Making Music in Fl Studio: Producing and Remixing | Saad Bhatty | Skillshare

Making Music in Fl Studio: Producing and Remixing

Saad Bhatty, Musician & Producer

Making Music in Fl Studio: Producing and Remixing

Saad Bhatty, Musician & Producer

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12 Lessons (2h 49m)
    • 1. Welcome and Introduction

    • 2. Using FL Studio and making your way around the dashboard

    • 3. What are VST plugins and Samples and where to find them

    • 4. Making your first Drum beat

    • 5. Creating Chords and Making Melodies

    • 6. Adding Effects and Samples

    • 7. Adding Sub Bass and Sidechain to the mix

    • 8. What is the Equalizer and How to use it

    • 9. The Theory Behind Building Chords and Progressions

    • 10. Panic At The Disco - High Hopes Remix Breakdown

    • 11. Reverb, Delay and Compression

    • 12. Intermediate - How to Vocal Chop Like Kygo

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About This Class

Join this class today to finally learn what you need to know about producing music with Fl Studio 20. Being able to create music is one of the most exciting feelings and on this course I show you how to make your very first EDM track and I will be constantly adding new videos to this class to provide you will all the tools necessary to make awesome music.

We will start right from the basics and get you up to speed with working your way around Fl Studio and then slowly introduce the different aspects of music production. 

During this class you are going to create your very first music track. We are going to go over all the basics of how to use Fl Studio 20 and dive deeper into learning how to create beats, melodies and leads.

I urge all of you to ask any questions and I'll comment with feedback and support as soon as possible.!

Ready to become an artist? Then what are you waiting for. Join me today and let that inner musical talent shine!

Meet Your Teacher

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Saad Bhatty

Musician & Producer


Have you ever listened to your favourite artists on your music playlists on Spotify, Apple Music Deezer or any of the numerous music apps out there and wondered what it would be like to create your own songs?

Music Production is one of the most liberating feelings in all content creation. Being able to express yourself in a way only YOU can describe. Whether you're into Dance EDM music, or are looking to produce the next big Trap/Hip-Hop track; you'll need to learn all the basics. I aim to help you learn the ropes with Fruit Loops Studio ( FL Studio) so you can create some crazy bangers!

A bit about myself!

Guitar and Music Production

I am an avid music Producer, Guitarist and Drummer. As a musician I'll help you get into music by getting your comfortable ... See full profile

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1. Welcome and Introduction: Hi, My name's our body. I also go by the artist named Peridot, and I've published music on the lack of spot fire, apple music, Giza, Soundcloud, YouTube and I've been an avid musician for the last 15 years, and I've been producing for about five. When I first started learning to create music, I found it really difficult. I'm really confusing as I never knew the amount of complexities that existed in the realm off what his music production, I scoured YouTube. I looked at lots of tutorials across the Internet, and I found that the best way to learn was watching lots of breakdown videos, learning how other produces made their own songs, Andi tips and tricks off work flows that eventually allowed me to make that music. So I like to invite you to join me in my skill share class, where I intend to show you what I have learned and also take you through the journeys off making music, which includes producing, mixing, mastering and creating remixes. That was surely one of the things I wanted to do when I started to learn to make FL Studio , so beats was to make remixes. There's always called to try and create something new for material that already exists out there. So before we get into the first episode of our class, let's have a look at some of the things that were going to be doing over the course off this class. Andi isn't limited to just remixes and makings originals, but it's also about learning samples and plug ins on working a way around what is FL Studio 20 that's enjoying. - So I hope that's given you a flavor of what to expect in this class. Now I have no particular structure for these classes as I'm going to making this class free , and I'll be constantly adding new videos as I make more stuff on. Further classes will exist which are dedicated to making general songs, so I really hope to look forward to you. Enjoy my class and you reviews discussions any projects that you want to send my way. So what you waiting for? Enroll now and join me on this journey unless that it makes the music together happy, producing 2. Using FL Studio and making your way around the dashboard: hi. Thanks from rolling onto my class in this class, we're going to go through the basics of using FL Studio and also on allowing you to become more creative and create your very first music track. In this case, we're going to go through and create a cargo style track. So if you're familiar with songs such as Firestone or stole the show by cargo, you'll get the feel off those slower paced, more melodious, lead generated sort of songs, which really uplifting and energetic. And my aim is to try and allow you to become more creative on your journey. Where, therefore, studio on at the end of this class, we're going to create our first tropical house song. So let's get right in when you first open fo studio. You see this big gray software with lots of writing on modular tabs. Now it looks quite daunting. I was very much in the same boat when I first started using Effort studio. However, once I got familiar with the layout, it was actually a lot easier to understand, and I I preferred it compared to other Softwares. So let's go through each one of the modular tabs on day get you up to speed with what each one does and why it's there. We have the browser on the left, so this works very much like your file explorer, where you have access to all of thesis samples, the plug ins, any audio tracks that you might want to include. Any recordings that you do with your microphones. All of that gets saved in one of these folders on the right inside here we have the playlist. So this is almost like this storyboard for your track. This is where you're gonna put the different patterns and the different melodies, chords, drums in this area and will be able to compile the music to make our song here in the channel rack. This is where we actually create the music. So this is where we're gonna import the different musical instruments and create those patterns on melodies, base and light leads on any of the recordings that we might do with our voice in here On the top, we have the toolbar. So this is some of the stuff is quite self explanatory. We have the start stop record, but we also have the BPM count. So we able Teoh, you know, change the tempo of the track we have the Metrodome on. Then we have the ability toe input play we have our time A and we have our patterns that this is quite important. As you can see. If if I scroll through, you can make different patterns, Which one you compiling together allow you to create more layers to your track? And finally, these columns here are all related to the modular tabs that we have shown. So if I close this down, you will see how that is The playlist. If I click on this will open it back up again. This brings us to a piano roll where we have a virtual piano. Close this. We have our channel rack. So that's this one here on our mixer. So if any of these tabs disappear, any point you can quickly go to one of these tabs at the top and make sure they are available. So finally we have our file edit, add patterns and options. So these are very familiar across all Windows Software's on these allow you to just make any further edits to the software such as looking at your MIDI settings, audio settings, general file settings and if you have any plug ins that you want to install. So I hope this was a brief and quick but also a comprehensive overview of what the fo studio layout looks like. And in the next class, we're going toe. Look at understanding plug ins and samples and how we use those to make tracks and music. Thank you. 3. What are VST plugins and Samples and where to find them: Hi. So in the second part of this class, we're going to look at plug ins and samples. So in ruin it raw form. A plug in is simply an audio interface, which allows you to either create sound using musical instruments or to add effects. They're really important in creating music, as is the primary way in which we create any sort of sound in fo studio on the Aegis. Way to locate plug ins in FL Studio is either by looking in the browser and clicking on our plug in database, where we have loads of different types of plug ins from stock plug ins in the fruity tap under generators where we can see different plug ins here. Or if you have any installed plug ins, you can get those through your VSD tab, so that is simply a virtual studio technology. Click on this. You'll see a number off plug ins, which again can all be dragged into the channel rack, which allows you to instantly start creating songs. So in this particular case, let's look at the fruity top. So this is the stock plug in area, which all of you should have if you're using the signature fo studio edition. If not, you will have a majority of these in all of that. All of the additions of FL Studio if I drag in FL Keys, that refers to fruit loops, keys, so that is a simple keyboard. So if I drag that into my channel rack, you'll instantly see a piano on this type. Here you will see the different types of piano. So if you wanted to look at a grand piano, we'll load that up. And just by simply clicking on these, you can see how it makes sound. And that's as simple as it is are. The other plug ins include things like harmless. So this is more of a a synthesizer, which creates those very deep and very stint records. So if I hover over this Oh, see those old retro vibe sounds on all of the settings, and these are used to change the sound design behind the plug ins. We'll get onto that a bit later, as that is rather more in depth class in actually manipulating plug ins. But as a starter, that is how you drag in the different plug ins into your track now I'm gonna delete thes as I don't want to use these for our tropical house track, but it's just an example of how to use plug ins. So in the next class, we're gonna start looking at drums, and for that particular class, we're gonna use some samples. Now, if I go back to my all browser tab, you'll see the files here. And in this particular case, am I going to go on packs? Packs are stock in FL Studio, where you can see different samples that have been recorded or pre recorded by image lines . So that is the company that creates Effort Studio and, using these examples, weaken import those into our playlist or our arrangement area to create a beat. So if we look at drums, you can see the breakdown. So symbols, high hats, kick drums, any percussion, so that might include cowbells or Congo's A bongos. Whatever you know, your your fancy. Using any effects that we can put from a drum kit, snares and Tom's and going through these tabs, we have different instruments or bass guitars, normal normal guitars, keyboards or any orchestral sounds. So I hope this has given you an overview of where to fly. I'm fine plug ins on where to find samples. I also have some paid samples that I have bought. So in this particular case, I like to use a lot of sound samples from Kashmir's Volume two. So you can get this from splice audio with a description of where that is in the project files off this class. But I like to use Kashmir's volume as it has a lot off really high end, good quality samples on for a short monthly fee and spice audio, you have access to a lot of different sample packs. So in the next episode, we're going to see how to use these samples to create a beat, and but that will form the basis off our tropical house song. 4. Making your first Drum beat: Hi. Welcome to Episode three Off this class in making your first tropical house track using fo studio So far we have seen how to make a way round, effort, studio and understand what each one of these modular tabs is and how it works. We've looked at plug ins on, we've looked at samples and where to find them. And now on Episode three, we're gonna look into how to make your first drumbeat, which is really the foundations off any musical track. So we're going to do this by using samples which have been pre recorded by third parties. So some of the samples are by image lines. So the company that creates fo studio, but also some samples which come from Kashmir, Volume two, which I mentioned in the previous episode. Andi, feel free to purchase or find other samples which are more suitable to you. So let's get right in. So first thing you gotta understand about the drums is the tempo so that the tempo track is really important as it sets the mood. It sets the pace and the energy behind the song. Tropical house music usually ranges between ah 100 to 115 beats per minute. So the BPM is really important for the genre of music that you're creating up at the top. Here we have the BPM monitor, and we can click and drag to change this really quickly. So what I'm going to do is bring this down to 105 BPM, as that is the pace that I want this tropical house track to be on. And if you want to hear what 105 beats per minute, sounds like you can click on the Metrodome and then press play. Now, as you can see this bar here, this is the position in the song, and this is exactly aligned with this bar down here. So when I press play, you will see how it runs through all that, these little tabs and then repeats. That's essentially a timer. So in the channel rack, what we have is a timer where we can put the samples and allow them to play on loop. This is really important when it comes to creating the patterns and compiling all of those patterns together. So the star, when you load in fo studio by default, you have these four instruments already pre loaded. If you press control and then click left click, you'll hear what each one of these instruments sounds like. So we have our kick clap hat on, snare on the left hand side, off each one of these instruments. We have a number. Now these numbers directly correlate with the numbers on the mix a track. So if I highlight the snare and I scroll up, you'll see how it also scrolls on the mixer. So if I do that to 10 that means the audio is controlled on the mixer dial number 10. So if I hold control again and press the left click, you'll see how that monitor records the snap that I'm gonna bring it back to number four. Now. I find it very important to make sure everything is organized when I'm making a song, as it helps with the mixing and the mastering off the audio later, once you have created your compilation, now, as you've probably guessed, we're going to create a music. So a drumbeat in this channel rack area. So first things first. I personally I'm not the biggest fan off the collapse that are loaded by default or the hats or the snare, but the kick isn't too bad. So what I'm going to do is go to packs, going to drums and choose a better high hat. So if I choose on hats, you see all these different types here on what I'm gonna do is work through a few of these and see which one's the best. Why do want is a high hat which is closed, not open. So that is one which has a has less resonance on It is a bit more. It's has a shorter sound, um, attached to it and you'll see what I mean. That's a closed high hat open high hat so closed and open. So C H o h I really like that. 08 There were 808 high hat. So all you have to do is drag and drag it over high hat and you can see how that has now changed. If I click on this, you will see the actual sound orgy away form so that click here. You will see that as the sound on there. Lots of other settings here that you can add to the sample in particular this one, Um such as changing the volume. You can change the pitch, you can pan it. So whether you want it to go through the left ear or the right here and you can also choose whether you want the sample to fade in slowly or to fade out slowly again these all those different ways that you can add design and character to each sample. We're gonna leave everything its stock and close this Onda. We're going to replace the remaining instruments to create a nice tropical beat. So the kick, I don't mind the kick is quite a nice punchy kick. So we're gonna keep that the club. I am not really a fan off, so I'm gonna go to one of my own sample packs and there are plenty of free sample packs online by cinematics which have loads off samples which you can download. Andi, I really urge you to browse the Internet and find some really cool samples which you feel are gonna be really, you know, creative and really saw off. Um, you know, great for your own tracks and and I have done a lot of this in the past on. I use a lot of Kashmir's samples, so I want to use some of his drum samples. And in particular, I want to have a snap because tropical music usually has a lot of snaps, a lot off percussion, high percussion, low percussion. And I want to add those divides to my drumbeat, clicking on snaps. Let's hear a few of them. I was a fan off number two, so I'm gonna add a number two and replace the clap. And then finally, I want to change the snare, so I'm gonna go into the snare area now. You can either do it in your paid samples, or we can go into the standard stock snacks and see what these one sound like if I personally have a particular one in mind that I want to use, which is from one of my paid samples. Andi is a tight snare, and that is my number one choice. There again, it's in the B chord, and I'm gonna drag the over to snare. Now, in order to make your first track, we have toe actually click on each one of these tabs, which allow sounds to be made. So if I just click on this speaker, but in this place, just the music in the Tyrol rack. So I do this. You can hear this Tech Metrodome on. Let's add a nice four beat. So a four beat is simply for kicks on the drum in one bar. So this is one bar. So all of these here counters one bar and then repeats. So we're going to put four of these in one bar. 1234 And when I press play, you'll hear what that sounds like. Now let's start adding some later this drum B and make it sound a bit mawr tropical At some snaps, add some high hats. Andi, let's add a snare. But we'll do that after we've heard it so far. So that's press play now. That sounds really nice. Eso I'm gonna have a little play around with this and I urge you to have a play around with a swell and try and find something that really is catchy and we feel was gonna jump and pop on. I bring energy to this track. I'm gonna add in some more percussion. Some highs, maybe Like that. Andi, that's nice as well, and then some lows. Now again, you might not have all of these same samples, But there are similar samples which exist in the packs folder in drums and percussion. And as you can see this plenty of things to choose from here. So let's start making our beat. Okay? That sounds really nice. I'm gonna make sure that these are all channelled into the correct mixes. So I'm gonna put this 1 to 5 this 1 to 6 in this one A seven. That way I can add any effects that I want to to the audio. Now what we can do is rename this pattern So two drums I find it useful toe click on the color and make it green I make all my drums green I make all my melodies and chords purple I make my basis yellow on my leads Red That color coordination helps me make sure that I have accurately, you know, cataloged all of the instrument And it makes it easier for me to you, uh, organized mix and master the audio later in the process. So like, OK, and now that pattern is now green. So if I click on the pattern here and drag it onto the playlist. You'll see that that loop of drums now sits there quickly in the playlist bar we can see and a magnet. So if I click on this, this just shows you the snap off, which the snap, essentially in our snap, essentially allows you to place the pattern into the arrangement. Andi, it will be the snap to the different steps in the beat. So if I click on Main, you will see how it will snap it. Each one of these beats in the bar. So I mentioned before that that is one bar and you can see how this is one burr to bar three bar. So one bar tuba, three bucks and what we're gonna do is then put these across four bars and press play. Now, one thing I like to do is make sure each one of these instruments has the right effect on it. Now the kick drum in it is itself sounds really good, but I want to add some reverb and some resonance to the hi Hats on and the the high and low percussions that I've added in here. So as I mentioned before. Let's first color code all of these green. That is the snap for some gonna rename that to snap. That is a high hats I'm gonna rename that toe hats the green I'm gonna rename this to snare Make it green. So that time Hi, Park green. And this is High Puck again. I park too on then finally Lo cook one. Now, a quick trick is if you click on one of these tabs, hover over to the mixer. Press control L It automatically copies the name to that mixer on the color again Really helpful in cut it categorizing and organizing your patterns on your instruments Sunday I'm going to do this for the remainder off my instruments on. Then we're gonna move on adding effects to each one off thes instruments and samples. So if I just make sure that is not done there we go. Now for press play, you can see how all those are organized. Now, I want to make sure that these drums sound hole. So I want to add some reverb to my high hats, but come down here to the mixer, click on high hats. You'll see this area here, which is slots now, these slots, or where you can add in different effects. So by clicking on one of these slots instantly, you will see a pop up window under select, which allows you to choose loads of different types of options. Now all of these fruity options are stock, and I really like using the fruity reverb. So this simply as reverb and mawr echo and resonance to the track. So let's click on this and click on that. You'll see this tab come up now in order for me toe show you what reverb sounds like. I'm going toe, disable all of the other ones and only have hats playing. So if I do this turn off the Metrodome, you'll see how it's got 20% reverb on their takeoff reverb. You can see how there's left DeLay, Andi. It almost feels like it's in the studio, but I wanted to feel like it's in a big room profit, and then I'm gonna do the same to my high percussions on both one and two more reverb. And then finally, the last one. Now this high profession prize. As you can see here, it's quite loud so I'm going to lower that a little bit. Perfect. All right, so that is a very simple, short way to make your first drumbeat on in the next class, we're going to introduce chords and melodies and learn how to mix them together to create and energetic, melodious or for tropical house track. Thank you. 5. Creating Chords and Making Melodies: Hi. Welcome back to what is the fourth episode in our class on creating our first tropical house beat in fl Studio. In the last episode, we store how to create our first drumbeat. Using a mixture off stock kicks on some paid samples which can also be replaced by any of your own samples. Onda We learned how to add some effects to those drumbeat samples and created what was a composition off different drum elements. And then we place those in our playlist area. And what we're going to focus on now is how to create chords and melodies which will overlay and make our beat have some energy on some, um, rhythm. So the first thing we're going to do is open up a new pattern. So effectual scroll up or press. Plus, it will show me new pattern and weaken. Rename this to cords, as I mentioned in my previous episodes, Allah to color cord and I'm going toe color. Coordinate these two purple. Okay. And now we have our purple area click on pattern one. You'll see how that's the drum pattern. And now we're gonna look at patterns to which is our cords now what I'm going to use is a pay plug in, which is why go back to my generators. I can click on my addictive keys. Now, this is simply a piano plug in which you're welcome to go and see for yourselves. This is created by a l N Audio. But if you don't have any paid plug ins, you can simply go to fruity and choose FL Keys, which does the exact same thing. And it's free and stock with the fo studio software. So once you have your plug in, I'm going to root it to number 10 because I don't know if I'm gonna add any more drums. So when I leave a bit space to keep all my drums together by right click AEA rename this to piano I can make that purple. Okay. And then, as before, control l on the mixer and it makes that purple. Now what we're gonna do is make some really simple chords on make them go without beat. So if I click on right click on the piano or the tab, click on piano roll, it will open up this piano. Now the different numbers you see here next Each letter simply refers to the octave. So the higher the number, the higher the octave. I normally start with five because it's normal in the middle, as you can see. Ah, a good six not to hire C four lower. So let's start off with all the chords in our five fifth update. So I'm personally a really fat good fan off using simple four chords for a tropical house song. You can be more inventive and use different mitt majors and miners and inversion cords if you are more familiar with music theory. But for the purposes off this exercise, we're going to use a simple A minor F C G court progression. So if I click on here, it will LaBella's a And now I'm gonna put the accord along this piano so you can hear for it. So that is a court. Now I'm going to stretch this across. If you press control and drag, you can highlight all on. I'm gonna make these fit in, Um, this first section off the bar. As you can see, there are four sections in this one bar on the first section. I'm gonna put the A and if you press play, you can hear that chord and then next is going to be a f So we're going to go for an F Now I'm gonna find my f here. Now, a trick that I have when it comes to making cords is if you have a musical ear you can actually hear if the chord sounds right. So if I click on a see shop, he it kind of works its way up the scale. The same goes to f and then we're gonna have a G well see. And then a g so good and to see and then a g if I play this, you hear what that sounds like now that, to me, doesn't sound very catchy. So what I'm gonna do is rearrange these cords to make him sound a bit more catchy. And you can follow me while I do the same. So first things first. Let's stretch these out a bit. We have a space to work with, man. I'm gonna short in this accord and then make it choppy so you can see here now it's a bit too quick. Let's do that one there. Nope, still a bit too quick, let's put it right in the middle. And then let's drag all of these and those Oops, sorry. Matt drank all of these and move them to the side and then do the same here. And then let's do the you could make it the same size, and I'm gonna drag these up to make them not as deep. So I want to make the see quite a bit higher. So I've moved up to a six. So it sounds like this rather than sounding like Sorry, Robin sounding like this, which was where was before I moved back to C five. You can how deep it sounds now. It's a bit deeper compared to these once, isn't it? Contract that higher. Shorten it to the same lamp, copy and paste, and you can see how it's very easy to quickly drag these over and make your first track. Let's put that there. Put this across copy and paste, copy and paste. And for the last bit of this cord, I'm going to put these next to each other so that they have a bit more choppiness to them. The work done here is simply have we have a accords are a minor chords. Here we have our F cords here. We have our see cords here and RG cords here. Now the press play, you'll hear that Sounds like now that is an a minor. I could just make this an A and see what that sounds like. That sounds a bit mawr whole, because that's a major chord. So I might move this from an A minor to an A Because that sounds rather nice as well. Yeah, I like that. I like that more than the A minor. Now I'm gonna close this. Andi. What we're gonna do now is put that click on the cords and the pattern area and click in the playlist on. As you can see, it automatically fills out twice in this 1st 4 bars. Profess play. Well, we have our first melodious musical track with a drumbeat. Now I'm sure you would agree with me. That sounds a bit bear, and it sounds a bit That's a hollow at the moment. So what we can do is add some effects to that. So going down here to the piano, real in the mix up, we can go to our first lot on ads and reverb. Let's add some river up to that. Now. I'm gonna only put about 10% on that because I don't want it to be too echoey. The click on this in the Channel rack area, we can hear what the piano sounds like now. 15% play Andi. I also want Teoh make it sound a bit less high, um, frequency. So if I click on select, you will see I have the option in Fruity for fruity e Q. Two Now EQ U two is simply an equaliser, which allows you to see the entire spectrum off the sound being played for press play. You'll see it in motion. So where you have the very sharp lines there, the chords being played on all of the faint lines around it are the resonating parts of the instrument press play again on what I want to do is to make it sound a bit soft on do a bit more punchy. So what I'm going to do is take this number seven and click and drag and make all of the high end part off this audio disappear. Press play. Now you'll hear the difference Now what I'm going to do as well is cut off any of the really deep low ends which we can't actually here. You can feel them, but you can't hear them. That's why when you have a basic music, you can feel the base, but not necessarily always hear it. So if I right click, choose the type, I want to have it as a high pass. So basically, I'm allying all of the high, all of the notes above or beyond one be okay, but it takes out all the low or the low end. So quick, high pass. As you can see it create this curve. But I want to make sure it's a really steep cut off. So for pretty steep, And if I click on one, I can move that. If you scroll up or down, you can see how that changes on. I'm gonna make it fall on the line and cut it off around 80 hurts. So now we press play on this. That is our 1st 4 chord progression using a piano now for press play. You hear that sounds like with some drums. Now, in order to make this sound a little more layered on a bit Mawr hole. I want to add another instrument in here, which is gonna be something a bit plucky. So what you can do is either if you have a paid plug in, I am going to I would usually use our if nexus. So this is a paid plug in which has numerous different instruments. Um, but for this episode, I'm going to use one of the stock plug ins just to make sure that you understand and have access to it as well. So what I'm going to use is use harmless close. This I want to delete that are nexus because it is No, we're using. And if I click on this Oh, you can see how it creates a synthesizer. I'm gonna root this to number 11. I'm gonna call this sent board, make it purple boom. Awesome. Now what I'm gonna do is I'm gonna just some of the sounds here to make them sound a bit mawr. Ah, wholesome, A bit more synthesized. Andi, make the chord sound a bit more atmospheric. So what I can do is quickly click right. Click copy, paste it and you'll have the exact same cords for this instrument Now that it sounds a bit too harsh for me. So I'm going to click on here now. Why? Can go is choose Read unison. So this basically is the amount of times the cord is played over different octaves. So if I do one and take it to about seven, you will hear how now it sounds a lot more open. I could go higher and go over to nine again. That's really great. Now what I can do is these knobs in the center. I can actually change the frequency and adjust whether I want the entire spectrum to come out or I want a lowest bedroom. So by choosing and decrease in this frequency, impressing Okay, Theo, like that. But we're going to do now is add some effects on there. So again, click control l rooted to this number 11. Add some reverb at river about maybe maybe put at 15. But what I'm gonna do this time is allowed the river up to stay. But I want the raw input off this instrument which is going into this plug in this river. Plug in to be a lot less than the reverb. So if I click on make it 70% that means only 70% of the original musical instrument is going to play on the rest of it's gonna be reverb, so let's hear what that sounds like. Do you know I'm gonna keep that about 35%? Because I, the Lord atmosphere, do you the track when I played them both together and now because both these instruments are in the same channel in cords, those instruments are already going to put in this pattern. So if I press play, what we've done here today is make some chords on, put it into a melodious or progression on. Attach that to our drumbeat from Episode three. In our next episode, we're going to look at using Audio X and samples to thicken the mix. This will allow us to make a song with rises. Andi sweeps on also the effects we need to build to make a drop which will fall into a nice lead, which we're going to make in the episode. After that, which is Episode five 6. Adding Effects and Samples: Hi. Welcome to Episode four Off this class on using fo Studio 20 on our journey on making our first tropical house truck. So far we've worked our way around fr studio where I've introduced you to the numerous modular dashboards we have made our first drumbeat. We've gone through plug ins and samples, and we made our first chords into a melody in our last episode. In this episode, we're going to see how we can use audio effects and samples to thicken the mix. And we're going to do this by starting off with some sweeps, which are used to build tension and relieve tension in songs before we get into adding the sweet. So what we're gonna do is arrange our composition in the playlist area to move it from simply four bars toe 16 bars so quickly copy and paste drag over eso. Now you can either do this by copy and pasting or just clicking and dragging again. Easy way clicking on drugging. Now, in order for sweeps to be effective, we want toe build up tension in the track, so what we can do is remove the drums for the 1st 4 bars that way. We only have the choppy chords playing and then bit by bit, we're gonna introduce the different drum elements into the track. So what I'm gonna do is go back to my drums pattern in a right click in a clone. That way, Now I have a 2nd 1 and I'm gonna rename this to rename. I'm gonna call it Snaps. Now, in this snaps pattern, I'm going to cut all off the unnecessary instruments apart from the snap. So why one is just the snaps playing on every second beat? So if I press play that plays off every off beat on what I'm going to do is I'm gonna paste those snaps here now to help build the tension I'm gonna do is use, um, sweeps. Now, sweeps are either made in samples. So if I go to my cashmere volume two folder, go down to my FX, I have sweet ups and sweet downs. Now, sweet ups are some examples here. And then sweep downs go from a high to a low. Now he's a really good again, as I mentioned in building up tension or relieving tension in music. So what I'm gonna do is make our own sweet from scratch so that if you don't have samples with sweeps, we can make one ourselves on. The best way to do that is by simply using white noise. Now, White noise can be manipulated in many ways in making music and effort. Studio on one of the ways I like to use white Noise is toe ad sweep ups and sweet downs. So first things first, let's open up a new pattern. So pattern four rename and we're gonna type it a sweet Uh, I can make that blue so I know that that's an audio effect. And then I'm gonna make my way over to the Plug ins bar. I'm going to go on generators V ST's in Fruity and then choose three x o S. C. So that's three times oscillator. Click on this and drag and bring it into my channel rack. You will see this modular tab open now. The white noise is this dice symbol. If I click on the white noise across all three oscillators, it means every single oscillator will be creating white noise. So if I close this and if I add that to a channel so Let's put that on Channel 15 again, leaving some space for more chords in the future and gonna put on 15 in the right click rename and I'm gonna call this sweet up blue Onda. Okay, now I'm gonna control L on the mixer. And that way it links to that column. And I know that's the sweep up. I Now what I'm going to do is simply add in a cord anywhere on this piano roll because we're white noise has no octaves. It's a simple, static sound, which you can see now. And I'm gonna put this across four bars all the way to the fourth bar. Zoom out. You'll see how that goes. Four bars close that. And if I put this in the A playlist, you'll see how now that sweep is four bars long. But by itself, it means nothing. Wait, What we want to do is add some effects to the sweep to make it build up and slowly become louder. So one way to add a lot off tension is to remove some of the drumbeat from 567 and eight. Continue adding more snaps, and we're gonna now work on this sweep in pattern four. So in 15 the first thing we want to do is go to slot one. And what we want to find is our fruity free builder. Click on the free T feet free filter. What this does is it simply changes the sounds frequencies according to the dial. So if I press play and one way to visually see how this poppet works is if I go too slow, too, and add in a parametric eq. You. So what we use before to do the different frequency changes in the cords. If I press play, see what happens when I move frequency bar, it moves down the spectrum higher. So what this does is allows me to make different frequencies off the white noise. So what we're going to do is I'm gonna introduce you now to something called automation. So automation is an automatic process off the effect. So if I right click control over this area and highlight this entire column and then I right click on frequency and then create automation clip, you will see a graph bar instantly appear in the arrangement playlist area. Now, this lion represents this position. So this line right here represents 951 hurts. If I move this up and then I go along the playlist, you'll see how this number is gonna change as you go higher. So what we've done here is automate this knob. So one thing I like to do is start really low. About 120 hertz, as so about there. And then I wanted to get progressively higher in frequency as you go along on. One thing that you can do is change the angle of this line to make it steal it louder or quieter. Oh, she an example in a second. So I put it in this off concave shape and press play. You see how that now created that nice tension, that buildup that rise in the track. This is what you can do to make drops and to build that tension on. And when we finally un selected press play from the start, we're going to see that tension buildup with the cords and snaps. And then suddenly a lead comes in off sweep, followed by the drumbeat. That is how we use sweeps toe buildup, attention for a drop now, one thing I like to do is after we build up this tension and we need to let it drop with dissipate, we need the energy to release. So one last thing we can do is just use a assemble from our drum kit. So if we go back to our browser and we go to our packs, drums, Cymbals, their loads of symbols that we can choose from, which add a nice splash right after the sweep up comes to its end at the end of the eighth bar. So let's choose a crash symbol. You can drive it in, put it straight into the playlist. Now, this crashed symbol by itself sounds rather, um, short lived. I'll show you what I mean. Now what we want to do is one had some effects. This crash to make it sound a bit better, a bit hole and have a bit more reverb. Andi, resonance on there. So double clicking on the crash allows us to change the track. And as you can see in the mixer at the bottom, it changes. So I'm gonna add this to number 16. I'm going to go on close this on in this drop down menu here we can see the different channels we have, so we have all the unsorted instruments that haven't bean put into different categories. We have all of the automation clips. So this is the free filter, which we have here for the sweep on. Then, if it goto audio is all of the samples that we've used directly in the playlist. So this is the crash. If I right click this on, I named that crushed symbol, followed by changing the color to blue again cause it's an effect or is a sample and then go to 16 control L. And now I have to crash symbol there. Now I want to add some reverb on at a bit of delay on. I want to add a bit of thickness to the to the crash symbol. So let's go on the crash symbol, Adan's and reverb. And then let's make this to about 25 a 33% lower. This to about 80%. And now, if we play that, that already sound a bit better now. One thing you can do is take away some of the depth of that crash. We want to make it a bit tinny, a bit higher frequency so we can go to the e que again parametric eq You too. And we can lower that. Lower the base so that we only have the low mids up to travel being played. And all of the sub bases and bass notes off that symbol are not present. It's again. Let's use the scroll toe, Make that bit steep, lower a little bit And now let's play back Already. Sounds a bit better now. One thing to note in the mixer is thes slots. The effects work down in descending order. So the effect at number 10 is gonna be the last one put on the sound. So first river gets applied, then it goes through an e que. And now I want to do is delay and add some ping pong delay to that crash symbol. So the laser nice way to again, Phil sound If I go on slot three and I go on select Andi, I'm gonna choose Fruity DeLay three. Now I really love using this plug in as it again as that fitness on, what I'm gonna do is choose Ping Pong. That way the delay goes from one year to the other year, and then I'm gonna turn on the wetness. So dry is the raw input on wet is the output. So if I choose wet and decrease it to about 50% and we press play, you will see now how that crashed. Symbol delays on it. Ping pongs between the left and the right year. Theo Perfect. No, I think that it's good, Andi. One thing I do now is just rearrange what we've done so far so that it builds up nicely into a drop on. In the next episode, we're going to look at adding a sub based of the truck to make it feel a bit more Basie and have a bit more character. So I highlight all of these tracks here with the main drumbeat extended by an additional bar, add chords in and then move all of sweeps and the symbols to this area and keep the snaps across. What we've done is we've added an extra four bars here that will allow us to add that's a base and fill the track. Hope this was a useful lesson on, and in the next episode, we're gonna add some basis. Andi mics, the bass and the drums together to make sure that the sound and they sound cohesive. Andi, they work with each other well. 7. Adding Sub Bass and Sidechain to the mix: Hi. Welcome back Toe Episode five of this class on using fo Studio 20 where we're on a journey of making our first tropical house track, which uses a mixture off really melodious cords with snappy drumbeats. Andi, some really nice base now talking about based. That's what Episode five is going to be focused on. So far, we have our track, which consists off courts, snaps a sweep up on automation filter for the sweep, a crash symbol on, then a bumpy tropical house beat. Now, with any good tropical house song, we need to have some base. And that is the main focus off today's class is we're going to use some of the stock plug ins on FL Studio to make some sub base, which is going to be very powerful on you're gonna feel it. Whether you're in your car with you. You're wearing this, you know, listen to this to your headphones or any musical device. So first things first. Let's play what we've done so far and see what it sounds like. - Perfect . So in the last episode, just before I signed off, I extended the track to add an additional four bars just year between five and eight so that we can start to have some space to add our sub base. And the way we're going to do that now is by creating some base. So if we right click, we can see all of the patterns that we have so far on. What we're going to do is add in another pattern on in pattern five. We're gonna call this sub base Capitals That ongoing is yellow. So I make all my bases yellow as it helps me. As I mentioned in the first episode, organized my mixer on. When it comes to the final stage of mixing, mastering it makes it really easy for me. Okay, And now, within the sub base category, we're going to go to a plug ins. So either go to the plug in database in the browser or you can click on this plug in symbol just here on clicking on this will bring up all of the plug ins that you have in a more visual way. So if we go on three times oscillator as we same, use that in the sweep up, click drag and bring it down here now, before we actually work on this. Blufgan, close this and let's move this to number 20 on our mixer now. All right, Take here. Rename and call it sub days. Make it yellow. That way. I know space now at 20. Go to number 20 on the mix. Control El Onda. It automatically gets tired to there. Now, one way to work on the base is if you already know the courts were using a a minor F C g or a major. In this particular case, as we rightly saw, that actually sounded a bit more. Hold someone. We used a major chord compared to the main accord. But if you know the cord, you can do it by yourself. Or if you're new to cords and you're not very familiar with virtual piano roll here, you can close this. Go back to the main court section. What, you had the original cords and work on it in there and then copy over to the new pattern. So, four ease. We're gonna use this pattern, and we're gonna click on first things first is we're going toe change the octaves off these oscillators. We want them all to zero. So if you drag put it all to zero or 20 That's going to make sure all three oscillators are using the same sine wave at the same octave. If I close this and if I right click piano roll, I'm gonna go through the different octaves now and you'll hear the difference off how the subways works. So clicking on here three high pitched sine wave so you can already see that in the A three . So the third octave is where the best sub bases. Now that changes depending on the cords. Some courts are so deep, I e. If you went to a C C three, you can't really hear it, so you want to use a C four. So as you play around with this, you will see which cause what's best for you. Usually all cords above A and C three worked pretty well, but you can go is Lois E. If you have some really deep headphones or really good studio monitors for you to hear that , So what we're going to do an easy way that I tend to work is we're going to work in the same octave as our cords on then we're gonna dragon. We're going to track it down afterwards, so the first chords are made. Then we have F f C G. Now, if you control and drag and select them all, we're gonna bring these down or the way too. The a three. And what we're gonna do is see whether the bases audible across all of these cords before we, um, play them along with the cords. So I'm going to disable or close those two. Open up this and press play so instantly we can see how a three is fine. F three isn't quite as audible as I like it. So what we can do is just right. Raise, rise, rise, rise, rise, rise. Do we hear it? So now we have inaudible a three and audible a four inaudible see for inaudible G three. So if I play this great, Perfect. Now let's see what it sounds like with the cords. Move it. Now, if you want to add amplification to the base to make it sound a bit louder, what we can do in our mix the track is at some effects. So first thing I like to do is go to the Parametric eq you and just make sure we're filtering out all of the frequencies which don't need to be there. So in this particular case, I want to make sure that our frequencies are only playing in sub and base. So if you press play a love theme residence, all of the residence that is coming with the main lines of cord, we want to get rid of those. I want to amplify the sub base. So firstly, we can right click. I make this a high pass filter and change the steepness to an eight and bring it down to about 40 hertz. And then secondly, we go to number three and type. I make it a low pass. That way it cuts off all the other frequencies. Now I am going to use the scroll wheel and scroll down so it comes to zero db line and then move this across here is that we only a play music in this envelope. Now if I write right, raises up and get my two and put it in between, you can see how I can raise this envelope toe amplify, make the base louder or make it quieter. So that's play and have a go. Now what we've done is we've isolated the frequencies for our sub base on DWI are able to now hear it a bit louder. But me personally, I like how really punchy base. So I'm gonna close this and in my slot number two, I'm gonna add in the fruity based boost for Click on this and open this up. What I want to do is boost the base at a particular frequency. Now you can see here from most most of our base frequencies Night 50 60. But the weakest base is the F chord. So what I want to do is boost the f court frequency. So pressing play that's about 80 or 90 Hertz is the F chord frequency, and I want to boost that part s so it's a bit more audible. So that's a rise to the 8 90 Hertz frequency. And let's play that now We have our sub base now, as we did before, we had a pattern and I'm gonna cut this go to sub base pattern and paste it here. For now, we have our sub based pattern. Next step is toe put that sub base pattern into the playlist arrangement. Now, where we made that space earlier between five and eight, we're going to add in the sub base here. So if I click here, you can see the sub base is applied and we don't the sub base just to come and go. We want to act one it to actually be in the song from this point onwards until the drop. So if I get this and drag, we now have the sub base across the entirety of the song. If I press control and hit the top bar there, D selects. But go to the start. Let's see what that sounds like with sub base. - Now some of you may be aware that bass and drums go hand in hand when it comes to the kick drum . The kick drum itself is a sub base frequency musical component on what we don't want to do is muddle the two up. So when we have bass playing, we want to make sure we can still hear the kick drum through that base. So one of the things I'm going to introduce you to now is called side chaining side. Chaining basically means Whenever we have the kick drum kick, it creates a bit of space by decreasing the volume off the sub base on. One of the easiest ways to do this is by downloading a plug in called Kickstarter. Now, this is a free plug in by the cable guys, which you can download. So it was produced alongside Nicky Romero. So if you know him, he's a well known producer. On this plug in allows you to automatically side chain any channel that is on that mixer truck. So one way I can show this is I have now put the Kickstarter on the sub base mixer and if I press play, you will see how, for the first few seconds off the bar, the kick start. There is a Kickstarter solve effect which basically means it lowers the volume of the sub base for that split second and then increases again. So let's have a listen. So you hit. You hear that? That volume change. So this is where the kick is going to be on. Then you'll hear the base following it. So now if we go here to our drumbeat area in the channel rack, just as a tester to show you what this looks like. I'm gonna drag this out a bit and I'm gonna put a kick drum on every beat with these two bars and then press play, you see in the state in the subbasement HKSAR How? When is a kick? Now there's a drop in the volume. If I turn off kicks daughter, you'll see how it gets bit muddled. Now, Making space for your kick drum is really important because in every Elektronik musical or electronic Lee produced song, the kick drum is by far the most important instrument as that keeps the pace off the entire song. So it's important to remember that side chain is necessary in every song that you make, where kick drums are more pronounced and you have a lot of sub base that you would like to exist or co exist with it. Now you can use Kickstarter to do, say, chaining, or you can actually say chain yourself, using some stock plug ins in fo studio. But as I mentioned, Kickstarter is a free plug in which you can download online but for, um, ease of accessibility for those who haven't downloaded it. I'm going to show you how to side chain using some plug ins that our stock in fo studio. So I'm going to this green button here and disable Kickstarter, and we're going to do our own side chain using the mixer on day plug in called fruity limiter. So if I goto slot 10 select and I choose in fruity limiter. This loads in this graph with a feud knobs at the bottom with loudness, envelope and noise gate. Now what we want to do is we want it. We want to side chain the kick drum to the sub base. So if I go over here to the kick drum in the mixer, you'll see these lines here. So these lines are essentially like fake wires, which basically mean it's being routed to something. So this particular kick is being routed to the Master Channel. But what I want to do is I want to sigh chain the kick drum to the base as well. So if I click on this and I go over to the sub base and right click on this little arrow down here, I have a few options so I can root the entire drum kick to this channel or Aiken, route it to this truck alone and make sure that it doesn't go to the Master Channel or I could cite chain to this track. Now what I'm gonna do is click on side chain to track and you'll see this wire, which gets flung across to the sub base from the kick. Now that is our side chain connected. What we want to do is make sure that the Sigh chain is more prominent and more pronounced when the kick drum comes. So the best way to do that is to press play. Now you're probably thinking, if we've side chained it to the sub base wise and the volume of the sub priest decreasing well, that's because we first have to make this plug in side chain compatible. So if you go to the camp or the computational area of the limiter, you'll see this option here called side Chain by right click. You'll see how, because I routed the kick to the sub base, I have the option to make the kick side chain with the volume. So if I choose kick, I now have the option to change the threshold at which that side chain occurs. So what I'm going to do is put the threshold about halfway with the sub base, and then you can change the ratio. So the higher the ratio, the more pronounced the side chain and the knee just fine tunes it against the line so you can see how the knee is almost like post side chain effects. So if I choose this, I mean that all the way to the front. You can see how now press play. Did you see how that said base decreased a bit? Let's do it the same, but let's increase the threshold. So we really have a big, punchy side chain effect again, the same effect as using Kickstarter. But there's a bit more detail on a bit mawr things you have to do to achieve it. But the benefit of using the fruity limiter is you have full control over the threshold and the ratio. How much side chain you want to apply to the sub base. So we're gonna leave that free to limiter as our side chain plug in and I'm gonna delete Kickstarter. We don't need that now, So replace and then delete. And now what we have is a side chain base for our track. I'm going to quickly remove all off those kick drums from our sub base on. Now we compress play perfect . So in this episode we learn how to create a sub base. We learned how to make it mix with the drums on how to add Sigh chain. In the next episode, we're gonna now focus on a lead so the hook or the lead is really important, as that's usually what latches on to an audio, the audio listener or is usually the driver of the song. And it's the thing you remember most. So we're gonna try working on a catchy lead in our next episode, which will then unify and create our first tropical house track on. Do I look forward to seeing you there? 8. What is the Equalizer and How to use it: Hey, welcome to another video in this video we're gonna look at using equalizers, Andi, how they can use to help manage your frequencies and sounds how we can use them to really change the design. Be of any instrument that using a track on in this particular video, we're going to start off with just some simple cords and how we can use those to change while piano sounds like And how once you layer those cords, the sound really makes you know it manifest itself into some new forms. Andi, what we're gonna do is start off weird a simple piano. So if you're new to efforts Studio, you can either use FL keys or if you have some plug ins, I particularly like to use addictive keys as I feel like it gives you a lot off variations of nice pianos. Andi, In this particular case, I'm going use a standard studio grand piano. Andi, close this on. Let's open up the piano. Real. So in this particular case, I'm just going to use a basic chords on a let's extend those cords out on just two a. C. G. Ah, see G d on. Let's do s e g d a. So if you're wondering how I know what course to use as I mentioned in my intro video guitarist s Oh, I know a bit about chord progressions and what chords work well with each other. I'm gonna do a dedicated video on core progressions how to make melodies in the Siri's. But for now, just take my word for it and just use some of the major chord which I am using or, if you know some four chords. A minor F c g e minus e g d. All of these work really well together. But for this particular case, let's go straight into these chords and see what that sounds like. Great. There are chords. So what we're going to do is look, put this to number five in our mixer. Andi, as I like to do, I always like to color coordinate a law off my channels to my mix. That way I know where I am. Control l on it links it down there. So there are a few different equalizers you can use on the market. There is the Parametric equaliser to which I very much like to use which is a stock plug in Andi. There are other ones, such as fat build, pro que. But for this particular case, assuming that you only you're using stock plug ins, let's have a look at the Parametric eq you. So if you're not familiar with this, plug in is simply a spectrometer, which allows you to see the frequencies off this sound that's passing through it in this particular case, if we press play, so here we saw a Siri's off faint lines as well as some thick ones. Now these are the core frequencies that the cords are making. And then it resonates off those core frequencies, if you look again some really big, strong lines there with some faint lines around it. So what the parametric EQ you so equalize allows you to do is to manipulate what frequencies are heard. Now, when it comes to making a track, it's really important that you make sure there's enough space between each of the instruments. Andi, if you want a particular instrument tohave a particular focus, you can use the parametric EQ you to really block out all the other frequencies which are needed. So in this particular case, I like to use multiple equalizers on my instruments. That way I can use each one for a different purpose. So the 1st 1 and only do is I like to cut off at high cuts and low cuts because they're certain frequencies, which you can't hear. Just the human ear can't hear it, but it can make the sound a bit muddy if you have lots of other instruments in your track, so simply one and seven at the end of the spectrum. So your trouble and your sub now a piano has no sub base on. If it does, you can't hear it. So let's go to number one. Make this a high pass on an increase the steepness. So it's very sharp. Cut off scrolling your wheel will allow you to just adjust the Q or before the cue off the frequency. So up or down, I'm gonna put it to the middle, and I'm gonna cut it off just as it reaches the middle of base over number two. Just before actually, let's keep it at 90 hertz, 100 huts and then for seven, I'm going to do the same. Except this time I'm gonna make a low pass because basically, I want all the sound less than the seven to come through. It's a low pass order steep again up to the centre. I'm gonna put that about 12 13,000 hertz because after that, it gets very tinny, and you won't hear it anyway. So let's press play now and have a look what that sounds like. And by me adjusting the seven. So the high frequency lower you'll see how that changes the sound. So typically you tend to get rid of the trouble or the high pitched frequencies when you want to add some, like mellow, sort of dramatic sound to your instruments. So in this particular case, when you lower the seven all the way down to around 2000 hertz, it has a very like dark so off, you know, Melo sound to it. You can adjust the ones the step off point so you can make it, you know, a bit shallower. Perfect. So I mentioned before that sometimes I like to use multiple equalizers and one piano, so I'm gonna put this to around 13,000 hearts, dropped this to around 70 and then I'm gonna add in another parametric EQ you and this particular case. Now you can see that whole of those frequencies beyond one and beyond. Seven are no longer there. So what I could do now is I can manipulate the sound within those parameters to try and really make the piano sound a bit more wholesome on a bit mawr to increase the mids a bit off the track. A keep tip is, If you hope for over any off these numbers and you scroll up, scroll down. It will make bigger or smaller variations along the line. So if I do it all the way school way down to about 5% you can see how it's very steep. But by increasing that toe 40 or 50 or 60 etcetera, it gets wider and wider, so it allows you to manipulate the sound to your liking again. So that's using equalizers with the piano. Similarly, equalizers a really important when you're using sub bases because you want toe, isolate just the sub bass frequencies in your track and you can see a tutorial on how I did that in one of my videos called adding sub base to the mix where I do show you how I isolate the sub base. So go check out that video on. I look forward to seeing you in the next one. 9. The Theory Behind Building Chords and Progressions: Hey, so I thought we'd do a little theory and teaching today. Andi, we're gonna basis class on building chords on writing core progressions. So writing or making cords is one of the most important things is a songwriter and producer ? As cords are the fundamental part of your song, they help inspire mood and emotion. Andi, if you knew to making music or even if you're, you know, intermediate, advanced, there's always a really important skill in being able to build the right cords for your melodies. So before we get into building cords, let's talk a bit about the court regressions. So core progressions are a Siri's off two or more cords used in a piece of music. Um, they normally represented by Roman numerals. So I have some photos here which will help explain a bit better. So here, you can see once it loads up 12 seconds laid down. Look out here. You can see a little image here, which shows you some of the major chord progressions, which execs existing music so it is normally represented by Roman numerals. On as you can see here, the next row beneath shows a mixture of major miners and majors and diminished chord progressions. Now, this could look can look a bit confusing but the table works left to right So you can see here where if you were looking for in the major first court progression we've got all major units So a through you to G But if you wanted to find out what chords work in the scale of a you could say OK, well, if I was looking at the major core progression off a you go a b c sharp or C minor, depending on a scale d major, major F minor Andi g sharp diminished. So orgy minor diminished. So let's try this out. So if we're looking at, ah, core progression one a, let's see what a B c sharp d sounds like on the keyboard. So a a B C shop. I'm gonna move this mother screen a B C shop and then repeats so here that now that's a scale, and obviously that doesn't sound like a cord. So now what we're gonna learn to do is how to build cords out of scales. So I feel I'm gonna put these images in the class so you can use thes major core progressions for your own off, you know, guidance. But now let's have a look at building core progressions and with those building court, So one of the most important ways. And I guess easiest ways to understand cord is to use a circle of fifths. So the circular fifth is essentially a big pie chart. Circle here, as you can see and is divided into majors. Minors. Andi on the right and sides, we have some of the sharps and on the left on shy is we have the flats, as you can see here. So this is a really useful way. Teoh create courts. So let me work through this From the right hand side in the big dark circle, we have all the majors and in the light blue in the sun until we have all the miners. So if I was looking at a major chord, first of all, the reason it's called a circular fifth is because the cord next to on the right is the fifth is 1/5 a poor profit fifth away from the cord or the note. So let's have a look at that. So, as you can see he at C one, 2345 six. All right. 1234 That so 12345 So it's the fifth note away so that we now now we know that the C chord ends with a G. As you can see here and now, simply to figure out what the third note in the sequences you come down one from G. So it's an E. So let's play that a C chord. Same way goes, if we wanted to do a D accord, so we got D. That's the route. So roots. And then we have a as being the fifth. And if you want to know what the third note in the center is, it's an f sharp. Let's hear what that sounds like. That's a D. So again, really nice and easy. What about if we wanted to look at a minor chord? So let's let's remove these, Andi. Let's choose, um, for the sake of it, let's do a C minor. So C minor, C minus days on the sea, as you can see here. So see, but end with the G, and it hasn't e flat in it, so see G e flat again so you could see the differences between a C minor on a C A. Lthough words with a change from E to make you happy to make it side again the power of using chords. So that's a really easy way for us to understand. Making cords. Andi, you can use this chart again. I'll put this in the project files so that you have access to these, and now we're going to understand relationships off using chords. So but let's go back to the core progression chart now here. As I mentioned before, we have the Roman numerals, one als the way to seven. So let's start with the major keys. So as you can see from the handy chart if we using the C major as an example, the simple progression would look like this. So we have a see you have a D minor, have an E minor given f major, a G major and a minor onda be diminished. So this is an example shows UAL the chords in the key of C. So if you look at the Canon de, for example, with Cannon D is really famous by Petrovo that is that that is in the canon and D. So all of these notes here are what you used to do. The cannon d again really useful little chart for you to be able to understand your court progressions on what chords fall in scale because there's nothing worse than having a nice core progression than not knowing what other chords can go in there. And then if you go further down, we have the minor scale as well. So if I bring up the minor scale image for you, we have it here two seconds. His minor scale Andi again similar to the last one. We have what we have, seven major progression or minor progressions, and if we look at a minor, it be diminished. See Major D Minor, E Minor, F Major and G major. So again, all of these cords are in the minor key and the minor scale. But the order is different. So let's look at some popular chord progressions like I know the 12 bar blues, which can be found in all sorts of popular music, which is essentially a one Ah, four on a five. So I got the major so a one off four and five. So a, C, F and G so so one is a C, the C f and then a G. That's like La Bamba again. So let's that's spread these out a little bit. So it sounds like it. I just wanna So this is just in thirds right now. So again, this is what Obama sounds like. No la la on a member can t really easy. Let's see another famous one. So, um ah 156 on day four, which is in the C major scale. So I won 56 on before, which is a c g a f. So see a C onda, a c A G and A and an F C G A f So cge and then that's doing f uh so that is probably one of the most popular core progressions that exists in the world. Today s Oh, let it be Well, according this, every single pop song in the in the world has that core progression. So this is Let it be you could sing A cons don't matter to this. You can sing plenty of songs. This with them. So again, that's one way to do it and you can experiment with all off the the cords and this because then the same scale, they will all sound right. It's just the way that you want to use them. So if we're looking at the c major scale Ah, we could do a A C and A C and a a d and then a g again, that's all of those cords were in the key off, so we always did. That was a c a D a C S O S c and a D a g So a c and a D g again. So I hope this class has been a bit useful in giving you a flavor of how to make calls and hardball melodies. I know it was a bit all over the place, but for me, I'm one of the most important things is is experimentation, Andi using the circle of fifths on also using a mixture off the major Andi minor chord progressions to understand music on the kind of core progressions that we can make. So I hope this is helped on. I look forward to seeing you in the next class. Just thanks. Happy producing 10. Panic At The Disco - High Hopes Remix Breakdown: Hey, so today I thought we do seem a bit different on draft. Let me show you how to create sounds. I'm going to show you the finished article s So this is my bootleg remix off Panic of the Discos. High Hopes on. I thought I would give you a bit of inspiration as to how you could rent Make your tracks. I know. Certainly. When I started making music, I found it interesting to see how other produces were making their music. Gave me inspiration. Andi, I hope this gives you some inspiration. So what I'm gonna do is the only go over the chords. They used the structure on talk a bit about how I arranged the song Onda the plug ins and samples at a used just to give you some inspiration again. Just a short video in this class on that. The next video after this will be us making a remix together. So I urge you water going skier music dot com out at the link in the discussion area in the channel s so you could make some Ah, at least making account there and then we can work on the remix tomorrow or the next video . So before we start, let's have a little skim through this and show you what the song sounds like. Andi, we'll break it down from there. Prophecy. Is something the matter with me? Back in the day as we wanted, Everything. One and everything. Moment. Using degrees every day. We wanted everything. One and everything. Mom, Dad, don't give up. It's a complicated way. Perfect. Now I made the song six months ago again. I was searching around online, trying to find the best acapella as I could. And I came across this acapella. And like many of you producers or aspiring producers out there, I'm sure remixes is something that you wanted to do. It was one of the reasons why I wanted to start producing Music was so I commit my own remixes eso I eventually got there. Andi, I'm gonna show you how I did my remix for high hopes. So the first thing I do is always start off with a acapella. So in this particular case, I start off with this Mama said for the prophecy, be something bad. Go make a legacy. Manifest destiny. Andi, Why? I like to do that Capella is first planet, so planning it in one year on the other year is a really good way toe make more space and a bit more atmosphere on the stereo spread as it's called a really good way to make it feel like you are a concert or you're surrounded by the sound. So I simply got the a cappella Andi. I made two separate versions, so I say it make made a unique sample on Die Made one in the right year pan to the right, and I made the other one pan to the left, and they're both on the same track, so they're both still under six. Andi. I then add some effects to make sure that all of the highs and the lows were removed so that you're not hearing any Tenney sounds andan. After that, I messed around with the e que to try and make it sound as as vibrant but also as impactful as possible. Some reverb again because this wasn't a studio acapella. There was some hints off the instrumental behind it. I wanted toe use reverb to try and almost make that bit muddy. So, you know, it wasn't as prominent on. Then finally I I added some, uh D s Inc So ds in can either be done using this tool here. So fab filter, really awesome. Plug in. It gets rid of those sounds, which can be pretty annoying if you don't want it to, you know, be a central point on the song and then lacks a little. Lastly, I put Maximus, which really helped boost the vocals. So that was my vocals there, Andi, In this track, I knew the core progression eso I went for some heavy bass and wobbling base. So I call it Wobble base. That is this part just here. I double click here, Isolate this. You can hear that so that is simply using a plug in court. Ana. So it's a base in the base trance fast base seven. And that's simply three chords. Well, it's the Accord D and then see, uh, that was there. So that's a constantly repeated throughout the the song sub base was pretty simple. That was a simple three way oscillator 000 on. That's just following the court again a f D. C. So together. So one thing that really makes the choppy nature off the song, pretty impactful is obviously the drums So Teoh to make sure that they were really catchy I want some high hats But they were rolling high hat So it it almost pulled the song along So if I make the drum separate here they press that So he, uh I use a simple punch kick drum from Kashmir Volume pack too. My high hats as well. They were stock. I had some fl studio snaps thes were from Kashmir. Volume two on the snare was also from Kashmir. Volume two um, again really nice Snare almost has like a crappy river. Be trying to it. It's really cool on Ben. What's also as important is the connecting samples and the connecting sound effects that you put in a song. So if I activate these here, you will see how with the wobble having the import off these samples. So this is a simple sweep up. This is a simple tape stop. So a tape stop is this. But the impact it almost like, slows the song down, which is pretty cool. So for press play and then for each star of the verse so after every eight bars, I had a crash symbol to add a bit spike. I mentioned rolling, rolling high hats. That's what these are here. So I just made a new pattern with four high hats together, and I placed them off beat. So you'll see here. I put those together again, and I still addition there on. One thing you'll probably notice from my songs is I like to break them after every eight bars. Technically, not every but most of them with a nice sort of like break and then fill it in with a nice sound. So be a pop. Could be a water droplet. Could be a chant Many. I've recorded quite a few of my songs with my own chance in their on Ben. Change the updates of those. But in this particular case, if I isolate the drums on, add in, you'll hear what this stop sounds like here. So sweep up. So that is a simple glitch and a water droplet. Theo, these were from again Kashmir. As you can probably tell, I use a lot of Kashmir samples. I think you make some of the best samples in the game, and I really urge you to go on spice dot com on download through the sample packs, spices, a monthly subscription and you get access to a tremendous amount off sample packs that or say Matics dot com. They do a lot of free sample packs, but also pay example bucks. So let's move on. Now that's the verse. So if you play that together, prophesy something the matter with me back in the day as we wanted, everything one and everything. Ah, now I felt toe added an extra layer to the next verse. Because I'm building up slowly before it comes to the pre chorus, I decided to add some more chops. So at these are my wobble base, so the same ones before, but also adding some stabs in there. So this is using nexus a xylophones again. You don't have to use Nexus. I just use Nexus because it's a nice plug in, which has a low off my sound samples and one, um, but let's play this by itself. So I really like this little addition here because it's off. It connects it back up to the main base again. So for prayer, play that together again little touches sometimes make all the difference. Um, so let's move on now to the pre chorus. So in the pre chorus, I wanted to break down because normally I prefer to have a breakdown before the build up for the drop in my songs. So again, this is a mixture off cords, three plug ins and samples. So one nice thing I like to do is that impact punch. So that's what this is here. It just breaks it down nicely, and that is also layered with an exhaust alongside. That is an exhaust, another exhaust. So exhaust for But I wanted one, which is a bit more delayed. Has a bit more, um, residents to it. So So they play those three together. You hear what that sounds like? A nice way toe. Break it down to introduce the court. And then I added a sample from Kashmir's. Now, in this particular one, this particular sample, its panning from left to right, as you can probably hear on. That was then layered with some pre chorus chords. So there are quite a few layers here. As you can see, we have a sub base. We have another nexus plug in. So this is a Caribbean dream. Sound quite nice again? Let's see what they sound like. So really nice. So base but strings. Now I like my strings. I use expand to so great plug in cement like $19. But there's so much you can do with this tool. It contains so many types, off instruments and vocals and different sound samples. Bond I wanted to get, Um, I wanted to have a feel of the original song in there, so the trumpets and the strings are quite heavy in high hopes. So that's what this sounds like. Play that by itself again. That sort of, you know, a nostalgic feel of the song together. They sound like this. It's a way so naturally as the pre chorus starts toe sort of pick up into the chorus. That's where I started to build up. So the collapse, the high hat, the slowly the slow implementation of more layers to make things sound a lot better. So hi hats. And then we have more hi hat to you as well. Similar, just different sounds so perfect that that's a buildup. It's a base, same as before, So the sub base has what you'll be familiar with from my sub base tutorial. Same local high cut cut off their free base on that and then side chaining using the kick to the sub base. After that, we have the cords, so these cords follow the same boat up Court on Impact, which views before. And then These are some top, um, so off high hat top leaps off rims, rim shots of a drum kit. So if you hear this that with the grim top just there, along with claps on some shakers so press play without the a cappella, you hear what that sounds nice now, But there is no build up without either some snails or collapse. Doting upright. So I added in a kick drum here on the top on this layer, just he ever order Name this. You'll see buildup, kick, some bass drop. So that is simply the bass drum, but adding a bit of chopping there to add a bit more space of the drums and snares the buildup collapse and then finally have my build up chords. Now they sound a bit weird to you because it is an automation. So automation is a really important as they allow you to change the the audio with sound design off whatever plug in a sample you're using, but automatically as it says it automation. So here you have the channel volume for the wobble base, so you'll see here and then we have some simple collapse here. So this is a headhunters clap again from Kashmir volume to ease some of his collaborative artists that have added their own claps in there. Very nice clap number 25 reverb on that 48%. I added some e que on there because I wanted to fade out the Lohans, But you can see how I don't use complex plug ins I don't use Complex sample was the very simple, but it's how you layer them together. Which makes the difference. Is that top loop again way, perhaps only the class and percussion together. You'll hear what that sounds like. So this is just a percussion, along with the sound of X on. Then I had a sweep by river, so this is a sweet building up to the drop again. Cashmere. There's just simple white noise on a with using a fruity free filter automation. So if I took on the 20 you'll see here how we have the free few free, fruity filter there on defy highlight. Over here, you'll see how the free fruity filter works. Let's just highlight these two columns and you'll see how I've added automation to this frequency knob. So currently here at the 58 seconds it is 10 frequency on watch how this automation not here changes as that changes, so you'll see how it goes slowly. Hi on To add that wobbling off oscillation effect, I use fruity love filter, which essentially puts the volume through an oscillation. So if I do this now at here, and if I disable this, you'll hear how it don't no longer isolates. So that's what that's essentially a sweep. So, yeah, let's let's hear what that build up sounds like now. Now, obviously, we're looking for the drop. Now remember, cashmere or one of his live video said that sometimes one of the most important parts off a drop is the gap before it. So, this one bar here or two bars in effect, you have to fill it with something. Now you can choose to either leave it blank so that that emptiness does add more effect. Or you can choose have a drum kit, percussion, a chant, any sort of sample in there to fill the void. I chose to mix a few, set a few samples together, so I play this now. I did that, and I place him in such a way where it felt like a roll. It sounded like a rolling snare. Same go. And then I just repeated the high hopes of us. So that is done by using a plug in court halftime so half times really cool as it allows you to change the tempo as well as the the pitch off the sound. So if I activate this and go into number 10 you see here the Finkel halftime. So what it's doing is it's, um, lowering, its lowering the tempo. But it's also doubling the speed of which I'm sorry is lowering the octave but doubling the speed at the same time. So again, it's cheap. Plug in. I think it's £99.99 when I bought it by the cable guys really cool plug in. They have another plug in called Kickstarter, which is essentially side chaining, which is really cool. So let's play in here what that sounds like. Okay, So the next thing I did was I wanted to use vocal chops in my drop. So vocal chops are essentially your ability to manipulate any sort of sound on on the keyboard. So, as you can tell, if I pressed it, play this by itself. So I did that using the original a cappella, but I connected the displaced X so spliced X exists here. So if a gun plug ins, you will see, um, where Spice excise? A So many plug in. Sometimes I get lost. Um, find around here. Uh, the detective do, um, Spice Axe. What are we went over. Here we go. No way. Go Spy sex down there. Eso This allows you to import sample and then cut it up. So close. This this essentially the sample of the entire song. Andi, when you click on here, you can see how the entire song. So you conduce this to try and chop the vocals to make them sound pretty cool. So I found different markers along which sunlight Really cool vocal chops on that deep lower octave voice you hear is simply effects but on So on this vocal shop, I have the e que reverb. These aren't even actually being used, so I could just remove Remove. That was really, um they're not being used. Just delete these. So all these plug ins here ah, being used. If I disabled them, you'll hear what it sounds like. And as I add each effect, you will hear the difference. Theo Theo again, lower the high ends a bit because it's got very high pitch noise, uh, voice, actually. Reverb on, then stereo enhancer. So this essentially just it widens the sound in your headphones and speakers. The Vote Codex is an interesting one. I don't tend to use Vote Codex very much, but in this particular case, I wantedto add a bit of like Robotti so vocoder also of depth to it. So I did that and then halftime, which we just talked about half times an amazing plug in just saying just saying um and then fat photo satin. I use this for saturation. Eso There's basically as more saturation to the B. It makes a bit more volumetric, but more wholesome. Thief thief filter often the Lohans on ozone imager, which is a really great free plug in by ozone on, basically allows you to widen sound with a to scope here so you can see what that sound looks like against really muddy but really widespread on the graph. You can see that so altogether. That's that, finally, as part of the drop, we obviously have the drop chords. So that was a Siri's off different plug ins from the wobble bass at the start, which we know to a trumpet. Sort of, um, yeah, base jackets trumpet. So this is part of Kashmir volume twos track on. Then serum isn't being used, But I tried. It wasn't a huge fan, but then back to the expand to which uses those same trumpets, which I used him before again, nostalgia to the drop onto the song that is high hopes. You know, lots of trumpets and snares, so let's hear what they sound like. Drums haven't changed much since the first verse on. Then, in terms of the collapse again, the same headhunters clap um, and symbols. So again, a lot of its repeated. It's just the way you lay the tracks on the implementation and the addition off the the trumpets again to this. So let's see what this drop sounds like with the buildup vision always no. Again in the break, the same rolling snares. And I use a tape stopped again as before with a, um, a impact sort off dramas. Well, and then when we come Teoh repetition again, I just repeat. So back to the I decided to do delay the drums because I thought, Why? No, in my adds a bit more impact. So one neat trick you can do when making music is you can use reverse reverse off anything . So, for example, this particular water drop I could reverse that, and it was sound really weird, But you'll get the idea. It's almost a sucking effect. So it goes. It's sort of like it. It's hard to explain every of rust sample anyway. Let's go forward, Andi, see if there's anything else that I did, which might be useful. Um, no. No. So, yeah, that's all Sums that it Really Um I put the link in my in my description of the class in case you wanted to hear the song. I have it in my profile if you wanted to hear it. Ah, yeah. I hope this was insightful. And it gave you, um, you know, a bit more exposure to Howard remixes made and potentially gives you as give your ideas on day. I hope. Um, you know, take away from this leave a review. Um, definitely appreciate your feedback. Andi, look forward to showing you the next class video, which is us making a remix together. Eso again? I urge you to go on skier music dot com making account on down with stems. And we're gonna work on those together about until then. Yep, Just by. 11. Reverb, Delay and Compression: Hey, welcome to another video in this series. Today we're going to be looking at three importance sounds and elements, which is reverb, delay and compression on before we start the class. I really appreciate it. If you guys could leave review on a like Andre Borat me any feedback so that I can help make this class is a bit more tailored to your needs and help grow the community on Scotia . So let's talk about the three elements we've got. Reverb compression, Andi Delay. Each one is unique and is really useful in helping ad saturation add more depth an atmosphere t attracts. So I think the 1st 1 we can start off with is reverb Andi in Feffer Studio. I've already made some preset, um, drumbeats are basis acapella chops on DSM plucks, and we're gonna use the used to see how we can use reverb, delay and compression and how each one effects each one of the checks and instruments differently. So if we open up the plucks, let's stop there on. We're going to start with reverb on delay. So let's first hear what it sounds a dry. So that's just a simple guitar pluck from our of nexus Andi, What we're gonna do is look at reverb. So one of the easiest things you can do first is go down into the mix, attract and find reverb. Now they're different types of river Praecis presets or plug ins. VSC s in the selection menu. I'm all the way from free to river one on and also to free to river too. I also have some custom plug ins which also add reverb. But for this class, we're gonna stick with stock plug ins. And while reverb one is the older edition and revamped is a new one I very much of a fan off the older reverb. Ah VSD plug in from fl Studio. So let's click on that and open that. So the first thing you see here is a tab which has a bunch of stuff on there. We have local hiker, we have delay. We have the room size on each one of these things change the found in some form. So on the bottom left, we have dry. So this is the signal coming into the plug in. So when it says 100% dry, it means that 100% of the input is from the flux, and the river on the left is just how much reverb ation there is on the actual sample coming in. We can use the hiker loca to determine whether how low, how high wanted want to revert to a occurrence. So in this particular case, the river was going to occur after 75 hertz Andi less and 4000 kilohertz. So let's have a see what this sounds like with the stock preset so instantly you can see more atmosphere, this bit more echoing, and there's a bit more presence and you can change the broom size, so that basically makes the echoing and reverb mawr problems. So by making it smaller, we're going down to like a studio side. And if you go bigger, imagine I could have a big arena or ah, big studio, a stadium cuffing so it just increases the delay on the reverb. So I really urge you to mess around in this tool. Andi, try and make your own unique sound. If you want to have it where all you hear is the reverb, we can increase the reverb to 50% and decrease the dry by 40%. And you'll hear now that the input signal is a lot weaker. But what we do here is a lot more reverb perfect. So I'm gonna release that that to about 20 and keep it about 90 there, because I wanna have I'm bit more reverb than dry on The decay is how long it takes for the reverb to taper off. So it by increasing the delay, you're gonna increase the amount of reverb ation that exists on the sound. So no, I've done that. Let's have a look and see what the reeve up to looks like now you can see a bit more modern . The user interface is a bit nicer and more sleep. Andi, similar to previous plug in, put it next to each other. They have the same settings except in the river to you're actually able to manipulate this graphical interface here to make the size bigger or smaller. So the smaller size, the more narrow, the bigger the size, the more the wider the diffusion is, how circular or how much reverb you want there to occur. So the lower the diffusion, the more now the sound's gonna be. Let's see what that sounds like. So we have three echoes, essentially for the reverb that's increasing by one. So now we have four. And then let's go further to us full circle and it's a lot smoother again. We have wet versus dry. So what is the output? Drives the input. So we put that right the way down increase wet, similar to the last one. So I really urge you to use the plug ins mess around with and try be, be creative on DSI What you can come up with. Okay, so that's revive. Done. Let's look at DeLay now. I have different delays in mind with F 20. Some of you may not have to lay to Italy. Three. It just updates to their versions, but they all do the same thing, except obviously with updates and enhancements. So let's start off with the 1st 1 So delay is again another way to help fill the sound. I'd atmosphere to the track and really make um, sounds being vocals. Bass drums only sort of leads off. Sit well in the track, and the adds a bit of fun atmosphere. So let's ever see what delay looks like so opening up this very simple standard. Six knobs here and that's place. Pray and see what that sounds like with a so instantly you can see here how the input very variation of the input will change as I change this. So so right here by low in the input. What we're doing is we're making the plucky sound more prominent on the delay Sound in the background. So you hear that? So you're just changing how prominent? You want the delay echoing echoing delay to be the feedback is how much delay you have. So right now we're about 50%. By increasing that, we're gonna get more delay. So more repeats of the input sound if we're gonna lower the feedback will have less. Let's see what that sounds like. Sweet on. We have the cut off. So by adjusting the cut off your shortening, your shortening the length off each delay after the initial input sound. So by increasing the cut off, you're making all off the potential delay. Sort of echoes from the original signal exist. And by cutting that off, you're making fewer delay signals coming in. You have have any notes So this is essentially how many notes the delay is gonna go through . So that's just one. It's good to five steps. You, too, tensed 16 steps. So less steps, the less delay, if that makes sense. So they go down to one instantaneous, go to two and then the higher groups have go to the 60. Notes is getting longer for the delay ticket booth and an order tempo again, That's your choice. You can do it, auto. So it goes with the 121. Or you can make it on your own terms. So if we make it to 100 so we do it 100 bpm in 120 bpm song. Make it three. Make feedback off way. Let's see what that sounds like again. That sounds really weird because we've got the BP and going off. But you know, if you're looking to do some lo fi or something along those lines where you want to have those unique sounds, which sort go anti tempo, that's something you can incorporate there quickly, looking at what the other plug ins look like again, this effort to delay to Andi This is similar to the other one. Except now we have panning options in here so we can choose whether you want a pan the delay to a particular year, left or right on. In terms of feedback, we have the ability to do Ping Pong. So by me putting panning in the center, Ping Pong essentially bounces the delay into each year, so it pans that left and right. So let's have a look that sounds like so it has that pain pontifex. By changing the offset, a story offset, we can make it where it's less spread. So in terms of time, by increasing these time staring offset, we're adding the longer between each ping pong delay at each year. And then the time is how soon after the initial input signal you want tohave the dilator occur. So the short of the time, the quicker the delay has put the back center and then the last one is delayed 23 So this is the latest version, which is a lot more information on there. We've got the delay time we have the delay model and we have feedback some of the similar things before. But we also modulation diffusion on feedback, distortion all of these things you can mess around with. So the delay time is looking at the time delay literally, as it says, and you can choose to keep that in sync with the tempo 121. Or you could make it stay in line with the pitch. So if the pitch changes at the track, the actual delay can also match that so it keeps. It keeps in sync with that ping pong stereo mono again, depending on whether you want to have your delay to go across both years instead of spread , or you want it to feel narrow right down the center, you can choose that, or Ping Pong, which this flips flops between each one. Andi. The feedback is similar to the previous versions, where you can choose whether you want to have a high cut off, low pass, high pass or band pass, so that will just limit the amount of delay into that band, whether you want to have it low, high or in the middle. And then likewise, the feedback. This is how much delay you want to have. So let's see what that sounds like. So I hope that's giving you a nice introduction to delay Andi. Now I think it's probably best if we move on to saturation, and that's why I have all of these other stems in here as well. So if I'm gonna get rid of pluck, you've probably heard saturation before. Andi saturation is the process off. Lessening the dynamic range between the loudest and quietest parts. Often audio signal. So it basically it boosts the quiet signals, and it attenuate stow louder signals. So that way it allows you to have a good range across all the frequencies across the instruments or the instrument that you're using. So there are a number of compresses that we have an effort studio some, you know, third party plug ins. Um, to that, you know, stock ones. Andi, I thought we look at a few today. Eso one of the obvious ones is the fo studio limiter, which can be used as a compressor. Um but it can also be used as a limited. So a limiter. Essentially, it puts the threshold beyond which the sound one go any higher. So it puts like a cap on it. But then you can go to the compressor option here and use it as a compressor. So one of things we're gonna do is we're going to look at how we could compress a drumbeat . Andi, to do that first, we need to explain what these knobs are here. So as you can see the three different areas, there's the loudness envelope on the noise gate. So this in the loudness section, we have threshold. So that's how loud the signal has to be before the compression is applied, we have the ratio, which is how much compression is applied. So, for example, if the compression ratio on the top left corner here, you'll see is, um, 1 to 1 or 12 to 1 to four or the other way around, So 6 to 1. So a 6 to 1 would mean that there is the input signal has to cross the threshold at six decibels in order for the output to do to increase by one decibel. So actually what that means in a second, and then we have the attack. So attack is how quickly the compressor works. We have the release that this is how soon after the signal dips below the threshold for the compression to stop. We have the knee. So the knee sets how the compression react to the signal once the threshold is passed. Say, I'll show what that means as well. And then we have the output, which also obviously comes at the end here into the game and saturation. Andi, we'll see. What will this look like in this graphical interface now? So I'm gonna put this limiter on the master chain on only activate the drums one by one so we can see what the compressor looks like. So let's put on a limiter. Got a compressor on? Let's just play this drumbeat with the kick drum first so you can see here, right? The star. This is where it peaks. So one of things we can do is the compression is not gonna work at the moment because you can see where the compression lioness here, that's the threshold. And you want to make sure that compression occurs once it hits the threshold off the sound sample. So this kick drum is a lot lower than the threshold. So let's lower that. So currently we have nothing. But if we start lowering the threshold beneath the kick drums sound decibel. You'll start to see how the sound gets compressed under that threshold. So what getting out is apply a ratio. So the ratio is how much compressions applying Currently, there's known being applied. But if we want to increase that threshold to a 20 to 1, for example, so that's gonna be very hard compression on this kick drum. Let's see what that sounds like so you can see how for every kick there was a dip because it's being compressed. So there's been a lot off a attenuation off the sound. Let's change the ratio. But the thinking good, the opposite direction as well. Again, What we've done there is We've compressed it the other way, so we have gone for a 1 to 4. So for every one decibel of sound input, it amplifies it four times again for its instrument. You wanna have a different type of compression? Um, threshold and the knee again changes. What sounds Sounds like a swell by It's hard knee, for example. So we hardly down. But I'm sure that what that means pause this. So I hard knee, that's that's it. That's the rate all reset So that's a compression there on the ratio on if we change the knee, it's essentially, it's making a smoother compression. So if you're a hard knee, I e. All the way down. That's a harder come. If we do it halfway, we have a more gentle compression. So again, it just gives you a bit of versatility and a bit more control over how much compressed you want to apply. So if we start doing this for an entire drum kit, let's have a look at that. Reset all of these. So right now we can see how this one drumbeat has the kick drums, and it has the snares, and you can see that range there. So it had that That's the dynamic range from the highs to the lows. So by applying a compression in the center, we can help make the drum kit sound. Ah, better. A bit more saturated, but more compressed on it lowers the range off that high dynamic frequency intervals. So let's put the frequency midway between the kick and the snare, and then what we're gonna do is we're going to want to put a ratio of 2 to 1 so whenever there's two decibels in it drops one. So two decibels in. Oops, sorry they put that there. There was a threshold about there that's 2 to 1, so that what that's going to do is it's going to lower the kick drum. But also increases snapped the same time. So that's what that sounds like now. So you're changing the knee has made it more gentle. So by increasing that you've made less compression and then back bring a hard clamp on the knee. We've increased compression very quickly, and we can also change the attack on the release, which will change how quickly compression occurs again. So that's one way to do compression in effort Studio. Another way is by using a simple multi band compressor, which is the fruity, um, multi brand compressor. So one of the differences between a regular compressor, which is what we were just using, and the F limiter and if we go here, toothy f l compressor. So the difference between these two is one is multi band. One is single regular band, so a regular band applies compression across the entire spectrum under one threshold, under one ratio and under one so offsetting parameter, whereas the fruity motive brand compressor does it across three. That way you have more control, and it compresses each under each one of the band's separately. So it's essentially one multi brand compressor is like having three compresses in one as it separates. It separates the compression for the lows, the mids and the highs, if you will. So the problem with a single bankam pressure compressor sorry is it doesn't differentiate between the low and high frequencies. So if there's a turn of base in the mix, the compressor will hear that base and compressed the entire signal. Both the highs and the lows, rather than a multi bank compressor, which will allow you to, for example, take out all the all to take out all the lows but retain the mids and the highs if you're looking at sub base. So let's have a look and see what that sounds like. So if I disable off the drums and we just keep this sub base, so this is what it sounds like without any compression could be the that's Turn off that vocal. Let's apply a multi band compressor so instantly here you can see that the low band is being activated because we're in the lower frequencies, which you can change with these knobs here. So by you can see here. How so? If you can make, you can make this low, man. You commit this low band, cover the entire spectrum if you want to do. But that defeats the objective off using a multi band compressor as we're using the the lower band here, which is here at which has the same knobs as previously. It's a threshold. The ratio in the knee, which was more visual on the fo studio mixer. Um, the necessary. But again, I'm just trying to show you different ways that you can use compression effort, studio. So let's see what that sounds like. So the red line here shows you how much compression is being applied to the input, which is labeled here. Let's change the threshold. Lots of compression there, and then there's no compression hard Gracia no ratio hard day, No ni. So that's one compressor. And then finally, we have a world famous compressor called O T. T. This is a free plug in free plug in by O T t Andi I am. Usually I usually use Oh ditty on most of my instruments. I wouldn't only put on the master bus, so let's take it off the master bus. Onda put it on on these plucks, for example. And oh Titi is very popular primal because it's free, but also because it's a very good plug in. So let's see what that sounds like here have actually it thistles. Multi band, as you could control the highest, the mids in the lows. So this is just controlling how much lower import, how much medium import and how much high import you have from the audio signal on these thresholds here determined, Ah, how along the spectrum you apply it. So if I do this year, we're having less low input having a medium low import, having high high input. So that so That sounds like so you can see how much compression. So, baby, changing this I am changed the might of compression on each one of the frequencies. So that is the third way we can use compression. And I hope you found this class just useful. I know we went quite in depth here on the different you know the different plug ins, but it's mawr toe. Want to understand how to use the plug in and what a plug it does. I will allow you to make better music more cohesive on and mawr creative soundtrack. So, yeah, I look forward to the next video, please. Leeson reviews and some comments and discussion area on what you like to see next. Andi, I look forward to seeing you in the next one. Happy producing. 12. Intermediate - How to Vocal Chop Like Kygo: Hey, guys, welcome to another skill share class today we're gonna look at vocal chops as they're very prominent in music these days, especially if you listen to artists like a ago where every other song that he has now uses vocal chops either as, ah, a pre intro into a song or a pre chorus, or even the drop itself, such as high love by cargo on Whitney. So one of things I thought I would do is show you a remix I made of cargoes, which is stargazing. I will make sure I put the A cappella into the project file so you can also try and replicate or just use it as a basis to practice on. Do make your own sound on Day. One of the best ways to start would be to just show you this song. This video isn't meant to be like an in depth video is more off an overview and just giving you some pointers as to where you can go with your own personal tracks and how to go about actually making vocal chops and the plug ins that I use for that. So before we start, let's give a little. Listen, start where I use that Capellas chops as well as in the chorus on the drop. So I'm just gonna press play, let you hear it. And then we will break down what the vocal chops look like And how to actually make those vocal jobs on the plug ins. Enjoy it. Uh, you're saying this whole should hope that having a baby sheep might say is beyond what is beyond us? Soothe. I live in Medio even phone booth. Still, she star gazing. - So that was the verse pre chorus, chorus and drop. So let's break it down If I go into the verse bridge start Yeah, I named Adverse Bridge just because I repeated one of my bridges earlier, but it ended up being a really nice intro to the song. If I go down to here, we can see the entire chops. So if I un select my piano and just play the intro chops so as you probably noticed, I'm using the piano real. However, there are no piano keys. That's because I am using a plug in called Spice X. This is a built in FL studio stock plug in, which allows you to slice songs along specific markers, which you could do manually or you can do automatically. Andi. You can then use those two musical type through the song. See, as you can see, I just went through, um, the chorus. So why did was you have to find the right notes to go to beat, so it's always useful to have some chords. So these are the official cords for stargazing, but it gives you some really nice sort of work with. And then you can. We want to make sure the vocal jobs match the rhythm of a song. So in this particular example, it's It's just looking through a simple, a sharp F C three chords. But it's it's the use off the pianos on the bass notes, which give it a bit of flu and drive. So I know those chords at those chords in, and then it's about making the chops match the piano. So in order to make a, um, vocal chop, it's a simple as going to the plug in tab. Here, finding supplies X, adding it in a window open. Now, the easiest way to go about this is to cycle through to your audio where you have the a cappella, as I mentioned before, will put the acappella in the project file so you can follow along. Andi, you get it and you drag it into here. So now we have the way form in this plug in. We could click on this tab here, which is medium or to slicing and order slicing this in order. Slice the deck. There we go. And now it's a simple as going back to the unsorted panel where you have all of the other plug ins and patterns. And now we have here the new chopped version off the song. And this is the whole song. By the way, it's not just a segment. If I click on this, you'll see a continuous string off notes going up the markers all the way to 128. And this is the maximum. You can go on the piano role but will actually go a lot higher. As you can see, it flattens out eventually to just the song. But if I press play, you say in this whole lose data should hope lens heaven can helpers will maybe sheep mine again, record so Now you can sort of get an idea of how you start making vocal chops. So if I delete if I delete all of this So let's select and delete the parts I don't need I also don't need these here now. I much Hi. So if I just play the chords, I be up Evan Oh, oh, oh, oh But oh, I'm that that the uh oh, oh, oh, 00 oh, 000 So, uh huh oh, oh, uh oh, oh, but but go uh radish. Oh, Len, Len, Len Learn Len Len Oh, oh, But the so again that I know it sounds really bad, but it gives you an idea of what you can do. Vocal chops does take quite a while. So I would suggest if you have a MIDI piano keyboard used that, as it's a lot easier to be more creative on a keyboard than using the rial as you have more spatial awareness with your fingers. But again, it's just giving you the work flows to do that. Andi. Once you find the right set of notes, you can make something like this. Andi, that is the intro. But then, if we go to the drop, it's completely different. So take out everything apart from just the chops. Todo So that is a mixture off, just using the right timing, doubling up the notes, as you can see here God dio dio. So in order to make it sound the way it does if we had over 28 you can see the loads of different types of effects on here from reverb. I use the good old sound good Isar on fo studio. Now I understand some of you might not be using Effort Studio, but considering this whole classes based on FL Studio, this is essentially a it's It's like a auto mastering plug in. It just makes everything sound good, but sometimes it makes it sound too good. Where sounds of the auto tune you're a bit fake. So it's about trying get the balance right? Some e que. That's just to take out of the high ends because it is quite a tinny song. Unless you add Cem effects on there, I use pancake, too, so this is a great plug in. This essentially allows you to pan left and right. So if you assume the middle is center you want right here. Left Here you can custom and manually change when you want the sound to, you know, go to the left or the right year. So it's really cool. So when you hear those variations and left and right year, that's through this plug in. So I really urge you to check that out, if you can. More e que This was their eyes. This is there on automation. So it looks flat right now. But as you get through the song through the course, it does fluctuate and it takes out some of the tinny of high ends. And then lastly, we have NFL are limited. Just is just to make sure that, um, you can use the gates and gained function. So if I if I put if I put the gain up high, all the sound comes through on again. That's automated, but a really good way, Teoh. You know, make sure that no anomalies or any fluctuations in the sound come through, especially when you're working with, like, not perfect quality studio A Capellas, because a lot of these being made by fellow producers who managed to extract the acapella orders from there. So let's see what this one looks like with thesis ound and audio. But I'm gonna do it in layers solar to start off with the muted guitars. Do do Teoh, do you? - So I hope that's giving you a flavor for vocal chops. Onda. How you could use those in your own songs. There's nothing difficult about it. Making the vocal chops is hard, but want to have a rhythm, adding all the effects that you would like to use on them makes it really easy, whether you want to Advil coders to make it sound a bit more robotic. Whether you want Teoh, use plug ins such as halftime, which makes it double the length off each bar. But slow it down so it sounds really cool. So if you've never used halftime by cable guys out, have a look into that as well. Um, but I hope you find this useful. Andi. While it's not necessarily a beginner class, I've hope I've shown you how easy is actually to use that. Um yeah, really appreciated feedback and any reviews with videos, and I will be following up with a caravan remix on day after that we will go back into some more music theory as I hope you gain more from just learning about the theory of making music. Then sometimes is watching because it's easier to watch Onda not learned you can watch and copy, but not necessarily learned. So we'll go back to the basics with some music theory off. Um, how how the different instrument work with each other along the EQ you frequency spectrum. So yet, see, or the next one? And thanks for stopping by on perhaps producing.