or tap sounds. You can even be hitting your drumstick on a table or any object that gets this more doll and short sound in the mid range. Then we get to the high. It thinks one here, which is in an acoustic from Kit. You have the close Hyatt semi open in various states and then the open to get that ringing sound, which takes care of the energy and drive in the high rent. And so one, ah, next to get to the ride Cymbal, this big symbol here, which is not usual, used for crash accents but actually more of a driving range to add shimmer and sustain. And also some drive in the high range. So you have it mapped. Ah, here has come here. It's more Millo in the background, but still as that shimmer and you can use it to really had some high end seen the ring energy. And then, of course, Aled, the various crash Cymbals. As you can see in this kid, you have a lot of them in different sizes. You see here all these different sizes and models off these crash Cymbals, and of course, they are mainly used for the high range accents and emphasis, and you can use them in various ways so you can let them ring out like this, or you can actually meet them or choke them with your hands. Let's see if I can find it. So, yeah, like this to create shorter accents without having them ring out. But in essence, that takes care. All this these percussive instruments takes care off the fundamentals of a drum kit. Now, if he apply this to, for example, an electron electronics drunk it on would check the mixer and you actually have the same thing. The kick the stick hits on, in this case, the snare drum, the snare. Here you have the clap about the clap actually serves the same purpose asked. This narrows, You will see you have the snap and the club Often they are even layered or used vice versa , so you can exchange them in electronic music. But you have the kick drum the snare when you get perhaps to collapse instead or and then you have the the um Tom's, which are actually in electronics drums. Not used that over because Elektronik rums with Tom sounds pretty strange, so you could probably exchange those for other types of effects or something. But there they are. They're map for you. Then you have the hi hats map the same way, and you even have the ride Cymbal here and the crash Cymbals. And if we get to the orchestral drunk, it basically you can think of it as an extension off a classic acoustic drum kit. The electronic drum kit is also based on the same range and use cases for the individual kit pieces and then orchestral drums. You have the bass drum, but for orchestral percussion, you basically have some mawr types off percussion in the various ranges. So in the low end, it's not only the bass drum bass and acoustic Trump's or electronic Trump's. You actually have these low chin percussive pieces, whole team money, then Taiko drums, these big drums here or very usual to use in cinematic music. So you have, ah, three flavors to take care of the low range. Then you have the toms, which are very similar to the Thomson, an acoustic drum kit, which means you can actually use ah acoustic drum kit for the toms. Perhaps you might want to add some or whole river. But in any case you have the toms. You then don't have a high hat, but you have, uh, crashing on often. Also these pft symbols that you take your hand and slam together instead of hitting with a stick. Now that takes care off most off the same ranges here, but you like that shimmering high range energy off a, um, hi hat. So instead you usually add some folks iler percussion. By the way, you have these extensions for the accents, which found the plate for mining accidents, cheaper bells for Melo dick accents or harmonic accents. Strange symbols but again, based from Tom's There symbols. Those are the main kit pieces. I believe in any kind of percussive drum kit. But if he gets to these auxiliary percussion in orchestral percussion, you might want to add some different shakers and high range percussion to air that shimmering high range energy that otherwise high had would take care of in an acoustic drum kit. Now I believe the best way to master the percussion mix off any type of music composition is to truly become familiar with how to write pro casted mixes using Onley a classic acoustic drunk it because that is the essence. The cool off percussion and drums. In my opinion, you have the base from you have the tomes, you have the snare. You have the high hat, the ride Cymbal and the various fresh symbols. And, of course, once you master this to record percussion performances using all of this kit, then you can go on and ataques ealier percussion shakers collapse stumps and go into Flextronics drums effects and the orchestral percussion by adding on Taiko drums, temp unease and add ons for your full percussive mix. So my final demonstration will be this little beat that I have recorded on the acoustic drum kit on. You will see that I have covered the full range off the drum kit. Then I will be able to just drag it over the Alex Jones round kit. It will pretty much to the same, and there were tested rump it. Of course, everything will not be translated, probably depending on the map ings, because, for example, the high hat is not a present on the orchestra drum kit and so on. But if you check this beat, let's listen to it first. Okay, so very simple. But it takes care of the full range here because I have the main group provided by the low end in the bass drum some access provided by the snare here, which could also be used as fields. I could do, for example, of that the role if I wanted to, uh, right into this second part. If I just try this out like so let's try that Something like that. Then I have the high F for the high range drive closed, semi open, open the crash Cymbals for the main accents, right symbol from some shimmering energy. The high range, these Thomas four fields. As you can hear it, if you listen again here and here and then these or stick. It's actually on the toms, in this case just to get some high wrench tapping, clicking. Now if I drag this down to the electronics drunk, it pretty much everything will be covered. They lacked. The stick is here about you get the same type of beat. Listen to this. And then with the elect rolling from kits and if I dragged down to the orchestral grams, it will do most of the things They are not the high hat. So let's listen to how it sounds. Right. So you get the base runner, the snare, the high heads or exchanged for some goals here, which is weird. So I would probably exchanged those. You can always delete them here. You have going to lead those on those and yes, remained this. But you have this tickets up here, actually, instead of the right right symbol, you get this other symbol which, if you reduce the velocities, actually becomes mawr. All the right symbol and the cramp symbols Are there the state kids. So you know, you have again very similar to the overall vibe off the groove that I've recorded for the Cousteau Crank it. And this makes it super clear that the acoustic drunk it in its full range is the essence to call the fundamental kit that covers the full range off any protester p. He's regardless of it. If it's acoustic electronic orchestral now, of course, since you have more colors with orchestral, you could always add something to this, because here we don't have any Tyco's, for example. So let's add something on top of it. Just to see how it sounds. Something like that. Let's see. Ah, it's up here now Let's Kwan tai sit and let's see what we have write something like that you might want to add something else that you have available in the the I mean, you could start with some kind of going hit here just for the beginning. What is this piece here? Something like that, perhaps even at a Chibber bill. Of course, you need to learn where those or maps because this extends the classic mapping off an acoustic drunk it, of course. But once you learn this T, perhaps he will tell some timpani you can pretty much extended. You can even add mawr traditional drums, some coaxial repercussion because you lack the high hat. Well, let's say you double these up here and you have the Let's remove that going, by the way and then you change this other one to the auxiliary percussion, and now you have all the starting available loss of high range shimmering sounds. This shaker sound here, for example. So if we try to add that and you can see how you can extend, I mean, there you have it there you have the main foundation for a percussive mix for cinematic music, orchestral music, and it was all based on the fundamentals off the drum kit. 12. The Great Impact of Layering: Let's look at the great impact off the ring for cinematic percussion. So here I have composed a short example, demonstrating the great power off. Very hearing. So what I mean by layering is not Onley. Very hearing, for example, a snare with a clap sound but layering different coolers and ranges off percussion. As I have done here, let's listen to this fool example first, and then I will dive in and show you how I have thought about layering for a fuller, more complete sound. So playing in 321 now what I have done in this particular example is to use Distract, appear as the main percussion track and all these other tracks here. Teoh Very you're on top of it to add, in this case with this deep percussion, more low end high hats and symbols for more simmer and shakers for more high end drive. So on its own, this particular one is dramatic creator, full ensemble product for cinematic percussion Onda. As you can see, it's a pity pretty BC pattern, so that is the main percussive mix and groove. But it's very natural. So not a pro cyst as this. For example, is more hybrid percussion I'm using in this case damage. So that means I'm layering with a different cooler and also different range. Because if I open this up, you can see that I've used Mawr compression, separation, warm character and even ah, see this channel like you seek you here. You can see I have reduced looked off the high frequencies to make it sound very warm and deep as opposed to its initial sound. So I wanted to reduce some of that slam in the mid range because what I want to do is to layer it on top off this, add some more bottom end and whom. But if I check these, you can see that it's layered on top of the main accidents over the fundamental groove, and it's the same for the rest off off the track here. This is why I have cold with them differently so you can actually see hear about the beauty pity bar that the particular leader so they mimic each other. They uring with different colors of percussion, natural personality percussion here, more hybrid process percussion and added low end. Then I actually use an acoustic drum kit for the high house and symbols. I just wanted to go for a more roomy character here, but are used some right coloration here. Ah, to make it more shimmery, you can hear a ride Cymbal. I think it's, um, high hats and crash Cymbals there, but they sound very shimmery and crispy. And then I wanted to add, still wanted to add more ah, energy. So if you listen now, I wanted this is very much energy and drive in the low to mid range. But I wanted to add some more in the high wrench. I went with this shaker here, which is a shimmer shake strike, and I'm using that these two year, these shaker here these not the tempering here, but these two shakers and they upend for lift and fall right provide ah stereo sound. I then went in and reduced all of the lows and made us to make it very high, ranging crisp. Then I added some reverb to dial it back in the room, so it sounds a bit strange with the river, but I wanted to drive it back. So I added some extra river and in context, which is what matters now went from this into this. So, in essence, I have recorded the main groove on this track. Add that the main accents core access off the groove with his low in D percussion that I treated with some, uh, each hue and saturation and warm coloration added some high ah, shimmer with high hats in symbols. Of course, I respect still the main accents, as you can see here, which are on the main beats here on DA. Then I finally added the high energy in the high range with these shakers. Now, of course, you can choose to take the power of layering as far as you won't add more tracks to layer up with different colors and ranges away to that wall off sound mix of percussion if you want to. 13. The Importance of Character & Depth: the importance off tone, character and depth. So in this video, we are going to take a look at the great importance off the tone, character and depth of your instruments in your percussion palette. So here I am in My dear W. And I have created this folder called Bass Drums, because I'm going to use bass drums as the main example, as I believe that is one of the core fundamentals off any music composition, including cinematic music. Because even if you choose an orchestral based from they come in different forms and types , and also depending on the sample library or plug in, you use very different character and depth, which we are going to dive into here Now. You don't have to use an orchestral bass drum for your cinematic music. You can, in fact, use Elektronik bass drums like In this case, I'm using What's the stylist or remix with a kick drum category. This one is called Boo Me so I can play something like this so the electronic drum kids are better if you want that tight and controlled kick drum sound, especially that clear low end. Then you also get since you get the more focused sound. It is actually deeper and more powerful than any other bass drum sounds. Okay, so the next one is if you go for an acoustic drum kit, a rocket or Pope Kate or whatever, you have this kick from an acoustic drum case or great if you want that really snap Slappy . So off the beater here on the kick drum. And of course, you can change out depending on what your kid has. So these are different. And of course, I'm using addictive dramas to here. I also have Superior Drummer three, but regardless, whatever acoustic drum kit plugging you use, you could use that for your cinematic composition. You can, of course, add reverb on dial in some processing on this, but just for the main overall character tone and depth, this is quite dry. A lot of a lot of room compared to the electronic drums. No room at all. Alice, I want you, which gives you the most control. The next one is what I call the unstoppable drums, So this is actually I believe it's four based rums that were hit for independent bass drums hit by different players at the same time, which is basically taking this acoustic bass drum to the next level and makes it more cinematic. Which can sound like this. I really like this sound because it's a mix between the RUC powerful sound and the more cinematic deeper South. So ah, the total character and Kohler is very important. The control, the depth in the frequent arranges but also be aware off the sustain the room, the reverb and how much rumble the base from as because if you have is really deep rumbling low end that will be holder to used in a mix unless you have a lots of room and headroom in that low end range, writes the next one we get to a natural orchestral percussion. Um, this case superior drama orchestral percussion is DX, and this is the base from here. Do you have some room? But not too much trouble? This is one of my personal favorites, actually, because you have Ah, you don't have too much rumbled and low ends. You get the clear sound on you can always they re together with another one. Then we get to damage studio concert percussion based from here. So What do we have here? Now? We're starting to hear more of the drum bling. Lohan. Former deeper sound compared to this thing is more natural orchestral bass drum sound. While this is getting more into the hybrid processed sound and they really Mike did near to have that rumble takes a lot of time for that drum to settle down. Next, we have to Ah, Singapore cool. And this is recorded in, ah, whole level Hollywood scoring stage and has a lot of depth. And the dynamic range is huge. If I play low, it's all only that rumbling low. It's like you hear the jaw steam like a distant thunder. And if I hit it hard, it sounds foreign way. So this is the deepest of all my bass drum libraries and plug ins. I have, but it lacks the presence off this really come. Shoes sound have been more close, my based from, like this one, so you have to choose wisely. What do you want to use here? Because perhaps you want this for intro or underscore. Then we get to drum. If you re here on it's actually mapped appear which I don't really enjoy I like you have to check where the bass drum is mapped. I like when the library's employee is used to stand the definition for Bass drum, which is here B one and C two, which this one doesn't. But for example, this one, this one dust So Drum Fury s and more of that punishes sound, but beat more dip and lingering low and rumble. Comparative, for example Ezdi X, which has that lingering sustain, but not as low and rumbly as so. It's a bit different color there. Then you get to this one called Saga acoustic trailer percussion. Let's see more snap and punished on a bit off that sustain. I usually want some of the sustain from the hall, but not too much good punchy sound there. And then finally I had this one, which is, um, orchestral percussion x three m, which is mapped down here more of the whole sound. So it's a mix between this scene perk cool, which was very much a whole sound and them or punishes sounds, orchestral sticks and a saga. So here you have this one. So what can you do? Yeah, you should choose the correct one that fits your current music composition, the vibe in style you're going for, of course, and feel free to change out in the track and even uses layering. So, for example, let's say you use this one well, what if you layer that one? Wait, for example, this one which has more punch to create something like that. Or if you want to have, for example, an acoustic really publish a kid with, let's say, this one here or this, just layer it. So as you can see, your creative potential is huge. Here in the next rolling drum kit, you might want to lower it in the mix just to have some control in the low end with, Let's say, let's say damage. Okay, so this is mapped. You have to check where the keys are map. But as you can hear, you have lots of room just choosing the initial color. What you've owned. Punchy, deep rumbling. Ah, focused and control like this one. And then you can also in the individual drums against choose within my comic. So you have a closed deck and whole mike on this one. Let's check the sound Well, what if you remove the coast Mike. Of course, getting more deeper sound or vice versa just used to close Mike, which gets more of that presence, an attack. And if, of course, you could mix between different. And also this is cool if the Begin has it or library has it a transient shape or so. If you think you're too much rumble, just decrease to sustain. With a transient shaper, you can off course use plug in on this and insert effect, but this one already has one. So from this to and all of a sudden, you have more of punishes sound with less sustain and rumble. So that is it. I chosen to demonstrate this way the bass drums, but you need to go through this for your entire percussion palette for each individual type of drum or percussion instrument. What type of starting character and color, how much depth you want to have the sustain the rumble in the case of low in the ringing in the case of symbols and shimmery percussion and so on, and you can also use sound design tools like insert effects compressors, transient shapers and such accused filters and even veiled goring to create your overall sound palette. 14. Introduction The Sounds of Cinematic Percussion: these sounds off cinematic percussion. The great thing about percussion in cinematic music is that you are free to use practically any type of percussion instruments and sounds and even blend different types and colors of percussion together into your own unique percussion mix. Let's go through the fundamental sounds, coolers and types of percussion right now. 15. Acoustic Drum Kits: Now let's take a look at using acoustic drum kits in cinematic music. The classic acoustic drum kit is way more versatile than you might think. There are a lot of different sizes, models and variations off drunk. It's. And as for the sound, you can go from soft jazz kits to a snappy pop sound all the way to powerful rock and metal kits. And you can even use in Samba will drum kits to make it more powerful and cinematic. If you want, You can also open up amazing creative possibilities if you dive into production techniques . Miking, mixing and effects such as compression saturation accuse reverb, etcetera. So here I have created a live example using acoustic drums with electric bass because those go really well together and can be the driving foundation off the rhythm for your cinematic music. So I have a soft and Jesic sound first, a pope and snappy sound and hard and loud. So the difference is this very soft and mellow. The pope and Snap ticket, which is often drier and a hard and loud, very compressed, heavy hitting kids like this great for Roach and harder to styles. So let's take a listen to this, and I will shift this track to these difference. Drum Porc will get a feel for the overall vibe. The different acoustic drums can give you so soft and DeOssie, which is way in the background, which leaves more focus for these driving electric bass line. Let's shift it to the pope and snappy to get some for modern in your face sound and then the hard and loud kit here to bring the drums mawr into the front. Right? So the created choices, of course, always up to you. You could switch to the other, driving poor to synth bass if you wanted to stuck at the strings or whatever, but I believe that acoustic dramas goes really well together with the driving baseline. In any case, finally, I'm going to show you what I also did here with was I added a Pugin, which adds saturation, some compression and some color character so I can Let's go for this. Well, let's go for this hard and loud kit without it again, but I really want to push some color into this. I will add heavy saturation, some heavy partner she compression and bring some fat color injured. Then I will use this wet, dry no job for parable, little nose apparel, compression parable, separation and coloring. To get from this into this, and of course, it can dive deeper by adding some. For example, e que. If you want to leave room for, let's say in the top range to make your drum pours more mellow so you can have some higher . A melodic and horribly keep pores up here. But basically that's it. The ah sounds off the different acoustic drums of the character and color and what you apply as effects to shape the final sound. And if we go in and have a look at what I did here, I basically Onley shows an electric bass, which is the driving line like this, something like that. And then, for the actual drum thought protested performance I have base from I had closed semi open and open, provide simple here and then a snare here. So I think the kick from Bass drum on the snare is providing Ah, the accent for this baseline. So if we have a listen and shake at the same time in the piano roll roll it looks like this . And if you listen to them both together and check the piano roll here you have this going now, while acoustic drum kits or not generally thought of as a main percussive sound for cinematic music, I could really see this if you take a listen. Well, perhaps the holding loud sound in, ah, some type of dark thriller or cool and mobster movie or something like that. 16. Electronic Drum Kits: Now let's explore using Elektronik drum kits for cinematic music. Now with Elektronik drums, you will have amazing creative flexibility with your percussion from the vintage drum machine sounds off 9098 to 8, etcetera Tomb or modern and edgy beats Elektronik. Drums and sounds have the most control and sound design options. You can also use very goring and many kinds of production techniques to shape the sound into wherever sound and character you need. So here I have created a live example of what you could do with Elektronik Drum kids for cinematic music. So in this case, I added a space piano and informed baseline to beef it up. But essentially, it's riven by this electronic drum kit in Stylist or Amec's, which is a say. I'm using an urban classic or and be kicked here. Sounds like this very snappy on bright and then amusing, This 8 to 8 drama machine plug ins, a classic run machine. Ah, think only for the high range percussion, the collapse, the hi hats so closed, semi open and open, which sounds like this very classic crisp is owned. And then I have these space piano, which is enormous fair, with lots off reverb and tape effect, which I guess is what makes this more cinematic in nature. It's optional, of course, unless I have these warm based line in a city called the Legend, based on the classic movie Mini Moog. Model D. All right, let's see. Ah, it's posed to be a bit more quanta ized. I feel, even though I want to root, get remains some of the groove Now. All in all, I get this type of sound, and I also added a supercharger here, boosted saturation, musing, compression. Let's go for a more slam time compression as I'm right character and then some peril mode like this. All right, let's see how that sounds right now again, the electronic drum kit sound in cinematic music or for cinematic percussion can be great to hear that modern touch, some Eiji character and then a throw in some pads, background soft strings or a space piano or delayed Teoh, Utah or something like that to give it some background ambient field. Because without this pace piano, it's weight. Two up front, in most cases on, Let's check out the piano roll What I did a little piano is all the way up here in the almost see five close to C five on. But this is the groove here, the baseline in the low parts and then the Percocet parts and altogether cool background Cinematic Morgan and Aid she style beat here. 17. Traditional Percussion: Now let's have a look at using traditional percussion in cinematic music. Traditional style percussive instruments include ethnic drums like bongos, Congas and Dole's, but also various types of shakers, marching drums and so on. Basically any type of classic percussion instrument that is not generally used in a standard drum kit or in orchestral percussion. I would even count handclaps, foot stomps and finger snaps into this category. Now, by traditional percussion, I main refers you ethnic and world percussion. So here I'm using a ethnic percussion perch in damage, which can sound something like this. So bongos, Congas and various times off hand drums in most cases. And then I have using a shaky track, which sounds like this to add some drive and finally, to give the melodic part of this I'm using a bun Suri fruit. So here is the final result ICANN, composed as an example of traditional percussion for cinematic music. Write something like that. Very simple. The flute adds that a rabbit character here and these ethnic percussion if you go in and take a look in the piano roll, what do we have? So we'll see. It doesn't say, Ah, what types of drums. You have these lower drums here that this higher here. Who's to take a listen on Lee on this track? Right? A little bit of a role in down there. The shakers he already heard. Ah, but let's take a look. So I'm actually using a manual port for the Shakers instead of having a pattern performed. So you can. I feel Steve like this. So I have three different shakers and altogether just had some shimmer to it. And again, these So that is an example of how we can use traditional percussion. But again, there are many types of traditional percussion parts you can you So, for example, adding some collapse and snaps and ah, stuff like that could also work. But in most cases, I refer to traditional percussion in cinematic music. Mawr towards ethnic and world type beats 18. Orchestral Percussion: Now let's have a look at using orchestral percussion in cinematic music. Cinematic percussion, with a heavy focus on the orchestral sound has evolved over the years from a more classic orchestral percussion mix to include WAY Mawr types off drums and percussion, particularly various types off Taiko drums and frame drums. Orm or used today, as well as lots of ox ilya repercussion in the mid to high range. So here we have an example I composed for Onley orchestral percussion. I have used three different tracks here because I've grouped together, but personally, I prefer to actually have each different percussion instrument separated on its own track. But if we go and have a look what we have here, so this is one of my favorite orchestral percussion libraries, which is in a superior drummer three called Orchestral Percussion is DX, and here you can actually see a good image of what the classic orchestral percussion um, collection can look like. So we have the bass drum way, have the team ponies here June big kettle drums. Then you have the snare theme, Tom's Onda, then range of symbols Thea office, which are symbols that you hold together and smash into each other. More oven accents ill with out both renal. Suspend the symbols. Then we have the modern Taiko drums. Thes drums are often mounted like this Japanese Taiko drums and or essential in modern scores. And then we have the known Ah, the drums and percussive ports that are not used that often like special kinds of symbols like this leave symbols, his moon going, spinning Chinese gong. You have the tundra plate, the these are actually used more cheaper bells. And then you get the different guns 10. 10 on the classic going like that. So those are the essential parts. Then you get to the more oxygen repercussion and this library actually have them separated . So here you get things like these Congas here and lots of different shakers and snappers out of types of special symbols. The chimes, even food, stone snaps, collapse Ondas thes kinds of special effects. I believe we have a triangle somewhere in here, but basically Maura Csilla repercussion in the mid and higher inch. So none of these are really in the low. In here we have the bongos as well, and finally I'm a used a more special type, percussive orchestral percussion library. So this is only focused on different Tyco's and die calls and stick. It's so if. What? Take a listen to to them on their own. Wanted to one at the time. So he had this standard percussion bass drums. Then here in what I used Thomas four is when, um, to fill up basically the middle part. So, yes, and then you have the symbols here. So the base Ramos and low drums provides the main beach. Tom's fill up the mid range in the space between and symbols at the accents. So we have this. Nothing really advanced here. Go beyond. But then I want to add some more energy. So I go into the auxiliary percussion where I'm using. Let's see what we have. So this snappy type sounds here. Look, type sounds. Some shakers will see what it sounds like. Okay, more in the high range there, and then some Tyco creator here with low Tyco's Me. Tyco's some high Tyco's nose decades, apparently. Yeah, I have to fill up the gaps in between. So all right and all it all together you will get aim or full sound like this, and here we can really see the Thomas feel up. The makes basically feel here in this space and here as well. And there you have it, a classic, more orchestral, percussive based cinematic sound with the added Taiko drums for that modern character. Of course, you can go in and do the same thing at some Ah, some compression and separation to make it more modern because this is still more classic as this particular percussive library here is very natural in its sound and know that modern hybrid feel. So let's go in and actually boost it by adding some compression, some gentle compression and some fat character than some peril mode and see what that sounds like. Oh yeah, so you can definitely hear some more weight and room in the sound there. But as you can see what I recommended to do, it's actually very of different libraries. Ah, unless you go for a classic orchestral sound, I like to you do it this way to get the full orchestral precast vibe in your cinematic music. 19. Sound Design Percussion: Now let's explore the world off. Sound design based percussion in cinematic music. This is the most creative category off percussion, as it can basically use any audio recording or synthesized sound that is percussive in nature. You can even use a mix of natural recorded sounds on synthesized techniques to create a new hybrid zone. Then there is the entire field off fully recording, meaning you can basically go out and record yourself hitting any type of objects with a stick mallet. Your hand, etcetera. Sound design percussion can be anything from low booms. Two massive impacts to light percussive hits off any type of object to tapping, clicking, etcetera. So this sound design percussion categories actually one of my personal favorites, because here is where you can go all in and the super crazy and creative with your some design with your effects with your processing and someone. So what you can do is base your fundamental beat. Still on, um, rial organic percussion like in this case, I'm using the Orman getting ensemble patch in damage. But without this punish no. Before, I just used the main patch. It's still basically based from here, told some snares. some steak, it's and so one. So it sounds something like this, which is, ah, way more processed and compressed than the standard orchestral percussion. You already listen, Teoh, but still not super sound design and epic. So I actually added these punish? No, but you make it even more saturated. Rise something like that. So that's the main beat. And then I just loaded up Mawr and Mawr off these hybrid percussive sounds. This is evolution, Onda the sounds I've chosen on days. By the way, it's a difference process that big Ah sound on each of these. So we can just try out different ones. I want to remain the beat like this 1234 Can he even here it changes the panning here which as another dimension. And then I went to the next one. This one from damage damage hits with more real control. Same one here. So here I'm just using this metallic kind off ringing some. But of course, you can do whatever you want to do. You can add some Ikea and feel through Let's ah remove the punish Dormancy. No, I preferred with Punish up. Let's move up the high starts and more crispness to it. Remove some of the lows just because I wanted to layer on top. But the next one here I think it's also damaged dumpsters of the actual recorded Ah, on the dumpster, various types of hit as you can hear very deep sounds. And I went for these again, not super deep. But in this case I wanted. Do you have that metallic sound again? Together with this one, which has his ringing recipe kind of sound to it. And then finally, this one is We'll see from evolution here short punish it. So then wanted to have these very dry, punchy hits which sounds like this you can go for whatever you want. I finished with another one here. I mean, there's difference hits on all of this. Can I add some variation to it? So perhaps this one is should be a different sound like that that you get some variation, even the inside this beat something like that. As you can see, you have so many created choices to create a sound design focused percussive performance generally for epic music, trailer music, super processed Hibri, percussion parts and of course I went all in with this one, but it could use just one off the socialist tracks to augment one of your more orchestral focused percussive mix, basically having these ones and then just augment the main accents and some beats on a sounder sand precast report. But oil, this will sound like this. Now let's check the piano roll at the same time. 20. Tuned Percussion: Now let's explore various types off tuned percussion that you can use in your cinematic music. Percussion instruments and sounds that provide a tonal centre and pitch can be used for adding harmonic content to the percussion performance. Here we will find instruments such as various types off Mel, its various types off bell sounds tuned, drums, etcetera. Now I would say that there are basically two different use cases. 14 percussion. Either reduce teen percussion as your main percussive foundations, so to speak. Like I have created this short composition as an example here, using marimba, vibraphone and glockenspiel here to create a little a toy like very light theme, which could be used for an advertisement, for example. It sounds like this. Okay, so that is the first use case of offenses. This is very light estrangement just to demonstrate different kinds of sounds. Marine bias, more of the foodie type of sounds, vibraphone and sile, a phone or more metallic and glockenspiel mawr bell types. Then you have a tubular bells, which arm or like a church bill. So those are some of the most common tuned precast on percussion instruments. Obviously, you could use, for example, cool Avenger articulations on strings or Barto Pittsy, Carter and I would sometimes like to you actually add them and er tuned percussion because that's to use case now, the other use case fortune percussion. Except for this, making the entire percussion focus on the them is to use them as organ menting, basically other types of percussion. So if you go back to this, um, orchestral percussion here Okay, so what you could do is actually, if we just drag in this tubular bells on top of this and let's find out where we are, I just use it to mark, for example, the one I usually do it like this. I cope with the main beat here, and then I just go in and choose where those accents should be just like so and then knocked it like that. So it's only on the one on the 2345 perhaps would be too much. But ah, that makes this Yes. I ordered here that I only want them on every second bar something like this. Suddenly you have these type of row. You'll vibe just from adding those cheaper rebels. Of course, if you have harmonies and melodies. You need to make sure that they respect the corporations. Oh, perhaps this one is some see, And this next one would be on de, for example. And of course, you could add some glockenspiel Teoh, if we double this up and put that in Ah, to the orchestra percussion as well. And yes, double up. So we are on the sea to the D Here. Let's see something like this. Okay, so playing that talk on suddenly you have some harmonic content for the percussion here as well. So I just recorded this. Ah, open just respecting the cheaper rebels. And suddenly you have some shimmery harmonics going on here in the Rochester percussion. So there we go to different use cases. Fortune, percussion based, the entire beating around it. So the chin percussion is the focus. Or augmenting an already existing a rhythmic groove on percussive beat, like I did with the orchestral percussion here 21. Accents for Power: accents for power. Percussion is one of the main ways to add accents and emphasis on any specific points in your music composition. The two main ways to create these accents, or with high contrast dynamics and the power off layering. So the main way to create accents is, of course, with dynamics, as you can see right here the accents or here in the red color and you can see the velocity level is higher than the surrounding knows. But you also need to understand that accents come in different levels. So this could be, for example, of, ah, stronger accent than, for example, these two notes, even though they are high in velocity, meaning they will provide the main groove. Ah, compared to let's say this here, which is basically roll into this accent here, you generally won't. You have various types of excess, the hard accents, most cases on the ones in this case here, even on rhythmic instruments like Austin autos and so on, and the softer accents, which is still part of the main groove. So if we listen to this and really here with those accents land now, if you want to have them even stronger. One ways to, of course, increased the velocity. Actual knows the accent. But also, if you have the other notes or hits surrounding the accent, that will make it stronger by contrast, like in this case, so that is, creating accents with dynamics and contrast. The next thing is layering. So if we take a look at this ethnic example, cater now what I have done here is many of these hits of actually layered at the same time as the's big drums here. So if I go in here and actually move these down and octopus, you can actually see them while transposing everything up in October, so they still sound. Now, if I go in here and take a look here on both of these at the same time, you can see this is the low Trump's. But you can actually take these layers and increase the velocity often dynamics you will actually hear them. Let's actually add another, he tear so that layers there as well. And now take a listen. It actually increases the accents power with adding those extra layers and of course, um, or instruments you layer, the stronger those accents will be So that's a big drums here with epic eights. And these Tyco's here, which also has this dumb and even double he'd see we're too different shapes over Taiko drums and that he will increase it even more. Let's take a look in the piano rolls so you can see it'll the same time and playing again so you can see the main accents here. And if you want to increase it even further, just boost the dynamics on Ah, the layered parts here, us well. And you can also read used dynamic levels on the surrounding notes, which really will make those accents stand out. Uh, but uh huh, those old, the main accents. And finally, ah, except for the layering with the natural percussive instruments, you can also go with specific X and type players. The most common of these is, of course, Cymbal crashes or symbols. I even have some ride the symbol type cooler to hear about basically about but down. And you want to increase the dynamics on the crash here and do so, which will create even ah, uneven strong racks. And then I also have on the absolute strongest accents here every other bore this sub hit just to boost it even further. So if we take the subject here, I could do Let's do an impact as well, like on the first hit here, that one. And now you get even strong racks and from the sub its impact. It's the Cymbals, together with these main percussive force here, and you can go as far as you wanted with the layering as well as the specific X and type percussion ports. But the main aspect is still the dynamics of each hit. 22. Dynamics for Expression: dynamics for expression. The main form of expression of a percussion performance comes from the dynamics, both the dynamic variation for all hits as well as the overall dynamic curve. The dynamics will shape both the loudness and intensity, as well as the sound cooler for each percussive hit. So I have created these short example to demonstrate both off these aspect off dynamics for expression in percussion parts. So the 1st 1 being the dynamic variation. If we take a look here in the piano roll, you can see these variation in the villa velocity levels for each single hits. You have all these variation. So if I play something with the same velocity like this, trying to play as consistent as possible here on my media keyboard, compared to adding variation not only by adding the accents, but actually variation in the dynamics for each hit like this so you can hear two things happening. Lower dynamics is, of course, lower in volume, loudness and intensity, but also the cooler if I play were very low. Dynamics is more on the warmer, softer side off the frequency spectrum, whereas if I slammed the drum holder, you hear Mawr off the higher frequencies coming through. So that is the first part of the second part is the dynamics over time, basically the curve. So as you can see if I if I just draw this line here, you can see it is generally going upwards in direction, like I can even do it extreme like this, which basically turns city Teoh kind of a role over time. But that adds in 10 City over time, which is very, very powerful for percussion part. You can see this on these ethnic drums as well, going higher and higher in ah, the average intensity curve. As I call it, you still have the individual variation, but we have this kind of progression going higher and higher in the average dynamics. Then I just wanted to add some impacts to create some extra originality to the overall beat . So let's listen to how it sounds, why we'll look at it inside the piano roll from here, playing in 321 and then you see in the final Katie have this massive hit. Whether the dosage levels are really high contrast, you can also see this contrast, by the way, on the first beat off every bar. This is higher than the surrounding these three here, so you can see where the accents land one on the ones in. In this case, you can, of course, at a different kind of groove by adding an accent. Let's say here, just drive those velocities higher and you will get a different groove. So now we get done. But dont downs that off. Duh. Dip it, dip it so that creative option is off up to you. But make sure that you add the variation in the individual dynamics. Ah, I recommend that he actually recorded your performances. So you automatically get this kind of variation per note. And then what I like to do is that I actually go in off the worst and increase the dynamics over time. If I'm going to eat in this case, most cases you want to have, like a either going upwards or going downwards, you could go in a curve like, um, let's say you have these drums here and then going upwards, um, in velocity, like so and then going downwards. Of course, you want to make sure you remain, um, the individual variation. But basically shape the overall instance city curve as well. Now these intensity curves for dynamics are especially important for fills and, for example, roles. So these these drumroll here, if I bring it up, you can really see it stars low and goes gradually up to the accent on the beat here. And if I saw all of this, it can sound something like this. You can even reduce it even more to really build up the role and then just smash that accent here. So, depending on how much contrast you want between the main accents of the groove, that is dynamics for expression, the individual variation and the dynamics over time. 23. Fills & Syncopation for Spice: fills and Syncopation for spice, adding short little feels and tiny variations as well as syncopated grooves into your percussion ports can make them much more interesting. It's like adding the final spices when cooking that will take the entire meal to another level. These types off unexpected rhythmic Adams or changes can also be used to great effect in transitions. So first left explain the concept off Syncopation. So let's say you have a main groove going on something like this. For example, bum that dumb, dumb something like that well, that provides thief fundamental groove and flow of your rhythm, everything any other rhythm that breaks that fundamental flow Ah is considered Syncopation . So, for example, if you add a triplet, if you add an accent on some beat, that should not be an accent in the overall groove, that is a single patient. Syncopation can be especially effective if you use, for example, triplets, as I mentioned, so in this case, I believe we have some triplets here on the stick. It's if you go in and take a look here at the end here. We actually have eight note triplet. So if you take a listen to what that does to break the core group. You have that 1234 data like it's almost stuttering. So that is going from strength knows to triplets. Another thing you can do as I mentioned is to add an accent where the really is no accent in the overall groove. So here we have a tapa. Uh, well, I've added accent here on the and here just before the fourth bore, which creates this, which is also Syncopation. So it's basically adding that variation and interest with in most cases, Syncopation is in the mid and high range show theme. The cool rhythm is provided by the low end of your rhythms. Now, as for fills, that is especially important in between, like transitions. If you listen to this, for example, this drummer here this is actually feel or drum solo basically into the main part. And then here at the end you have little Tom feel going in here, something that breaks the main groove with a little fill. Their Andi, in this case in ah, the drama. You can actually increase the amount of this fails. If you go all in here, you can see which basically, if you do it like that on over the top, it becomes almost a brake drum solo before the continues. So what I like to do to implement this is to add some extra spies just in between certain bars. So in this case, for example, let's go in here again and take a look at the main groove hopes. And then in the PN role here, you can see I've added this, for example, here at the end, speeding it up until the transition here. And then I have this as well here, including that added accent there, syncopated accent. I feel so you hear really here that that that that is that that here you get a break in the rhythm. Single patient on. Basically, I want to add it every down and every other bore, at least, especially in the case off this Mead range percussion. And of course, you can do it with meanly roles, as I call them. So in this case, the big drums here or not only playing that let's go in and have Look at this. Uh, but, uh, I have these softies here, So the main access, really or these guys here, but I have thes many roles. Well, Shadow Ghost meets basically this meeting role here, which is really fast, by the way. This is a triplet role, as you can see, if I assume in here and see that it's not perfect on the green because it's a triplet and I love using triplets for ah feels and rolls, by the way. So those are the main ways you can add spies to your percussion performances with fills and Syncopation. 24. Frequency Focus for Color: frequency. Focus for color When writing and adding percussion ports to your music, you should also think about which frequency ranges you are focusing on. Do you want the final sound color of your percussion mix to be very low and deep, warm and bold or crisp and bright? Or perhaps you are aiming for that rule off sound kind off fullness. Now there's basically two aspects of shaping the frequency. Focus to colder your percussion performance. The first aspect is, of course, what instruments you include and what performances you record on them. So let's say in this first example, here I have gone from the low student means the high, so it's pretty much covering the full range like this. But I could still shape the cooler and frequency focus by adding the second aspect, which is production techniques, either on the individual instruments themselves, which I prefer, actually, or on the overall percussion group here. So let's say here I have these super shorter plug in, which is actually really good for shaping the color because I have a color. Nope, fat warm. Unless movie too bright. And let's make it the broadest setting without it now If I use it, you will hear the shimmering heist being boosted. So that is fun aspect you could use, Um, the other. The 1st 1 is a already mentioned is what instruments imported use. For example, this part here the sticks are really in the high ranged, adding a little colder their rights and remove that. Let's remove this one because it's in the higher ranges off the ethnic ensemble. The Tyco's really high made, so let's remove those. And now you have this on in combination with this one here. If I use that on the warm setting at the highest sitting here, this will now be a much warmer frequency. Focus, Apache it Let's give these guys back and then remove these and makes it fat colder. And now we have this again on. If you want to go even further, just focus on the ranges you want for percussions. So this sub hates here the big drums and the titles in the vote range only. So down here instead, off high mids. And now you can get something like this, which is very deep and warm in overall colors. So those are the two aspects. What ranges of instruments in your percussion makes you use are going to focus more on the low and deep, like this one? Or are you going to focus more on the bright settings like stick it symbol snares, Tyco's and ethnic runs like this? And the second aspect, the production techniques e queuing coloring for another warmer or brighter tone on the individual tracks or on the overall percussion makes. So go ahead and experiment with these two aspects. Create a percussion performance that is really deepened rumbly even perhaps deeper than this one. Then create an opposite, going for the brighter setting, with higher levels on high hat Cymbals, shimmering instruments like Shakur sticks and so on. Onda, you really want to develop your instincts for the Kohler off your frequency. Focus for the overall sound palette off. Not only your percussion, of course, but your entire music composition. Now, if you, for example, go for a deeper percussion color like this, that, of course, leaves a lot of headroom for your other instruments in the mids and highs, and you can go the opposite direction. And if you want to have lowballed breasts and strings, maybe leave some more room by not making the BC Beat in the lower on. Just used a couple of notes there on the big drums, so you can shape the frequency focus of your overall percussion to leave room for the low end in your brass strings based ports and so on. 25. Introduction The Guidelines of Cinematic Percussion: the guidelines off cinematic percussion. Learning the fundamentals, the guidelines and ways to shape your percussion ports is essential for getting your creative vision come true in your music compositions. Now I will give you my top guidelines on cinematic percussion. 26. Rolls & Swells for Transitions: roles and swells for transitions, drum rolls and symbols, wells and other types of dynamic. And with me crescendos or super effective to build up energy and anticipation in both soft transitions within a performance, too strong transitions into Newport's off your composition. So roles and swells are not only great for transitions, but also but I call many transitions, meaning not going from here into new section, but actually inside here, which I mentioned in the video about, fails for spice, which is these many roles here. So if you listen to this many transition here, and you also have this feels on the toms, by the way here, which just adds a little spice going into the transition to this board here if you listen to it more carefully on Lee with the big guns here air and here. So it's a role there, which creates kind of a soft transition, but also these mawr strong transitions, building anticipation and energies. You have these symbols well, which is controlled by the mod wheel. You can see it goes up in dynamics, which sounds like this. It also do a snare role or, in this case, a longer, Um bass drum roll like this so you can see it is going from softer. Do the actual beat here in the Newport so you can make this. This is kind of a medium sized role. You can go. Let's say you add it all the way to from the beginning if you want to. Um, it's duplicated this and so on. And at this extra note, like so and then make these guys go like this. And as you can hear that really bills lord off tension and anticipation to than you port eso symbol swells and drum rolls. You can do it on the snare drum so you can actually let's cope this here and go into the snare. Create ah, snare role as well here. Of course, we need Teoh. Make sure. Okay, so it's actually on the correct Eat here like so and then at this wrong accent here and now You have a snack, Ruelas Well, was getting here from this, which is amazing for those transitions. So it's just a matter of choosing how long and how fast the role will be. I mean, you could do like this with more space in between. It is kind of a role but a bum wrist artery role. You can do the longer. And in this case, I think I'm actually using triplets. Yes, is this The triplets might want to go for a straight feel, so its 16th notes like so But I love using triplets because that ive he creates the Syncopation as well. So the rhythmic interest adding variation before you go into the straight beat here I have another example here where I've used both the big drums for the roles. As you can hear, it gets more like a machine gun when these straight notes, but it can still be effective. And then I lay it that with a role with different from so as you can hear on these ethnic drums but about a bum and together you get this. So when you listen to it in context as the transition into the actual portrayer of performance big section, then we have another one here. But only on the epic. It in that case on da even have one at the finish. So that mawr straight role compared to what I mentioned here with the triplet which I think it sounds more natural. Ah, and I prefer it. But if you're going for that straight field, we could use that as well. And then in this final example here, I just use it. Really. Ah, transition into It's not really a role, because it's just but about more like ghost notes or a mini role, if you will. So as you can hear and I've used this symbol swell here in the beginning, So Mawr kind of roles you add and swells the more build energy with percussion in the transitions. But remember, you can also use these meaning roles or even a meanest well, um, to create anticipation in interest in the transition, almost like it fill but the kind of transition feel. 27. Sound Palette for Character: sound pellet for character. What types of drums and percussion you used to create your sound palette for your precaution mix is essential for the overall character and tone you aim for. Do you want to focus on power drums on a rock drum kit on classic orchestral, percussion, hybrid, epic, percussion, ethnic or world character? Or perhaps an edgy Elektronik vibe? And remember that you have even more power if you mix and blend different types of percussion instruments and colors into your own unique percussion sound palette. So, of course, the main thing here is what overall vibe and character you want for your percussion. Do you want to go for Elektronik drums to get this kind of vibe? Okay, of course. You can also change out the preset for the drum kit here to creating you've I. But basically, what do you want that control tight and focused vibe of electronics, time drums, acoustic dramas, Wilmore, Pope, Brooke, the character. Then you can change out the drum kit, the groove for the drummer and so on. But that is the overall vibe or devante more orchestral vibe like this overall example, and you can even blend it together. So let's say I add these acoustic drums on top here they might be a bit loud, but just to get, Ah, the demonstration through here, which can create a pretty cool mix or hybrid makes here. Or do you want to add the electronic drums? Even some sound design percussion if you want to. And also, the other aspect is when you complete your overall sound palette. So let's say you're going for this cinematic percussive vibe. You can also change the sound palette and character by, for example, in this case, I'm used. I used this ethnic kid here because I wanted to have that character in the piece. If I remove it. Even these titles here, because these Tyco's Japanese Taiko drums or in this epic ah, or the ethnic it. That's a lot of Kohler and character to the sound palette. I could have changed those out for ordinary, Let's say, Tom's orchestral Tom's or anything. Eso These are things you need to take into account when designing your sound palette. Overall sound peller the type of drums, the mix off percussive instruments to create the overall character for the sound palest that you are looking for 28. Sound Stage for Depth: sewn stage for depth. The placement of each percussion instrument in the stereo field and room is incredibly important for the final sound with recorded instruments. The actual room size instrument placement in the stage, as well as the microphone set up and mix, or all creating that soundstage and it. If the instruments are dry, you can use added reverb and panning to shape the death per instrument. So if you want to go for a really dry and focused sound, Elektronik drums are hard to beat because they can be synthesized, meaning you have no room tone at all. Unless you want, you can apply river. Bessie won't with acoustic drums. They are usually recorded in a smaller drum room. And then you can, of course, use close microphones and overhead. Mike's microphones, even room microphones to shape this out. And, of course, with cinematic percussion you most often wanted tiled back in a bigger sound stage or even whole. So if we take a listen to, for example, these big drums here with more many sample hybrids and plug ins, you can actually change the mic position for Ah, here you have a slider going to close the sound or more roomy sound stage or somewhere in the middle. So in if it shake these Tyco's hair. Ah, you actually have different sound stage settings here with three verbs or no river on you. Just get the sound off the overall room and you can mix and match between clothes made for room microphones, hair or add even more reverb here with this mixed setting, dialing the perfect sound stage for how much dipped you want to add. And, of course, the other aspects of this is, ah, the panning. In most cases for cinematic percussion that are recorded, you usually get the natural seating position so you don't have to use panning in your mixer , however, with electronic drums and even acoustic drums, in some cases you might want to go in and mix the panning position. So most cases, the kick and snare is in the middle. But you might want to have, for example, you I had spanned a bit in the stereo stage on DA. In some cases, you want to have, for example, the high heads to the left and something else to balance the sound to the right. For example, shakers or something like that. So the lower instruments are generally more in the middle, while you can extend the stereo stage for the media to high ah, frequency percussion and the third aspect off This is production techniques. Ah, mainly using a imager, a stereo imager to either reduce the stereo space or Syria with or increase it. So let's take the example of this. If you add a stereo plug in less if it confined. Ah, ozone imager here, you can actually pull it more into the middle. You can see it here, so let's go for extreme. That is complete monologue, which probably don't bone so somewhere here in this range compared to increasing the stereo stage, which had sport depth. And you can even do this on the overrule percussion group. Just be careful so you don't overdo it. But let's say you add it again here and just, ah, increase it slightly like so. And now if I attorney home when we listen, let's redo that at even higher sitting just extreme settings. You can really hear it 50% more studio with or push it more to the middle, so in essence, you push it back here, depending on how much room you want to leave in the middle or sides for your other instruments in your music composition. 29. Tempo for Energy: temple for energy. The higher the tempo, the higher the energy. That's just effect. There are two ports you need to control here, the bpm off your music and how fast the rhythms or that you write for your percussion ports . So here I have recorded a percussion performance on Let's Start by listening Back to It at 110 BPM, and then let's compare it to a higher temple playing in 321 So as you could hear the temple and energy is quite low or average at least. Ah, and you get more a sense of importance from this majestic style beat. But if I increase it to, let's say one 40 you will feel a fast action type, energetic vibe. So playing in 321 on all of a sudden, the same performance was transformed to that action scene vibe or sometimes over dramatic, fast paced scene in the movie. So this really demonstrate the importance off temper or be PM for the energy level of your composition, so I usually think of it as buckets off BPM. Range is not an exact DPM value. So, for example, low BPM values from Let's say 62. Ah, 100. Let's say 80. We'll give you that really slow vibe. Ah, me to temple, which I considered something like Ah, 100 to 1 20 Let's say, 110 on High Temple, which I consider basically everything above 1 40 which really adds that action vibe. So the other aspect, which it's equal important you might say that it's the opposite side. Off a coin is the complexity the BC nous off the rhythm. So I'm going to demonstrate this by playing this drama track here. Um, let's just create in. You've on over here the simplicity of it now at 140 BPM. Um, in fact, let's let's just dupe, Okay, this at 140 BPM, you will get this vibe. You wonder. Why does that sound so slow compared to these percussion performance at 140 BPM? It's because off the BC nous off the pattern. As you can see here, there's lots of gaps here. The actual rhythm off this speed is very slow. Now, with this, you can actually increased the complexity which adds small beats to it and makes it more business. You can even change the hi hats. And so one here go for 1/16 type field at some Ah, shakers And so one. So, um, that really changes the energy level as well. I mean, you could take let's say this be tear this one or list. In fact, take the main beat. I mean, if you take this Ah, in essence, if I would have ah, drag this out. So it's place at 50% speed. It's basically like taking the temple from 1 40 to 70 bpm. So ah, if I take, let's say this sport here like so and then I time stretch it out to four bars from two boars to force. It will sound like this need to remove this, like so here. I mean, it's it's the same performance. It's just, ah, played back at half speed. So those all the main aspect off energy for your percussion performances and your composition Basically the BPM set city of role energy, but also the business. The complexity off the rhythmic patterns 30. Time Signature for Groove: time signature for Groove breaking away from Onley. Composing in 44 is a huge step to open up the creative power you have as a composer. For example, when I write action music, I like using 68 time for an intense groove or even 78 time. If I want really high tension rhythms, remember the time signature is as important as the BPM for shaping the fundamental language off your rhythmic groove. It is basically the percussive equivalent to musical scales for Militants and Harmonists, right? So I actually used to different time signatures for these two examples. The 1st 1 is written in 44 so you have that straight 12341234 Vibe, that is, That kind of groove is by far the most used in all music. Um, because it is, give that straight straight marching vibe on the The next one. Here are used 7/8 because I like using either 78 so five for anything that either adds to beat or miss is a beast before its changes to the next bore, which propels and adds stress and action vibe to the composition. So explain these two examples and really listen to the difference in Vibe. You can count if you want us. Well, 12341234 or 1234567123456 and 1234 That final Miss B add so much stress and action because it propels the groove on to the next bar, playing in 321 1234 as he could hear very straight groove their compared to this and ah ah , walls account out in the ends, you can really listen to it. 123 Pope I said a bunch of people, So instead of that, ate it propels directly to the next ball, which adds votes off the stress and pushes the action vibe so you can go the opposite direction if you want to, as well with 54 which actually adds beats to the bar where the listener anticipates the one or the off the next four. This also creates more of a chaotic action vibe to the peace 31. Timing for Human Vibe: timing for human vibe. I always teach that he should never. Kwan ties anything to 100% because it is simply a natural. And when you think about it a lot off the power and depth actually comes from the individual differences in timing off every single instrument and port of your music. With the percussion and rhythmic parts, you can quant ties a lot more than melodic or harmonic ports. But I would rarely go over 75% in Qantas, a sin strength because you want to have that dynamic natural and human vibe in the music composition. So here I'm going to demonstrate this by only using thes two tracks, the main big drums and the ethnic in Sobel kit here. So if I go into these and take a look in the piano row, it might look like it's quant ties to the great. But if you take you more careful, look, if assuming to say these here, you can see that they are slightly off off the grid, so either fighting before slightly after really, really tiny differences. And if I still moved again to see everything now, if you can take a look if I select everything, it's because of this Kwan Tai strength. I really want you to use that in your D W. How much conversation? Not only pressing Q two contacts everything. 100% to the great but actually using some kind of strength slider, which basically all day UW's has. So if I assume in, let's take these notes here. You see if I have them at 100% they will start like a robot playing at the exact merely second. But if I use the Qantas station strength, as you can see, if I move this back, this is how I recorded it. Actually at ah sey Iraq want, I say since strength. And if I use this, let's say I use everything here at CIA row. So if I select everything that zero, it will sound okay, so not terribly badly recorded, but not as good as I wanted it to. So again, if I use it, I usually go for somewhere between let's, say, 70 to 80% for percussion. Um, depending on what type of percussion all, of course. So if you want more groove or swing, you might want to go for a lower setting. If you wanted tighter go for a higher setting on the conversation strength. But all in all, I usually go for something like 70 to 80% and it can really seat if I moved in here. Some notes are slightly before after, and I mean this here just here really demonstrates how much of a difference this will not sound like Do Lord Rose like, but so close together that it really makes it sound bigger and here as well. And I mean, it's tiny differences, but it all makes up for that human vibe. Really want to hear in all parts of your music composition, essentially. So go ahead and, um, practice this, I mean, get used to using Quanta stations strength not quant izing just 100% to the greed for every note. Now, the other aspect of this timing for human vibe is, let's say you actually record by writing in the notes with your computer mouse and keyboard , while in that case, let's take this, for example. In that case, of course, all notes will be 1% through the great, So let's say these four or now 100% to the grid. Well, what can you do to make it more human? Look for a function in your DW. In logic, its functions me transform. And here we can see humanize some kinds of human eyes or randomised aspect. And then you can randomize the velocity length and this really important position the timing. So let's go for actually 25 here. If I now operate, you will see this one is now offer. This is four after before, so you get some random ization humanization to the timing of each note. 32. Congratulations: Congratulations, my friend. You have now learned the foundations, the guidelines, the sounds, colors, performance techniques and creative ways to shape the performances of your cinematic percussion. Your final assignment is, of course, to compose and produce a short cinematic track from scratch, focusing mainly on your percussion mixed. Good luck and have fun. My name is Mike, and I wish you great success on your journey in music.