MAKE DARK TRAP BEATS IN ABLETON LIVE: How-To Easily Make Modern Trap Beats | Kia Orion | Skillshare

MAKE DARK TRAP BEATS IN ABLETON LIVE: How-To Easily Make Modern Trap Beats

Kia Orion, Artist & Music Producer

MAKE DARK TRAP BEATS IN ABLETON LIVE: How-To Easily Make Modern Trap Beats

Kia Orion, Artist & Music Producer

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11 Lessons (53m)
    • 1. Course Intro

    • 2. Course Overview

    • 3. Sampling

    • 4. Sample Effects

    • 5. Drums

    • 6. 808s

    • 7. Percussion

    • 8. Vocal Textures

    • 9. Final Touches

    • 10. Mixing & Mastering

    • 11. Arrangement

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About This Class

I created Beat School, an online academy that teaches the foundational elements of music production in a simple and effective way. 

This course on trap music production is one of the beginner programs designed to help students gain an understanding of beat making with a step-by-step approach. 


In this course you'll learn: 

-How to easily warp, chop, and manipulate audio samples

-The key elements that go into a trap track

-How to mix and master a trap track with mostly stock plug-ins

-Mixing secrets that are unique to trap beats

-How to achieve the gritty 808 sound characteristic to trap music

-How to make trap beats without wasting money on expensive gear

-How to create trap beats with only stock plug-ins and free resources

-How to design drums to get that signature BOOMIN sound

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

-Only the necessary information that you need to make lofi beats, without the overwhelm and confusion of complicated techniques


If want to learn more about music production and how to market your music you can check out my other courses.

P.S. If you want learn how to make your own music you can download free music production and Ableton resources from my website here. 

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer


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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1. Course Intro: Ladies and gentlemen, welcome back to another masterclass with yours truly key Orion. I'm the man who is obsessed with making don't music, and teaching you how to make your own. In today's masterclass, I'm going to teach you how to make a modern trapped IB. So we're gonna jump into everything travel-related. This is how to make the melodies, how I do my drums, How did your eight awaits to bang? How to get your kicks in your EDO waste and outcompete the mixing and mastering the arrangement, all of that jazz. If you're into modern hip hop, this will be the course for you. If you don't know much about me. I've been artists and produce over ten plus years, are run beat school online or you can check that out as well if you want any of the templates that I'm using in this course, you can find them all at the producer or key But with that out of the way, I'm super stoked to teach you guys how to make modern trap beat. So please put aside a little bit of time, grab your beverage of choice, get locked and loaded in greater maximum trap beads. I'll see you on the inside piece. 2. Course Overview: A one-to-one Zuckerman through was go Joel, it's your boy kilo coming to you back in action with another masterclass. In, in this one, I've found this really dope sample. I'm not sure where the speed is going to go. I'm going to be honest with you, but I think it's going to be really cool. So we're coming in at 80 BPM. And this is the, this is the sample that we have so far. Fill up potentially. Oh, this one's going to be like this. We're going to be late. So I'm super stoked to get into this with you and we'll see where it goes. First things first going to start with the melody that awesome drummed got some ideas, row undertake this and stoke to teach it to you. So Let's jump into it. 3. Sampling: So I feel like this would be really cool if we sped it up a little bit of x, we're going to come in here. We're going to call this sample. I felt go do, do-do doom, doom, dong, dong, dong, dong, dong, dong, dong dong DO, DO, DO, DO. I think we'd be somewhere probably like 90 to do. Let's see let's see if you go. What is that? Don't judge me. Don't judge me. You know, you're judging me. Hey, I make these, I don't do math, right? That's that's the point. Don't do, don't do it. That sounds about right. That's what we're going to crack. And first thing we're gonna do is I'm gonna come in here and I want to start. I want to make sure that this starts at the right yet it starts to replace and we're gonna start coming in and just tweaking some things. Make sure we can get this to loop right. It's going to be done. Let's just do this and I just loop this part of the body, make it easy. One other point here we could end that bar width that is equal to something maybe a little bit different to NLS bar. That advanced gonna be lit. Might do. It. Does have some quoting this anonymous nuts sold on that. That it happens if you go like this. This is if we reverse this. Let's actually try this move, this jump over here. And let's take our normal chop. And then let's take this part and reverse that and say, yeah, that sounds Let's do some a little bit different. So I like that. It's at least going to work for now. Got a back edge. Ok, so in order for now, now let's add some effects to it. 4. Sample Effects: So the way that I already kinda good Stout, which I did, we're just going to execute a little bit. And that's what's been said, OTT per usual. Let's add some ritual color. And everything. He did it like this. Maybe that's the way we do it. So let's take a whore and I kinda like that. I think there's some delay and maybe a little bit of delay to it. And I'm just experimenting. Just I want some like to do our elbow. Maybe that horn sound is coming in the law early. I think that's going to be right there. This you're going to leave it for now. And let's add some jobs. I think drums is really going to what's going to bring this to life. 5. Drums: Let's get our drums going. This brings about Boyden life. How much balance, how much balance? Video, teleconference we have on this. Yeah. Obviously this is an exact science. And by that I mean, I'm completely joking. You just kinda do what feels right to you. Well, the reason that I'm turning these down a little bit, just add a little bit of variation, a little bit more balance to it, especially if they're like right before or after other kicks. There's also one in here that sounds like I think it's this one. Sounds like it's getting a little bit cut off. So we're gonna bring that in. Just a great kick shadow duly, onetime Chateau de Willy went on. It's just Yo, that's a huge lesson for you all is big gems. Big gems. If you start with a good sample, you don't have to do that much mixing because that's a lot of it's already done for you. Like this is just an amazing sample that we're starting with. So the mix will be really easy for this kick go. Oh, yeah. And we're going to keep the high hats. I've got kind of an idea of how one would go my mind, but right now, just keep it simple. We're just going to do straight 16th notes just to get them, just to get some just to get us started, as I like to say. Oh my god, running this goal. And obviously there is this goes some o kind of like that. Happy mistake. Yes, have we got to it? We're going to add another little drop right here. A o is going to be dope balances trick. Okay, so this is going to be fun. And so I like to add another hi-hat. If they'd like to have two heights. One is kindness is going to be like your main joints is gonna kinda keep the beat moving, kinda moving and grooving. And then I'll have another one. There'll be more like my trap hi-hat that are like, I'll do more likes like those little roles and pitch it and you'll see what I'm saying. You'll see what I'm saying. But before we get to those, I'm also going to add an open high hat because I think I think it would add it to that kinda I wanted to stay like you feel me it kinda like that bounce already but I wanted to like drag a little bit. So come in here. Ooh, that's a good one. Little 800 eight open hat. I feel like we could have another hat, the opener ahead here to kind of finish the bar. So I'm going to make it an audio track call this open, hit two prints that I wanted. Like, I think they'd be kind of cool. And because the this kind of a glitched already, I'm going to turn that down. We'll come back later. Ended the bars that just to kinda go. So K o pedal, a little physician there, a little hi-hat role there. To do that. A little bit. Oh, there we go. So it seems crazy, but I wanted to cool coming along. Maybe I'll add one more. While I got you. Let's just do it. I feel like there's gotta be a heel. If it could be cool to have one more little snare and near like little, like a little look crappy snare something. The little trap each snare. You know what I'm talking about? And need a little. This is a kind of a nice little one-click you and I don't want it to be super. I wanted to be super scenario. I wanted just like a little, I guess why something like a little rim shot, like a little click. Because this gives me B percussion sounds. Yeah, yeah, yeah. All right, let's try this. But some of the like do like kinda be a little, a little click there and add a little bit more groove. I might even do just because I'm trying up, I'm sorry, I'm getting fancy. I'm getting fancy. But you don't wanna do this is when you don't want to get fancy, is I might take these. And I want to, I think it could be cool to have a different sound here. But instead we're going to add this. We're going to say rim. One. Call this rim to and we'll just pitch it down so it'll end. We're going to pitch it, not measure. We're going to pan it to the other ear and see what happens if we actually that's warp it. And just see what happens. Difference out if you've transpose a demo, but you must get different sound without actually using a different sense. And it helps you wanna keep the volume pretty similar to your test suite. That's only good. We're going to pause there for now and come back to that a little bit later. 6. 808s: Alright, so next I'm going to bring in the 800 eight. But first I'm going to use this base. So I'm gonna create a Miniclip and start experimenting, mature and my basin. So I can find out, I'm just going to find out what the notes are. Pretty much. Cool. Go just something. I just put those in. Just, just kinda placeholders for our 800 eight. And then we're going to bring in are just random eight await sound. And kind of figure out which eight await sounds best for. 808 sounds best for this trek. Turn this down. Pitch, these up an octave. Yeah, yeah. They should, they line up with your kicks. And they don't have to obviously, but for the most part are like the line them up. And let's add a little bit of KML crush. It is just freakin, gets less. My favorite plug-ins free plug-in is as crazy distortion. So let your ears in the shredding it. Let's try a different kinda take debt it's gonna call That's kind of cool that there might be some that I took around a little bit later, but just something to keep us going. Something for now it's kind of a place holder to get us a little bit about. I'll come back with what I like to do is come back in here as well. I like to have iterates that cool a little bit longer so I can come in and like like, what's it called? The pitch up and pitch down pretty much. You bend them, you get cool effects that way. But I'm going to, I'm just going to keep it moving while we recommend this energy and possibly come back and do that in a second. Yeah, let's add, let's add some sort of a top layer melody to this, or vocals or something that has, gives it maybe a little bit more personality. 7. Percussion: Yeah, let's do it. So I wanted to add a top line to this, but before I do, I want to duplicate this out just a little bit so that way we have more room to work when we add our next, our next thing. So let's go like this. So now we've duplicated all of our drugs out. And so one thing we're gonna do now is take these drums and this is a little KIA heck, them TM giving you all the good stuff. And we know that Jim's right here is going to drag these off to taste. So this is not a science, this is just you drag them up to get the right feeling for your balance. I can take that. Coal. Just wanted to just show you guys that a little bit kind of. Another thing you can do is you can experiment dragging your snares early, snares a little bit late, but now I'd like to just drag a lot of my percussion just off. I'd push it late so that everything feels like it's just a little bit Draghi, but it kinda, it's like a glue that you just had. You gotta feel. There's no, there's no real scientists do it. But now that we have this out and we have kind of a more 4-bar kinda thing going. I found this top line, these cool kinda vocal traps that could make probably it could be an r That is so cool. But I wanted to do, I want to add some vocals to this. So either through arcade or through maybe some vocal chops, just something to give it a little bit more flair. 8. Vocal Textures: Alright, so let's jump into these vocals. So I found a couple of different vocal chops that are in a minor because our sample is in a minor. So I'm going to bring these down so that we can start toying with these, with these vocal chops. I wanna make them like very much like a Tory lanes type of vocal chop, which is like super area, lot of reverb. There's EQ at the lows on nice, maybe a little bit the highs on knees due. And then so just that they're super at these vocals, make sure keep things labeled. Removing it. A quick clip. If you want the foundational courses that are more beginner friendly, you can find those as well, but this is just gonna be keeping it moving and grooving on this one. Metaphor for reverb. I like a lot of reverb on knees and like Decay Time. So kind of that long tail. And then some delay as well to kind of just get those chops that are, you don't need. You don't need this entire vocal. You've seen where it's like a little bit just to kind of little somethin to delivery OCI yet I'm saying you'll see what I'm saying and that likes to pick him up. So I'm going to know CRDT, just see if I can. I'm just going to start experimenting. Again. Assesses, comes down, just trying things and seeing what feels good. You got to really exaggerate it. The super subtle, at least right now, is somebody going to come back to, but I'm going to add some finishing touches and we're gonna mix it arranging. Get yada, yada. 9. Final Touches: I did want to come in and maybe experiment with these weights a little bit. Let's see if we can do something fun with these, with some of these longer notes. If you don't know how to do your 800 eight out, abandon me. Come in here. Pixel transpose button. You come in, you go to your 800 eight, and then you go to your transpose, and then you just start messing around with them to someone setup. Maybe a pitch this, to see what that sounds like. There we go. So little variation. Cool. There's some that's civil. We didn't do too much bending normally because this isn't a super long eight await. It's kinda difficult. But normally if you have some that go like super-duper long and get in there and do like really cool bends and curves and stuff like that. And yeah. I'm not going to domestic isn't too much. Let's mix it and arrange it. And then we'll, we'll maybe at some other stuffs and fun stuff at the end if we need to. 10. Mixing & Mastering: And so mixing this, we're going to come in here, we're going to take out things we don't need. The rest of that. This is an a for now close that up because I don't have anything there. Transitions will come back to where we need our base for now. So I'm going to come in if you really want an in-depth tutorial on mixing, I have a course on that. You can get that where I'll go into each of these steps very much kind of in detail. But because we're rock and on this energy, we're not going to spend too much time explaining everything right now. We're just going to and keep it going. So I'm going to bring this kick into a machine for around like 8.587 somewhere in there. And like I say, it's a good sample going to have to worry about it that much. But this eight await, we're going to bring in current trends here. I'll bring it up first. And then when I turn this side chain compression, so I changed it to your kick and turn up this frequency. Because you only want certain part of the good. We don't need the whole kick sound, we just want that high-end kick. And this way are kinda cuts through. So even though we still have the eight await the tail of the eight away. If without this compressor, Look at how loud it is. Well worth it. Because there are maybe a little bit. So that way we still use them together because it sounds, it sounds a little bit crappy. There you go. We got Detroit, your attacker at least to get it right. This adds a little bit about last year I had tests. There's room for that kicked kinda just give it a little bit about access to others to be felt. Not so much. I loved lots of searching oppression in just because I liked, I liked my low end or really come through for the bounce. We're going to add a bit of auto painting to these vocals space. I just, I just thought of having a Coke and a little scenario at the end here. Or if we do this is maybe that's kinda cool. I like that, a little bit of flair that. Okay, so now that we're sorry about that. So quick aside, just so most thinking didn't wanna lose a moment. And we have our mics going here would come in at around 5.5, maybe something like that. We're going to add limiter excuse the profile to for my limiting what your ears is going to be loud. What's everything is really compression limited like that. You start to see you've kinda sticks out. I feel like the snares a little bit loud. This is art that you don't want to lose your energy, but you also don't want to be, you know, wanted to be painful in your headphones. My EQ or some of the highs are these. If you pay in things, it just gives you what I was listening. They are just kinda make sure everything feels that a balanced. I don't think it totally does, but we're not going to sweat it too much. When it feels. You want these things, you don't want the components to feel. You wanted to feel kinda cohesive. And so that's why some of these things don't have up super loud. I wanted all kinda feel like it adds to the vibe instead of it being one thing sticking out in particular, at least for this beat. Sometimes you want things to stick in particular. But right now I just wanted to kind of feel more like its own, like it, it's all kind of joined and working together. 11. Arrangement: Now arrangement, this is when it really becomes a beautiful thing. You guys, how simplicities that King, it's a beautiful thing. Simplicities kings were gonna take this and we're going to drag this way. Whoops. I wanna drag delete clips, delete clips. I want to drag all of these way out to maybe like three minutes or so. Come on just as we have M as I like to keep these as backup in case anybody come back and things, you know, sound quite right because then I'm gonna join these clips. And that's if I need to come back in, I like to be able to have that kind of come in and edit it if I need to. So now we're going to duplicate these out to maybe like nine or bringing this sample backs or with an intro. And then we'll start, maybe haven't some drums, so some fun. And then we're, you need, of course, we're going to have a riser and Ross are going to have an impact, something for transitions. Gonna go impact, impact baby. And we're gonna go, let's go clap packed and let's go. I want some sort of a simple riser, like maybe a breath like that S ebola transitions to be like super loud. Maybe you do, but I personally don't. There it is. If you let that hot key, by the way, to edit the tales of things. So SEO changes, Bubba will boom, boom, you hold shift. You can actually time stretch it rather than if you don't hold shift, it cuts the clip. Little key hack right there, hold shift and you can time stretch it. And then we're gonna add a bunch of reverb to this to make it not quite so crazy. Dropped right into the hook on that. Here's what we're gonna do a second part, the first part of our crack and have the vocals. I just have things just slightly switch up. That's a bit of a different entity here. And add another effect. To kick out. The low end came back in. And we're going to cut everything right here. Where's that? You hear that click, where's that click on Mushroom? There, drums from our snare. Let's try it. Let's defamation action. This is from this room shot. Cool. From there. So again, you can, when it comes to a range of B like this, you can do some really fun things. What I might do is after this drop, drop it out again, I dropped the beat out. I'd probably have a bridge, African enema bridge later, but I don't wanna keep you guys too long. So that's kind of how I would arrange a simple beat like this. You can get a lot of action down just for bringing in your kicking your 800, eight different drums in and out. That's the key to the arrangement for rail. Hope that you learned a thing or two. Hope you enjoyed making this banger. Check you on the next one. Thanks for tuning in. As always, see you soon. Peace.