MAKE BEATS LIKE MARTIN GARRIX - Electronic Music For Beginners - Music Production Masterclass | Kia Orion | Skillshare

MAKE BEATS LIKE MARTIN GARRIX - Electronic Music For Beginners - Music Production Masterclass

Kia Orion, Artist & Music Producer

MAKE BEATS LIKE MARTIN GARRIX - Electronic Music For Beginners - Music Production Masterclass

Kia Orion, Artist & Music Producer

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36 Lessons (4h 52m)
    • 1. Welcome To Class!

      2:12
    • 2. Course Overview

      3:06
    • 3. Course Project

      1:54
    • 4. What Is EDM?

      4:39
    • 5. Melody Overview

      0:54
    • 6. Walkthrough #1 EDM Melodies

      6:53
    • 7. Drums Overview

      1:38
    • 8. Walkthrough #1 EDM Drums

      6:57
    • 9. Walkthrough #1 EDM Drums Cont.

      10:37
    • 10. Vocal Textures

      1:20
    • 11. Walkthrough #1 EDM Vocal Textures

      7:15
    • 12. Walkthrough #1 EDM Vocal Textures Cont.

      4:41
    • 13. Percussion

      0:51
    • 14. Walkthrough #1 EDM Percussion

      7:02
    • 15. Walkthrough #1 EDM Bass

      13:09
    • 16. Mixing & Mastering EDM

      2:53
    • 17. Walkthrough #1 EDM Mixing & Mastering

      16:29
    • 18. Walkthrough #1 EDM Finishing Touches

      11:47
    • 19. Arranging The Beat

      2:25
    • 20. Walkthrough #1 EDM Arranging Your Beat

      17:59
    • 21. Tying It Together

      2:27
    • 22. Conclusion

      1:46
    • 23. Bonus Walkthrough #1: Melody

      2:52
    • 24. Bonus Walkthrough #1: Melody Continued

      4:47
    • 25. Bonus Walkthrough #1: Vocal Textures

      12:36
    • 26. Bonus Walkthrough #1: Drums

      17:14
    • 27. Bonus Walkthrough #1: Bass

      13:13
    • 28. Bonus Walkthrough #1: Counter Melody

      3:28
    • 29. Bonus Walkthrough #1: Mixing & Mastering

      15:30
    • 30. Bonus Walkthrough #1: Arrangement

      13:26
    • 31. Walkthrough #3: VOCALS

      7:00
    • 32. Walkthrough #3: 808s

      10:13
    • 33. Walkthrough #3: DRUMS

      18:20
    • 34. Walkthrough #3: VOCAL TEXTURES

      7:21
    • 35. Walkthrough #3: MIXING & MASTERING

      13:52
    • 36. 3Walkthrough #3: ARRANGEMENT

      23:27
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About This Class

Electronic Dance music is dominating festivals everywhere, and in my new class, you'll learn how to build EDM beats of your own. From drums and basslines to mixing and melodies, this class provides the structure for professional sounding and head knocking worthy tracks.

----

You'll learn: 

How to easily warp, chop, and manipulate audio samples

The key elements that go into an EDM track

My three big takeaways it took me years to learn

How to mix and master a EDM tracks with mostly stock plug-ins

Mixing secrets that are unique to dance beats

How to get a radio-ready sound without wasting money on expensive gear

How to design drums to KNOCK in the car and on headphones

How to make better decisions in terms of sample choice and sound design

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For the course project I’ve provided the song files so that by the end of the class you'll have your own fully mixed track you can show your friends (or your mom...she’ll be proud).  

This course is for beginners and intermediate students, but I recommend that you have a basic understanding of music production (and your DAW) to fully utilize the lessons I teach here. 

I’ll be using Ableton Live but you can do these same techniques in any DAW. 

You ready? Get the course project files and let’s make some beats.

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer

Teacher

Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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Transcripts

1. Welcome To Class!: Ladies and gentlemen, welcome to your course. This is the beginning, of course, for electronic dance music. My name is Keogh Ryan. I'm an artist and an educator. I'm the main who is obsessed with making dope music and teaching you how to make your own. It took me about 10 years to learn how to make beats, but I realized that could be condensed into a much shorter window if people had the proper learning materials. So I created beat School. This is an online educational platform where people can learn how to make E g m hip hop future based all that type of music hole in one place with fundamental and beginning courses. So this course is gonna focus on electronic dance music in particular in future fund. Now, electronic as you can spend all different types of sub genres which of other courses on in the future? But for now, we're really gonna double down on future funk. And what goes into that type of electronic dance music? I choose that because I think it's a good place to start when people are getting into E g. M. So what? That being said with this course involved in what you're going to learn. Our how less is more the important of percussion when it comes to E g m. And how to use a resource is now. Speaking of resource is, I have a course project with every one of my classes, and in this one, I'm gonna give you the project stems, meaning the files. You can take those download those import those and your digital audio workstation. But if you choose to use, I'll be using able 10. But this works with any dog you can import those in and then follow along with me step by step as I break down the beat from start to finish. Now that beat is going to look like this. We'll start with the melody. They're going to drums. We need vocal textures, how to create vocals for GM and dance music percussion base. So he had a mixed and mastered the beat with using mostly just stock plug ins with an April 10 and then show you how to make the lead melody and last but not least how to a range of beat when it comes to eating am I also have other courses on arrangement on mixing and master all that stuff about. I've been in more detail, but in this course winners about how those related to electronic dance music specifically and then break those down step by step. So that sounds good. Please grab your beverage of choice. Download the projects them files, import them into your dog. Get ready to rock. Let's jump into some dance music. See you on the inside. Thanks for checking this out. Peace. 2. Course Overview: Hey, ladies and gentlemen, welcome to your course. My name is Keogh Ryan, and I'll be your instructor for this class. This class, I'm gonna break down a little bit about electronic dance music and one genre in particular . But before we get to that, let me tell you a little bit about who I am and why I'm here to teach you. Start out in the Music industry Island Def Jam. Early in my twenties, I lived in New York and realize that that was not the life for me. The music industry has a lot of intensity, especially in New York. And I realized I saw that what I instead want it was a career as an independent musician. So that's what I do now is I make beats online, sell beads. I'm an artist myself. And I also teach people how to make beats themselves. So with that being said, if you're interested in being an independent artist or if you wanna be a producer, no matter where you're at, no matter your level, this class will be able to help you get there. However, if you're an advanced producer, Mawr Intermediate, this might not be the class for you. This is gonna cover very beginner basic concepts. These are the fundamentals when it comes down to Elektronik dance music. And I also want to put this out there when it comes online courses. I'm a firm believer. In doing so, I'll have a course project for you. Course files. You can take those follow along, step by step and build this track out with me as we go along. When it comes to dance, I want you to know a couple things we're gonna jump into. What is dance music in particular? This genre I'm going to give you my three big takeaways, key pillars and foundations of learning. When it comes to dance music, I'm gonna show you secret tips and tricks I've learned along the way in my decade long career of making music and then a couple different techniques, especially for days music that I found, especially this type of dance music. It took me a while to learn, but I feel like if you can follow along, if you have the stems, could make some tweaks with me. Long as I go, you'll pick it up. Note a couple expectations jumping into the course. All of my course is a firm believer, like I said in having projects to follow along with. But even if you do those, I want you to know this doesn't happen overnight Production is a lifelong journey. I'm still learning. I'm constantly striving to learn step up my game So I don't want you to hear the track that I make or listen to tracks on the radio and think that you're gonna come away from this course and be able to make those right off the jump. Because to be honest, that takes a lot of time and effort to be able to make that happen. The good news is I have Resource is for you on my website at Keio Ryan dot com slash resource is I also run the website producer downloads that has templates that has sample packs that has affects racks that has guides, videos, free beer, all that type of stuff that you can find on that website, both mine and producer down. Those will help you level up quicker, and I put those together mainly for beginning producers and those who are just getting started in their production journey, a lot of times people have the same questions for me about gear or software. Resource is and all of that there. I'm not going to dive into that a ton in this course. So I wanted to let you know that up front. So that sounds good to you. Please grab your beverage of choice. Settle in for a few hours. We're gonna talk about electronic dance music. Dive into it. Get the stems follow along. Let's do this check. You know, peace. 3. Course Project: So before we get into the good stuff, I want you all to go download the stems for this project. For every single course that I do with it, I create. I make sure that there are tangible stems and files for you to download that you can follow along with me as we build this beat out. Have you taken any of my previous material? You know, I say this time and time again, you can't just watch. You have to download and get hands on with the projects. You have to dig in there and actually be in their tweaking knobs and switches. You have to be in there looking at the effects as I'm doing things. Yes, you can see them. You can understand them. But when it comes to music production, the key is just to do it a lot over and over. Make a ton of beats, thousands of beasts. I'd rather you make 100 beats and make 10 beats that you spend a ton of time on because this is seriously just a game of reps of getting in there getting the wraps. It's like going to the gym. I can I can give you the best workout program, but I can't do the actual work. I can't do the push ups for you, so please do get those stems follow along, even if they aren't the stems from my project. Build a beat out with me as I do. It doesn't have to be my be in particular, but please do get hands on. Because if I I want you to learn from this class and when I work with students, what's most important to me is that students come away with tangible opportunities to implement these strategies into their own music. And the only way to do that is from practice over and over and over, depending on the platform you're on. If this is more one of the more intro level courses, that is on course platform. This is going to be on neither the download section for the project files or in the bonuses below. If this is one of the premium versions of the course, don't worry about it. Stick around. I'll give it all to you in the next lecture. So with that being said, please get some of those course files follow along, and they were going to jump into the next step. Of course I'll see you there 4. What Is EDM?: when it comes to dance music. There are a ton of different kinds out there. But the one genre that I'm gonna be focusing on with you today isn't going to necessarily be your Skrillex or you're a beachy like, fist pumping, rave type of dance music. This is gonna be more than dance music that I like that I love to create. I just kind of more your future fund. So this is really popular right now. This is going to be inspired a lot from producers like Oliver. I'm inspired by a lot by Katrina Nada by Leno by Young Bay. This is like very kind of trendy right now. It's almost you coming about like new disco there. There are definitely types of, like, trying dance music that you hear on the radio that some people might want. Maybe I can do is in the future. But those crazy since Saul Wave synth leads on the type of stuff. That's not what this is. These air funky kind of nostalgic funk records that I'll teach you how to make this still have those dance elements to it. But they have certain, I guess, their specific sub genres to electronic dance music. Then this is going to be one people asked me was my favorite dance me. If this is definitely thes, they're gonna be They're still they have the bounce gone four on the floor, boom kick kind of vibe. But more like that. 100 to 120 ppm range. Like Katrina Not a kind of bouncy. Often the synthesizers gonna have some nostalgic vibe. This is gonna be a lot of retro analog, since a lot of these drums as well are going to have in a log type of drum sound. So these air drum sounds from drum machines eight awaits 909 things of that nature. So, depending on what you're looking for, I wanted to make it clear what this was and what this wasn't. So this is four people who want to learn how to make Elektronik dance music that are beginner. It's where people that are interested in future funk records. And if you're interested also in other types of genre, like house techno, this could be for you to mainly hip hop producer. But I've found that by expanding into these other genres of synth way which will have a course on a low fi dance. They all still translate back into my hip hop roots, but there are techniques that you can learn from. This can help open your mind, especially if you're having be black or really struggling, depending on Were you on your region production journey? Sometimes you kind of get stuck in these little boxes, and we don't always expand out. And I found, even if we have a genre that wrench producing that has nothing to do with dance. Learning how to produce dancers and core concepts in here that I find translate to all other genres production from my experience that I've implemented in my own work, who isn't for if you arm or like I said, Intermediate advanced, Not for you. I'm going to be taking a very slow I'm gonna be covering very basic concepts. I don't like to overwhelm my students with a lot of the more technical elements of beat making, so I'll have more advanced intermediate advanced courses. But this week I find there so often my students get overwhelmed with all of the advanced techniques that are out there, and so instead, when I create a beat school, which is my platform that I teach these courses and I have a curriculum kind of structure out through beat school and every single course that I teach for beginners, the fundamental courses. I make sure that people understand the core concepts first before jumping into the more advanced things. So if you are intermediate advanced, this won't be for you. Also, if you are just beginning and don't understand your digital audio workstation, your dog, I'll be using a built in. You don't have to use a Bolton, But if you are just starting in this your very first time in your dog, don't jump into this right away. Because even though it is for beginners, you need to know your way around your dog. I have another course on learning a bilton. There are so many courts out there, depending on your dog is you could even look on YouTube. Whatever toe, figure out how to use your dog first and then jump into these courses because if you if you get bogged down in the software these you won't be ableto, you'll be able to put these concepts to practice as well as long as you have a rudimentary understanding of your workstation. So make sure that you have a bit of another standing of the daughter to be using and to have an open mind do the type of dance if you're intermediate advanced not gonna be for you . But if you come into this you're a beginner. You know a little bit about your software and excited about music production. This will absolutely the course for you. And I guarantee in this course I'll be able to drop some gems on you over this decade of experience that I've learned hopefully help you level up and feature learning curve. So with that being said they were going to jump into the next part of this video, thank you for sticking around. 5. Melody Overview: another were walking through the course step by step. The first thing going to start with is the melody. You can start with your drums if you prefer, but I'm just a melody during producer. So it'll often do is I'll find some sort of a melody either on splice or something will play out that I find inspiring. Now, if you are on Spicer using another resource like that, make sure that you do some things to it that either make euros. You can reverse it. You can chop it up. You can add effects to it, even if you really like the loop off. What I'll do is just out effects in a way that makes it sound slightly different than the loop itself. But don't feel like you have to stop there. You can chop it up, reverse it, just take pieces at different loops together. That's the whole beauty about this process, But I'm a melody driven guy, so that's where I'll often start with the melody first and then build everything else around that. So what? The melody kind of drives me. It'll tell me where to go the rest of the track. So we're gonna jump into the melody first, and then we'll get to the rest of it after this 6. Walkthrough #1 EDM Melodies: Let's learn how to future fund. This is some one of my favorite genres to produce. Ah, this is a little bit Goetzel. Funky, futuristic. I've added my typical go to I love adding a little o t t. And some Ah, saturation on here is well, because I just like the sound that gift. So what I'm gonna do now is jumping here, and I found at the very beginning of this loop I don't like that It starts out with that blank space. So I'm going to just start messed around with this and see if I can get it to settle, but more the way that I wanted to. I'm gonna delete that when it coming here. Se start 11 here. Nothing. I double this. Well, we can get a ah, nice. Like your ending. Still a bit too quick. Too fast. Still isn't quite looping, Executive way wants. What I might do is bring in a drum loop to see if I could get that to sound the way I want it to through drum loops. You have any 100 110 perfect folks. I'm gonna actually just come in here and miss wrong with this. I want these stabs to be several different. Okay? Hey, thats a key. The integral part of future base is you have to hum along as you make it cool. I like that. So what I'm gonna do now is I'm going to actually bring this down here. Is that I can join it and then books. Um, that sentiment to do I'm going to copy it down here, and then I want to join this. I joined this guy so that I can do a little able to magic and go to convert harmony to new MIDI track. Let's see if this works. Let's see if we can get these cords out of this guy again. I don't know, music theory. So this is what I kind of got to do to figure out nice. It looks like we got some decent cords there. So I'm gonna do now is coming here and clean these up. What s So I'm doing it. I was taking these midi notes and, uh, copying them, so they are all even. I think what this guy's doing here, but I'm gonna leave him in there for now. And just see how it goes. That's part of music production. You gotta this figure out where it goes. All right, Let's see how this feels. So I don't really need this anymore. Take the stone. Here's another instrument. I would add another audio track for when you need another sample. Cool. Sound. Good way. We kind of have our main melody going next. We're going to jump into the next part of the beat. 7. Drums Overview: with dance tracks. Drums is one of the, if not the most important part of the whole track. So this is where I'm going to spend the bulk of this course walking you through. Drums are an iterative process, meaning that you build them kind of as you go. I find that there are certain pockets that opened up for me in attracting more of the track that I build out. I don't just create one set of drums, and that's the drums, the rest of the track for me. Often, I'll kind of get an idea of where I want the drums to go, and then I'll continually kind of refer back to them. Add things, take things out as the track develops because the drums might speak to me differently. Or I might see opportunities for new pockets in the drums as I build up more of the melody in the base and things of that nature. So sometimes I might start with the rough sketch of an idea for the drums, but then find out things were either too busy for two simple and later those might clash with a vocal texture or other things of that nature. And so when it comes to the drums, I don't be intimidated by how many drum walk throughs there are for this course. Because that is one of the most important parts. When you think about a dance track, it really is the drums or what? Give it the beef, right? That's the meat and potatoes of the whole thing. That's why we spend a lot of time on drums. And if you do struggle with drums, this will be an incredibly important part. Please do not skip this. It's a vital. It's a vital that you get the human feel and a real groove when it comes to your drums, so that it doesn't sound just like something robot or that a machine this is going to be the heart of your track. You might start with The melody is kind of what gets you intrigued, but the drums are really gonna get their listener to follow through. Gettinto wanna dance, get out on the dance floor, party at home, whatever it ISS. So stick around. Let's jump into the drums 8. Walkthrough #1 EDM Drums: is now add in some drums and kind of get a feel We got this energy going. I actually really like this shaker. And so I'm going to start just adding in some more drums and kind of getting to feel I'm gonna probably take these snares out of here at my own snares at some kicks and then maybe some other percussive because of elements to kind of keep this bop keep this Bob alive. Let's see how it goes. Cool. So this is gonna sound. I'm just gonna actually use that part of the loop. Take out this bit of the snare. Oh, yeah. Uh, yeah. Uh, cool. Because I want to have my own snares. You feel me? Let's get Let's get some snares going here. Still on. I'm sorry. Oh, okay. All right. So let's check out some of these snares. I got some disco snares in here Looks Oh, I like that. Oliver's always a solid move. What I might do is I might even lay or some snares in this joint. Yeah, I think it's on audio. So I'm gonna first at this first near uh huh and then add in some disco collapse on every other one and add some reverb on to these bad boys to give them, uh, these You don't necessarily want to hear You just want these to kind of add some cool texture and space. Not that much. Now, as with every future funk track, the key is in the kick. Let's see what kicks we got going rocking and rolling again. You just catching a vibe? Oh, Uh huh, Yeah, I might be the joint right there. New disco of fun E s. I shouldn't follow the I shouldn't follow the melody, huh? So when it comes with future funk kicks, um, the ones you're gonna want them on, just about every single snare listen, doesn't have to. There's no scrap that there are no hard and fast rules. I tend to like the house and future funk joints that have the kick on the snare, but by no means they need to be on the snare. But the ones, if they do happen to me on a snare, you want to bring that volume down a little bit because, um, once you actually go to your mixing, that's a lot. Don't have happening right there. And it might end up making a project peak a little bit. So let's see how this goes. You know what? I might actually get more free and see with these. I just feel like they need it. I'm gonna be honest. I feel like they need it. I don't love this kick. I'm gonna be honest. - I just feeling OK. It's feeling like we're rocking and rolling. And next I'm going to jump into some Let's do some high has 9. Walkthrough #1 EDM Drums Cont.: All right, So now we're gonna come in here, I download a couple percussion sounds, Which one minute percussion, See if we can get a different group going. I'm not sure that I love this one. I'm gonna go back to what I said before. And ah, you don't hate the player. Hate the game. So I'm just going to do, I think the normal kind of future funk typical kicks. Ah, where you got this? You got four on the floor type of case. Pesos out. You know what? I might even just to really make you angry Ah, redo these snares. I might actually make Kim in her downloaders and percussion. I might do a ah, like a snapper. Clap right now, percussion. This is really where in future funk you get your bop is it's coming in and messing with the different percussions. Um, and just trying to get a feel for I know the kind of Bob I'm looking for us that I'm doing is I'm going to throw in a couple different loops, indifferent percussion sounds and see if we can get something that sounds funky. All of this. Columba, - wait . You gotta have fun of these percussion is, um, in to take up some space is to add some reverb to them. Right now, I'm just adding just really rough kind of sketches. If this if I were ah, more of an illustrator, this would be me. Just kind of be using my pencils to just kind of sketch right now. What I'm doing just come without with ideas. - Another my favorite, uh, things are open. Hi. Hats. There's one in particular I love. It's ah, cool kids, I think. Cool kids hat. No. Yeah, that's it. So the key is and you take these samples and then you make him your own. Actually, one another shaker there have a dilla shaker in here somewhere that I love. They might be that one. - It's important to name your tracks. You lose track of, um, Kalimba and then once actually get down to mixing these. And this is Ah, another Columba. I think Columba too, but that's not being used. This is a his percussion. This is just a smack sticks. Mac will say a lot of these. I'll do fund different things with, like, panning and things of that nature later on. But, um just right now. It kind of sketching the idea. So that's the percussion in a nutshell. We got the loop. Have a percussion. Now we're gonna move on to the next step. 10. Vocal Textures: when it comes to textures and tracks. If you've seen any of my stuff before any of my other courses, you know that I love creating textures out of vocals. It's one of my favorite things to do. I don't know why. It's just one of my biggest inspirations for electronic dance music are vocals because they're so to me I find malleable, meaning you can pitch them up. You can pitch them down. You can expand them, shorten them, add reverb. Whatever it is, I find that they just give a vibe to attract. So they're one of my go twos, and I have a kind of a special swag that I put on my vocals, which I'm gonna teach you in this course, which breaks down exactly how I create my vocal texture is what I'm looking for and how I pitch my vocals as well. So I want you to keep that in mind that your instrument doesn't always have to be on instrument in the sense of a synth or piano or trumpet. Whatever does anybody that technical your voice is an instrument, so even if you want to get creative, you can add your own vocals to attract and then messed around with your vocals from there, or download vocals from somewhere else and then get kind of creative with the way that you add them to your track so that it adds more emotion to your main melody. Your lead melody, but isn't so in your face that it detracts in the track or is distracting That makes sense , which I hope it does. Follow along. We're gonna jump into some vocal sections. Let's get it. 11. Walkthrough #1 EDM Vocal Textures: next. I want to get some sort of, like a texture or a vocal in here. Maybe to give it a little bit of bounce. That's what we have right now. So what I'm gonna do is I'm gonna look at our key are key. It looks like it's in C sharp minor. And I'm gonna find some sort of a vocal to play along with that have a bunch of vocals already in here. I'm gonna look for C sharp minor. So we got that's kind of cool. And so now coming here just trapped these vocals up. This is when a key is go to techniques is the bread and butter just to kind of give ah, a little bit of texture is I love Mr Wrong with vocals and then also add some sort of vocal texture After these, these are gonna be a little bit more like a vocal melody. So now I just have this track down here just that I can have ah, room to work. Let that boy cook groups reverb to these joints. - Sounds with peas with pitch down. Good. - But I might do is try another vocal. Maybe one in these other packs. That is, um Did I have a little bit more luck with 12. Walkthrough #1 EDM Vocal Textures Cont.: away. So I feel like with these vocals, need is I think they just need a little bit of different spacing. I'm just looking to get the timing down. Oops. I'm looking to go. Whoa, whoa, whoa, 17 19. There it is. - Cool . Finally got those down. 13. Percussion: when it comes your percussion for a dance track, especially future funk. I know I harp on this a lot, so I'm going to keep this short. But this is a key part to the track. You have to get your percussion down. If you aren't is gonna step, it's gonna sound standard. It's gonna sound flat. It's not just gonna It's not gonna have that groove is I don't have that Bob that it could have You're gonna lose alive your potential percussion really is For me, this is the key to good drums is good percussion. I'm a drums guy. Ask anyone in my homies as anybody who buys beats from me drums or my thing That's what I dio percussion percussion Percussion doesn't have to be super crazy, but these were going to be your high hat loops. Maybe some shakers, maybe some small glitches here and there. The ad that bounce that bob your track that you can get without it. So follow along. This is one of the key videos, the percussion Let's jump into it 14. Walkthrough #1 EDM Percussion: the next thing we're gonna do is jump into some base. But before we do that, I want to add a little bit more percussion. This isn't quite bouncing the way I want it to. Someone at a little bit more just to put around that for a hot second and then we'll jump into some base. All right, so I wanted to go. Don't don't Don't Data a. So, actually, let's just duplicate this guy. So that's Ah, if this is a lesson in anything, it's, um, that your project is never set in stone. Come back to it. All right. So let's see a once and percussion. What, Like a stick? There it is. A A . But it might actually do. Is the under start switching? Is that just to make a little bit more interesting? I think that's the same stick, Actually. Certainly bring this one in here. Oh, that's the same one. Is that someone? Yep. This the same one. What do I know? I'm using all the same stick. All right? So much. Then used this one instead. - No , what I might do is add some high hats. I just like this with them more I know this looks like it's madness, but I actually have it in my head the way I want it to sound, Um, and so what I'm trying to do is to get it to line up with that. But it's more of ah ah fluid process than it is an exact science. 15. Walkthrough #1 EDM Bass: now we're ready for the base. - So I'm gonna do is first of all, I'm gonna figure out, Ah, I'm going to figure out what the notes are with just a regular, um, sign these track colors, make sure that I'm labeling things as I go. So now what I'm gonna do is I'm going to figure out what the notes are, which to regular synth sound. So actually, probably initialized this. It's clear this, um, yeah, it's initialized this joint. So let's see what I have here. Cold. So regular sound. I want to figure out what the notes are that I want to play with this Theo. A little bit of a jazz scale. Someone like something right there. So now I'm going to um, actually, to be honest, this isn't a fault of ominous fear. I just don't love their base sounds. I might actually I really like just there. Um, they're sent based sounds, but I might try a move, See if I can find some sort of a move base. I'm going over some of some retro something. Not that close, but no cigar. No, Uh, I should've bought trillion. No eso I'm gonna initialize that one to seize and go with the just a just a bass synth deep - Cool . And then I'm just gonna hit this because that able to and just kind of brings in which you last played and then coming here and mess around with these notes disqualifies him. - Uh uh uh, And see if we got in here too many notes. Too many notes hurt, these little headphones, you can hear it you're playing. - I want to make sure that these bass notes also line up with my kicks. I don't have to be exactly, but kind of like that that it feels a little bit off to me. - And now that I kind of have this baseline that I like, I'm gonna come in here and mess around with the sound. I'm gonna start just tweaking the sound a little bit, See if I can get it to be a little bit less aggressive or stumble upon some sort of sound that fits a little better. What the shape does is you can see it's kind of making it a little bit less edgy, so it's not quite so. I'm gonna bring in some distortion a bit later on. So right now it's kind of just evening the way that a little bit. I don't want to be quite as in your face. If you don't have this plug in. Ooh, that's a game changer. It's free. It's go, came a crusher. I use this on almost all my bases. This thing is the truth. It adds, ah lot of distortion. And so it kind of can bring out some high end in your base. Could not recommend it enough. So I'm gonna do is tinker with this. Try to get that based on what I have here in my head, - kind of a piece of advice. If you ever a few norzai pushes to the extreme, I just kind of like to push it to the extreme. So I know. And then I know what the extreme looks like and then kind of dial it back from there because sometimes when you're messing around in these kind of small and small changes, when you're splitting hairs, it could be kind of hard to find exactly what you want. So it's easier sometimes to push it to the brink and then bring it back into what you're looking for And I know this is the base section, but I just had ah, on epiphany of what I wanted to do with some of these high hats. I want t. All right, but maybe I'll save that for another section. Or maybe not. Let's get it course number, database a little bit or percussion. Let's jump into maybe some sort of a lead melody for this guy. 16. Mixing & Mastering EDM: This is one of the biggest pieces of production, and it's one of the hardest to get right. I'm not gonna lie like I'm the best engineer in the world after having years of experience or things I've learned along the way about mixing that I want to share with you. That took me a long time to learn. One of those key concepts is, Don't be fancy. People try to get too fancy from the jump. Learning about parallel compression. New York compression busted this reverb that when you really boil it down, that's icing on the cake. And again, this is one man's perspective. This is just what I teach. This is from my own journey. My own experience with production focus on what matters. Mixing in a nutshell, is going to come down to getting your levels right. So this means how the different parts of a track interact with each other, where they sit in the mix. You can nerd out on plug ins all day, right saturated ear's all that type of stuff, re verbs, delays, compressors. That isn't a way to disguise a bad mix, and I think we often rely on those is a crutch. People asked McKeel, What do you think of these plug ins? What you think of those plug ins and I'm going to say, How's your make sound in the first place? If things aren't cracking from your mix from the jump, no amount of fancy plug ins or hardware is going to save you. This was a big learning experience for me that I remember watching a video with one my favorite producers, and they asked him about plug ins, and he said he didn't even really use that money plug ins. All he did was make sure that he got his levels right. With this mix, it might seem simple. You're gonna say OK is not using this recusal using that focus on your e que, making sure that things have a certain place where they sit in the mix and that they have a room for it, meaning your kick isn't clashing with their base, your bases and clashing with your melody. These different components have space carved out for each of them and then really focus on your levels, and this is the part that is the most difficult because it's not an exact science it's that balance between creativity and analytics, meaning the numbers in the art. There will be things that you're supposed to do. There will be numbers that I'll teach you to shoot for, to keep in mind. But when it comes to mixing, there's so much of it is personal. What you might like, I might not like. A lot of it also boils down to practice. The only way to know what you like is to do with a lot. The only way to understand what's working is to practice. So find a track that you like to dance, track that you enjoy and keep this as a reference track, meaning, listen to your mix and on this impacted this one and doing that back and forth by kind of going through A to be to be able to see the choices that they're making and then hopefully bring those into your own mix. So I'll teach you. This is a rough mix down for this track. Also, have a course on mixing if you want a more in depth, of course, on mixing mastering where I can really dive into the more nitty gritty we're going to spend a ton of time it on it on this course again. Don't get lost in the plug ins. Don't get caught up in the advanced concepts. Focus on the basics. First, future fundamentals your foundations to levels right and then take it from there. Let's jump into it. 17. Walkthrough #1 EDM Mixing & Mastering: Okay, so another Have my initial baht down. I I feel like I want to add some sort of other courting here, maybe another, um, lead melody of some sort. But before I get that, I'm just going to give it a bit of a rough mix. So that way I can kind of see where my frequencies are, Kind of what's working and what's not. So right now I'm going to jump into my mix. But before I do that, I'd like to make sure everything's label before jumping in there. So I got a high hat. So this is actually gonna be a perk loop, Kalimba. And this is also I'm going to start adding in this is what I'm gonna cirque a little bit more fancy with the percussion and, um, the panning and all that sort of stuff. Shaker one she could too. Stick smack stick to hi, heads. Maybe I'll come back to this. I mean, simple, the vocal. I don't think that I need these anymore. This will be there. Cool. So let's check this out. So I'm gonna come in. I'm gonna bring everything down to zero. Like Captain Planet. Boom. Sweet. Okay, now I'm bringing in a kick. And what I'm shooting for something around 70 B maybe seven, 78 somewhere in there again. When it comes to mixing, I'm not gonna pretend like I'm a I'm a mixing engineer. But the key to mixing every time I've sat with engineers and that I found with my beats that makes them sound as good as they do is when it's it's less about the plug ins and more about getting your eq you right, So levels right, your e que and just being sure it all kind of gels together. So I've cut off this bottom part cause we don't need these frequencies in here. I'm gonna add a glue compressor. So I like to bring the threshold down so that it starts knocking around five and then I'll bring up the makeup You had soft clipping. You can add a lot more makeup gain without actually clipping you kind of punchy. Kick onto the base. Let's bring this guy in. Most were gonna decide chained ah, base to the kick, which means that it allows room for when ever the kick triggers overall , one to come in around negative 40 B so I'm trying to not push it any more than that. - Not crazy about that snare. I'm gonna leave it offer now. Reason I I had so much attack and ratio difficult. Impressive. Were they able to include impress her isn't super strong. So I kind of crank this bad boy all the way. Most gonna end this searching compression to the main melodies and the vocals, but just not have it quite as intense. - Okay , so it sounds like I'm not able to quite get away from that little click court that's coming in close enough to four. Let's Ah, through a little bit. I also throw on a, um You can do so that you q eight. It doesn't have to be a fat filter. Ah, I just like that. Come in and we'll do a little you queuing on the master a little later on. But, um also I like throwing a limiter and just going to see over coming in this. You could also do with a built in limiter, but I'm going to do it in the fab filter pro que ah pro to just cause the one that I know the best. So it has to do is I bring my I bring my volume back on my computer and then I'll kind of bring the gain up because I don't want blast your ears, don't bless my ears and see kind of where in Peking. So what this is telling me is if I were to bring my kick down a little bit, because everything else is kind of in that range. My kicks right now, a peek into hard and what I should do is do it. Probably remix it a little bit later once I bring in some other elements, Um, if I bring my kick down, it allows more space for other things in the track. But that's a rough mix, and for now, that works. And then we'll jump into coming up with another melody. 18. Walkthrough #1 EDM Finishing Touches: so I want to do. I know I want to. Something else that these cords Maybe first, I'm sort of a breakdown or something. So what I'm going to do is start messing around with other instrument sounds that I have on see kind of what fits? Um, so it's load up another ominous fear. I think what I want to do within next we have something, something kind of simple that goes in here. Let's do a, um, let's do one more like lead lead Melody. Something could kind of go on top. - Cool . I kind of like that one. Let's see how that place kind of messed up that in part. But it's cool. - Not sure if I love this sound soundtrack's everything make sure is going to replay this in Where you at? I like that. This I had this so that can record over these notes. I don't need that crazy of account in turning my Metrodome off. Let's get it. - And if you notice these aren't totally land upon the grid, that's good. You want something that's a little bit human A lot of times. Often I'll drag some of my drums office. Well, you it's It's sometimes better if things aren't entirely on the great gives above human feel of over bounce. I also I don't want this sound. I like to kind of make sounds my own. So I'm gonna come in here and mess around with this sound a little bit to give it a little bit more of a Kia vibe and something that's a little bit more original, even if it's small tweaks. I don't like to always just use the presets given to me. Most gonna come in here and I'm going to I kind of want some different keys. Actually, in here, I'm thinking of maybe something like an organ. Definitely not that. That's kinda cool. If anything, I hope that this is shown you that a lot of this comes down to just experimenting, entrusting your ear. I was not intending for this to use an arpeggio gator in here at all, but I actually really like the way that that's kind of sounding. So I'm going to do is I realize what, this arpeggio gator. We're gonna make this AARP. We're gonna make this lead bleep bloops, lead blip. Um, I still want that pair of keys because I don't want the AARP and the lead blip at the same point. But maybe there's a breakdown in the song. It could be called. I still have some Ah, some sort of keys or organ. It looks like organ isn't as much, Um, easy to find someone to do a keyboard. Let's say we do some nineties keys, but in that load, hold that thought. 19. Arranging The Beat: Now that your beat is almost finished, we have a few more things to take care of before we get you out of here, send you on your way. The 1st 1 is in this course. I'm going to show you how to do another leave. Melody I found in this first track I wanted a little bit more melody of one. It's something else just to fill the frequencies out a little bit. So we're gonna jump into this melody here. Your track may not always need this second melody if you've been doing ah different kind of beat along with this Implementing these concepts don't feel like you need a second melody. But I have been add one in this beat because again I called Audible I felt like it needed it at the same time, dance music often has certain arrangements that follows again. I've, of course, on arrangement. Take that if you want me to break it down more in depth. But in this course, the last piece to this is arranging your beat, tracking it out, having different sections that arm or tempo intense. That's what people really feel. The rhythms there dancing and the parts where it breaks down because dynamics are a huge role when it comes to dance music, meaning When you have that big drop and you know what I'm talking about, You have those Rogers that builds up. It builds up and you drop into. The reason those drops or so satisfying is because you've taken the gas your foot off the gas for a little bit toe. Allow space for the B to breathe to allow for that music is just tension and release. That's all it is to allow for that release. You have to build the tension in the first place. You can just hammer people over the head with the intense part of the track. The whole time. A great part of a track might only last for 15 2030 seconds. But you're gonna listen back to that track for those 15 every single time you listen to it . And the reason those 15 or so special is because it builds that tension Well, that gets you to that point. It's that kind of you're going up to the roller coaster on the rocher almost to the top before your stomach. You start to get nervous, and then you drop into the roller coaster, and it's like, This is what we paid for is what we waited an hour in line for. What listen to five year old kids give me their parents are hard time. This is what I should have bought. The easy pass four is when you drop into the be that roller coaster, you find the good on that big loop. The heart comes up in your chest. It's a thrill you're jamming out. Well, of course, I think about that. Will last for 30 35 seconds. Most you pop up a crew, your hair sticking up like Let's jump in and do that again. Think about your music the same way. In order to have your drops be effective, you have to step off the gas a little bit. You have to track the beat out, build out places that allow for that tension so that the release can mean so much more. Hop into your dog. Get the's stems, let's jump into it. Let's go 20. Walkthrough #1 EDM Arranging Your Beat: All right, now we're going to come in and we're going to We are going to add a little bit of mastering back on quick mix and then track it and bounce the stems. So let's see how this sounds right now. Watch your years. - Cool . So that sounded good to me. So to track this beat out the way that I like to track them out is keep this extra part stashed, just in case. We need to come back to us. I'm gonna add this over here maybe three minutes, just in case. I want to come back to these samples, but this is the main thing. We're gonna be working with him when you join these samples. And then we're going to track this out and make this a full beat. So? So maybe we start with the main sample. - I love filters as a form of automation. I also have a course on automation. If you're interested. Take that. I'll talk all about that in there and really digging a detail on why I'd like to use thes and how I use these both in automation and arrangement. And that's what I'm building out right now. - It was a device on me to turn that joint off. - Have what I'm doing. I'm building out a bridge. Ah, have I'm just building up the kind of adding these elements as I go, um, And then I'm going to break it down into a some sort of a bridge pre course idea and then drop into the hook with the lead melody. One of my favorite ways to use affects and transitions with this is with a reverb and delay . And I'm also gonna add another filter onto these is welcome. It's the bridge way. And that's not what you wanted to drop into. Um, kind of experimenting with things right now. Also about the shaker back in for the hug, just to give it a little emotion. And I want another impact for the hook to this blip. I wanted to be a little bit more aggressive, so I'm gonna add a little bit of distortion to it. Maybe some saturation. You know, I love that saturation. I can't get enough of that. And you know why not just go all the way? If I'm gonna do it, why not just do it? - Not crazy about that Kalimba also want another impact in here. Nice. So that would be kind of pretty much the tract out beat. And then I'd probably duplicate it and then bounced the stems from there. But for the most part, that's gonna be your finished future funk type of beat rise that was a little bit longer than the normal courses. But ah, that's the truth. And that's that's how I make a beat from start start to finish. When it comes to the future funk genre again, you want your kick in your snare to really hit home up. That that makes sense. Thank you again for tune in and check you in a minute. 21. Tying It Together: So how do we tie this whole thing together when it comes to future funk and dance classes? I hope that you enjoyed the building at the beat before we jump into the rest of the course and conclusion sending on your way. I want to reiterate a couple key things. One use your resource is they're there for a reason. All of these things exist to help you level up. I'll talk about those more in the next video, but use resource is make sure that you aren't doing this alone. Figure out what you like to do. Figure out what you're good at. Focus on those things continually learn. Which brings me to point number to be patient. Understand? This takes time. If your tracks are bumping right out the jump, that's good because they're not supposed to. This is supposed to be practiced when you get to that end goal. When you finally start to get stoked by the tracks that you're making, it's gonna make that victory so much sweeter because you know how much time you putting into that you're gonna understand these hours invested, stumbling along, watching these courses, really trying to make it work that when you give that point, when a tractor poppin bro, there is no greater feeling, and I will swear by that on my life no greater feeling than creating a piece of art that wasn't there before. That is truly you. This sounds don't trust me. It's so fulfilling, but it takes time, so make sure you give yourself the time in the room to grow as you do that as you build that out. And last but not least, but I want you to keep in mind is focused on one thing at a time, meaning there are so many elements that go into good music music production in general. But to really focus on one singular thing and make sure that you don't get overwhelmed because I think it's easy to think about all the elements that go into making beats and want to try to learn everything at once. But that's a mistake, because you're only gonna move at a snail's pace. Focus on one thing at a time. Take each week. Maybe that's your kicks. Maybe that's your drums. In general. I'm just focusing on drums this week, still making your beats boom every day making beats, but you're focusing on your drums or you're focusing on your mix the next week you're focusing on learning compression. The next week you're focusing on How can I add reverb to these textures and you're learning about all these different contests that go into it, make up a full scope, make up the full picture. But you're really honing in one at a time, practicing one at a time because we tried to do them all at the same time, you weren't really gonna get very far. So think about those three things moving on, jumping into this last video, they were going to finish up. See you there. 22. Conclusion: All right, ladies and gentlemen, that is a wrap. I hope that you enjoyed your dance course on future Funk. I've got so many more portion is out there for you to learn. Continuing to learn, continue level up. I'm on a path of master myself, so I'm right there with you. I have courses on arrangement mixing, mastering hip pop trap low five Boom. Whatever it is that you want, you know your boy got it. If you want to level up a little faster, check out my website. I have Keogh Ryan dot com slash resource is also producer downloads dot com. Both of those who have resource is for you. Templates, effects, rack, sample packs, guides, all of that to really help you level up quickly and kill this learning curve. If you want to leave a review, please do give me five stars. If you felt like it was five stars or if you feel like it wasn't five stars, please let me know what I can do. Better to make these courses to improve these courses for you. I'm really here for you. That's the whole point of doing this thing. I'm trying to make the courses and the beat school create what I wish I had had when I was first starting out. And the only way that I could do that is to get feedback. So if you have feedback for me, please you can even email me Chea keo Ryan dot com, or slide in the d M on Social at Keio Ryan. Everywhere on the Internet, you Google me, you'll find me beat schools. The movement of most of artists have my own music, my own tones. If there is something that I could do to help you level up as a producer, please do not hesitate to tell me I'm a grown man. I'm open to the feedback. That's a whole point of this thing. So all of those of you that have been reaching out to my previous students that are watching these, that means the world Please continue to level up. I'm right there with you. Holler at me if you can And let me know what you want to learn Next. Always new courses coming your way. Appreciate your tune in. See you next time. Check you in a minute. Peace 23. Bonus Walkthrough #1: Melody: what's good today? We are back in action. Going to be doing some or future base is gonna be a future based tutorial. And what can you through how to make future base? Ah, at least how I do it again. I don't know. Music theory that Well, So what I like to do is steal. You've seen them. My stuff. You know how much I like the steel. So that's what I did. I found this, Um, this this group accords I really like this was super inspiring for the track. Assad has dope, so I converted that Teoh Midi track toe harmony and then the video. I didn't record it because it was just me in here, Like messing around with the midi notes. I didn't want you toe have to sit through that. But I had to clean up the midi notes and then I found, um, pretty much Ah Sim. Similar. So a similar chord progression Get out of here, my man. Think I'm playing um so I found kind of a similar chord progression, and now I'm going to jump into designing a cent. I'm not Fantasticks in design, but I do enjoy it from time to time, especially going to make something, um, like some sort of a super saw. So I also really like serum for saw sound's gonna those big sounds. So let's see, what we got was gonna toy around at this and see what we come up with. Having more voices just makes you sound a little bit wider. And then, if you can, you d to Nate or whatever to how you want it to sound. Excuse me? Ah, 92. In order. My doing. I thought I was doing I'm one step ahead of myself so can determine it. It kind of be how you want it to, uh, if it's too wide. It sounds weird. - Sounds like is lacking a little bit. So I'm just going to check and make sure the videos working, okay? 24. Bonus Walkthrough #1: Melody Continued: Okay, so my computer couldn't handle that because I'm rocking off my old girl. So she's from 2014 and she don't play that. But here's what we were able to do. So I designed, um since that I liked in serum did a couple different things modulated a couple different things, but then I printed it. So that way, we don't have to use serum as much into this. Um, I just converted the midi toe audio. So now this is what it sounds like. Ah, theme. It's a pretty bright synth, but I'm going to do a couple things to a first of all. I really like the way that this sounds the way that it has these drops in it. And so what I'm gonna do is add this thing called L F O Toole, but I think it would be like 40 bucks. Same guy that made serum Steve something. Shut out, Steve. One time he's the man. I love this tool, and it kind of allows you to shape that way for myself. So I want to be doing now is, um, using kind of ah, basic side chain, um, vibe that you'll see what I mean, that concerts, the rates, you can kind of achieve the same sort of sound. - I got the lows, and I'm gonna want some base to go with this way, way, way. It depends how much of a pumping sound you want that works for me. At least. Something to start this l A photo will probably change a little bit. Once we had the drums and things of that nature because it might end up feeling a little bit, Um, it might not exactly go with the drums. Once we actually get that, my some of them be something have to come back, do but is at least to start a place to go with our main. Um, since let's trip into some other sounds me some vocal chops and some drums, some base, Let's get it. 25. Bonus Walkthrough #1: Vocal Textures: So I found a couple vocal textures that are in ourself. Vocal runs there in that same key. So I'm gonna try those out and just start toying around like some cool future bass vocal chops. This one, my favorite parts about the genre, is how much they use vocal chops. So let's get it. Use any of my tutorials before you know how much of my vocal chops, dude is just what I love. I love some good vocals, some spaced out vai be chopped up vocals way something in two different things. Something on one of my have like one spacey kind of Oakland. There might have one more like future base, that kind of in your face vocal. This kind of I'm thinking of going with this. Let's see what happens. Also found this when I like this one a lot. Oh, - how much too much? 24. Too much. - There's a little bit of time to me, but we're gonna rock with it for now. Let's just more spacey stuff, and then we also do some, probably somewhere high pitching, um, later running here as well. But I'm just rolling with this. I want to get some more spacey vibes to way way the's am I gonna have playing as much in, like, the actual loop because they're gonna be more reverb kind of spaced out with the lay and all that kind of stuff. So the more effects gonna add the fewer actual at a few, the less audio I actually want playing. That's hard to say. Way, way That's a good enough for me. At least I want start getting some drums because I'm not even sure how these are gonna line up before I write out entire the entire loop full of chops and vocals. I want to kind of get my drums down. That way I can kind of start find tweaking things. I'm gonna probably rework a lot of these things into the drums. So let's jump into the drums, maybe some base. Next. Let's give it 26. Bonus Walkthrough #1: Drums: Okay, let's get some basic drums going. I'm not gonna, um, I have, like, a Exactly how would you do about it? Kind of 90 elements to go. So let's get some. Ah, I kind of want some of that. That good old future base. Actually, let me get a couple of these drum loops there, some a couple things, and I'm gonna want at least gonna at least try loops. I know. I'm gonna want to try. Oliver has some crazy stuff you don't know about Oliver, who you sleep in on this Landau drum Shit is, though. And then there's this pillow handshake, and that's really don't to. All right, let's see. Oh, this goes, um, at least for now let's get those movement these loops over just for later, maybe. Know? What about this one? - Theo , turn on this second kick a little bit center. Let's probably wanna want my collapse on my, um, snares on. I'm auditioning the snare sounds kind of seeing what I'm looking for. I kind of like those way actually going to do is actually kind of liked these snares that were in here. I like the way that they sounded with mother snare some actually steal these and then them there and then delete that once that we have these. I just have these hires. The reason I'm turning these high as down is because I'm gonna actually want to add my own cool . And so I'm gonna take these snares. Let me listen to these real quick. Do these have shakers on them? These have shakers on him, but I still like those snares, so I'm gonna Ah, and actually laying these snares that sounded like it was almost like, more of like, a mid some sort of a mid unamusing already One shot, mid noise dub. Yes or amusing. Give me maybe a no. That's gonna That's kind of cool. Kind of a crunchy, is there? I can mess with it. Get down with that. I think this needs is like some sort of like a shaker loop. I need some sort of a shaker. Something something kind of felt that the background space way , way, way We'll see how that goes. Kind of awesome drums going to want to drag him off a little bit from the grid. Um, maybe at some base to this and then maybe like another lead melody and really start to, um, build this beat out. So we kind of some basic drums going Basic kick, snare pattern. I'm gonna have some base. Um, there may be some sort of, like lead, pluck, and then mix it, and I think we're getting pretty close. 27. Bonus Walkthrough #1: Bass: so before we can really die into the base because the base is obviously it relies on the notes. We need to track out at least the drums to this entire phrase. They only do make our base. We know, um, what notes to play because we won't be about. It's one part of the track that we won't be able to and if money, another melody or to the base or anything like that to this, we won't be able to, um, just duplicate it because the notes change in the main melody. You'll see what I'm saying. You picking up what I'm putting down. So we got to do is duplicate these drums out, and I'll probably come back and mess with these drums later. But at least it's a starting point. And then, Okay, those lined up Ah, I'm not gonna lie about the vocals too much for now. I'll come back to this maybe a little later on, but this is what we got. Now I'm going to figure out what the's bass notes are actually, because I got this, but pretty much let's see what we're working within the year on. So I'm gonna zoom out and delete most of these notes. Fold it. See what we kind of got going on My based on nothing Do anything too crazy yet. Just get kind of a simple bass sound. Simple Whoops. Simple synth, gritty synth bass do you give me? Ah, me ground shaker. Hey, just take these bass notes, See how it goes. Oh, so low it with the main since CEO it goes together. I'm gonna do is probably also Ah, just do some very simple, um, extra notes with this. So just like where? Where I feel like the, um, Melody kind of, Ah, moves, I might add a little bit of movement. The Beijing I've spent nothing too crazy, - you know? That's right now, but we're rolling with I want a little bit of high end from this base, so I'm gonna come in here and at a little bit of the shape in some of the hard sink. I don't love that super high note. And now I'm so sorry that we have had to go through this entire tutorial with that in there , but I'm actually going to, um, redo this. That's also why you keep your midi joint because you never know when you're going to go. I might even come back to this a little bit later on, but I just know for now that didn't work. Yes. No, maybe. No. They're gonna work with me. Mm. Oh, uh, it helps. It helps if there's a signal telling it what to, um I don't want to do. There it is. Whoa. It was a big way for us. Okay, so let's get this down here. See how that sounds instead. Better. I almost want these to be like, Hello. Distorted. I should Ah, shit. Oh. Ah. I think we're getting there. Were definitely going there. Got some base. Might add one more melody to this. And then, uh, I think we're to go. 28. Bonus Walkthrough #1: Counter Melody: All right, Let's see. Begin at a pluck to this before we mix it. Ah ah. Maybe some sort of a plucked that we had during a breakdown. Or maybe something else during the hook. We'll see. So I just copied and pasted thes, um, the same midi notes. But I want to see limit Steve economic telephoto and have something that's just very like a short, real short pluck. Uh, uh huh. Uh, All right. No, Uh uh huh. All right. Uh, so, uh uh huh. Uh, - that's kind of cool. - All right, let's mix this. Um, that's kind of cool. I like that. Let's mix it. Maybe during the breakdown weaken. Bring that in, um, and we'll get cracking. 29. Bonus Walkthrough #1: Mixing & Mastering: we're gonna mix this down. This is gonna be the most challenging part because there's a lot of tracks is a pretty when it comes to, um, future base. These types of tracks. We're just a lot of the instruments playing at the same time. So let's ah, see if you get a cracking. Um, this is, um, midi synth means it Locos Opal Spacey. That's a vocal chops. Get rid of these. Let's get rid of those. We're gonna be plucks. Cool, Cool, Cool, Cool. Cool. We go. Good. Those vocal chops build out this little loop and get it going. Zero everything in your mix that we can start from scratch. I don't see. Let's get it. I promised I'd keep this to try toe. Try to keep the center two hours. Least an hour and 1/2. So I don't have that clicking in there. There we go. So let's take that. Bring this down. He kept. Brings it with the kicks, man. I'm telling you, those sound good at a bit of side chain compression to that. The ratio up. Let's see how this goes. Uh, I sent the punchy part of the kick which by turning asi que I apologize that I think my computer is having a hard time today. So if it's a little bit Laghi, I didn't mean it. - She sounds little bit late to me. She's early. Must've been a side chain. The, um, the melody to my snare Um, do a little bit of CQ action. A So that way the sneers come through a little bit more. But then I'm gonna I'm gonna opposite acuity uh , - Samata pain and panting. Right now, I think it's gonna be really key to make sure everything comes through and still kind of be able to pick out the instruments you want without going too far past, uh, negative for TB. Theo, - we're going to start pushing this up. I don't love this limiter, but just a little bit of ah, extra game just to see how it's going. - Add a bit of compression to snare if you like. It's not really there, and it's like I need it to be a ton, but just want a little bit more than it already is. At least a little snare. You feel me? Here's way, way, way, way not ah, whole lot of room left for mastering anything. But let's ah arrange this real quick. And I busted down into a breakdown 30. Bonus Walkthrough #1: Arrangement: I don't keeping you overtime today, so I'm gonna try to make this quick and relatively painless. Let's arrange this joint, Have a little bit of a breakdown, the intro and keep it pushing. I'm gonna grab everything. Typical key fashion bringing all the way out. Use me to three minutes. Um, just to have backups in case we need, um, gonna join these. I guarantee the vocal chops they're gonna sound, um, we're going to come back in and do something that a betting man. But if I were, I put money on that, all right? And then we're gonna duplicate this out. Um, actually gonna grab this because I Maybe we'll have a longer intro. We're going to duplicate that. We're gonna delete that and gonna bring this in. We're gonna minimize that. You don't really need it, At least in this part way, way. You've taken any. My Of course before you already know what's coming next. I love me a little bit of base in the intro. Maybe it's the Metro Bowman influence on me. Sorry for the computer troubles. That ale. All right, let's get this cashmere medium sweet. My favorite ones receive her future base lips complex pro. So it doesn't sound weird. Get impact. I like to add a bit of reverb to both of my impact in my risers. I feel like it's kind of gives him a bit more space. I like to kind of dropped things out. Um, the cafe bar beforehand and see if we can even get that home. Let's take this out. Hey, what you doing? Medium sweep out. Delete that, - having trouble. So we're gonna keep it pushing. That's kind of the hook. I'm going to double that out and then bring in the, um you have another smaller sounding impact there. - Way , way. - So I'm going to now automate the frequency X. I want this and a breakdown like this. Um, I want the ah, that's what's going on out there in the breakdown I want, especially in a beat like this on a much longer breakdown. So let's get it way out of here as well. Way, - way , way. Theo So says I want this kind of like ultimate hook a t end. I'm just gonna drop it twice. Um, I'm that's I'm gonna play everything at the end, so probably have everything there and then I'd make an outro. But I don't want to keep you all for too long. So that's gonna be the future Bass beat for today. Hope that you learned a thing or two as usual and I'll check you on the next one Peace. 31. Walkthrough #3: VOCALS: Are you ready to get your bees on? Let's get it. Today. I'm failing some future base, so I'm gonna walk you through a future based tutorial. Got some ideas, found a couple cool loops. Um, that I want to experiment with oven one. They do some tutorials on future base in a hot minute. I, uh it's one my favorite Saunders to make because I love big sounds and making stuff kind of like that. So let's see. We grow up with today eso I started with, um I found this construction kit on spice go figure. And there was a, um 1 40 today. Ah, vocal loop that I found that I thought was pretty dope. Um and so there's also a cord, like a group of chords that goes with it that I'm thing about possibly using is well, but ah, when it comes to future base, um, it's hard because a lot times the's big drops with a lot of intensity. But you have to balance that at the same time by not constantly having it e super intense in your face. So we finished the load. Um, I was just looking at some drum loops I think I'm gonna get this drum loop for it. At least something to try out as a starting point. And then it was This is this jump construction kit in these vocal chops were that were pretty dope. Let's see if we got a raid. Iraq don't make these little bit gritty focal chops. So right now I'm gonna do is I'm going to jump in here, start toying around with things and try to just changed loop up a little bit so that I could make it my own. Just add my own Kia vibes to it. Actually, first of all, let me to see what I have. Sounds reverses off the rep. Now, like these, I think maybe pitching him a little bit. - No , it is. - It's not what I want to do. I'm going to be up this one. Don't mind me. No, I like that more. You gotta You gotta make it your own. Kind of like that. So that's kind of my main vocal chop. Let's see, um, how it sounds with, um, the I'm gonna see if I can find some chords to go along with this 32. Walkthrough #3: 808s: actually scrap that. We're going to jump into some base first. I feel like I just feel like I want some basin this. I want this. I feel like this could be a cruel I Kind of like trapped future based trap heavy bass note joint. So, um, duplicate those joined nose and then do low able to cheat code over melody to new midi track. Um, in the meantime, pulling my eight awaits. I want one of those, like, real bouncy eight awaits the uncle work. That's a that one. Serious. That might be the move if it is to convert. All right. Snagged that doing that. Where's my eight awaits? Let's try this sonny digital joint. Turn it to F goods in F. You feel me? Couldn't this kind of the dog very good? Be kind of cool. - Just have, like, uh, straight up gritty joints. Ready? Join, um, came across shirkers, came a crushers. The move. I almost want something that's, like, more gritty. Understand, - And they'll get in there, slide. Um, slide around. Posed. Uh, - yeah , yeah, yeah, yeah, yeah. I think it might work transposed. So this is I'm about to glide these joints little bit. Just ah, you goto If you're unable to go to so automation envelope go to your eight await go to transpose And this one you can like moving up and down and stuff So we're just gonna experiment, Have some fun with it. Uh huh. Uh, yeah, and yeah. - Don't let it. Yeah, - world . There was a quick one at the end. - I kind of like that. We'll see if I can add that Maybe one more place. No, - I don't love it. Maybe I'll come back to that. But I like these in general in my comebacks. Don't mean delete it now. Cool. All right, so we're off to the races now. We got this little base going. Little eight awaits some vocal chops. Now we gotta adds maybe some chords for most of the drums. Feelings. A good start. Don't feeling this energy 33. Walkthrough #3: DRUMS: we got a red awaits. We've got our lead melody thing vocals. Now I'm gonna add some drums. I have this kind of idea where I want the drums ago Found a cool drum loop going to take that You differ. Inspiration. Typical Kia form. Run rabbit. Run with it. Roll with it. See where we can go with it. Um, let's figure this out. So we got this. I got this drum loop. Um, Where did you go, drama? Exciting. This is it. So let's go on track. A school drum loop turned you down a little bit about that down there. Take that. Who cut that? I put that. They're okay. You're getting it. So pretty punchy kick. I got a few of those. Unlock. I like those. A man d cap. Always a man, DeCamp. Always come with the punchy kicks. Let's try this one. - Little real adjust a little wheel of death trap an on the spot for this. The BoE Kuzma cuter. Ready? Shot A s getting old programs going. Crash pretty soon. And I hope it's not the last. Okay, um so I got this kick going. Now I'm going to, um This isn't Maybe this isn't an ideal kick. It will depend on what kind of measure that the eight awaits. But again, placeholder for now, I can always come back to this later. So, yeah, there's that also might want to come in to mess with this rhythm. A little bit matched. The eight awaits, but right now, again was rolling with that. We're feeling good. Were flowing. Um, let's see what The kind of sneer we gots. - You got a lot of reverb on the snare, and then there's like that. Like Like that? No, I got maybe this one. I feel like I've got a better one. I may Chuck English coming through. Let's try this one. Not perfect again, but we're wrong with it. There's, like, one more high in there. Thanks. Maybe that's what I'll take that with. Open that to bring this John down here. I had to turn that way down pain that a little bit. Being that a little bit. Um, I don't love their high hats, but thank you. Very Dremel. We've been useful. Um, now I'm gonna add my own. I has, um I like decomp is just told that down on this beat. Nick Dean also has some dealt ones. Alright, let's try these. Let's try to try these. Try these right eyes. One of those joints were just some straight 18. No high. It's gonna be dope. Our 16th out says 18 notes. I know what I said. This gonna fermenter doesn't mean you doesn't know music there. I made a lot. I met Macho High has Ah, - so a T. Here's a little, uh, key. Uh, tip and vulnerable moment. It's a bonding moment between us. Um, I'm not great at doing like those trapped high. It's so what I often do is I've kind of one main high hat going, and then, ah, I like having another high hat normally like a different sound. They'll come in and then, like, experiment with, like, more like trap high hat rhythms, things that nature, this is our is the moment we're connecting right now. - Just like that, I like to add them like little accents throughout. And now in this second part, I'm just gonna, um, vary up the high. It's just the slightest bit hairline fractures. - Okay , so starting some good. I also want to I'm going to drag these drums off just the slightest bit thes high hats little bit just to see if we can get a little bit more groove with Groove with it. CNN's gonna move the sneers a little early. - I think this is a cool beginning to a beat. I think we got something like this one under the next one. Let's get it. 34. Walkthrough #3: VOCAL TEXTURES: All right, Joe, full disclosure because they're working on a relationship like that. I don't really know where I'm going with this beat. Like I'm not sure we're taking next someone to start trying some things. Um, I'm thinking maybe some vocal textures, like some sort of a long extended vocal textures, and then maybe acquire solidarity of a local shop, maybe some sort of a cent, like some sort of, Ah, something to take up some of the like middle ground, some of those like mid frequencies and maybe, ah, a lead sent down the line. But right now I have some vocal. I found a vocal that I, like most effective, maybe make some textures out of it. If not, that's might be just one of those trapped bangers, Um, that we just really get busy with the percussion and the drums and just kind of arrange it . And that's just one of those that just rocks where well, we'll see. Let's try it way Is that in tune Trust in my ear? Let's get it. - So if you look at these the frequencies right here in this vocal trap, they're mostly Gomez like mids. The highs and if you look at him in here, this is more like mids, so they're kind of I don't I was I like these pitched up. Um, but then they compete with these, so just kind of let them rock right now. - Let's see how it sounds of thes doubled. - So there's a vocal texture. I don't love it. Um, let's try another melody. 35. Walkthrough #3: MIXING & MASTERING: So those were okay. Didn't love him. Let's try my other idea, which was acquire German numbness, fear and find Acquire Patch. Where are my human voices at classical choir. - So here's how it's going down when it's just rocking like this. I don't I feel like this is already pretty full. I don't really want to add a whole mawr a whole lot more to it. Um, I might add, like one big like another Melody sent Melody. That's not very, um, that's not super busy, but because I don't I feel like adding sustained notes on top of this for some reason. Just I'm not loving it. What I'm gonna do is I'm gonna mix it, makes it down and then arrange it out. And then after a kind of breakdown, different parts of the beat that I'm gonna come back to it and I'll add in like I think this choir could be cool and like a breakdown. But for now, um, I'm gonna mix it instead. So let's do that. Let's do that, Do that. Do that at debt. Um, I might also still keep the base. At some point. I think that could be cool. during the breakdown. Let's say base and a for now we will come back. Makes the breakdown another time. Hi as making sure everything's cool or trap pats open at one to sample vocal child so close to unused Ah synth require and a And if you want to add elite since later will come back to it. So let's mix this joint first. Get off of there. It's made if you one of them bangers, you feel me? I like to bring my kicks in around seven. A little punchy action. You can have a glue compressor. You have to really crank this thing exists that super powerful unable to oh, what I'm doing here with this compressor. Is that pretty much telling it? I'm on a side chain to the kick, but when I didn't When I have the CQ on, I feel like it's just a little bit too much. So I'm doing this. It almost sounds like a smack. I just want that smack from the very front, that first kind of initial attack from the kick. But I want the ate away to jump back in except home at the same side. Chain compression of my high adds, except I'm probably gonna have them be regular. I like some heavy highs citing a brush like that, Bob, - that's the heart of your track, right? There is pretty much just that. Just your drums and something like this. Some noticing it is coming in around six, for the most part, except in this high hat impact. So I might turn that down a little bit so I can get some of my D B's back for mastering. I feel like I'm losing a little bit of my snare, and my hat's because of where these vocal chops, um, where they sit in the mix. So actually do some more side chaining and accept side chain, too. The snare geo. It's the sounds. And so this one. So I just want the snare. So that's now I'm doing a instead of this one. I don't want that. I don't want toe. I don't want that like the reverb tail on that. The really high transience toe be in the the compression. So now I'm doing just ah, kind of like the hefty just a hefty part of the snare. A actually kind of like these vocals, but I'm I think I'm just just make him super short And then more reverb uh, - this trimming the edges a little bit No fade in the fade out Action um bom bom a comes to mastering. I'd normally use thes, but, um because my computer is old, it's hard for me to record And also use these bless this way easy. It's a stock plug in. I don't love this limiter, so if you can invest in a better one But ah, I like it when it kind of bobs up to around negative six so that Ah, if you if you crank it too much, I find it thes you crank it too much more net than able to inbuilt in limiter starts to just squash the sound too much cool eso That's kind of like my main loop. What I'm gonna do now is one arrange it out and then we can sort of, like add little components here and there to make this to turn this loop into more of a full beat which also headed, you know, 36. 3Walkthrough #3: ARRANGEMENT: So I realized this beat might seem a little bit backwards in its construction than my normal that I normally do beats. But that's the beauty of music production. There's no one right a wrong way. Someone arranged this out and then just toy with little things here and there and then come back in, maybe add some base. Or maybe add the choir something like that a little bit later on. So let's arrange this. See what we kind of got, um, we're working with and then add some transitions, some automation, and turn this into a full beat. Let's get it all right, going to take this piece and we're out. The reason I do this, I said, I like to have all these little pieces since I work in mostly audio. So when I joined it like this, I can always come back to this later without having to, like, split it up in everything. So let's see. We're working with this. Everything would be doped to have a base come in. Something crazy. Crazy base in your face type joint. Let's go. Excuse me. Um, I always like to choose one of these deep joints. Let's go ground shaker. Oh, actually, kind of like that. I had a little hard sink and shape, Just agreed it up a bit. - I'd add voices to my base just to add some character to it. - Yeah , it's interesting. The distortion brings out, um, I think the right word. But when the signs clash, Yeah, - now based isn't exactly good, but I kind of like it. This is automating those effects for this kind of intra part. And then let's find a riser if you've seen any of my tutorials. You know, I love these risers and impacts is just a vibe. Come on, Likes. There we go. Give me. Ah, riser. I could breath this since its future based, Let's do something. Maybe a little bit bigger. And then I get my impact out. Let's see what sounds with the master on. I don't love that. I may start that underfoot. The frequency up a little bit more. - And this is where we're gonna hit that break down. We might bring this base back to this is where if you have a producer tag, you drop it in here or some sort of like producer. Some, like corny drop um uh, some paintings to add a little bit of character. I don't even think we need it. I realize I need to automate this auto pan. I was like, Why are my high hats all over the place? Don't forget to automate. Hey, a I actually think having a then and then little outro action and I don't know outro, but I won't keep you but little more outro. And that's pretty much how you build out a future bass beat from start to finish. You don't need a ton of elements. Just a couple things. Bring them in and out. Um and really Just making sure that your drums knock and future base and that you have some sort of cool lead melody your cords. If this was, I'll do some more future base with kind of a different feel Or like a marshmallow Feels like more of a lead melody. But it is kind of a future based 101 Make sure that your drums not make sure the eight a waiter the basis crackin get a lead melody, get a lot of energy. I hope that you learned something till we meet again checking on the next one piece