Making music without hearing it! - FL Studio | Mr. Belt & Wezol | Skillshare

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Making music without hearing it! - FL Studio

teacher avatar Mr. Belt & Wezol, DJ/producer duo from the Netherlands

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

Lessons in This Class

5 Lessons (35m)
    • 1. Introduction

    • 2. Intro and drums

    • 3. Break and vocal

    • 4. The drop


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About This Class

In this first studio challenge Sam tried to make a track without hearing it throughout the whole process. It's very interesting to see how far you can come in a track with only the visual aspect and knowledge about making music. 

More info about Mr. Belt & Wezol:

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Kingsday were celebrated with four appearances throughout all corners of the Netherlands. But if you really want to see the guys in their element, you should visit their "The Cuckoo’s Nest" hostings and clubshows. Here they play long solo sets or invite all of their DJ friends for a huge back2back frenzy. The ADE editions are traditionally sold out and new editions will be announced all year round.

Our new track ’One Thing’ is OUT NOW! ❤️



Meet Your Teacher

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Mr. Belt & Wezol

DJ/producer duo from the Netherlands


Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Ki... See full profile

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1. Introduction: What's up, guys? Welcome to a studio challenge. The first one. Today, I'm going to make a track without listening to is throughout the whole process. I think it's going to be very bath, but maybe we can learn something from it. So let's go to the mute button right here. All right, so the sound is moonlets. She can see slightly different setup. I have a new screen here. I haven't connected it yet, but I'm planning on doing all the metering on this green stuff. Anyway, let's dive into the actual making of the projects and let's go. 2. Intro and drums : So I'm not starting with my templates just to really start from scratch and throw some drum samples in there. Let's just start with the drums. Just to show the monster there's only a limiter on here. And that's it. So I was thinking about doing this track or trying to do this drag in G minor. So let's take it kick with a g in it. So this one waveform looks pretty weird here at the ends. Let's choose another one. Actually. Yes, that's the one. As let's just throw out a pattern in air. And it's called KaiC alignment project, nice and tidy. Let's first from sound. Already. They're already really liking. This is challenge at stake. This clamp right here. You high hats. Definitely open high at seven. It's one of my favorites. I'll die ads. So this is our simple drum loop and we can't arith, but it's, I'm sure it sounds really nice. So let's throw all this stuff. A, o, a mixing channel, which has already been done. So let's check the actual leveling of everything. So it's just kick. I always unlike my cake, minus2, just a little bit of mixing, which is weird because we can't hear it, of course. So let's go for roughly minus two. Actually, I really like a deme, DB meter on my master channels so I can kinda hear or see what's the actual levels are. So this is minus two, so that's roughly okay. So to clap, usually some compression is needed. So we can actually see the amount of compression that's being applied right there out of gain is, in this case, pretty useful. I think. I always go for roughly the same level of the clap I hads. Let's just try a compressor on there as well. So one thing I actually, we can just use the cake for once as a side chain. So this is actually the boring stuff and we should skip ahead. Or something like that. Perfect sound. Hey, that's actually being side chains too much. All right, so that's the basic loop. I guess. Let's throw another pattern in there. And let's just take some kind of loop. You slice x. Term loops. Actually take a Rx file, that's a read cycle file, so it's already cut up. Nice. Sop Loop, definitely this one. Okay, So this is, this is the problem. So maybe we can actually pay and that it's going to be a little bit risky. Maybe. Anyons I want this to sound somewhat okay, of course. So, you know, we can, we can play with the actual loop, but I'm not sure if it's yeah, maybe we should just take this part right here. Just quantize all his stuff. Comfortable queue, you don't know it already. Control plus L, two legato, everything, slices maybe. So we have the most basic intro ever made in human history. I'm an already doing too much precise stuff I think. But maybe just throw a little widened engineer does is like that. The standard white noise thing that I that I use via automated at the beds. Throw it on a Effects channel, give it some reverb. I'm so use this stuff all being set up already in, in a template. So no bays obviously. So the base to the cutoff. Same actually goes for an open high ads like that. Okay, so we have our basic intro, we have a basic effects going into the break. So let's now start with. 3. Break and vocal: What are we going to deal with a break? We should throw in an ARP. It's easy, it's easy to make it sound somewhat good. So let's draw serum in there. Now the next question, of course, am I going to use presets? Are, am I going to try to sound design something? I'm actually going to try to sound design something. Maybe it's just, maybe that's just fun to do. Coined as rp. So we have a ton of wave tables here. And let's maybe take one from massive, Put it up an octave. More voices, the children, too much, maybe. That's just adds. Solve that in, in the plug-in effects. We'll someday. I'm not seeing much feedback. Okay, so now we need to have a pattern. Of course, I'm not classically trained, so I'm not sure what's notes exactly fit in what skill luckily, FL Studio has. I think it's called stamps right here. And in here you can see all that difference skills right here and here you have an actual courts. So what we can do is we can actually pick out a skill that we want. So we can go for minor melodic. Minor. Yeah, let's go for minor melodic. And if you then throw it in right here, you can see all the notes that fit into that skill. So if we throw this into the genome as g as the roots, you have a G minor scale, g harmonic minor, right? Like look, we chose melodic minor, yeah, yeah, yeah. Okay, so if we throw this on a new sampler channel and actually throw dish right here. So right now if we go to AARP, we actually have a, a blueprint of what nodes we can use. So we're gonna do the whole project in G minor hopefully. And we can create a melody now. So maybe g, c. And then like a G should be an octave higher graphing, something like this. Let's repeat that. So and then we are going to quantize it Alt Q. I'm using a Mpc 60, 75% swing. It's just used as clever. And maybe also make the notes a bit shorter. And of course we're also going to do that here. Kind of drawn an envelope on the volume, pulled a sustained down. Not too much, no release or hardly any release. And maybe we can actually use the filtering to use the actual arc in the intro. So we're going to use this. This is Europe now, I guess we're going to say this is the R pretty interval are now going to maybe what should we do? We could, of course go for a really simple P&L low key kind of thing that follows the ARP or just calling its full R four. So like that, this is gonna be the full arc. So we have this standards centered melody one octave higher. And maybe we can now change the melody like slightly. Then this goes down and then this goes to the, Sure. Yeah. I did this in a weird way. Is something new for me as well. Really curious how it's going to sound. This is way too low. So we can also maybe use like an E here. I'm just watching these nodes right here. Let's just extend this. So we can now also pulled these nodes into the scale, the correct skill, if I'm correct. And this one, just go there. And let's just check if all these nodes are also incorrect scales. So, yeah, this is our piano melody or ARB melody. Alright, so that's the full ARB, which I'm going to throw right there. So what we now can maybe do is take this R right here and it's sake the low notes from this arpanet or the use that for the bass notes on a piano. Piano's throat, it's pretty low. Right here. Glue them together, legato to maybe even this low. So this is just going to throw those notes right here, and then the flop comes in there. So you add these low notes are exactly the same as the low notes of the full rp. So what we should do now is maybe add some processing to the piano and also to the ARP. So first, let's go for some compression on the arp. I'm just literally doing something. If no clue how to do compression. If you can't actually hear the sound input. Something like that. And what we also said we were doing was actually automated cutoff here. Just for that suites in throw. Something like Nance, cuckoo. Then the piano, that's also at some compression, sort of BNL. Perfect. Now the next thing I want to do, I think, is maybe add some crashes. Crashed 121 of my favorite crashes. Crush 47, also a really good one. Crash. It's for me, throw something lay on there. That's bop, bop, bop, bop. Bop. Then throw in compression afterwards. Not sure why, why nots and not. Also a crash here. And of course hair renaming is because I have OCD. I actually don't suffer serious disease. So yeah, that's the break. For fun. We could maybe throw a vocal. Let's just throw if you want to party, if you want to party. Okay? So we don't actually know what key this is n. So what we can maybe do is just rename this vocal, throw it on a mixing bus, then use Melodyne. And then the dye to listen to the actual vocal right here. So we can see that it starts at an aim. And we were working in G as we and we wanted to snap to a G minor. So if we then go back to this pattern, we can see that. So that's for the G minor skill. We actually have a G, will never have seen that before. So g, That's okay. A is actually also OK. And B is not okay. So B, we could throw that to C. So this should be in the skill of G minor. So what we can now do is actually re, record this. Let's do that again. And let's just drag this in here without saving as central plan. Let's do this. Now here. Okay? I normally just save it's due, I compute and then drag it in. But now I'm just doing it like this. So we now have in T or in scale, vocal, hopefully. Now how are we going to time this? I have no clue. So the lyrics here, if you want a party, if you so maybe we should just spreadsheets. So this could be if you want to. So this could be maybe a tea party and this could be the, it, if you are something, we should just go for this if you want to party. And maybe this panel looks like it could be on the let's say that's involved on any debt much maybe like this or something. And we can also throw this phone call right here. Rename it. I'll call, go to the vocal general, removed as Melodyne. Remove this, then maybe throw in a CLIA vocal, which is a plug-in by waves crits Lord, LG. And it's just Pro and some some presets. Rock female. Sure. No bass, treble. Sure. Okay. Whatever. So that's let's see what the levels are. Oh, that's pretty loud. So we can also now do is at some dequeuing and then I get a big Played reverb. A little. Plates, focal plates, stern, dry sealed, lower, greedy lay lower size, whatever. Something like that, adds more dequeuing. Oh, maybe you can lay as well, by the way, delay 12. This is going to be either the deal breaker or it sounds rating nice. I'm guessing for this first option. Levels seem kinda arrived here. Okay, so we have local, we have some, a lot of stuff going on. We should heads towards the drop. So maybe let's just throw in some standards. Roles as their roles. Let's just take the 9099 race. There's, there're more slope. Okay, so we're gonna go form. Okay, add this. Let's go for this and then throw in the vocal maybe did later. Gonna go for this. Okay, so as still working bistability just walked into reset the camera, see algebraic snares I change then the volume envelopes right here. Let's give it some slides, containerization and legato. It's, and then throw that here, I already did that. And then at some filtering and filtering and then later also some volume automation, something like this. And also a volume above. And then let's go for maybe 22 counts before the drop where I'm gonna go for like a fail or something. And we're going to cut it all off and move this. Throw it on a mixing tank, throw it up on on track as well. As well? Yeah. Sure. Okay. Well, that's the bill up, I guess. Snares, which snares again. 4. The drop: Now it's time for the actual drop. So let's just throw this in air. Also throw in the crash, of course. And let's start a new pattern and call its main, main, main base. So for this, am I going to sound design something? It's going to sound really bad. Of course, not going to use presets. That sucks. But I did. Ok, let's, I'm going to go for presets with this one. Like a harp and armor harm are presets because we did the sound design thing on the AARP. Maybe we can actually make something decent widths preset. So I have a sum of presets right here. We have no air, no clue how to sounds of course, but it's a preset I made, so hopefully it sounds somewhat decent. So let's use the scale again. In the new loop. Let's throw it in here. Okay, so maybe we should start with an actual base step because that's just easy. It's easy to make that sound somewhat goods. One nodes. And maybe we can actually sound designed well now let's just take something's getting to, the video is getting too long already. They step. Definitely this one. Depression. The base tab, some donations so it cuts off after one counts. Okay, so now the actual melody, we have notes right here. This is G. We know that's, says it's saved. It's, Gee, I hope I hope I labeled that correctly. So yeah, let's be saved. Start with a gene maybe. Then we can also do maybe is actually use the melody of the RP two. And to kind of draw inspiration from them. So we can see them here, slightly. G, G, G, G, C, C, C at some contamination to death. Then we go to the D, of course. And we then go to an a. And this is going to sound horrible. Let's end off. A, a F sharp, we can use that. It seems monetization. Maybe a lot of compensation that shorter. So this is our melody. Let's see how the level of our own that compression, it's pretty louds. So we have our melody, I guess. And maybe here we can make a variation. Should I remove that splits? And we can go up and nodes. And that one's swell up. And then here of course, we can throw in the high heads, the clause high hats, which is really unusual, in which the throne to the highest from the get-go. And also what I like to do with my high heads is actually use this to make them a bit shorter. Actually, maybe I can also adds snow. No processing on that. Yes. You can just do that real quick. And then I'll show after the processing adds a transient Master to make it snappier. No. Then of course we're gonna side chain based to the kick oh shit. Fruity limiter. Buh buh buh. And also, of course, the base step, something like that. Then after a while we can actually maybe throw in the vocal again. We also have the side chain, the focal slightly. I hope maybe it's not necessary. It's doing Latch. Okay. So I think we have everything. 5. THE END RESULT: So the big reveal, I ended a vocal and arpeggiator everything and get her inherit yet, right. Nothing worse that you wait, here we go. Okay? Okay. These growth, that's the intro. Levels are actually pretty okay. The focal company here, 900 year, Ryan honor, you learn you learn how to challenge you. If you're not you sick. You learned how to go big. There's been an iterative. And with those rules that say, if you want to borrow a segue sig project, the arpeggiator is the easiest sound I've ever heard. This part. This part is just doesn't work logically as it is. The Bragg was worse than I expected, and the drug was better than I expected. Drop is pretty cool. But for it to drop, I use a Presets and for the break, I used a sound design it myself. But yeah, of course it's hard to sound design if you can't actually hear the wave tables or using impossible, right? And the mix was actually pretty okay. The only thing that really bothered me a lot was how load the main Days was, which is this channel sky up dead a bit. And yet a folk or if you want it by, It's actually on beads. Somewhat. That was the biggest surprise because of course I couldn't I couldn't hear the timing of it. The only thing I could do was thrown in Melodyne To see what notes were in there, and then actually throw it on the correct nodes. So it wasn't scale as you knew? It was. Do you want to RT? Yeah. Yeah. And that was in the in the title of the sample. And so yeah, the biggest learning points for doing this studio challenge, I guess, was you can't sound design without hearing what you're doing. Which is not really a big surprise. Yeah. What else? Yeah. So the mix was not terrible. I fall. It's of course the samples could be better a better match with each other. But because the levelling was pretty okay, the this was actually sounding pretty okay for something, you know, here they're getting and doubleAll just done on leveling and some basic, better compression, basic filtering and stuff. And yeah, I think that's all I can say about this challenge. If you have a cool studio challenge for me to do in a studio, please let us know in the comments, right? It's a heavyweight throw a pole somewhere in the future on patria. And so you can throw your suggestions there as well. I had a lot of fun. I've never done this before. And I thought, you know, the end result is pretty okay. So yeah, this was fun. See you in the next video.