MUSIC PRODUCTION FOUNDATIONS: Make Modern Trap Beats In Ableton Live | Kia Orion | Skillshare

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MUSIC PRODUCTION FOUNDATIONS: Make Modern Trap Beats In Ableton Live

teacher avatar Kia Orion, Artist & Music Producer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 1m)
    • 1. Course Intro

      1:48
    • 2. Course Overview

      1:08
    • 3. Sampling

      5:41
    • 4. Trap Drums

      8:19
    • 5. Percussion

      7:35
    • 6. 808s

      7:18
    • 7. Vocal Textures

      10:15
    • 8. Keys

      2:21
    • 9. Mixing & Mastering

      8:53
    • 10. Arrangement

      7:55
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About This Class

This Trap Course is part of Beat School, an online academy that teaches the foundational elements of music production in a simple and effective way.

This course in particular 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. 

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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

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My goal is simple:

I am here to teach you a simple process to understand, implement, and practice making better beats.

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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. 

My courses are effective, impactful, and include extra resources to help you level up.

That being said, your progress is completely up to you. I can’t do the work for you. 

But I CAN lessen the learning curve, provide an easy to follow blueprint, and shave years off your path to mastery.

I hope to empower you with the knowledge, practice, and resources you need to realize that this isn’t rocket science. 

You can do this.

If you are willing to invest in yourself and commit to learning a few hours a week, I have no doubt you’ll be able to achieve your goals with music.

You ready to rock?

Set aside a few hours for dedicated learning, and let’s do this.

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. Course Intro: Another course with your boy key Orion. I'm the man who is obsessed with making dope music and teaching you how to make your own. I've been artists over ten plus years in I created beat School, which is the premier place online to learn hip-hop production. If you want to check that out, you can check it out at the beat school.com or at the producer vault.com where I have all my producer goodies. You can get sample packs, drum kits, templates, all that good stuff there. But this involved that this is about you, what you're gonna learn in this course. I have other trap courses available, this site which you can check out. And those might have a little bit more of a beginner's kind of angle to them. This is going to be a little bit more intermediate, not advanced per se, but this is going to build on the concepts from the previous trap tracks. So people really liked the walk-throughs for the other trap doors. I did. So I wanted to make another one. So in this one, we're going to take a sample, we're going to learn how to flip a sample warp audio. I'm gonna teach you how to make bang in 80 weights, how to make really cool drum patterns, how I make vocal textures as kind of a secondary instrument. And then also how to mix, master, and arrange the track. So this is everything kind of modern trap based this building off of my other trap tracks. If you haven't checked out the other trap tracks, check those out first. Those will be under the whichever site you're seeing this on. This will be under my other projects and resources there. And as far as the course project, I'd like you to put a link to your SoundCloud or YouTube, any sort of beats that you've done before, link those up. I'm always happy to check them or view them, give you some feedback. So again, my name is key Orion, Thank you so much for tuning in. And if you had to learn how to level up your trap tracks, this is the place for you, so please buckle in. Get a beverage of choice, set aside an hour or two, and let's make some trap tracks. I'll see you on the inside piece. 2. Course Overview: One-to-one TO come in through what it do yo what is going on? It's your boy key, Orion and we back in action with another master class for you on how to make some trap beats. Today. To me, I found this really cool flute samples. So this is the sample that we're going to be using. And this is drunk. I found that I thought sounded pretty cool, that would match with it. So we're going to recreate both. We're going to recreate this. Trump had to make it our own, but then we're going to come into the sample and edit it. I just feel like there's a lot of energy out. So got some really interesting bass sounds for this track. I'm excited about to show you guys how to make some trap type beats. So this is say, I'd say probably more like maybe like a juice world type beat, something in there. Some of them maybe you would like some hip boy production and something that's kinda like that modern kind of emotional trap of stuff, a lot of energy. So if that sounds fun, buckle up, get your beverage of choice, but some prison time away, and let's make some beats. 3. Sampling: Okay, so the first thing is first is we're going to just take disable this Fluke Enter. It's gonna start messing around with this reverb on it. Like that. Able to do just do a little days. They're speaker Weird. So there's just little switches here and there. So now we've got just a couple things to it. Not too much. We still got this loop we're going to start so a fix to it and get it up a little bit. Excuse me. This really make it a special colored suit. My favorite plug-ins. It should make something peaked over here. Has to be a little bit different than the end. It's the same make. And keep it, keep it as the loop in fun. Chosen maybe come back to that melody. I do think it sounds kinda cool pitch down, but we will keep it like that for now. 4. Trap Drums: So let's make some drums. I think there's a pretty cool loop. So we're gonna take this and then we're going to make it her own. So what I'm doing is I'm just I'm just pretty much just stealing their ideas right now. And then we're going to build on it. So we're taken, there were stealing their pattern by looking at what they're doing. And I'm doing the same thing. I actually like this one amorphous here. This surf the melody for a second and see how that sounds. And I loved that gig, maybe we come back and change that. So kinda an area. What am I do is I have this clap too, that I think is pretty cool. We're actually going to EQ out there, kick so that we said is confusing. The, i really don't like this cake will sub that are later. So right now what we're gonna do is I'm just switching up the sneers at about Avogadro. They're clapping Earsketch like having snares that are a little bit different. Just because it adds some texture to it. As you can tell that these are these are a little bit softer. So he's turned them down. Ok. I don't want this to be the SRE never taken their, their loop and we're just making their own. So let's listen to what they're doing. They're hi-hat course, so they, they're doing anything too crazy with them. They're just pretty much 16th and eyes and they pitch it down, say then find some other hats and near nurse who has this open. I think it's pitched down a little bit too. Fair to be a little bit snappier. Sent them a little bit, something a little bit. Maybe that would be nice, something like that. They'll bring it back in. After this, we'll bring our loop back in and then maybe add some other percussionists and mysterious. 5. Percussion: But I shall this isn't funded this precaution. So Mozi would have if we slowed it down a little. Yeah, I think I might actually fit a little bit better. So edit this. And I'm going to have some fun with these high heads. This is just going to be something just a little flares here. There's my ads. I think having a little bit more motion, like one open high hat that is just like constantly in the background. Could be cool for the hook. Or maybe a certain part of the verse. Dm this just like a little bit more consistent. Well, it's going to move this off a little bit. And so when were things like open tag, open at impact? Maybe a little bit of delay sum just to kinda get it going. I think he's a little flare some there at the end. Maybe we'll cope with some net. They're a little bit later, but the endosome basis would give it a little bit more life. So let's jump into that. 6. 808s: Aerated rheumatism. Eight awaits. So I figured out these notes are it always takes her well, so that's why I skipped that perks up great music. There's an XP well kinda missed around and the base to figure out the notes, but I found some notes and play them out. And now we're going to jump in here. I fold them, gotta hold them when to fold them. This is just a random melodies, has nothing to do actually with the actual notes and I'm going to place them on the kicks. Let's see what evidence. We just go like this, it await. I'd like to have these higher notes or notes just to see how it sounds. And they need one more thing in here. Literally searching as m grows up, bring out the highs. But I'm not loving. But I might also do it that is, see if we can bend somebody's eight awaits. Coming here. Automate your 800 eight and they go to transpose. Inhibitor might also do is turn that off. Oops. That's right. All right, so that's, we're we're keeping those aways for now. Let's maybe we need another instrument, ACE and vocal symptoms are here to give it a little bit of space for the book. 7. Vocal Textures: All right, so I'm just gonna start experiment with stuff. I found this vocal, these vocal chops from output. And I'm going to go like this. I'm gonna duplicate that because sent its output, it's a midi files, but I don't really like the MRS meeting like this renewal vocals. Oh gee, we're gonna come in here. We're going to make these as dry as possible so we can add our own effects. And so we're going to turn the space down. We're gonna assume the hype down. Then we're gonna convert these to a. We're gonna freeze the track and then convert it to an audio track. And convert are flattened. By. Now we've got some vocals. A regulatory them is intended to do to detect. So I ended up changing this to, i ended up turning this just to I chat this four notes. You might use actually pitched this when a so stance. Student. What I might also do is add, See if I can find a vocal. This baby, because that it like that's one of those things where it sounds really cool and it's fun. But it's not necessarily helpful to someone who's wrapping on the beat. Like it's kind of, I'd say that's falling into like overproduction land. Where what I want instead is something that's a little bit more, maybe a little bit more subtle. You'll see what I'm saying. Test, test, test, test, test, test, test, test. So Jonah is just reverb the heck out of these. Pepsi's up, see what that sounds like. Or foam pitch em up. Actually what I wanna do is I think it would be cool to do this. Let's, you said an idea. Remember this is all just experimenting, protection, I'm just experimenting. And they'd be cool if the soon as actually a lot faster. Oh to go. There is more feedback. Care. She says great vocals to pitch. There's a group, we've got a little Google, this little joy. 8. Keys: Our jaw, I also found some keys. I know this seems like it's just gonna keep going and going and going, but I promise it's not. We're gonna make this quick and dirty keys. Oh gee, I just felt this needed a little bit, something more similar to kind of fill up some of that midrange space. And again, this might be overproducing. Don't fall prey to that, but I just wanted some more, some, some warm chords or some sort of some, so wanted some sort of some, just come in here, actually go into, again, we're going to make this as dry as possible. Window arcade. We're gonna go low phi's. Okay, returned that off because we don't want it and we're gonna select track content. We're going to flatten it. Oh, freeze it, and then flatten it. Freeze. These are, these are chords that I played. These are just from an arcade pack. I defend chords that I thought centered. Okay, so we're going to roll them. Whoops. I'm playing. Actually, I'm not playing It was right. That sounds good to me. Let's 9. Mixing & Mastering: So to mix this down, we're going to come in here. These are really not in a vocals. And this is N a equals to the audio track. So coming in, making this mix, mixing down aways only that bass track, making sure everything's labelled correctly. This don't need that anymore. Snare one claps near to high hat. When I had to, I had three. We're going to use that open hat. One. This open hat we ended up not using afterall chant, open-air impact, cool, cool, cool, got the flu, added subtle Vox group edited these Vox a little bit. Up, up, up, up back, back, back. And we're gonna take these and we're going to move them down here because we don't need them normal. But we're gonna keep marriages case. You want to change some things on the backend. We got these keys. Cool. So if you've taken any of my courses before, you know how I like to mix like disease, everything. If you want my in-depth course on mixing and mastering, I got that. Go take that. So don't get mad at me if it seems like we're just cruise and do his mix because I got time to explain, uh, right now when you go into all that. But in my mixing Mastering course will get totally into it. So that's that. So let's do this. So first thing I'm gonna do is turn it sneer nouns. We don't have anything interrupting cordless carrot cake on. I'm gonna bring this in. I'm looking for like 7.58 somewhere in there. Bringing their 800 eight in. This compressor shall shan't compressor side chain that to kick. Ooh, sounds good. Rather than turn the volume up because there was just bring up the distortion at all. From around 7.57. I like it. I'm gonna copy this searching oppression. Pin a clap a little because why not? That it was searching that I I just to give it a little bounce. But I'm looking for everything just suddenly sound cohesive. And again, we're gonna lose a lot of these. Jerome certainly bring in R or other instruments. So just gotta put interface on it because we'll need to come back to them. The vocal magnesia, turn that down a little bit. You want to say add texture but not be distracting. Facts. Come in and around four. You want to go five and AB somewhere there. Let's add a master on a delimiter, but add a limiter on and see if it's what your ears we're gonna see, I like to add a limiter and then come back and maybe it just some things in the mix too. It's really popping off. So it goes a little bit of a kick some scale, a little bit of glue compressor, give it a little bit more thump. So bringing it around five and entering the makeup gain up to 16. So let's erase this. 10. Arrangement: Or arranging this beat, I think it'll be fun. We got some cool, we got some cool instrumentation going on here. So I'm gonna do is delete that. I'm going to copy this whole beat out. Take it out to around three, let's say. And then let's duplicate that. And we're gonna join the clips first and make it easier to work with. And then we're gonna take it out here to nine. I think this would be a cool, and this would be a cool beat to have with these flutes. Bring some basins or heads to add a little bit over 50 sites at first. So I'll go back and automate that still second. Now, yet now, yeah, we're building this bad boy out one step at a time. I wrote this eight away and keys. There's distracting. To automate this Auto Filter. That lazy determines how you duplicate out the beat. So you arrange it. Arrangement is simple. It's, you just bring things in and out at different points. We actually didn't end up using a lot of these vocals and things. Maybe we could come back at him to him later, but it's really keep your different elements bringing different things in and out. I could probably do some more to experiment with these high hats and I had to edit the arrangement, but we're gonna keep it at that for now. And I've kept it more than an hour. I appreciate your time. As always, means more than you know, come into you soon with more goodies, chicken a minute, piece.