Millionaire DJ: FL Studio 12 - Pro Music Production Course | Evan Humber | Skillshare

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Millionaire DJ: FL Studio 12 - Pro Music Production Course

teacher avatar Evan Humber, Serial Entrepreneur, Social Media Marketing expert

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

28 Lessons (6h 46m)
    • 1. Intro Opt 1

    • 2. Installing Packs and Plugins

    • 3. 1 Intro With Themes

    • 4. 2 Interface 1 With Themes

    • 5. 3 Interface 2 With Themes

    • 6. 3 Interface 3 With Themes

    • 7. 3 Interface 4 With Themes

    • 8. New EQ Lecture that finally works

    • 9. EQ With Themes Part 1

    • 10. EQ With Themes Part 2

    • 11. Compressor With Themes Part 1

    • 12. Compressor With Themes Part 2

    • 13. Synthesizer With Themes Part 1

    • 14. Synthesizer With Themes Part 2

    • 15. Mixing With Themes Part 1

    • 16. Mixing With Themes Part 2

    • 17. Mastering With Themes Part 1

    • 18. Mastering With Themes Part 2

    • 19. Song 1 Part 1

    • 20. Song 1 Part 2

    • 21. Song 1 Part 3

    • 22. Song 1 Part 4

    • 23. Song 2 Part 1

    • 24. Song 2 Part 2

    • 25. Song 2 Part 3

    • 26. Song 2 Part 4

    • 27. Song 2 Part 5

    • 28. Song 2 Part 6

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About This Class

***Please note me and another online teacher made this course together so the voice in this course will sound different then my voice in my Instagram course :) Thank you for undstanding***

"I know Music Producers make Hundreds of Thousands of Dollars selling beats and songs to other artists, composing music for games and movies, and from record sales, but they must be wizards or something or went to an expensive college to learn."

"I want to be the next big music producer, but I've never played an instrument. That means I can't do it."

PS: Me and my partner made this course together, so there will be a voice difference comparied to my Instagram course. 

"I love listening to music, but I can't figure out where to start to make my own. Is it even possible for me?"

"I've been searching for resources online to learn Music Production, but I can't find anything!"

For some reason people think that you need to have music experience or untapped innate musical talent to become a Music Producer. Even more common than that is the idea that Music Production ishard. People have hundreds of excuses why they feel they can't become a Producer, but there's something I'm going to tell you here that will change your life:

Anyone can learn Music Production. Music Production is completely different from playing instruments and you don't need to know how to read music. Most famous DJs like Avicii and Martin Garrix have no musical training and taught themselves everything they know.


One and a half months after learning Music Production I got a job in the music industry making hundreds of dollars per song I made. This was all entirely self-taught and without formal musical training and the job practically fell into my lap! This was only possible because of the powerful learning methods I developed. If I knew this sooner then I wouldn't have had to suffer through anormal and boring life full of stress and work and I could have been enjoying every single day on this beautiful planet because I could set my own hours and my work was one of the most fun things anyone can do.

I was shocked that it was so simple. I asked myself everyday if I should keep my methods a secret so I could maintain my advantage, but I then I realized that I can permanently change thousands of good people's lives by teaching this. I knew I couldn't hold this back from the world, but I also knew that I couldn't give this information for free. That's why I made this course, so only people that are interested in investing in their future and changing their lives could learn what I know.

Like every great course, I'm offering value that is worth much more than the price of the course.Here are a few examples:

  • Learn by making 2+ Professional Songs with your own personal melodies!
  • Learn and understand FL Studio 12 inside and out, from the beginning straight up to Mixing and Mastering your very own beats and songs.
  • Learn what steps to take to start making money from your skills as soon as possible.
  • And much more, resulting in 3 COURSES worth of value!!!

Welcome to the best Music Production Course on the Internet.

Get ready to change your life forever.


What are the requirements?

  • A copy of FL Studio 12 is a requirement.
  • A trial version of FL Studio 12 is available and will work, but is not recommended.

What am I going to get from this course?

  • Create Electronic Music just like the Top Producers!
  • Sell your songs and start your career!
  • Learn how to get a Job in different production-related fields
  • Understand Equalizers and how to use them
  • Understand Compressors and how to use them
  • Intuitively use Synthesizers to make awesome melodies
  • Make incredible drum beats in a matter of seconds
  • Understand how songs are put together
  • Use their knowledge of the frequency spectrum to make room for every instrument in the song
  • Use proper mixing techniques that will result in a much more professional end product
  • Use proper mastering techniques that will allow students to improve their mixes by mastering instead of ruining it like many other producers
  • Use your ear to figure out different melodies and create melodies easily just using their mind and the software
  • And much, MUCH more!

What is the target audience?

  • If you are a human being that has or has had any desire to learn how to make amazing songs like you hear on the radio, THIS COURSE IS FOR YOU!
  • If you hate fun and you want to keep your boring job forever with no hope of ever escaping it, this course is not for you.

Meet Your Teacher

Teacher Profile Image

Evan Humber

Serial Entrepreneur, Social Media Marketing expert


Hey, my name is Evan Humber welcome to my world!

Ever since a young age, two things have gripped me at a deeper level and more powerfully than anything else: Entrepreneurship and helping others follow their dream while making a living. I was looking up to people like Steve Jobs and Jack Canfield for guidance and the lessons I have leaned from hundreds of hours of reading, watching videos, investing into mentors, courses and of course going out there and experiencing them myself has given me a depth of understanding and knowledge in these fields that rival even the most experienced veterans.

I have a passion for helping others have success and live the life of their dreams. Creating valuable content for other entrepreneurs and like minded individuals to benefit from is trul... See full profile

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1. Intro Opt 1: Hello and welcome to the FL Studio 12 pours. By the end of this course, you will be making music like a pro. All this must look very, very confusing right now, as it did to me in the beginning. In the past, I thought people that could use this software must be wizards. There must be something special about their minds. Or maybe they must be some prodigious musicians. But honestly, this is a lot more simple than you may see. Your CLB knobs and dots, names, buttons. And what does this do? And this Is this even a fruit? Really? Right now, you have no idea. But I do not want you to be afraid of all of this. I want you to be excited because you are going to understand all of this. And you're going to know exactly how to use everything useful in this application. Isn't that exciting? In one day, you can cover all the basic features on this and then remember them. And right from there you'll be able to make beat songs anything right off the bat, for example. What will this turn out to be? Let's listen. See what I mean? that's what that does. And you probably didn't know that before now. And I will go over all these things in depth if you have used FL studio in the past, but you're more used to fl Studio 11 or 10. I strongly recommend you looking over the basics as well, because this is FL Studio 12 and things have changed. I really look forward to seeing you on the course, and I can't wait, teach you everything you need to know. 2. Installing Packs and Plugins: Hello, folks. Right now you're looking at my Windows desktop with a bunch of things open I'm doing right now is compiling the course and plug ins Pack here. It will have sample packs for it, and it also has buckets. And it comes to just under three gigabytes, actually, of stuff for you. Uh, what? I want to tell you where to put them, which is something you either have to figure out on your own. Or you can have a very handy lesson from me. So these are all 32 bit plug ins If you know about the difference between 32 bit and 64 bit in programs. Ah, it's just the amount of memory you can handle. So 32 bit is still relevant, especially for Viets teas, but, uh, yeah, these are all 32 bit. It's better ever 64 bit if you have a 64 system, but it still works just flying. So what you have to do for 32 bit plug ins and even find 64 Big plug into this folder, but you go to program files and then you got to go to Steinberg VSD plug ins seems a bit, uh, random, but Steinberg made PST begins, Boulder. So anyway, what you do, you get dll dot diello, it's application extension, right? And this just runs as its own thing, right? Some of them need a picture to be with. Um, this is the interface for dill set. Um, but others most can just kind of be plopped in. They have a picture contained within the code. So what you do is you just click and drag into here, but there's another place to you need to put it in VSD plug ins here. Or there's another folder here. Steinberg VSD plug ins, 64 bit plug ins. These usually contain, um, like first party sort of software like isotope things and FL Studio. Whatever. Like in house the STS in House V ST's or Purchase V ST's often automatically install into folders like V S T plug ins in 64 BET program files or in 32 bit probes program files. That's what X 86 means. X 86 is like the instruction code name. It just means 32 bit. And then if it doesn't have that and you're in a 64 bit system that is 64 bit. If you're on a 32 bit system, you won't have this X 86 there. In fact, you only have one program files folder, so that's how you convey definitively. Tell if you're on 64 bit or 32 bit, but in the end, it doesn't really matter. And if you're using mostly 32 bit plug ins, you should probably run the 32 bit mode, even if you're on a 64 bit system. In a perfect world, everything will be 64 bit because 32 bits systems can only use up to four gigabytes of RAM , but actually maybe even less. But 64 gigabyte programs can use ah lot something like 32,000 uh, gigabytes, gigabytes of RAM, which I don't know if we're gonna ever reach that level of Ram needed. Well, maybe someday 100 years later, but definitely future proof for sure. Ah, but that aside, does that. I'm sure some people didn't know about that, But yes, Steinberg fiesty plug ins is the easiest place to put it, but we also have to journey into image line, so images line and 32 bit is just gonna be fl studio 11. I just have all the other stuff I have. I used to use fl studio 11 mainly, um, until fl Studio 12 came out, and that is in the 64 bit program files. But if you just installed FL Studio for the first time in his 12 and you're in a 32 bit and there's only one thing is gonna be in 32 bit underneath image line, which is the company click that that I feel Studio 12.1. Here, you got the other fold? Issue just, signore, double click. And this is why I like there should have been should be like a guide when you first started the program, because it's quite complicated, but you get into here, then you go to plug ins and then v S t so obvious teases where all the plug ins go. I just put them in Steinberg and actually have to take them out of here. And we're to fix the problem. Had for a little bit. But you just click and drag that into here, and, uh, then efforts to you 12 confined it. As for sample packs. You had to go into data patches, packs. What you have to do is drop a folder into here. So if you have a folder over here and say this is the folder hoops said this is the folder , then you just drop it in here, and it will instantly appear within the program for you to use. So if you open this up, you got thes each of these players sound. I like this one because it has a bunch of weird sounds that always kind of enhanced songs just like that, Right? So that's what these all are there just wave files which are run, compressed audio, and ah, there things even just click and drag into your project. So that's what paxar. But always refer back to this, remember, is data patches, packs. But what if you want to find your programs, Um, like your projects. I mean, this is the default folder here, right underneath Patches in data you got Project and projects is where all your stuff is. So I always, um I was give things weird names, and you can go ahead and do that too, if you want. But when you export things they tend to default to here. I like to put them in different folders, but it always defaults to projects. And first time I ever used FL studio, I remember I didn't know where this Waas, you know, it's not in any sort of easy place, like I'd expect. Ah, a company like this to put it in my documents or something, but it doesn't create any folder there. You actually got to go into the system and find it here. So these were the projects are once you know where that is, you can find them easily any time. But if you double click one of these, it will open up the project in FL Studio, right? Mm. And yet you create any folders you like. Just keep it organized, I guess. Or not whatever. Whatever you feel comfortable with. Like, I'm not too comfortable with too much organization. I like it to be a little bit messy. Just keeps the creativity flowing. But yet that's what you do with these. Just anything that's in the plug ins pack should be here. I cleaned it up. I'm gonna put it in the zip folder to make it smaller anything that's in there unzipped, um, but that you just double click as long as you have winter are. But these were all these air, all zip files, and most most programs just automatically deal with it. Boils, Right. So most operating systems, I mean, like, um, Mac and Windows both have their own unzipping utility. It's not unring. This is win robes. So that's that. Pretty much those air plug ins. And now you know how to install them. But but but But But how do you use them once you're in the software? So it's open up. Fl Studio 12. Yes, Running on the computer, please open it up. May not give you a gander. Usually they be in this plug in database, right? And they are, I guess, But, um, I had an issue. No, a super common issue. But the issue is that every time I tried to put in effects, plug in that every time I put tried to put in effects, plugging into the mixer like like this, and then say this distortion this wouldn't load. It would say Oops, can't load it. You put it in the channel mixer and it would put it here, and I obviously didn't. There's no rhyme or reason why it would do that. But computers, you know, they do that. So that's how you added there. Anyway, how is my problem? So I had a delete plug and database in my file system, and I have to restructure it. But for now, I just have a big list. Um, yeah, in this list. After you've scanned for them, you'll find them and you'll find the brand as well. This is variety of sound, which makes all my very favorite free plug ins very, very good. Free plug ins. In fact, density Mark three is, um, probably one of the best compression plug ins I've ever used. It's anyone that uses it, loves it. It's used in a lot of very, very major productions to make the sound very big on glued together and strong, you know, so you ever listen to a song and it just sounds like everything's just so big, like you hear a drum and it's not just in one little space. It's big, you know, don't know. Explain it. It's just big. This has presets and the ability to make things sound really really big. And that is obviously a really, really big plus for any type of modern music. Randy Music in general. So density, Mark three. Very good. So how do you get these? All in here is you gotta go to manage, plug in so you can get through there in different ways. You can go into the file settings that you believe? Yep. File settings manage plug ins. Uh, this will just give you information about it. It's good. Read on. You get this big thing, and before you actually start, scan and verify plug ins. Um, you're not really gonna see anything special here. You're not going to know what you're seeing. Um, and this your program is not going to know about any new plug ins. It's just not gonna know. Right? So we got to dio I always leave this open re scan previously verified plug in certain cases and issues, they will re scan anything and re sort them right, but verified plug ins, right? Always verify that sorts thumb into effects and generators, which is very important when you hit. Start scan. Always do this. It will scroll through all the folders you have set up to find things right. When I was trying to fix the problem, I put this. I decided to make it look into the plug and database. Right. Plugging database doesn't actually hold the plug ins, though. It holds shortcuts to the plug ins. And that was the root of the problem. So I had to just delete it. So anyway, that's why that's there. If it's a blue, it means you out of it. So, yeah, there's all the folders. It checks for different types of es teas and stuff. It verifies him. It's like, scans them and could tell what they actually are. Who made them. You know how many bits there are these air 64. These are 32 right? Ah. And then it tells them if there is seen through, in effect, a generator or effect. And after you've done that, close that up. Okay. Okay. Who's that up. And you can just add whatever you want anywhere. So here, if you had my same problem, you just have this. And yet find the one you need. Israel. My synthesizers. And then the effects would be over here. Totally different set of things. Now if you've never had the problem, when you open this up like a safe place, you won't have more plug ins. You'll have a big man you here that's all based in the plug in database with different categories and everything. And I really hope that it works perfectly fine for you, and it probably will. But if, uh, people have enough of a problem, you just gotta find your plugging database here. Help! I'll go over how to fix this problem now. I just really hope no one has it. That was wrong, Cat here. So it should be in severe is and system, I think because I deleted it, right had to get rid of it. So it's not in VSD is not any of these. It's in one of these folders. Trust me, it is. Maybe patches something because it's not here anymore from exit. Just There it is. Yeah, it regenerated it. There's blood and database. If you have any issues with, um, effects plug ins being loaded instantly into channels, right click delete seems a bit weird, but you just have to right click and do it all the plug in things that showed you there will work just fine. You'll just get a different menu. It will cause some problems because you don't have, like, you can't eliminate plug ins that you add. There might be a way, but not easy anyway, so I'd say, find a way to restructure it Once you're done, I just I kinda I kind of fancy this menu, though, so I'll leave it for a bet, but eventually restructure it. So hopefully that helps anyone before they have to ask me that, you know? So let's just have some faith. NFL studio that will work for other people. So is this. It was frustrating in the past, but it's all good now. I love FL Studio 12. They have very good software, but anyway, that's that. That's what I wanted to show you in the first few lectures. It shows you exactly how to adds, has the download to the Pax in the plug ins, and then this will show you how to install them. Obviously. All right, have a wonderful morning. Afternoon, evening. Anything. People. Cheers 3. 1 Intro With Themes: Hello and welcome to the basics. You're going to learn the entire interface of FL studio here. Gonna learn what this is gonna learn. What? This is gonna learn what this is. And even over here, the big complicated list. You see just a bunch of packs which I actually have a big pack of packs and v ST's, which you'll learn about later for download in the course, all for free. Everything you need in order to make awesome music. That is what I have for you and what else I have for you is a vast score of knowledge. That would be a hell of a lot of fun to learn. Really looking forward to it. Cheers, guys. 4. 2 Interface 1 With Themes: It's about time we learned what all these things are right in this lecture, we're just gonna do a basic overview of all the basic functions around a festive you 12. Now FL Studio 12 is an evolution over its older versions, such as F It'll Studio 11 fl Studio 10. Uh, and it really expands its bottom things quite well. So I'll go over why it's awesome and what everything actually does. So this year, this is where you just kind of lay down your tracks. You make a pattern over here, then you throw it into this and that this is where you kind of paint your soul. So it's a very visual audio mix, and I always thought that was really interesting. Like this little icon here is actually a paintbrush, So you are seriously just painting your pattern on. In fact, I can demonstrated here, even though there's no audio pattern one you see that painted on, and this is how you do everything here. You can also draw it on one of the time. However you like whatever arrangement, stretch and drag it you see. So if you have notes that come up to here you don't want to cut off some notes and maybe make a new pattern. Which something you can do? Let's say you have a pattern that's this long. But you only want notes in the first court quarter and you want to repeat it. You can just drag it like that. And then no repeated. Just painted on. See that? As long as you click it, it painted. Uh, what happened there anyway? Yeah, I just didn't make it perfectly. Anyway, this here is a snap. And I should probably start out with this because, uh, snap applies to the piano roll, which I'll tell you about in a bit. And it applies to this. I'll tell you what this is a second actually even see right here is called the play list. I was gonna get to that. So this is snap. Maybe you can have an inference of what it is. You see, this magnet used me and snap settings. Anytime you highlight something, you're gonna have something up here that kind of tells you what it is. So if you're curious with any of these weird buttons are, uh, some of these buttons I don't even really use their pretty much pretty much useless for most situations. But if you want to know what they are, we have this highlighted right now. But if you want to know what they are, just highlight your mouse over anything, and it will give you a nice little description there. Some will still be obviously pretty confusing. Uh, but that's what I'm here for. Anything important that you need to know, I will go over. So this is now. Oh, snap. What this does is it stopped you from miss aligning all your audio. So this is each step, you say, Like this little section here, this little like 1/4 section of each other section. This is like a fractal A Z. You zoom out, you see the same thing. You know, when you zoom in same detail. Yeah. Anyway, this is snapping to step, and this is a step here, and then everything else is based on the steps. You have 1/2 step and you see that the lines double there. They have a bit more accuracy. So then you head up the 1/4 step and have you more accuracy. But we're one we're gonna want to zoom in for this one. If we go to know snap, which you're gonna have to do sometimes for really tricky lining if we go to know snap. As you see, we still have increments which you can actually change in the settings. But I wouldn't recommend it. These are very, very small increments. Right? So if you zoom in far enough, you can see them, and you're gonna need this sometimes. But something that happens, every producer and it's always frustrating, is you forget the turn. Snap back on. You want to, you know, have step if you're doing basic arrangement. Or else if you have, I'll demonstrate. Here, zoom out. I want to line up this pattern year to this one. I want to line them up. We're gonna turn off snap. Let's see how well we can do it and sort of, you know, look at that. Look, it seems pretty good, but we're gonna have to go into the microscope view here and see that. No, it doesn't matter how good it looks. If you're out there and you have no snap, you're not lining it up. You see that? Like I'm not even 100% sure it was lined up. You step. Look, you saw it. That it was It seemed to be lined up, right? But now it's not. I think you can understand how frustrating that be. Well, I hope I'm not confusing you here. Hopefully, this all makes sense. This is just where you put different patterns. I guess I should get into a pattern. Is the pattern is what you make here. So like this, for instance. Oh, this is Thea Song Patterns switcher Here. I'll go over that in more detail later, but this is a pattern. Listen, you see that you can, So you just kind of put whatever their right. And if you hold right, click right, click and drag, you get rid of everything and it's going click Stop. That isn't pattern. So, as you might have noticed, every time I click something here, the notes appear here, right, So we can play it here. But we can play here, or we can play it on the playlist. Here. You see that? Obviously it's all screwed up because I just threw patterns everywhere, of course, but you get the gist of it, right? Like a little switch button boom. You're playing the pattern at the switch button boom. You're not playing in the pattern. So let's say we want to get rid of these. Remember, Just hold right click and you can just erase everything. Hold it running over, bam! All going. So let's say we want to have another pattern. You know, we want some high hats in a separate pattern for some reason usually put them together. But what you do is you picked this little plus up here that ah added to name ready. Call it whatever, because whatever. Don't do this. Actually, if you are making a new pattern, try to be descriptive. Uh, I'm guilty sometimes of just I'm guilty sometimes of just kind of calling it pattern to just giving it a random name. Just, you know, it's ah lazy thing, but it hurts you more than helps you. But anyway, we have a new pattern here. If we go here every time, it's glowing orange in place, just in the pattern and let's see what it sounds like. A pretty annoying it, in my opinion, because these are the stock sounds for FL Studio Stock Sounds Reference Studio and really not very good. Sound. Very good. Um, but anyway, we can actually paint these on now, you see? And if we played together, click that played together Got some sort of beat ish these line it better sex. Snap. Who? You see? I almost did it. So another thing. You dont go over alignment. So you see this? I just moved this and it changed the character of the beat. Actually, you can keep doing that. I could do this. Oh, done. Never mind. I'll click away and, um then you can resize things. I think we'll demonstrate that again. Here's me. Go in the long awaited ways. Also, you can't select edges or anything when you're in the square selection tool that you can't select anything when you're there, will you select things? But you can't resize them. You have to be here or here, you know, sort of interactive ones. Anyway, let me go over some alignment here. It's gonna make this one shorter, so it ends there. Right? So, like what I said earlier, we're going to select everything that, uh, we're gonna shove it up against there now. What's gonna happen? You see the patterns are aligned differently all the way down. So different is what used to bay actually different like that. I thought that was kind of the feeling. Now, if we do this, that's the fundamentals of rhythms. Where's the stress on the rhythm? And it's the kick drum that puts the stress on the rhythm. In this case, because there's just high ads and kick kicks, the more powerful of the two. So it dictates it dictates where the stress of the notes there. So these are what I consider the absolute basics of FL Studio, and you can go on FL Studio right now. Hopefully are already there, and you can make a beat like this so you can make it all in here. And I don't know what's with the crazy beats you want to make. Well, e throw something together. Boom! And now when we play this, I don't even know what's gonna happen. Right way offset it even more so it's offset even more so now these kick drums are going to do something weird to this drumbeat. Here she is always fun to dio. Arguably, that doesn't sound too good. In fact, it could get worse. Still bad, partly because the FL studio basic kicks sucks. But hopefully you kind of get the gist in this alignment thing. It's actually quite important, uh, in making music NFL studio. Just you can make an entirely different pattern with different stresses just by moving around one track relative the other. In fact, you can have full loops, which I'll get into actually out saying, Now, loop is a recording in, um, you know, four bars or whatever number of bars in a certain tempo, which this is a tempo, as you would know. You know, we have, like, a micro stepper for the tempo here that if you drag on that, you gotta set it back to zero. But, yeah, Loop is a recording that set to a tempo, and it plays maybe a synth pattern over and over again, or drum pattern or something. You can actually offset two loops if they're two drum kits and you could make an entirely new beat. And that is something. That producer is very, very, very often do quite a high level trick, but very, very easy to execute. As you can see different character, you could always just you know, add notes here. But the thing about arrangement alignment is it surprises you sometimes with some really, really nice beats. You know what I mean? And that was the very, very basics of FL Studio interface is the step sequencer and the playlist both, which can be found here. It's the mixer channel rack. It's playlist. You got browser projects. Opener. This is different little shortcuts here. Sometimes I just go through the menus, but sometimes it's way easier just to click this. For instance, this is playlist. If you click it again, players disappears. Don't don't that and they call us a channel racket was really called the step sequence in the past, so let me be clear on this. This is step sequencers slash channel rack. It's called Channel Rack because these were all channels. But again, that's for another video. Click Dad open and close it, and that is the fabled piano roll that I will get into next lecture. Thank you very much for coming along on this journey with me, and I hope it was enjoyable for you. I implore you right now to go and make Cem beats just mess around with that fell, studio. See that you can figure out on your own. That is always the best way to learn nitty gritty anyway, to get a feel for things. So, yeah, see you in the next. 5. 3 Interface 2 With Themes: Hello again. Welcome back. This time we're going to learn a bit more about the interface. And as you see, there's already something up here. I wonder what it is. Your second. So in this lecture, we're gonna be focusing on how to work with samples and loops and also the piano roll are probably going to be the main focus is along with a few other things as I go along. But as you can see, this is a project that I made very very recently. I was kind of threw it together, Um, there together today, about two hours. Um, but it's it really illustrates my points about samples and everything. It's just looking at. This is a good way to learn. I do believe so. This is the play last year, and I bet you're wondering what the playlist of a, uh pretty complicated song was like, Well, let's see. All right, so this is you play listing question might shorten this a little bit. You can actually do that. So you start out with the intro will go through ah, sections and also ill get into how to complete songs as well. Anyway, here's the intro is the first bit. You got the drop. You got, like, a recovery from the drop. You got another drop, like another recovery. And then after this, you have Teoh kind of return. Do this, Just do something that's, ah, bit different, that different. A sound different drum beats. And then after doing that for a few sections, you just returned to the drop like this thing again, and then that ends your song. So song structure doesn't have to be as, like, nerve racking and stressful. And I don't know, Back before I made music, I have no idea how one would finish song. You know, I could only get the beginning, and I have no idea what to do. But the key really is just to keep doing it. You know, you'll figure it out. It always seems really uncertain, but you always figure it out. You always figure it out. But to start this lecture, we're going to play this. You'll see what I have worked on. All right, here it is. So that was a project that I did today, and what I really, really wanted to show is that samples are extremely versatile, so as You can see a lot of what you heard was were these things, right? And I decided to make little structures cause it's cool. Purple blue liver. Um, yeah. You see these? These little little things, right? You must think it's just one little sample, right? No, no, no, no, no. This is what I did. This is the true sample. You see all this stuff. So let's let's get into could have just change the size of whatever. Let's just get into, um, samples and loops and why they're more useful than simply putting dropping them in and letting them do the magic, you know? So this is the original sample here. You see that? So it's just kind of like a messy thing you might hear in trap occasionally. What I did is I got away. All of that only kept this part, and what I did with that is I turned this into another one. Actually assure you to do that right now. This is a very useful skill. Zoom in a bit so you can see it more clearly. So when once you have flattened out your sample and you have is one spot you like click it and then if you click again and paste it right, but you can click this little thing in the top left corner. Do you see that little like wave form in the top left corner here. I'm pretty sure that's what it is. Um, and you get a little menu. So what you want to do is make unique. And it means this specific thing on the playlist is right here becomes a unique sample. So hit, make unique, and then, boom, it gets like a little number two. But at this point, you can double click it and get into its properties menu again. This will look really scary when you're first beginner, but don't be afraid of anything. It will become known. It's all very friendly stuff. Just, uh, yeah, well, I don't know what else to say about it. It's It's awesome. You just gotta kind of work at it and figure it out. No problem. But you can do things like this. You can reverse, you know, and it doesn't affect anything else. So what does this sound like? Could see. Thats pretty cool. It sounds like meat is over. Simple, actually, as you see it like, flipped everything around us. Well, like that is now leading edge. So let's hear. Theme is not interesting. It actually sounds a lot better backwards than forwards. Like I can illustrate that as well. So you know this in my opinion Anyway, the backwards one just sounds kind of gonna need. But anyway, this is now an entirely new sample, and you might be seeing this in the background. You know the step sequencer. What is this? Why is there so many things? Have I work with it now? These things are actually dropped here automatically, including this one. It should be in here somewhere because it's a new example. Anything that goes on this playlist. Well, these are all duplicates, so only one of each of these will go here. But anything, anything that's a sound clip that's put onto the playlist becomes a channel Here. You see this? These air just the audio clips. See, this little drop down menu is very useful. This is where you see all automation. Unsorted. Unsorted just tends to be like the drums and synthesizer and whatever but audio are all the audio clips that you see I didn't have to add them to this. They just automatically appear there. Automation is another thing I will get into very, very shortly. Uh, it's basically drawing curves to change knobs. E can't explain that much better than that without showing you right now. So I will is just hold tight for that. But automation is really need anyway. Audio. So you were already on audio These air, all the audio clips, right? So you can actually go toe all. And then we get to see our everything else, right? Then I'd like to just go to unsorted so we get rid of all that point and stuff. So this is ah, plugging called Shefi. It does not seem to work in FL Studio, sadly, but we do have other effects to increase the space of things and I'll get into that as well . So these are all just drum noises and stuff, right? But actually, like this main pattern here, actually, this is a good introduction to the piano. Will do this first look like the full screen. It doesn't full screen in your entire browser. It just full screens in the window. Right. So we got this is the piano, right? And hell, yeah, you can play this piano watch, I click it. It plays the sound like like lower and shifts. The sound you see so often trap music. They just use one sample like this. Usually, a synthesizer would kind of maintain same sort of spectrum, like the timber of the the note, even when it gets down lower. But since this is just ah, sound clip, if I hit a lower one, it slows down. Just sounds kind of weird, you know, but a scent will keep them all the same speed. But that's sort of variation. And speed and stuff is something you often hear in a trap. Music and other things really like. Let's give a little example of this right here you can't really tell. But the top notes are going a bit faster than the lower notes, and it's just a kind of variability of speed. And so the liquidity liquidity to it that, um, I think people value for a trap. Music. It's just again one of the hidden staples. I'd say, like definitely one of the staples would be, um, the hi hats. You actually have one year about everyone you see this? It's like the sprinkler system by ads. Let's play this. See that? It's kind of like sprinkler system is Some people have pointed out to me. It's like, Um, trap is sprinkler system. I don't know what I'm getting out anymore, but anyway, let's play this one year. It's a slight variation. Like most of these patterns, I have completely unnamed except for low base. This, like I just went through without thinking and then realized, Oh, I didn't name anything. So just test disk. Always stay organized like it's still most songs I made. I haven't been that organized. It turned out well, Same with the VT. And a lot of famous producers just don't really label anything or stay organized. But I'd say Start from the beginning. Definitely be organized right from the get go. You will not regret it. So let's just play this one. Pretty sure this is the one that's playing here. Yeah, it is is in kind of a neat pattern, right? Ah, the reason I have the kick drums like this is because it's ah mirroring the melody, you know, so and these thes last kick drums are kind of reminiscent of this pattern I got here. This is actually a really cool pattern. I really like it like Sounds like a mistake when you're just listening to it on his own. I don't know if you remember, but they forget into here It was like it sounds kind of like Shuffle E. It's hard to explain, really, but I suspect it one more time. Just kind of like Focus on like how this sounds when it's put into a song as opposed to when it's played on its own. It's quite interesting. It is a kind of fits. It's shuffle E bouncy, nice sort of baseline thing. I think it sounds great, but you play it on its own. Sounds like Sounds awful. You know, Isn't it interesting something that it really sounds like un rhythmic and wrong like this when you played on its own like you listen to it. OK, that's fair, and that again is like this is completely off when you're listening to it. But then when you throw into a song, it's one last time. Here. Things part is offset. So well, contracts so well with the rest of music. It sounds right, so It's another one of those those aspects of, uh, music production that people don't really mention. It's just that sometimes a pattern you throw together I won't sound good in his own, but it will sound awesome with everything. 6. 3 Interface 3 With Themes: let's analyze his first part here. These are actually all samples. I didn't make these. And you know what? That is absolutely fine. Something I want to drive home is samples are completely fair use. Use them as much as you like. Um, you can A song is you change it around or put into a song you're gonna give him, just, like, use a whole bunch of just four bar loops and put them all together into a new song. And you can still call it your arrangement, even though you didn't, like, actually make anything like it is just an arrangement in that case. But even still, call it your song. That's how really flexible samples are, you know? So obviously I'm not like abusing samples and just doing that because I make my own patterns. But I use samples to be the sound and pattern. I just I didn't want to go into a since and then have to work with presets and knobs and stuff for ages except up. I will do a quick run down on since probably in this lecture. Um, they're quite fun, but it's quite tedious. It's better just to drop it in. Go have your fun there. Yeah, we have different things. Like seeing Cymbal crash. We have this snare role, which, actually I did Ah, edit this one. Uh, it had, like, a little pause there. And all I did was slice out of the pause like this is a slice tool. It's how you just cut stuff in half. Like, Okay, this one will be sacrificed again. This reverse. If you see, I stretch this across there instantly, they turn into two separate things you can always like, Take this one and re stretch it out to be the same as that. But, hey, you know, you you cut it. So what I did was, like, cut it, shortened it, pushed it together. And then it sounds like a smooth fail instead of having that space there anyway, I will do. Control said so Actually controls Ed is the undue and the redo key. So you can undo something as you can see, and then I press it again, and it's re do you see? So this is always quite frustrating. But you can now just press control. Cult said, and you can go back as far as you like because fl Studio kind of makes a record of everything you're doing in this session, so you can just go back in time as much as you like, But this is basically history of the project current project, right? It shows you which, uh, patterns you have what sort of effects you have on your Which ones were using shows the history. What did you do? Um, yeah, quite. You still there? But it pops up whenever you hit control Fault? Is that all right? Controlled said it's how you reverse big mistakes, you know, instead of just like the undo redo feature of normal controls that another interesting tidbit is if you have a scroll wheel this Anyway, if you have a scroll wheel, you're gonna hold down the control key and scroll to zoom in. This way, this is the best way to zoom in because usually are moving things horizontally into position, right, Just as long as you're hitting that, holding that control key, even stroll in and out as much as you like. But if you hold the old key, then you could stretch and squish it. You see, so all key and scroll I got a scroll bar. No, no, no, no. And, um Scroll wheel. So all king, the scroll wheel does this and then bulky and controlled of this as you see it just wishing enough they just turn into little blocks. Actually, it's kind of charming, especially this part. I usually don't look at it. This Look at it in this few like to see the details. Oh, here's an example of automation. You see how I just draw this? This is, um, at the bottom zero. At the top is 100 for the volume envelope. The volume knob in the one part in this mixture here, Ganor. This foreshadowing. So and we can actually change this to compact or wide or bunch of difference formats for the mixture, depending on what you're comfortable with. These are all the channels A Z. You can see there is a channel link up on everything here. So I guess which just a 65 or seven or whatever I like just by clicking and dragging upwards or downwards, right. And it corresponds to these channels here and in the channel. You put effects like reverb, which is like reverberation. They'll say you yell in a big room. You here reverberate. I'm sure you know what that means. Where it means we have eight bathrooms, stereo riser, which is the best stereo. Wiser I have found, uh, it really increases the sense of space with anything you applied to. And then we have each You which I will have a dedicated lesson to. This is changing the frequency response like this is around two K here. So 2000 Hertz, I'm not sure the letter note, but I have dipped it there because it sounded a bit better when I did there, You know, just doing it by year. And then I drop off the base because this is a really important one. Everything has base, and everything has trouble around here. But it's the base you want to look out for. The only thing you want like to be playing low base is your low bases. You know you don't want your main synthesizer toe, have a bunch of low and content, and everything has sub harmonics as they're called of low base. Even high hat has a little bit of basics tension there. And you want to cut that off because if it has it, then it's gonna be competing. You know what I mean? It competes with other instruments like it competes with the bass. The bass starts getting kind of unclear. Not Crisp. Um, in fact, this whole mix here, I didn't actually mix it in master yet. This is all just kind of put in here. Uh, first, listen, you so listen to the base here. Theo doesn't sound bad, so I first dries. Usually, of course, Don't sound bad, but it hasn't really been mixed yet. And everything here, everything. Everything needs an e que To make it sound its best ends to get it out of the way of other things. Like, for example, if you have a kick drum, you want to isolate its frequency response at the point of impact, right? You really want to isolate it there and you want to dip frequencies in the mid range so it doesn't get in the way of main vocal leads or, you know, things in the mid range. This the meat of the song. You don't want to get in the way, So you do a little dip there, make it more clear, and that's Ah, that's the fundamentals of you queueing. And I will definitely demonstrate that a bit later on. This is just kind of foreshadowing. So you're aware from looking at this, you can kind of see how it works, right? You click and drag these, it moves spectrum, and each one was in a different ratio. You change these to change the bandwidth. It just means like the severity of its severity of its curve. Basically, this is position. It's just the position on the U. Q. Really, really simple stuff. These are the levels like rudimentary levels that you see here. So these air at zero, because we don't want any base in a lead, since we just want it, you know, to be itself to be completely separate of the base stones. We don't want muddying anything up. That's the word muddying. No, um, when everything just sounds like incoherence and not cohesive, it doesn't fit together properly and sounds flabby and not fun to listen to. That means this It's muddy, you know, nothings defined when you listen to a really, really, really produced a song really well mastered, mixed in everything. Um, UDM song or something. You can really pick out every every instrument in the spectrum, you know? But when you first start together a track when they first throw together attract when everyone first those together track, you have to make all the sounds deal with each other. They have to work together. Poll Just for money. Phone going off? No, I had my volume on. So yes, that is all that really That give that give you a bit of a run down there? 7. 3 Interface 4 With Themes: But yeah, things are definitely shaping up. This is tempo. For instance, if you quick and drag on this main part not here, remember lives just like little itty bitty temple things that if you're trying to match music to lyrics or something for a remix, Maybe you use that, but I wouldn't touch it. That's just for, like, this can automatically find tempos, and it it finds it very exactly. But yeah, this is a change. Temples like to illustrate it. Really well, I will go back to beginning here. Play it todo you see what's happening. You What's happening here is I took sample like I said earlier and then made it unique. And I panned this one to the left. Panning is which side and stereo space do you want it to go? So if you turn this knob to the left when this plays, it comes like out of your lefty or more if you do it all the way, that's all the way left here. And this just means, like, not quite all the way. And this one is already panned kind of to the right. But I planted a little bit more, so we just have a stereo effect every time. One of these heads and this one is a loud volume, and this one is acquired a volume. It's kind of like a follower of this pink one. So then we put all that together, and this is super slow right now, but you can really see how these things work. Okay? 8 p.m. Sounds a bit brutal. Doesn't see now again. You can if you have your bpm set to 100 or something, but still in your mind. You're feeling like you want a fast song. It will still end up fast, even with a slow temple. Right? You can always cut the time in half when it's going. So if you're doing 123412 you can just double that time really easily. Just by changing a beat might be able Teoh demonstrate that, actually. So I was gonna go to new patterns here, and I'm gonna call this one test. It's not Tessie, not test it. All right, We call this one test and we're gonna go to unsorted. We're gonna go to 100 bpm just to prove my point. You see all these things stretching? Yeah, if they stayed that way, that was sick. Anyway, So we want to do a standard beat. Ah, let's kicks This standard beats, uh, we're gonna go toe. It's the clothes hat. So these two steps and snare between, right. So it's here. That sounds like this isn't a sort of kick that you usually hear sort of being right. So this is a standard beat at 100 bpm. Kind of funky is it Usually have 100 BPM. Things have a kind of groove to them. Um, but you can actually cut these things in half. Right? So you have this every one of these? I don't know what I'm saying. Um I mean, you have these at the beginning of each of these colored sections, you know? So one kick drum at the beginning of each bar here. And, of course, you have high hats that really changed. And then you have snare drums, which could be like at every beat, but I just want to see how it sounds first. All right. There you go. Needed that thing. You see how it sounds like really, really fast. Now you see? And I'm at 100 bpm. Really? If you want something to sound fast, you know, like that this is Ah, the same beat that I just showed you. But at two hundreds bpm, you know, So I'll play this again and then I'll change it back to what it waas and I'll go up to 200 bpm. You see that? The same thing that's that Go back to fill each two steps again. What I'm doing is right clicking on this, going to damn it, this already open. You just fill each two steps and then each two steps will be felt. Even if they're already all filled, it will just fill each two steps, right? So get ready. You're snares. You ready your extra fix his stuff and then just close near in there, since here it sounds like the same thing, but cut off. So let's drive it up to 200. We go. Same thing. That's what cut time is your just doubling the temple that you're in. So it's actually kind of risky, like if you really need to make a fast song, you should have a fast tempo to be honest, or else you're gonna end up making your song at 200 bpm. So you know Well, it is that this is music. You can do whatever you like, so let's just get into the piano. Roll that more than I want to. I want to make a were already and test. So let's go to this. So you get back into the steps, you can see her. I just want to clear everything out. And I want to show you something so we can go to actually here. We could just click this and these air synthesizers we got additive. You got subtracted again. I don't want to go into that. Um, no. But we're going to subtracted and hit three x osk three X osk means three times oscillator and oscillator. Just goes back and forth in different ways. It's kind of an audio thing. Um, don't you understand? The physics of it a little bit than also Laters. Make a lot more sense. But for now, all you have to know is that this is this is how future sounds are made. Wasn't so since sounds with mates. Must take a quick look at this. So, as you can see, kind of complicated. Lay out. You know, I don't know what to do with it. So you have to do. And what you can do is just, like, hit a key on your keyboard. Who? I just hit my archy, You know who are you? Are you are You are right. That's what this sounds like right now. Just says like the base. But we can change a lot of different settings. All of these three things, these air each making a sound all the same time, right? You can change the difference. Uh, wave forms. Right? So when you hit the r key again, completely different sound because you got different waves, you know? Ah, but it sounds more like organ look, baseball organ or something. Uh, the guy, Really This is just a computer keyboard. I have. All you have to do is you can hit the top row of your keys or the bottom row. And you also have Ah, the black keys whose are in the middle and top row. So yeah, second from the top row be your white keys. All of them play a sound. Oh, but then the row above that. Some don't like number one doesn't thin to three and then four dozens and then 5608 dozen in nine that doesn't and then visit. That's just because of the arrangement of a keyboard. You know, sometimes there's no Blackie's, So yeah, these are different waves sine wave Issa smooth like when you're whistling Lee. That's a sine wave Roughly you square wave which sounds like, you know, Super Mario brothers and stuff we said these old square you can see I kind of see it This is ah, kind of ah, mixture of square and sign less grating We can actually turn Yeah, these air more controls This is panning. So, uh, it picks which year you do it. Ah, so set that back to center and this is fall. You is definitely something I wanna set. So, yeah, that is that No funeral role is where you put these notes much better down here. Actually, if you want, they have the same time. Sounds awful, but a normal center still sounds bad. This is the piano roll. Uh, that's roughly what you do. You just figure out what year what sounds nice. Good most, uh, it's not going to so you can get an intuition for it. E move those up until I found a nice relationship between those you think, like, make a pound into that. Like I didn't show you. You go into, I was gonna say that we're going to hear. And then, um do a I don't like this. Then play it. Uh uh. Do do do you see so instantly you have a song. You see, you just throw on a basic drumbeat, you make a little pattern. You know, I didn't think about that pattern. I just played it. And I noticed that in turn into something. Do you? Yeah. To go back into balance here, everyone extend this because we just extended the other one. What I want to say is never mixture drumbeat with your melodies. This is just an example. I want to keep it all contained. So here, there you go. So basically, how you make a sound song, you know? So this is a piano roll here that toggles it. But if you want to get into piano, you gotta right click and then check off She So now this one is in the funeral. It that you go here, make your music that can drag this get smaller longer or whatever. Uh, yeah. You also slice it? Yeah, definitely. You want to make sure that things are even also sound a bit weird? I'm gonna keep things musical. So I have to say, that's enough for this, uh, lecture here. I know for a fact you've learned some pretty cool things, and I hope that this has inspired you a little bit because you will be making something like this very shortly, actually, So have a wonderful breast day, and I hope to see you in the next lecture. 8. New EQ Lecture that finally works: Hello, everyone. And welcome to the lecture on beacuse otherwise known as equalizers. What we have here first show you is that you should turn up the buffer length. If you're having any audio stuttering issues, I get the audio is like our increasing the buffer length is, um your CPU is processing the audio before it's actually played and, like this tells you how long before it's actually played, should it buffer it and you got 32 buffer 32 bit buffer. That should make it a little bit higher quality as well. But it might be a bit more hard on your computer, so this all depends on how good your computer can be. But I tend to keep the buffering high so I don't run into any problems because, as you can see, I use a lot of blood gins. So it starts getting really tough on the processor, especially cause I'm using 64 bit software and I have a 64 bit operating system. But I'm bridging all of these 32 bit plug ins into 64 bit, and that takes a lot of processing power again. You don't have to really know what that means. It just means if you're using 64 bit software, try to keep it 64 bit for plug ins. But it's not entirely necessary. Just make sure you have a good, decent computer. So we're going to start this off with the Wikipedia slash dictionary definition of one. Q is and open this up. First of all, we see that this is, um, a physical e que, uh, you would turn these knobs individually. As you see, you got the low, the low band. So you got 25 hertz, so it explain hurts. Imagine having the rope in your hand and you're shaking it up and down. Let's say you do it up and down two times per second. That is to hurts. This is apparently this looks like 25 years, but it should be 20 hurts down here. That's the lowest limit of human hearing. And it's also always the lowest band on an e que, Uh 01 more thing to explain before I finished that, if you count these, that's the amount of bands the e que has, and the more bands it has, the more detail you have because it drags all the frequencies up is kind of like a bell shape, but anyway, yeah, so this is like shaking that rope 20 times per second. And that's the limit. And then up here, um, this one ends that I think 15 maybe 16 k But the best ones end at 20 K That's the high. That's the limit of human hearing. And really, it's only Children that can hear quite up that high. But it's still, um, yeah, it's still important for the whole mix, like high hats and other things. And even the breath and voices in mixes use the really high and stuff. And it makes for kind of like an airy sort of presentation, like the really high end stuff is really good for keeping space. So I always add a bit of extra, really high end information into my mixes and stuff. Anyway, this is unique. You here, we use this for one thing. Let's say you have ah vocals and bass together. You want Teoh for the base. You want to have all these base parts, but then you wanna cut out the mids, right? Maybe you need a little bit of high. If the bass sound is crunchy. Or but if it's just a pure, like eight away really deep bass, you can actually cut out all the highs. Just have this base here. And conversely, for the vocals you will cut out all the base in that part. And then, you know, give yourself the mids and stuff. Maybe you do a little dip in the lower trouble, and then a spike in the higher trouble now would be more of like a vocals Curve. And then what happens is that the bass and vocals both have their own place in the frequency spectrum. You know, the bases, like the foundation that the singer is standing on. And then the singer's well, the singer. Anyway, that is, Ah, rough rundown on you Queues, and we're gonna show it in fl Studio 12. But first we're going to read the dictionary definition of any Q just so you can get a bigger, better picture of it. So equalization is a process of adjusting the balance between frequency components. Within Elektronik signal, the most well known use of equalization isn't sound recording and reproduction, but there are many other applications and electron ICS and telecommunications, the circuit or equipment used to achieve equalization is called an equalizer. These devices straighten, boost or weaken cut the energy of specific frequency bands. So that is the gist of an equalizer. And it's all you really have to know, because what you need to do is you know, you would need to know how to use it, and that's about it. So I'm going to give a quick rundown, um, on this I've already pre prepared any que here. So what I want to show is ah, say, let's refresh this one so we can hit replace with the same thing just to get rid of the old e que. What we see is we got a perfectly flat eq you here. All right, so this is where the kick drum. So if we play the sample here, it should just play that kick over and over again. Uh, I was playing that, but we can zoom in here, you hear all the kick. Just sounds like not good. So this, as just this part selected so we can hear the kick over and over again we're gonna do is I'm gonna quickly show you how to eek you a kick. What you Do you want to find a peak? Well, first you want to cut out the low base because you don't want to interfere with, like, the bass in the background. And then you want to find a band you want. Spike it around. 52 hertz. Sounds pretty good. Then you want to increase the bandwidth. This is bandwidth. As you see, if I push this down, you want to get rid of the mids in the kick drum just so it doesn't mess with the vocals and everything else. If you ah, decrease band with this little thing here, then it gets really sharp, right? But if you increase it, it gets really wide and broad, right? And that's what you want for a kick drum. So also, you wanna duck the really high trouble a little bit and then give yourself a little clique ? You see, that sounds better now because it was a bit of a click to it. Quick, quick, quick. Well, you want to click for one thing is, it sounds better. And for another thing, if someone doesn't have low base in their system, uh, they're not gonna be able to hear the kick, and, um, the serval life in the song is gonna be sucked out. But anyway, if we disable this, you can hear the big difference. So this sounds like a pretty nice kick, right? Sounds like a nice, tight kick. And this it sounds like garbage. You see, C the magic of the ACU, um, in any way. So is he here? This is the song. This is song number three, actually, a little taste of it before you get there As you hear, it has a nice, robust, low down bass response. Yeah, nice and tight, right? Professionally produced. But, ah, this brings us to a very special thing. This is my own discovery. And this course contains a lot of things that are entirely my own ideas. And that's what makes this course so special, because my own ideas are pretty damn good. But anyway, so this right here is the magic e que curve. And if we turned off and play this again, you hear the song sounds a little bit rougher and you turn it on. It refines it a bit. This week, you could just be thrown on anything to make it sound better, no matter what. See that? That's what it was before. A little bit like loose, uh, out of control. Already out of control. It's, like, well, mixed. But if you put on the magic you it just magically fixes it for some reason. So I bet you're curious. What the hell is this? Magic? You What are you talking about? Evan? All right, this is the magic. You What is I gonna just, like, put them all back at middle, so it must look a bit weird. You must be thinking, Why the hell does this improve? Like all audio? I can't tell you. I really don't know why. I think it might be something to do with, like, the actual shape of the inner ear and changing these trouble things makes a sound better, but I'm not too sure. Well, first I want to do is lower the lower base, though, because this will increase the clarity. You still have lower base. It's just rolled off, you see? So then you want to not touch the mids, and then you want to spike the high end a little bit and you want a dip around like, uh, 10,000 hertz, 9500 around that area, Not too high. So keep it around there, then you want to spike anywhere from 40. 500 to 5500 which will spike to about here. And you want to take a dip around like 2500 because this sort of 22,000 range here, it makes it kind of shouting. Doesn't sound quite as good. So now we just remade this CQ here, and we'll play again. Not quite as good as the one I did earlier. But also, you want to narrow the bands for this too, just to be a bit more accurate. Yeah, you can hear it. Still improve it, you see? Keeps everything together. And I have No, I really have no idea why this this magic you works, but really, it just works for anything so weird, but so awesome. Well, else we have is a magic e que that Actually I changed because I made this dip in the middle of the base. You don't want one big hump or else it just sounds like bully and bad. You want to have, like, kind of a dip in the center just to give it some character. You just change this depth from moving around until it sounds good. Basically. Then you want a dip in the mids Because a rap beat will have the rapper, right? You wanna preemptively you wanna remove it before the rapper actually wraps, right? Just so you have that voice and it has the side effect of increasing the base and increasing the trouble as well. So actually lowered the bass a little bit just to keep it a bit more, even with everything. But the travel is still nice and spiked with the sort of magic trouble curve here. And believe it or not, even though we have the magic curve they're putting another one in improves the sound even more. Why? I don't know. But you now have one of my very special techniques here. The magic. You just take a picture of this with your mind, you would think about it all you want. Why the hell this works. But, uh, I don't know if anyone's gonna be able to tell you it just works. Hope that has been the lecture on you. Queues. I really hope you enjoy it. Um, it contained a lot of really useful information. In fact, we'll just show one more thing here. Ah, these the vocals and what I explained earlier. You see, I cut it all out to make room for the base and then I spiked it up in the midst a little bit because it's more Midi, sort of. Ah, sound not media's an M I d. I know. I mean, like, sort of mids sort of sound. You know, it's like a kind of vocal sample, so we'll hear what it sounds like with and without the EU. Que first will start without, and it's not good. Let's hear it here that the turn on the EQ you it puts it right in its place. You see that? They're just shouting bad right now it sits perfectly with all the other instruments. That's the power of any Q. That's why you really gotta get a nice CQ on things for that reason. So that has been the lecture on the parametric equalizers that you have NFL studio. I'm not giving you the masterclass on it because really all you need to know is how to use it. You didn't know how to work the Q. And, um, that's about it. You don't really have to know much else. Uh, aside from that, just because, um as you mess around on your own, it will all become clear. This changes the base, changes the trouble, just mess around, keep the magic you in mine because it always fix things and river to cut out. If it's mids or high, like actually, if you have a high hat, it should be right here. Maybe here. You see how it cut out everything except for the high end and really spike it there. That's because it's ah high at it, doesn't need anything else. And actually, high hats do have information that reach all the way down to the base. And it gets in the way of actual based sounds and everything else gets in the way of mids. Yeah, the high hat can just ruin the mix on some producers don't even know that, and then riel professional mixes come out that are just awful. So make sure to cut out all the base in your really trouble elements because you don't need that base. You don't need that base in fact, even cut it even further. You can just dip this down as far as you can get it on. That will make it get out of the way a little bit. You might actually hear a difference in the hi. It's when you get there. Yeah, I hear a little bit of a difference. Just cause I didn't dip that really, really down low the base from it was still slightly getting in the way. I've been doing music production for a really long time, So, um, I can hear things pretty darn accurately, So I'm not sure if you would hear that if the big difference there. But there definitely is. I think you'll hear it, like, kind of subconsciously. And also about this whole project, an entire rap beat. Um, you go to project info here, Call it flow Master. I don't know. Um, total time spent on it. Six hours, two minutes. I actually make songs quite quickly from concept to finish. It took me about two hours to write all the music for it, and then all the rest of the time was mixing. And also just teaching teaching here, um actually recorded another lecture. So I'm re recording these, um e que lectures? Because the last one, the system audio, wasn't recorded for some reason. So I went over and two recorded a replacement, and then the system audio wasn't recording for some reason. Uh um, So this is actually the third to go on this. So that's where an extra me our came out of this while second go on this song, but third, go on the ACU lectures. But I think I've given it all in just the right amount of clarity. I'm sure that you understand you queues a bit better now, and if you want to know how to just kind of drag it in, we'll get into that to us. Girls, go 35 something it doesn't matter. You want plug in database in the browser and if you install the ACU, you click installed and then effects and then whichever the usually Justin V s t and you all these that you can click and drag into here. Right? So, um, every v s t that you need will be in the pack and you drop in your plug ins folder and all of these will be available in the installed folder and you out things that are generators these air. Uh, well, controllers have nothing to do with it, but synthesizers. These are how sounds are made. And actually, Harmer is how I made most of the sounds in this, and I'll get into that when we get there. But really, if you want to take you, you got to go to effects You got to go to where is filter air filter e que and click and drag and see this fancy holographic here? It's gorgeous. Click and drag in the 35 bam, you got your IQ. You play around with all you like. As you see, you can use these as well. Change all the bandwidths to nothing. Andi, I could make, like a really silly looking thing. Just end it all off. Here we go. It's gonna look extremely weird If you put this CQ on anything, it's going to, um not only sound bad is probably gonna make you ill. Poof. Yeah, Looks like Was it ah Ko seeking to graft or something like that? Funny math heads. It's been too long. I'm not exactly sure, but it's awesome. Ta ticket. There something be coastline graph or something like that are known? Of course. Stainless. Never mind. Forget about math. I hope you enjoyed all of that. And I know you've learned some pretty interesting things. So see you in the next lectures. 9. EQ With Themes Part 1: Oh, folks, are you ready to learn about equalizers? What equalizer is is it's kind of a curve that either raises or lowers the volume of audio at specific points in spectrum. So just saying it is kind of hard to understand what I mean. But let's use the snare. For example. I was gonna make, like a little pattern here actually could have done this. They'll each four steps meant way easier. Sometimes I just click it in any way. This is track four. So we're going into the mixer and we're gonna go to track them before you see that that's where it corresponds. And you actually you can send this to a track, and it automatically names it. But it's not a super important. Um, so if you're wondering why this plug in folder might look different than yours, it's because I was having an issue with my plug in. So I have to look at it in this way. And if anyone else has that issue, then I'll have toe provide the fix I used. It was quite but tricky, Um, looking for the fruity e que. Here there it is. Parametric eq you to finance that probably way easier if you define it. Do you get that in there? Now it's on track for or not. Oh, what did I do? Fairly like DoubleClick didn't screw something up. Many right? Want to run this, though? There we go. Double click. It appears I'm not used to dealing with plug ins in that way, but, yeah, I had the issue. You probably restructure it. It's an issue with plug ins Database. Um, there's still there's still working out a few kinks, but you know they'll be fixed. Absolutely. Anyway, let's look at this if we play the track here and just for your sake, just in case and turn this down. So if you play the track here, you see this. The strength of the lines says how much content each frequency man has, like So it's a concept called Hurts, which is, um, something oscillates per second. So let's say you have like a chain. You're shaking it up and down, right? It makes kind of a wave pattern. So if you're shaking it and then two times every every second, it goes up and down, that is to hurts. Now, these make a sound when they're transmitted into the air. So that's why plucking strings will do this. It moves the air in the way that string moves at different frequencies. So as you go up once you hit 20 hertz, it enters ought ability for humans. So if the air longitudinal wave, you don't have to know about that, really. But it's a pressure wave. That's what sound is. If it's oscillating 20 times per second, we can hear it below that. Maybe we can feel it if it's loud enough, but it's not within range of our years. But then we go all the way up to 20 k which means 20,000 hertz. So 20,000 oscillations every second is the limit of human hearing. And it's also what MP three is cut off that they don't go beyond 20,000 Hertz. So that's the range of human hearing and everything in between those and everything in between right here. Actually, it cuts off 35 but you know, you know that other frequencies air beyond there, but that's what this is, and it's laid out in a log arrhythmic Graf again. You don't have to know about that. That's just how it is. So now you're wondering what we do with it. We dio play this. See, it doesn't change much. But you see those lines here, right? And you can hear a slight difference in sound. You got a bit more low in content. You think this it has a bit more. They were bite too, especially if you leave that peak and retrain change the bandwidth, it forces it up with number two. And this is the fundamental frequency that gives the snare. It's sort of sound. So what we often do with, um e cues, especially for things like snares, is you want to get rid of the base content because if the snare has base and kick as bass and bass is based on blah, blah, blah, blah, they all just mixed together and cancel. You know, if a high point of a wave and a low point of a way of meat, they cancel just gone on. That happens when you have a whole bunch of conflicting masking frequencies. So you want to go through every track and make sure that everything is he cute correctly, and I'll teach you how to do that. But first, I want to get into what the EU que actually is. So first I'll show you the power of the UK How much you can change the sound. Yeah, that sounds bad. Sounds even worse. It's all about having a balance. You don't want to do this. You don't want, like, this is the will the band with does. That's what was happening here. This is just the last one in the lift. It changes the severity of the curve. So this one is a curve that effects like everything, right? Really gradual curve. And the more you tune in the band with where you get everything else now I hate the snare sound. I hate it. It's the stock snare sound, and it's never good. It's always really, really crappy. So you want to dio give it a bit more balls? So here that, like, kind of punches more, it's because I've spiked it at the fundamental boom sort of sound. I've spiked it at the higher fundamental like where you here the actual kind of snapped the the high end crackle, Um, so I make kind of like mountains there, and then I cut up, cut off sharply on the base so it doesn't conflict with anything else. And the difference we here that's normal, really flat. Just sounds kind of like someone blowing into a microphone while hitting a drum or something like it. Toy drum. Then we hit this area. Go. This one slams, right? That's the beauty of any que You don't have to just copy this. If you understand the concepts behind this like, let's say this is pretty parametric EQ you too. You don't need any other kid beacuse Really? This is everything you need. It's all I use. It's really quite good. Um but let's go to this. Number seven. It doesn't have ah dip. It only has a dip this way because like these ones all meet in the middle, right? This one doesn't have anything continuing Pass. It doesn't have any other point beyond it. So it just raises or lowers this slope infinitely right? Same with the number one here. So if we move the seven, we could make everything really harsh because this is the high end, right? And again, all of these, we just move them around to change these settings here. The one in the bottom. The one on the top just changes the position on here. If you move it forward, like, for instance, you see that I'm changing this little thing here. The top one underneath the purple. Number one. If you move it, it changes where things are. That's good about that. Because you can really just get the punch of the snare, right? Not really like you. That difference blowing in a microphone well, hitting a toy drum and get gas. Heavy scenario all coming from this kind of shitty preset That is the power of e que. You can change whatever you like. And in fact, just for whatever sick for teaching sick, I'm going to e que each part of this or steps. Um, most interface it collapse with snares. Let's hear that Sounds like sounds awful without turning. It really does. It sounds really terrible. Um, without turning anything off, I'm gonna go in here, find Parametric eq You again? So this is the high hat, right? What we want to do is take this down, change the band with We don't have to change the too much because it's spikes too much, right? And then we slide this. All that's left are the high frequencies you want. It should be about this bright. So see the difference. It has an uncanny quality of someone blowing in a microphone. This one sounds a bit more like, uh Ah. Hi, hat. You know, maybe this one You want to find just the right balance. We also don't want to spend too much time on it. So that's good, Actually. Move onto the kick, trying my best to make these really crappy presets sound decent. So, you see, a kick is like in the whole spectrum. That's no good, you know, Kicked us in the whole spectrum is just gonna muddy up everything. I don't know what people are thinking. If they do that first, you want to cut off the sub base. Probably your track. You're gonna have sub base, right? Next. Find your fundamental Where do you want it to smack? You know, where do you want it to hit? Yeah, here's hitting down low here. It's like not even hitting. It's really between like, 150 at the max. Usually you get above that and you're kind of getting a snare toe territory here. It sounds decent But really you want to have your peaks a bit lower down May around between 100 150 maybe 90. It really depends of the genre. Uh, I'm not really saying it constantly here, cause it it depends on the song as well. Is whatever you think it calls for. I'm liking it right there. Around 100 next week we got a stop this kick from interfering with everything. Here everything is muddy. We take that away. Do you hear the difference here? I'm just annoyed. It's like a mosquito buzzing in my ear, but not anymore. Now the high hat has room to breathe, right? Next thing we can dio is go to the snare that we so carefully attuned. So around 100 and 57 hurts is where are fundamental for the snare is right. And then up like seven, 757,200. So we want to dio, Let's go back in here and see if we can severely make number three. Really, really narrow. You see, we want to make a dip. So the snare cuts in here kick and have its own territory, right? Well, that seems like a heavy kick. Now kicks are supposed to have, like, little cliques. And in the most so people without subwoofers can still kind of hear what the hell is going on. So we want to do is to make another really sharp men with somewhere. So, like someone knocking on a table that's decent around 2000. It's kind of a wives thing. Yeah, you know what I mean. Now, as you can hear everything sounding way about her, the clap still sounds like garbage. So you gotta change that around. So as you can see, it's just this mess. They don't need this like this. Listen, you hear how like that the kick is changing when you when I change this right? The character of the entire beat is changing because the frequencies from this really shitty clap are like messing up everything. You know what I mean? You want to make This is clap is too low. It doesn't sound like a clap it. All right, so 10. EQ With Themes Part 2: you know, sounds a bit more like a clap, right? Pauses for a second letter. Brains refresh. We can play the shitty preset beat here again with all these cues, and you can hear the difference. Kicks a bit to a lot. I sell it by no means really think it sounds good, but if we listen to this, this whole this in your memory, thank you. I wouldn't put that in myself, understandably. But let's let's laugh. Let's raise the disgusting factor a little bit by disabling all of our accuse and seeing what happens. Here we go. You want to see? Let's listen. A muddy mess, a monster. It's just this bit's wall of noise was like a bit of a thump in the background. It's like it's the worst. Like, Listen to this. It makes you want to throw up, especially that high hat. I have still sound that way. That's why we got our cues. And of course you've been e que things a bit more accurately, but we're strongly, huh? Where you want to do it? But, um, just a quickie Q. Here and change it to this. In fact, we can change something in the there . I think that sounds a bit better. Really. What you do is you just mess around. Keep moving things until it sounds good. But over time you get like a few little ideas of what makes something sound good and what doesn't. So that's what you gain over time. But it's all through trial and error that people don't have to teach you. I'll teach you a few little tricks. Usually, if you have a sound, you see the sound spectrum stretches off the here. You've already cut out the base, usually just hitting number five, making it like a moderately wide band and then bringing it down will clarify things. For some reason, they go at a bit of clarity by scooping out the mid range so instantly the lower tones and the higher tones accentuated and stuff in the middle is taken out. And that's especially useful for things like kicks and lead sense. Actually, anything really. So I'd say like your first approach after slicing at that base, that money's everything up best first approach is just a dip it a bit in the middle and see what happens. So we have this and we can listen now, I was like, Not I changed a snare and actually kind of thinking that sounds decent. So that was a snare on snare of us. You're a bus doing like, was it you, Dan? Dan, every time the snare heads right some, but that doesn't belong there. What's that doing? I guess you still kind of hear it. Maybe it's Oh, crap. I don't know. But really, why would a full studio rep their software with the snare? It's no good. Oh, well, anyway, when you're done, everything you want to put like, uh e que on the entire track, once it's entirely mixed and put together and everything. Yeah, when you're mastering it, you might want to have, like, a slight Q, right? So But there's this one e que curve that I found that, um, it's quite odd, but it always seems to improve the clarity of sounds quite well, So it works for some mixes. Maybe not for others, but let's toy around with it a bit. We'll have to hear this annoying beat a bit more. But the master master track, we wouldn't take you there. It affects everything here here, 103. Um so Yeah, that's do you think you play this? Sorry. Actually, I'm gonna do the EQ. You without even listening. Just because it's a pattern I've actually found make this bigger Marquis of So we dio when a narrow the bandwidth of this a little bit you bit narrower. We want to cut out around 2200. It's a little dip. You want to come? Actually, we want to use a different one than this. What? We want to cut out around eight K here. We want to boost above 14 k So you have this sort of curve here. We want to bring number five, and we're gonna really narrow. That's six. Then we're gonna really gonna narrow the bandwidth of five. And we're going to add a boost to around the 40 to 4500 area. Maybe in between. So we have that You see this kind of wonky curve, Then we come over here and we're going toe again. Decrease a band with We're going to sink around 2200. So you have this one. We cut off the low base. We just were not cutting off all the base. We're just rolling off some of the low base. You don't even Dr rule it off that much wrong it off straight across here, lowering around 2200 boosting around 2340. 300 here. Sinking this one which could also be closer toe 10,000 if you want, and then boosting 14,000. So if we listen to this, usually I'm not sure about No, but usually it gives pretty good effect for anything. Really. It just adds a bit of clarity to things. And what's to see? Yeah, I see what I mean. I didn't have to listen to anything. Let's see that if difference. So here The difference here. This kind of sounds gross. This one sounds bright and alive. Wow, What is this magic pattern I've discovered? I didn't have to listen to anything I just had to do. I discovered I did discover this on my own. I was just messing her under the accused and found that this consistently makes everything sound better. Isn't that weird? It's a bit of added value to the course because I don't know anyone else that knows this. Uh, I really don't feel bad about losing a bit of sub base. You know, this is sub base of borrow. That you hear is usually around here really big subwoofers thinking base that boost the base themselves. Well, you want to roll off some of the really low stuff because all the rumble will start messing with the all the other waves up here. I find that around 2200 it's Xiaodi. Uh, let's give you an example. If I raise it up, I might be able to get example here. You know, it kind of hurts even right here. Yes, this one sounds a bit better if I dip it around here. Yeah, snare And everything sounds a bit better. So you would get this general pattern, then just adjust it and you'll have, like, this is like the mastering e que Here it's more magic. It always makes things sound better. Okay, not always. Sometimes your mix might be so perfect that you only require really minor adjustments. But usually this kind of livens things up. You're Hatton. This is before actually we're gonna go all the way back to being That's with accuse. Even still sounds kind of bad, right? This is how bad. The stock drums are. Don't use them. It won't be like Martin Garics. He actually used the stock Anvils. You kick in his song. What? Never do that. Don't be like you. It is like a popular song to geez. Anyway, let's listen. This is no e que no magic, Nothing. This is just what it sounds like when we started. Just, uh, extremely basic and just kind of shitty. Now we want to do is turn on all our are accused and you get to see how the Sonic character has changed. And this is all just quickly doing some EQ you stuff, you know? Yeah, that I could throw this into, Ah, throw us into a track. Now I think you see that the base is more isolated, like there's more of a thump. Their right, um, the high end has more room to breathe. There's not as much mid range content messing everything up. I still think that clapping the snare sound bad and no amount of you curing will change what the fundamental sound is. But obviously it sounds way better than then what it sounded like before. You mean this one? That's the power of e que. And when it comes to mixing, there's two things you want to balance the track by Make turning down the volume on everything. You want to turn this off. This is the fruity limiter. It actually limits your progress. I don't think that's one of the limits it wants to do. You turn this off and then you have to make sure that none of these things like if I play this, you see these sometimes they'll be up too high. You wanna bring everything down and make sure that it's not going above a certain amount, right? Do you want it to peak around here? Right. And if it's going above there, we've got to turn it right down, right? That's what you gotta do across the board. And also use your ears. Listen carefully. Then you go in here, turn on the limiter, and it sounds way better, right? It's just balancing a track. You know, some things were gonna sound a better quieter than not, but rule of thumb you doing that? Make sure that all of these dots kind of land around the same point around here. Ah, second notch down around there But then you use your discretion beyond there to make sure that everything sounds good. Well, that's your special. If you find that the kick sounds too loud or bloated or something, there's a lot of things you can do that compression and everything. But first step should be turning it down a bit. If you have a big mix than all of these things, we liked her down around very rarely up. You want to mix down? You ever hear mixed down because you're mixing down? I'm actually not sure that's what it means specifically that that's kind of the the just like it from it. So you mix all of this, turn off the free limiter, right? Make sure that nothing stands, that you could really hear what, standing up, what isn't. This could be mixed even further. But then when you turn on the 30 limiter, it makes everything louder and glues it all together. And, uh, you have a nice track, so that will be it for my e que section when I really want you to take away from this. Is this pattern right here? This, you know, Twilight Zone mystery magic pattern that I just sounds good. Just use it. You need any cute alive and things up. Just give proof one more time. See that it doesn't take anything away from the sound either. Even when you have, like, a full track vocal sent everything, putting that in at differing levels of severity. Different levels of peaks and arrangements and whatever people just liven things up. Why? I don't know. Ask the audio gods. 11. Compressor With Themes Part 1: All right. Um hello, folks. We're starting off in the same place we left off in the equalizer video. We're gonna talk a book. Impressive. Impressive. Very interested. What compressor does is it cuts off audio above a certain decibel level. That's a bottle being a measure of how loud something is in anything that goes above that level. It pushes it back down, compressing the audio. So the difference between the lowest note, like the quietest notes in the highest loudest notes, is the dynamic range, you know, the compressor does is it gets rid of the dynamic range. So what I really want to do is give a good example of what that does. And you can get a good example here just from the fruity limiter. Actually, because a limiter, he's just the type of impressive it to make sure that nothing goes above zero. Give your above zero. Here. It means that you're clipping. It means that, uh, the audio waves in your sample or song um, their loudest peak goes above the limit. So if it's if it's above the limit, you know there's a limit. Um, probably enough. But if it goes above the limit. Then it will make like a popping sort of santo clipping of some bad. This whole image of your song gets thrown off, so limit limiter just stops anything from going over there. Um, compressing soon in the process. If you play this year like every sound is, um is defined on his own. So pretty clearly defined. Ah, But again, it doesn't feel coherent. Doesn't feel like glued together Anything assumes we had pretty limiter. Theo. Difference between the low in the highs is different. You know, it's a much smaller difference. So we can dio open this up hit play again, just kind of mess around in here and see what's happening. So thistle the threshold thin. This shows which death spell level you don't want anything to go through. And this little curve here shows how much is pushing down the sound to make it stay at this level. The threshold less compression. There actually is even touching. We have the game gain volume around here, like it here with some people like that. I wish it down to hear crank gain or something. It doesn't seem to work with Booth Theo games gayness, Smooth mess around with this until it pops. You feel like it kind of hits a bit harder now. It's not really good together right now. It is. So this is a limiter. There is also a compressor involved. Two very compressor again. Really similar things. Slightly different uses. Number is mainly used to prevent things from going over. Zero limiters may be used to prevent things from going over. Zero compressors. Just general use thing. You turn it off for a second. Yeah. Again, the compressor will do roughly the same thing with a few special settings that you don't really need to know at the moment. Kosovo over the men of the time. Um B, I just want to get over the basic principle of what a compressor does, and then you actually have a whole bunch of different types of compressors that have a different specialty. So he plays again on the master track, right? We're not doing anything specifically go more plug ins is just how I haven't set up now. Density Mark three. So very subtle difference. What this does is it glues things together. I love blowing things together. I mean, it's just what it says it makes everything like closer together, I guess, more coherent. Basically what compressor should be doing Quite a good breast here is included with the course change around the presets here presets. Pretty much every plug in has precepts and they're really good places to start. You fiddle around, controls yourself. Sometimes a recess is just so good and they work so well we're using, I guess makes it bigger. Youthful Is that in conjunction with the limiter with It's like double compression Right way started at this. Right. Um, when I listen to that, this is this. I kind of feel frustrated. It just doesn't Doesn't sound right. It's just it's frustrating for some reason. But when we have it all compressed and glued together here it hits way harder and more satisfying. Instead of the kick, drum is being a little peek. You know, it slams a little bit, but not much like this. It goes from that to yes, smacking you in the face, right? Compressors air extremely useful for that. And you can actually compress individual tracks as well again. Just kind of we could just go Teoh basic fruity compressor if I can find it it's all just in this one. No, I organized this trainer, right fruity compressor, Very basic compressor. You gain got ratio threshold, so ratio. So I won't get into the technical things about ratio. But this controls how compressed the sound is going to be. It's ratio of compression of high up you turn it. The more things get really squashed squash down to the threshold right now. Threshold at 0.0 db So it's acting as a limiter. Doesn't let anything go over 0.0 db, but you certainly can lower it. And in fact, most limiters do go down about negative one d B because even with all the settings in the world, some peaks are going to get through and clip. So you're clipping is, uh, you believe I explained it, but it's when there's a wave. So there's like a peak in the way. Watch my mouse here. See that? That's a wave, right? Let's say this bottom of this compressor here is the limit. So if we have a way that doesn't go up to the limit, right goes below it, we get to hear the entire way fright. But if we have a way that's so loud it goes over the limit. It gets cut off here, sales along to where it's supposed to come down just in a straight line and then comes down . And then every time it does that, it hits and it just makes this straight line. And when the wave is transformed to this straight line here, it just sounds bad. Kind of clicks or distort. See? Yeah, it ruins mixes with thing you really, really want to avoid is not something that you hear in really good mixes. Unless there Metallica don't tell you what I said that man death magnetic. It's famous for being really awfully mixed and mastered. Clipping everywhere. It's an embarrassment, really. Anything that clips, it's an embarrassment, you know you want to avoid clipping at all costs. Anyway, Let's keep playing this and let's see what this compressor I just used did start with it off. I don't know what it's gonna do. I just mess around with the settings right. All of this has to be kind of done by year. You have an 8.8 to 1 ratio just pretty high. I got thresholds. Negative one negative one point for Devi. I know that's not really gonna do Montreal. You should, like, make it like a 10 10. Yeah, around there. Whatevs gain this game correction If everything starts getting quiet because your threshold ist too low, you correct the game by around how much the threshold is, you know? So it's 10 decibels. You might raise it tonight, but it all depends on if you feel your meeting anyway, uh, attack. It's how much the peak kind of diss controls when the compressor actually starts after the peak goes up. So it's a Peco's up. It's loud, right? And then after 15 milliseconds of the peak, it slams down and it compresses it, right? So what? It gives it a attack? It gives a bit of pop to the sound, right? Bam. And then release is when the compressor stop compressing right, so it lets the music go back. It's a normal right. It lets it be what it wants to be. That's what release does. So if you have long release, it's just gonna be compressed consistently. Finally releases. Um, here's uses for it, but it is final right balance to hundreds. Fine 15 final This is fine. The type. It's just the kind of odd audio characteristic of the sound, right, So this is hard and you have media vintage soft whatever around this. So it's not like a number well or anything, it's just futures. 12. Compressor With Themes Part 2: so Yeah, hard. That's good enough. That's kind of what you want we're doing is we're putting this on the kick. It happened. Oh, yeah, So you can hear that with the bloat with the kid got cleaned up a bit. And that's why you want toe individually, compress especially drums and actually, even individually compress drums and then make them all send together into, Let's say number five. You can do that. You don't actually have to. It's just kind of an option for people that want really compressed, like slamming drums, right. You can compress them all again in another bus and then send it to master like you can make these treat number five as master and then master like. Then it sends itself to the master right that probably confused the hell out of everyone but annual. Hey, we'll just ignore that. That's just kind of an advanced technique, Uh, but we want to put compressors on things that we feel needed, you know, think things drums they're supposed to be like, especially when it's at a higher peak, you know, especially when it's supposed to slam. We want Teoh. I kind of have low dynamic range individually. We wanted to smack right up against the limits whenever it whenever it cracks, right? We don't want it to be there for a second. We wanted to just Keb Lamb. Oh, right. That's one of the biggest reasons of compressor. And yes, I did just say problemo. Prosecute me. Um, yeah. So see the difference again. We'll start with compressor on kind of overshoot base right through this Moreover ship. Wow. What happened to raise the ratio? Even more compressed kicks in, right. A bit of the slam goes away. Theme game correction. You don't want to change attack Must hear your attack just means a soon as it hits the level, it's it's already compressed, right? You wanna have a little bit overshoot just to give some more character When overshoots is not going to clip, it is compressed before get to that level. It just means that I will have a bit of a sharper leading edge. Yeah, kick drum. It sounds crisp, muddy. Really anything you want compresses this new, mainly snare and kick drum are the things that you need to compress because if you don't, then they just sound windy and they don't cut through the mix. It all right if you have any. If you've been making music since we started this or if you made music in the past and right now you just one more advanced things. You know, all these things completely. You might have had enough like it on occasion Where your snare and kick drum. You can't hear them through the rest of the song. You know, sometimes that happens, we're suddenly you're kick, drum, snare, disappear. You can't hear them, right? And one of the culprits as well as, like, poor mixing, like or not being mixed yet. So the volume levels aren't correct. And all that stuff, um, one big thing is Ah, it's a lack of compression. You know, it doesn't slam up against that limit fast enough. It doesn't. It is not quite right, you know, So it can't cut through the mix. It can't overpower the other sounds all so we crank up the ratio. But I think snare doesn't need to be compressed quite as much as it sounds weird. So let's hear this Sounds like anyway, actually, you can tell when you're stressing out fruity limiter, and really, you should turn off the limiter. When you're doing this, you know it's all master compressors. Turn them off when you're compressing something else, because sometimes you compress something and crank up the gain and it will red line. They will clip and you won't know because the limiter is stopping it from clipping. But also what the limiter does is when you have a sound that's really loud, it decreases the volume of everything around it so instantly you have something that's completely overwhelming the mix, and you try so hard to fix it. And it takes so long, right when really you could just turn off the equalizer and make sure that nothing is red lining. And when you play it, you have no problems. So really, when you're mixing when you're compressing and everything, don't turn this on for this or any compressor on here. Don't turn them on until you're done with your game. You're done with your volumes all across the board. You're done with your compression, and it sounds like it sounds like nothing is clipping. It sounds coherent to sounds nice, right, but not it doesn't have quite enough punch. That's when you turn on the compressor and fruity limiter, and then they do their jobs. But before then, they just ruin the sound of your project. So, yeah, don't fall for that trap. That's what most people do it most people are more idea. So anyway, way we're going over example like how mixing and changing the volumes can really drastically changed the sound of things. I noticed that this clap sound is completely over shadowing snare way. Lower it to just the right levels. It sounds better. We'll track impressing this, uh, clap as well. I think it needs a bit of compression. It's like sound when it's a drum, it should just instantly go bam, right It's just smack right up against the top and then instantly go down again, right? I'm just gonna run a compressor on this clap here and, well, you want a compressor for drums? Because, um, they say this clap like it's way of form. It's going to have, like, a loudest point in the softest pointer is gonna increase in volume and then fall again less every time it hits, right? What you want is that the entire thing? Just a Pam. Be right. It allowed us Well, human and down again. You know, like you wanted to be compressed is kind of hard to explain why you want that so badly. But, I mean, if you understand compresses, you know why. Okay, So So our threshold bit ratio of it and see what happens. Basically, that's all music production is, and I've said it a 1,000,000 times. It's just all try and there were doing that doesn't sound good or bad test right now. Now it did nothing good for those. Actually think the clap is only good is ah highlight Because the clap doesn't even sound like damn clap. And it never did so again. Garbage in garbage out A. Not really. In this case, we know how to make it a bit better than garbage. We could make it like Polish garbage. So for a high price, Elia, that's ah, that's a very basic about basics about compressors. I just have to warn you don't compress things too much, because then you just have very unexciting track. Like if you turn on like three compressors and limiters er and blah, blah, blah, right? Even after you mix your track and you decided to just compress the shit out of it. It's going to sound really lifeless, you know, They say your song is really loud and supposed to have a quiet part. The quiet part's gonna be Justus allowed. It's allowed part, you know. How funny is that? Any fun? No music. It's not meant to be that way on in the early two thousands. Pretty much all musicals let those that way. But these days, producers there getting back into the mind space, the headspace. That super duper mega ultra loud is not always the best way to go, To be honest, but yeah, density Mark three Really easy to use. You just throw on a preset until it sounds good. So during that in, I'll go over how toe still the ST's, but later on. But yeah, again, if you run into any of the issues that I ran into, which is it tried to load anything. I won't live in the mixer, tried to load it as a channel, tried to load it as, um, one of these and it gave me an error. It's just being really stupid. Well, you gotta do is delete your plug in database on in your FL studio folder, which is weird. It's what you have to do. It wouldn't they won't ruin anything. It would just fix your problems. Yeah. Let me know if you have that issue with installing third party slogans like this one. Yeah. Anyway, with everything enabled here, see what it sounds like You got really happy kick turning down the kick, ruin everything. Because then, um, different other parts in the drumbeat get accentuated and it throws off the balance. Guy balanced it, then just turning down the kick drum. Even if you feel it's a bit too based a bit too much based, totally unbalances it. So it becomes it is just a balancing act. It's even called balancing, like changing the volumes of everything. If you change one volume, one key point in your mix, you turn it down or up. It throws everything off, at least when you have a really well put together coherent mix that you worked hard on right One little thing and throw it all off. And I've had occasions rife like prototypes 20 or more times just, um, changing knobs, just mixing slightly differently. And I tried it 20 times It was just number seven that sounded the best. And I lost the project file for number seven. So complete mystery What? I changed. What made it different? Yeah, well, there would be a dedicated, um, dedicated video mixing. This is all just kind of Foreshadowing goes compression and eq you and gain control. Here is all part of mixing. It's all part of making all the sounds you thrown onto the page sound decent together. Yeah, that is being about the comm pressure. Have you really need to compress it? Just trying out pretty compressor mess with the ratio. You know, if you want hot, really high compression, You never wanted that high. I say high compression to be, like 17 tops Still too high. Yeah, you mess with the threshold and gain. If it needs to be louder whatever you want to do it, just mess around until something sounds good and then roll with it. That is how music production works. That's how music works. Music can't be forced. It just has to kind of naturally see you in the next lecture. 13. Synthesizer With Themes Part 1: Hello, music fans. I don't know if you noticed, but everything is a bit more squished together now. I just wanted to see if things being a bit closer like this would make it easier for you guys to view. Of course, you could see it in the past, but maybe this will make it even more comfortable on your eyes. Anyway, today we're gonna be talking about synthesizers, which are digital things, that process sound into new things. I don't really know any formal definition of synthesizers, but how about I just show you one? So actually, this thesis plug in menu here is different than what yours will be. It's because I had to delete my plug in database folder in order to make my third party third party V ST's work for some reason. Um, again, I I dont know why thats what you need to do to make it work. It's just ah issue I had. So we're actually gonna start with three exhaust And if you need any help, if you have that issue where every time you run in and effects plug in actual show you if you try to run in effects program And you have this big menu here cause you didn't delete your plugging database. Ah, and then you load it and it says it keeps loading into here instead of here. That is an issue that you have to delete your plug in database and then manually, like, go into a list and find it. Actually, this is what you have to do in fl Studio 11. To be honest, you had to go into a big list and find your thing. But there was still categories there, so yeah, if you have any trouble with that, just let me know. You can restructure your plugging database as well, so that might be something I do. But to me, I'm used to having a big lists. That was not too important. Anyway, find three s ask to you it will be underneath. Um, what was it? Maybe underneath subtracted synthesis. I do believe eso subtracted underneath synthesizers in your big list. So that's going to three x osk and take a gander. Wow. What's this thing? Quite pretty, right? I think I went over some of this before. Yeah, I did, but I'm gonna go over in a bit more depth here, and I'm going to go over another synthesizer called Harmer, which is one that you can you can use for pretty much anything. We're gonna go over a lot of the presets and these things, too. So if you remember correctly, I'm actually gonna turn the volume on this. Yeah, I did go over this, Um, but we're gonna go over it again. Let's go. So if you remember, you can hit notes on your keyboard on your actual typing keyboard. I just hit. That's eat E r E. Yeah, and that's our teeth. All right, so it's like a piano. You play chords. Aw, doesn't really sound like good. Um, but then you change wave forms here. Oh, this is opening sound files. Um, you can throw in your own sound file. Let's say it's you saying bluff. Oh, are hello. You can stick that into here and then synthesize it Sound really weird. That's an option. And then here is just white noise. No, um, used really sharp saw. It's kind of a triangle wave. Actually, I like the sound of Triangle is I don't know. It's just kind of fun to mess around. That's a major court. Actually, it's a triad. So if you if you press q e t and hold them down together on the keyboard, you'll have that. No, you know, But let's see what happens if I do this de tuning it? Eso we're making this first oscillator. These are all oscillators. They each make their own sound. But then we're putting them together. That's three x three times oscillator, those three oscillators together. And if you d tune it slightly, it gives it more of a wide sound. Eyes is a de tuned compared to everything else. Why, it gives it a wide sound. A little bit more must be going on there. But we also have phase offset That will also change where the sound is positions. Uh, meaning in this case, Anyway, we also have course fine. Which are, like, this is how you tune which notes playing changer that after this is quite pleasant. Yes, and then fine tuning will just kind of mess it up a little bit. Listen, just kind of need if you want to do an automation of it, great automation clip. I might actually just detonate Demonstrate this. Um, yeah. How about I show you some automation clips? I'm gonna mix those together here. So we're gonna dio is going to piano roll. If you're about to do that, I'm going to play this chord. We're gonna find where it is when you're playing according your keyboard, it will highlight it here. You just have to play it Scroll down, up there it is so g e c. We're going to select the mall and we're going to drag right on over to five. Gonna make it nice and long, All right, And since when you're dragging it, there's no snap, right? So you have to zoom right in to see where it should be positioned. And I that always confused me. Why you can't use snap with this. Maybe there's some hidden setting, but nothing that I know. But anyway, now when we play this, it's like that just one major chord. It's ah, a c Triad court. The most basic chord like you might hear some Mozart's like like does it go? Oh, it's really hard to like pretend to play piano on a keyboard. It's possible that let's see. Oh, okay. That's too tough. I was gonna play Mozart a little Mozart piece using. Ah, see, Try at using a computer keyboard. But the next note I had to play was like in ems of Yeah, quite a bit different than playing a real piano. But anyway, see Triad. Very, very basic chord. We're actually gonna put this on the playlist. Now I'm gonna paint it on, which need that. Really? Ah, actually was paint on to and let's do some crazy stuff. But now we did that. Ah, All right. We didn't have double click that We get to school here, um, and then go back to three outs, osk It won't appear first, so just click out and then push it in again. It will pop right back up. What we want to do is create an automation clip for fine. So I will tell you what it is yet. You'll have to see So right click, Go down, create automation clip. I did mention it before. Maybe think for a second. Trying to guess what does automation clip do? What does it do? Have you guessed it? Let's see. It should be on the play this now. Bam! You see that? This is how you draw on changes to the knobs like this is the knob here, right? And you draw on up and down changes like up here at the top. Is this moving up and at the bottom? Is it moving down? You see, So if I want to draw in changes, let's, like, put in really basic ones. Usually if you're doing this, you hold Alz and then use the scroll wheel to make it get bigger or smaller or just grab this and change it. You wanted to be a bit bigger. Only when you're working with this so you can have more accuracy, right? So I would make it as big as I can. So I can really, really be accurate with what I draw. Now, if you right click anywhere, right, click anywhere you get another dot Right, So that's just right. Click every one of these. You don't have to do that. You and right click it as much as you like. You know, wherever you like, whenever you like. It's fine. Um, but I'm just gonna add a bunch of these for whatever sake, and you guys get to see what it does. So what we're gonna do Let's draw a triangle sort of pattern of a little wonky triangle pattern. You see, I'm dragging it up, and now I'm just clicking and dragging. That's all. Click and drag. And now we got this triangle problem. What do you think's gonna happen? So what do you think's gonna happen here? I think, for a second. So he's more rewarding. If you figure it out yourself, we're going to see when we play. What do you think? Let's go. You see how, as it goes over this path, it's turning that knob. Actually, we can see it in action. You see that? Well, it's a ghost. It's moving on its own. Uh, you see, that's automation. It's cool. Hands free. I'm not even touching the mouse right now. We're twisting the sound weirdly. This is panning as well. You can change which year it's in. Um, three exhausts tends to click when you're doing that, though, so it's not the best thing for automation. Other synthesizers don't click, and you can pan them perfectly fine whenever you like. But anyway, even this stanza clicking a little bit. But I think once it's rendered once you actually export a file then it should be fine. In fact, let's go over exporting files. If you click export here and then you see, I do weigh five u MP 30 g meaty file. Don't go for me are zipped. Loop Package puts all of their different loops as separate way files into, like a Zip folder. Anyway, click Wave File its basic. I just have my weird names, projects. Let's call this test. You could call it whatever you like, right then click save. And then you come up with this menu, right? So here you can again select which one you wanna do actually going to all of them that you can make it out. Put in everything if you want. But like, let's say you want away even an MP three. It's like those right ah bit rate of 4 50 kilobits per second usually just defaults back down to 3 20 It's more of a nog sort of thing. Um, that plays it natively. Most players would just play 3 20 kilobits per second, which is fine. It's MP three. Wave, though, is, um it's exactly what you have here, you know, not compressed at all. It's exactly what you want. 32 bit float will not play on a Mac for some reason. So 24 bit is better if you have a Mac. But 32 bit gives it just that last little bit of depth that can really be useful when putting it back into FL Studio. You know, there's a lot of reasons for it, but I always keep a 32 bit float. But if you're using a Mac 24 bits, fine. So for posterity, think for for whatever. For the sake of what I just said, I'm gonna use 24 bit anyway. H Q. For a plug ins, dithering all this, this will be set low the first time you try, so put it at 5 12 point sink. That's the highest sound quality it shows you is 15 seconds. Make sure that you're not just rendering a pattern, because if you if you have this selected and it's orange when you render its only government, render one pattern that you did so a Zabel Maximum Polly Phony limited limit. I don't really think you need this Polly. Phony means multiple things playing at the same time, Paulie. Multiple phony of music, so I'm not really sure. Just don't touch that. So start and it's done rendering right off the bat. So if there's a little trick, if you want to find your thing right away, pretend that you're gonna render it again and then just find it here so we can double click and play this. Oh, wait, no, no, don't right click and play. This was ruining my own trick, right? Click click play and then you don't have to, like, make anything else here. Isn't that cool Now? If this was a really popular genre of music, who ghost means this is ghost music? This will be a hit in those underworld dance clubs. Man, those were really underground clubs. E. But anyway, let's say this was like a hit song. You know, you hear this on the radio all the time. Ah, bit bit better than some JB songs for sure that if you catch my drift. But anyway, let's say you hearing this on the radio, what the producer did, it's probably annoying for, you know well, the producer dead is they did this. They exported it right? Once they're done, everything they wipe the sweat off their foreheads, and then they explored it. Right? So that's neat If you just exported this, if you're following along, then guess what you just did. You did exactly what Skrillex does or whatever. When he's done his projects, he exports it. And then he sends the MP three and wave file to somewhere like this friend or something. Anyway, there are, um, presets over here. Three itself. 14. Synthesizer With Themes Part 2: That's weird. That's really weird. Should have never used these. But I assume you just do that. Ah, wasn't that need quick and drag these things? I've never had to use these. Really? I always make my own sounds or use a different synth. But if you want, like these, you know, if you want three s OSK presets, which means, like, sounds that are already made in advance to sound like certain things just over in this browser. Here, just click channel presets here and then click and drag over and you have that hurts. And I want to turn this down because, yeah, plug ins airways so loud. But anyway, you gonna have baseline. Not interesting. Even as this playing, Uh uh, sounds like brass and stuff like, it sounds kind of like an eighties breath brass in three. You play jumping on that or something? Um, that's a neat all these neat presets. You're just gonna drop in thing like this card here. I'm actually gonna go into the piano roll to show you that. So what I'm playing is this Start here, this board on and then you just move your two fingers up to F in a I was messing around, but basically have that sort of pattern. You know, one Teoh. There's certain patterns that you could make that everywhere you put your fingers on the white keys, it will sound nice. So one pattern is down here. Ah, if you have a, you know, one note in the middle. So let's say to two notes down right on. Then you do one that is 123 notes down, right. That finger Platt pattern plate anywhere will always be a solid No, same goes for this. Let's say C s. So if you do like 123 down or your pinky and middle finger if you're playing with your left hand and then 12 down, Yeah, you could just play anything anywhere, and same goes for you, too. There's some basics of piano taught the Evan way where I'm just making it as easy as possible for you. So that's how you just kind of make major or even minor chords, and you can go. You can go toe to go to the Black Keys Here. You dropped the middle on down one. Ah, there's a minor, but there's something else you can do, You can go into settings, stamp on any stamp. You can just pick any sort of chord. You want anything? So that's a minor seventh. Don't want a minor seventh right now. If you just click anywhere, you get a minor 7th 1 here. This sounds like eyes being de tune. So let's So let's go over here. You can actually let's wish this again and you can click this to disable the channel. And then when you play Yeah, that Let's, uh let's make something This sounds nice, right? Do you want something? Do as the next one. So we want to do it. Take a slice tool. Make sure we're in. Let's go to step. Don't want Toto 1/4 step. You wanted to be, as you know, not easy to make mistakes. See, if I was in 1/4 step, that means I could quite a kind of diagonally, but I want to cut it straight. So what we want to do is, um do that court, move it up, see if it's fine is a moved up court, or maybe even do another chord. But we want just kind of like a nice sort of jazzy progression here. So, anyway, you see, we owe us a nice jazzy chords right there, Right? Let's turn it down a bit because Berezovsky is always really, really loud. So we're gonna do is make, like, come some sort of need based better. So we wanna goto all whenever it gets stuck somewhere. And you have no idea what to do. Just click up here and click. All will go back. So next we want some sort of base zone, right? It's noisy base like that's not fat base. No Porter base. There we go. So, uh, again, just try on air. You keep moving, whatever it looks like it might be good with super bass, right? Oh, no, no, no. Actually, like that, you're going to use that. So we got super base here. You know, you just click drag until something sounds good. And if you put it in, it sounds bad, and just do it again, Right? So we're gonna go into super bass. Listen to these chords again. How? How home? No. How, How? How How now that sounds like again trial There. Will this sound good? I don't know how. How? No how? How How? Maybe it sounds good. Maybe not. Let's see. No, how how my mom's got stuck. All right, it's down there so that this pattern kind of works with it, you know? No. But what we can do is select that all and move it up and see if it sounds better in another octave. I always do that with base before changing the sound. If I'm not happy with it No, no, no. It sounds like really de tune. When it goes up, let's just put it back down and switch to that other preset. And I found that Seemed Teoh work quite well. Oh, wait a minute. Open up to yourself. First or base. Let's see, uh, who? Yeah. See, I hit the wrong note because, um, the other base was so like it had so many notes playing at the same time. If you hit, like the wrong No, it still sounds, right. Right. This is much cleaner sort of signal. Yeah. Ah, somebody If we do that, I think it's really important for you to kind of see the process of a musician kind of figuring something out, right? I really want you to know my process. That's what this whole thing's about, right? So what I'm doing is putting notes. You can tell if a note, like if you're up properly in the scale, is if it sounds bad or not. Right? So if I want to go Mm. So we could go to D You know, it sounds like his minor. Dude, you, Once you have three notes, though it's not this so doesn't sound right at all. Right? So then you try this. It sounds OK. That's not what you're after, right? Put it down. No. All right. Coming down right there. Minor musicians, like one of the biggest misconceptions you can have is that musicians instantly know where to put everything. Maybe some really strongly trained classical musician that's been learning it for 20 years . Then we don't know exactly what it put everything right. Producers don't Doesn't matter. Just kind of figure it out. It's quick. It's fun. Eyes crank up the tempo 274 and see what it sounds like. I don't know why this is kind of distorting e. S, because I should be lowering it to a for not just okay, Let's see this drums now the best swing. So, affiliates, two steps. We're actually gonna just like this, and I'm pretty sure this is where All right, We're gonna do piano role in the hats here because I want Teoh do velocity. It's a good time to mention velocity. This is velocity. It's is how hard to the notes are hit. So if you're doing this, the hat's gonna go t you know, so louder, quiet or loud or quiet or loud or quiet. All right. And that's good for just kind of ah, jazzy beat. I think I have to do it through the entire thing, though. Yeah, I'm pretty sure you can, like, control click to select a bunch of different things and then move the mall in unison. But I don't know, I guess I don't have that much against just doing it this way. All right, so let's see what it sounds like. Uh, going to extend this a little bit E Yeah. Extended even further. Alright. Usually you do all of this in different patterns, right? But I'm just putting it all in one. Just, uh, this has my example. Right? So this is quite a few bars 32 in that. So he was gonna do the same pattern again, right? So that closing it sometimes confusing to, like, put your patterns in another box For some reason. Yes, Down here. Like it When it's longer like this, You don't You no longer have a lot of reference. So far, things are parts even more. All right. I'm not used to doing it this way. It appears that I can extend it any further. I can do no into here way. Yeah, that's just kind of like jazzy. It sounds like this could be in the background of, um, some sort of video, you know, like I made all the background music for my videos. Like the one that you hear in the beginning and end. I threw that together, right? But this can also be kind of like video, especially if you turn down the volume. Hey, guys, are you doing here in new video today and have a bad habit of above? Right? Then they're gonna throw in like some sort of weird sound effects. Third type of music. I love to separate these all into different patterns, but, uh, Askri, let's do it um, gonna go to piano Roll Control A We'll see which is copies it, and we're actually gonna go here. New pattern. Um, club brass under here. General, we're already in there. Troll V. We got it, and we're gonna go back to the other pattern. Right? We're gonna go here. We're gonna go in the base. Control a control copy. Great. New pattern. Call it base. Right. Uh, in control V. So I got based in another one now, right? See how I'm doing it. Go back to pattern one and ah, go piano roll control A and then delete back here, General Control eight. And then delete their snow. We got everything separated and we can go to patterns and rename this to drums this time with capital. Using both hands really matter though dress ums. It will be it remain as dress ums because that sounds pretty cool. Actually, fact they heard a name the other day. May me, for some reason, I think that's a pretty interesting new that is totally off topic. But anyway, we're gonna get rid of this cause it's weird. Ah, actually, no. What? I wonder what it was the whole thing would sound like with this. Are you curious? I sure am. Again. You can click this to select which one you want to put down. Do you put down the brass that way? Okay. I didn't notice were moved up. All right, put down that way and then select here. Base. It sounds like I like it. Um, Managua's do Cem smother funky things. 15. Mixing With Themes Part 1: remember I mentioned equalizer and mixing and everything. Let's stick these in different tracks, right? We're gonna go into Porter base. Uh, actually the channel. I'm pretty sure I can Yeah, I double click. That gonna add up the EQ you write? Really? Q. You just did it dramatically Cute, too. - It's just ensuring it's just ensuring that this curve goes way down below where you can actually see. So there's absolutely no high and information, so the base doesn't get in the way of anything. Compressor That's a bit tighter. What about there? You don't have to roll off. You want we're gonna do like a mass bringing you in the end. Yeah. So that's what you want to do with the base. Make sure it doesn't have any of this getting in the way. Uh, next of all, you want to do it, do some other things. You wanna You want to put nick you on everything right? E que on everything? Because then you could make everything work together. Oh, I just scroll down faster. Yeah, Another trick for mixing. I mentioned it before. Go to master. Turn off fruity limiter because then you can see where the things they're clipping, right? You see, if something's too loud, we're gonna extend this a bit so we can actually see everything. Screens more squish now. So that's why it is too loud. I turned around there. Follow me around here. - I don't know if you're seeing what I'm doing here. - Basically , just doing the stuff that I have shown you in the best. And that's what mixing is really just want ever is mixing. You know, You want everything toe fit together. Well, right. - Ah , I'm gonna change around Cem. Some sounds actually differently for the kick here and going to Pax. We could just use some of the trap samples here. We have lots of kicks. So which one do I like? Talk, I think. Yeah. Much better. Kick can hear it, though. So we got we got a like mix. It makes this one again because we switch the kick. Uh, you might want to switch their high hat as well. Yeah, so I just gotta make some stuff around again. We didn't do any mixing in the high. How yet? Just, um, the dynamics, the velocity. Right. So this one, we're we're being symbols. Do you want to find one that find one that you think will sound kind of like headlines? Um, what's the other one? I struggle with chronic. It's a bit harder. Let's hear. So who just turned off the bastard? Have you turn off this light on the master? Everything stops the master, right. You still see everything playing. You just can't hear it. You actually disabled whatever you want. Eggs off did it again here. This kick has, like no high end information. It's simply just a kick addressing. I kind of want to go back to the drums and then layer a kick. I want to add another click kick. Why do I want to do that? Because there's no click here. You know, Kick drum should have a so you can still hear it when the new ones, when they don't have a subwoofer, right? Barely has a click. So go back in the kick drums, find one with a good click, turned the volume way down, compress it together. So put them both in number one, and then you have, like, a new sort of kick. Maybe I don't know if this would sound good with the sound of this whole track. But we'll see. Now we gotta find a better, better click. That should be good. I think way got to do is go back into the EQ. You. That's what you have to do. Now that we have two things moving into it. It looks like you got that way. Have I information Now, - that's better, right? Being impressive. It more. How do you like that? - Sounds pretty nice, doesn't it? We're gonna save this test file. Ah, well, test anymore, is it? Anyway, we're gonna call this. Actually, you're called Jazzy. Jazzy, not jay z jazzy dot fl be safe. I wonder if we can use a different snare. Basic snare is fine, right? But I'm actually surprised that the basic snares fine. I e cute it pretty well. So that's probably why this is, like, the first time. I kind of feel like I don't have to use a different snare. And that interestingly listen, it sounds pretty good. So I'm cool with that. Let's see, I We don't have the fruity limiter on Tell us here. Everything's kind of gained stage pretty well. So might want to change that around a little bit less. Something pretty good, isn't it? So what have we know? You queued yet? Sneers. Fine, High hat. We gotta take you it. You got a cue, the high hat because it has a whole bunch of frequencies going on. Check this out. You see how far it starts back here? It's really, like getting in the way of things. Where did the snare go? Oh, I turned it off by accident. Instantly. Everything sounds better. When I get rid of all this. You could really plunge it down by lowering everything below it, right? They did you another thing. You can actually move the high hat around if you want to. So kind of like it that way. You move basic stuff around, too, but he always wanted in the middle biggest rule you always want based in the middle. Really? So anyway, brass number three I don't know if I ve acute that yet. I think I have. Yeah, I did. We won't. Might want to like eq you. Some other things just said change around the sound a little bit. This is what mixing is right. You want everything to mix together and sound good together 16. Mixing With Themes Part 2: you want? Like a more mellow since like that for since with bite how much you can change. You change the character of the sound so much this way. You don't want too much time in here, though that's normal. Sounds a bit better now. I usually don't compress these sort of things, but I'm just gonna try compressing this. It doesn't need a compressor. It needs is a spatial Isar, which I have a good introduction of that. This one H bathrooms, sterilizer. This is including the back. Definitely. Install it and use it. You can hear completely different, right? It's normal is now amazing, right? I also like to do it the snare. Believe it or not, because you can make this thing really narrow. You just hear the distance here. It gives a snare more room, right You do with the high hat as well. Gives it a bit more air around it. Right. So don't put it here. This is for, like, really advanced phase cancellation stuff. No important. You don't want it right here either. Here's the sterilizes. Too much. Push it up this way. On these ones you can mess around with just to change the shape of the founder did. Really? We should be doing this without the without the limiter on you can always do volume equalization in the channel rack as well. You don't have to do any sort of Ah h Buzz, um, stereo wiser in, um, on the kick. You don't want to do that. Actually, the kick should stay dead center. Always. Base should always stay dead center, that's why. 17. Mastering With Themes Part 1: putting the sterilizer on the master isn't good because the base in the kick and everything go off to the left or right or whatever. It just doesn't sound right. So you don't want to put too much of a stereo wiser here. But there is another sterilizer that does sound pretty decent on the master. It's called Shefi. So we do preset our TV and be clarify. I don't know why it's called that. Don't know what is really designed for, but it is what it does. Pretty cool, right? Oh, yeah. Here. It sounds like like a professional song now is mixing. So we're gonna move down, Actually. Ah, let me explain this. This is a chain. So everything that happens here goes into here and goes into their goes into there as like , a waterfall, right? So I'm gonna put in an e Q and we're gonna do that magic you I showed you before. Um, you don't want it after Shefi because this will be a queuing, a specialized thing, and it will ruin the whole spatial image of it. So you always want to e que beforehand. So let's do this magic thing again without even really listening to it. Just do it just to show you again that it's oddly enough, it's the shape of this thing that his magic, you know, I don't even get it. But there, okay. Doesn't even have to be severe. Could just be subtle. So, yeah, there's a difference again. It was before, after that. Accuse everything. Oh, yeah. So that's that. So you might be thinking then what is mastering? Mastering is what we just did. There, actually, and here, mastering is putting more space into the recording. You're trying to seek you out things that don't sound right. And for some reason, the CQ just makes everything sound good. No idea why no one knows why, but it does. So use it anyway. We're gonna move this down. We're going to use a fruity, multi band compressor here. Actually, you know what? No or not. We're going to use one of the things I included. Density mark three. Oh, I love this one. Now it's kind of hard to explain what it does because what it does is extremely subtle. It's ah, we all went over this in the compressor section, But this, um, just glues things and pushes them together slightly. It's like a really gentle, active compression, you know? So it's always like changing what it does, depending on what's happening in the song, right? Very advanced program for, like, a free program. It's really interesting. So really, I just like to use gluing because it just kind of compresses things together a little bit and push them together. We'll hear the difference here. No, we want to compress the base. Very subtle. All it does, it just kind of pushes it together a bit more. I wonder what happens if this goes before the sea. That sounds better. After here we go, see what that does makes it bigger. Sounds good. It's actually quite well mastered. So this is mastering when you put stuff into the master rate, your master ng. So this is the difference between the mixed track and we mixed it pretty darn well, right? Everything is put together. All the EQ use air in place to make them all work together. And sounds don't conflict, But it sounds like this. Actually, even the limiter is mastering right? That's what it sounds like. That's only mixing. That's just mixing sounds like this, right? I love it despite good right. But they can get better, obviously, because we're gonna eternal on all the mixed all the mastering presets here and turn it off again. All right, quiet. Not glued together at all. Not really wide. And if you ever hear the audio kind of skipping or popping or something, it's just because up, it might be a lot of things going on. And sometimes FL Studio is trying to catch up with it because it has to do it all live. Right? So that's the only reason I think you see we didn't use to at all. This is just clap. We don't wanna put a clap in there. So we went from Ah, actually, let me show you. This is probably gonna be the most dramatic thing. We're gonna turn off all the plug ins on the entire thing. Everything we did. No mixing, no mastering, nothing just gained staging, just putting things in the proper volumes. But even that isn't cracked right now, because, uh, compressors and gain and stuff like that changes the volume of things. But let's see. You see that? That's what we started with, right It doesn't sound super bad, right? It just doesn't sound refined. It doesn't sound professional. That's what people usually do when they don't mixer master things, right? You see, like this some sort of video Siris on YouTube and the person fancies themselves a musician , right? So they throw everything in national studio and make this probably not something as good as this. But you know what I mean, You know what I mean? Um, but as you can see, it's not mix it all and they probably don't even gain stage it. It'll, you know, they don't change the volumes. It's all just flat. So that's what makes something sound unprofessional, right? Like this. Now we go through and turn on all this stuff that we just did in this video that the bam Before you know it, I bought a boom, but of being, we turned the unprofessional sounding thing into this. You ask me. It sounds pretty good, doesn't it? It'll sound good on pretty much anything out of a mono speaker, stereo speakers, headphones, whatever. It's gonna sound good, nice and wide and realistic mastered. It's mixed everything, and actually things still sound with all this things still sound good without fruity limiter, as long as you gain staged everything correctly and nothing's going over the limit, right? 18. Mastering With Themes Part 2: So let's hear it if you just turn up the volume on your speakers. Actually, I do an example of this, like, some people really, really prefer this un compressed, unlimited sound. Right? And you can export it like that a little bit lower volume, but more dynamic range, more punch, a bit more interesting. In fact, I like it when things were mixed that way. But, um, professional mixes and stuff. Usually they just kind of squash it, and that pretty limiters washes it right? So it just makes everything a bit louder and more consistent. We're gonna export this as groups. Jazzy. Ah, Unlimited. Makes it sound like some sort of movie. So Jazzy, Unlimited. Right then we're going to just save it as wave, and it doesn't all very, very quickly. And then we're going to go in here and, um, we're gonna turn on the limiter, right? We're also going to save. I would always save, always save, even though there's like, um, an auto save feature save. Anyway, it's only every five minutes. So if you did something really special in the five minutes and NFL studio crashes, you're plummeted. Look, this versus this, which one Do you prefer We're gonna export jazzy, loud, jazzy loud. There we go. Remember who start? Remember the old trick. You pretend you're gonna explored something, but actually just here to play here. Play So from the volume here so you can see things can be as loud as the other thing. Just one more dynamics Start looping from them. Yeah, it was like a bit of space at the end. It's supposed to just loop what happens Way not set up properly. All right, That sounds like for some reason there's that unsorted and sorted inserted a little bit of , ah, space at the end. It doesn't usually happen, so I don't know, whatever. So I believe that I prefer this sound to be honest, Theo addressing thing if you have a l C when it's over 100% it's actually compressing the sound itself. So you don't really don't want to put it over 100 if you want to hear like, the true sound. I just wanted to kind of like so it's basically that un compressed one. I was compressing by turning up this, so my bad. But I do like this one with a bit of limiting and compression on it a bit more. All right, so that is mixing, mastering, synthesizer, everything. That's what that was. And I hope you had a much fun as I did. One other tip. You. This sounds better. This'll sounds better than the exported wave file for a lot of reasons. Let's play this again. Feel See right Then you got FL Studio. It just sounds way better. No, this isn't necessarily the fault of FL Studio. It's actually probably the fault of V L. C. So don't be afraid. If something doesn't sound the same, it's because of the L. C. Uses different audio processing than that. So if we do open with, um we knows Media player, I'll try quick time as well, just so you can see they all sound different. Media player. I think it sounds worse than veal. See, It accentuates the base and everything, right, so you can hear the difference here. Oh yeah, Straight out of fl Studio Live, real time, everything. I think it sounds quite good. Everything is very crisp and awesome, but here they just insert like more bass and everything's kind of squished together, right so the audio processing is not nearly as good. Fillon Export. Actually, I've never tried to play one of these using quick time, but Apple tends to be pretty good with audio processing. Let's see, unless it's going to give that quick time set up. Uh, let's see. Um no. All right, we'll see. It has a wider sound, but it's even more guilty of media player for boosting the base. Right, Here's this you work. So I just make everything make everything even and sound nice and quick. Time does this. What the hell? Come on. Quick time. Everything's super Basie. Well, you wanted uses something called Foo Bar 2000 and I do not have it installed on this PC at the moment. But food Bar 2000 has extremely accurate audio processing. And what you export will sound just like this. I just enjoy how fl Studio processes things. Now this this file and, um, the exports and everything will be included in the download section of, um mastering and mixing. And both of those things will be available in the download section. So actually, you know what? Just mastery. This will be available in the mastering download section Because if I put it in mixing, it would be kind of like a spoiler. Yeah. You know, you see, in the end of the race before you finish my pick, make people want toe, you know, quit before they've actually learned out of master things. Yep. This brought a just a bunch of things thrown in together. It turned it into, like, a jazzy masterpiece. Wonderful little jazzy loop. So much space. So big, right? That's the merit of using all of these things. All right, this has been really fun. I really, really, really enjoyed that. And I know you guys are gonna do great with this instruction. You can put together a song just like I did do everything I did. And you gotta professionally mix and master song, um, like methods that I use, especially this magic e que I'm gonna Now that we've done everything. One last treat is hearing the difference between magic you on and off. Let's do it this way is like too much bass and it distorts. It doesn't sound right. Well, sounds bad. In fact, the EQ you could be arranged just a little bit more. Teoh, help accentuate the snare a bit more and make it sound right. I could show you how that would be done. It's pretty much perfect. But there you hear the snares dead, right? And this one, you can hear that the snares, like really flattened dead and doesn't pop look. But then when we turn the magic, you there's not dead anymore. Oh yeah, and that's a wrap, Guys, that is a fully mixed and mastered track. Now we can move on to making some more modern music, like some trap inspired beats. Now, one thing I mentioned before I end this. You don't have to make songs in certain genres exactly like everyone else. In fact, I recommend against it. Get inspiration, but make your own style and make sure the styles good. So that has been every number, and this has been a meat production. Have a great day, guys. 19. Song 1 Part 1: Hello, everyone. And welcome to the first song project. You may recognize this one before I'm gonna go over everything I did here when we're going to continue. So this is a song? Doesn't really have a name. I called it untitled. So you see, I remove the d. Um, okay, I just kind of make a weird name. Sometimes I gotta go over what I did. Eso You are able to do exactly the same thing when you need to make a song. So I think the first thing I go over our which one should I do? Drums or melody? I probably go drums first. So these are These are the basic drums. Well, listen to the pattern here. So what's happening here is the kick Drum is actually playing along with the rhythm of the melody. And I think in a lot of music, especially trap music and stuff, that often happened. Uh, the kick drum plays along with the rhythm off the melody, not the notes, just the rhythm That kind of gives the melody more power and everything. Then you have the closed high hats here again, it's like the the's sprinkler system. You can solo that. So you only hear that again. This is always kind of like a Sprinkle assistant, right. This is, uh, kind of more complicated. I have pattern. I didn't go crazy with this one, like I sometimes do. I just kind of made it basic because I don't think the song really needed something like really crazy with different notes and speeds. And yeah, you don't really need that. And for the snare, we just have it pretty sparingly. As you know, there's, like, reverb there, just kind of ends. So we're gonna We're gonna change a whole bunch of things with this song as well. That's one of the biggest things were going to do to improve it. Um, because this is on this is a song that was just thrown together. It wasn't necessarily mixture mastered at all. Yet just some effects were put on. And, uh, yeah, things aren't really cute, so we're gonna do that now. So that was a drum pattern. Um, when it comes to making drum patterns, you really just gotta throw stuff on the page and then keep putting them together until something sounds nice. And then when you do put it in the song and other things come around, you'll probably change the drum pattern, but one also. Also, one thing that you really, really, really should do is once you have a pattern, a basic pattern. You see all these patterns I have. Most of them are drums, and that's why I don't really give him any names. But you just keep going here, going to patterns and then click clone if you click clone and she also show you it doesn't matter. Clone Boom. Nothing seemed to happen, right? But this is actually a clone of number six, so we were just at number six. Now there's a clone, right? I'll get rid of it for redundancy. Sick. Do you eat? There were you want to do when you make your first drum pattern? Is clone a whole bunch of times because as you go through your song, it will be really boring. If it has exactly the same drum pattern the entire time, right? Then we just have ah, clapped, uh, kind of add to it. I guess it adds to the pop of that. As you see, there's another snare here. Just, um, it's actually the basic free loop snare, which I keep using sometimes because of the EQ you like I can make, I can eq you it and actually gives quite a lot of punch to the snare to the whole snaring clap set up. You feel like it's just kind of it hits pretty hard. That's like the sort of punch that I like to have, right so altogether. There's so much I'm gonna do the used to make them sound better. Kind of excited, actually. Then we have all this, this guff here. I've been over it before. This thing here is simply a sample I've taken from somewhere in my packs. Probably this trap folder here, just some sort of thing. It's a sample that I have shortened. Remember to keep stretch off one stretches on. I'm not even gonna touch because everything else will stretch to. That's the worst thing. If stretches on, it changes the length of it, and then the it gets slower and the notes get deeper and you know what that keeps stretch off and then you can actually, like, trim it like this, right? Depending on your snap settings, though, I won't step. But if you want more accuracy you can go down to? I'd recommend fourth step. Unless you really need to put on none. Because often you'll forget that none is on. And all of your stuff will be completely misaligned. You won't even know because usually you're working kind of zoomed out here. You want to be able to see all your stuff? Um, also, as you see, my workflow was pretty. I guess you say disorganized. I like to make kind of artistic patterns. Sometimes when I'm when I'm doing my Muzak like usually it want to remove this tale of the symbol here because the tail and still has sound and interrupts everything else. But, um, in the beginning, I figured I'd just leave it there because I kind of liked how it looked. But now we're gonna This is all so quiet that we really don't need to have a tail. I figured it happened, all of them, But it didn't so select them all. Let them all everyone that I used. Then since they're all selected, I can shorten them all in unison. So I think this this it more acceptable tail length even here is fine, but think about here, We'll be fine because, like, for instance, there's no overlap now, right? Uh, and even overlap with these things will just muddy up the sound a little bit. You want to try your absolute best to clean up the sound wherever you can write? Well, it's about clarity. Clean this and clarity. Super, Super, super important. Same with this one. If if it rings out for a long time, nip it in the butt, especially if you're not gonna hear that ring over the top of a whole bunch of lab stuff, get rid of it. So I got to say so. Moreover, the strong song structure, though First I started with an intro which has actually just had this pattern here, which is just kick kick, right, and then what I did here control mess. We'll zoom in. This one is simply this one. See pattern 11 but I shortened it. And stretch doesn't affect patterns whatsoever. If you don't even have an option, isn't there not sound clips? Right, So I remember. If you click something that you already shortened, you can then paste it as its own thing cause it's intended for you Toe do this, Teoh. Make everything more easy. So then I put normal pattern 11. And I made something called pattern 12 by duplicating this one and then just adding one here. Here, that's what I did. And what that does is it's kind of like a really mild kick drum buildup. So next thing I did is, um, somewhere in here. Or maybe they're somewhere in here. Maybe a music greater trapped samples here. Music. Great. I was great because they have so many free samples everywhere. Um, yeah, I think I went into loops. Well, it was probably FX. Yeah, These pitch fails here. I use pitch Phil number six. Right. But listen, how this has a pause e like that? No. Sure. Why does that? Maybe for a purpose. But if you right click on this, it's solos it You don't even have to go into a menu just right click. And when I play this, you can hear that I remove the silence, you see, because I really didn't mean it sounded weird. So anyway, this is pretty important for trap music as well that we have vocal snippets here, which I think I got from this maybe focal snippet is that's called I'm not not entirely sure I got that one, but it is from one of these kind of pointless to go searching through your just wasting your time. But it's just a vocal snippet from one of the things that will be in your fl studio folder because, well, you you you because I'm including it. Ah, this one. I also shortened because this last one didn't really fit. But what it is, is it is someone almost saying you or something? But I figured it fit with the beat onto truck kind of build up to Everything happens. So next that we got some texture here, this what this does, It just fills the audio space. Because if you only have, like, a few things than everything feels really, I'm not professional and kind of dull because there's not enough space field. So what this says is it just fills up the base. So see what I mean? Kind of annoying on its own. But together with everything else, it fills up the space that is blank and makes it sound more professional. Right? Next, we got another one of those things. Just just to make the build up a bit more complex. Actually, you see, Always gotta add these things. Just that's the one of the biggest use for samples. Every producer uses samples. Ambien samples just doesn't matter where they get them from, they could make it themselves. But you don't want to go into a synth and make one of these every single time you need one because they would take 100 hours to make a simple song. Right, You gun, take make. Ah, 100 hours on go into maybe 10 hours. Total work if you just, you know, swallow your pride and use some samples. But you shouldn't even have to swallow your pride. It's behind. Everyone uses samples. So a lot of new producers have a great but that do not. Samples are fine. Men use them as much as you like. Make your entire song at examples because you can clip clip them like this. A lot of people do that. You know, I think about somebody that I used to know by go d a. He actually, uh he used samples for like, the whole song like a doo doo doo in the back was an excerpt from this like old Mexican jazz song or something. There's something really obscure. And, yeah, he just cut out that sample. It's fair use because it's below 10 seconds and the written this song, no credit or royalties given to the person he sampled it from. That's just how it works under 10 seconds. You're good. Well, I just had a sudden phone call and kind of lost my train of thought, but I'm pretty sure I was going on about the ambience here. So this lesson two films as well, which is just another one to fill the space. That's it. Kind of like this one. Some swimming and cool. Yeah. Then here you remember automation. We got automation for, um, the's just pattern 10 pattern. Okay. Pattern 10 is a remake of the 1st 2 notes of pattern eight, and I just decided to use the 1st 2 notes of pattern eight in different arrangement. A Z kind of the intro was like a foreshadowing for the main course, so to speak. Um, that we got the first drum pattern pattern six showed you and we got pattern one, which is kind of a slight variation of that. So Oh, all right. Sorry. Playing a song with a bit of chance. If you're wondering why it's, like, all messed up, it's because, um, I cut it off in the track to here. And then when you open it up, it cuts it off on that well as well. So just right click. Oh, well didn't work that it Just click on this with the square selectable and it will go away and then you can play it without it being weird here, see what I mean? That's next drumbeat and you got pattern three here, um, which is without the kick drums, because I have a separate kick drum on the bottom that has, like, a really neat pattern. I explain that kick pattern, another video, how it sounds wrong when playing on its own. But then when played with everything else, it sounds amazing. So Oh, I'll highlight that again. Show you that again. The same sort of high hat pattern, the high hat pattern uhm, in this song takes really takes a back seat. Um, because yeah, hi hat in this one takes a back seat because it's just not much of a main element as it is for some other songs. Like with Cleavers. King of everything has sort of panning closed hat sort of sound to it, and it really takes a sort of front rule. But this one, the high hat is no. It's there to sweeten the pot. Let's say there to sweeten things up a bit. I don't have this, um, crazy panning pattern here. So left, right, left, right, right. Left, right, left, right. That with the left one being slightly quieter just to give it some sort of need effect. Anyway, I'll play the low base here, though. Just, uh, show you how it doesn't really sound right on its on its own. Well, then I'll play with everything else. 20. Song 1 Part 2: like it just seems like I made a mistake there. But then, if I play it all together from about here, Theo, if you're wondering why you can't hear anything in the track and it just sounds really convoluted is because this is not mixed yet the volumes are all that, Max. Basically, um, it's Oh, it's just a wall of like, almost indistinguishable sound at the moment. So I'm gonna want to go over that because, um, putting together tracks is one thing. But then making them sound good is a whole whole other ball game that very, very, very many people have trouble with, even the main producers. That's why the main producers send their tracks off to someone else to mix and master them . You know, it's it's own field entirely, but if you become good at it, then you can be a bedroom producer mixture, master, and you can even open your own service where people pay you to mix and master their tracks . And it's a hell of a lot of fun. Trust me, so it really is. I send you that, and you don't even have to make track yourself just like damn so anyway, there's 80 wait. Based kickers. There's base E m. Trapped kickers. I don't know which pack that came from, but you could probably find it if you look to the trap backs. Um, Anyway, what we're gonna do is, uh, give this thing a channel. Channel eight. I don't think that's being used at all. No, I don't think so. Give it Channel eight. And, uh, we're gonna get you not to get rid of this. Three. X osk was used for another example in the course, but, yeah, we're gonna go in the base kickers here. Um, this is the one of men, right? Yeah. So we're gonna dio is, um, going to the channel here, and we're gonna put and e que down again at my weird sort of arrangement here. Older guys about that. So you gotta take you down and we're gonna put a fruity compressor. I don't want to use any compressors that air too complicated, but I am curious. I've never at least not often used. Um, there is a density mark three on each individual track because it's more of a mastering tool. I want to see how this does with with base compression. So you're seeing it here first, folks. Density, Mark two on base. See what happens. Let's look for the presets and see Ah, pinning down. All right, well, just listen to it and see which one changes at the most, anyway. Oh, that sounds better already. Uh, you know what? That might be better. I love these two presets in this larger than life and big picture. Uh, they really they make the sound image really big, like on default, even here, the base in front of you, right? It's just a small sort of thing. Within, if you turn on larger than life, it suddenly, like, becomes way bigger. And it makes kind of a profound change in songs usually. But I put that on the master to make a whole thing sound bigger. And that sort of trick is used by the top producers to make, like, really insane drops. Like in um, the A promo video, for instance, like that was the that preset was actually used in the promo video song. You know, the one with really sick drop. I actually used that preset, uh, in it to make it sound really, really huge. So anyway, gonna navigate to this part here and give it a go the much bigger presence. But as you see, everything sounds like crap because it's not mixed properly. So we're gonna have to send who turned it off. We're gonna have Teoh send everything in this entire song into their own respective challenge channels. And we're gonna have to volume mix everything, but it's not as bad as it sounds, but we have to go into mask. Yeah, pretty limiter. Worf, turn it. Or from now? No, I said it weird, but just for emphasis. So you remember. Say it were Do you remember? Turn it off. And then, uhm, I'm pretty sure this is gonna be filled with clipping, which is a good thing, because if we can kill the clipping, then the whole thing sounds better. But, um, not as much clipping as I anticipated, but still quite a bit, but really, I have to put everything in their own separate channels. You know what I mean? So 2222222 Usually I put them in channels as I make them, but this one I wanted toe kind of make it um, disorganized. So I can actually teach you how that works. So audio. We're gonna want to send these all to their own channels and stuff when he goes to nine. This one. I thought it was already an attractive It's not Soon goes to 10 and just so on and so forth . When you're watching, you'll see my decision whether to skip ahead or he talking to the whole thing. I'm currently not sure which one of Benedict, actually, this little thing here is neat. So it makes like a really great build up for the next section. Like, if I unsettled that listen totally like, leads into that. Right. Um, well, you might even turn it up a little bit, to be honest. Yeah. I don't know if this little work of maxed out I don't know. Feel click of Max double. So, yes, you remember what clipping is, right? You can see it up here when it hits the red part. It's at its limits. Let's see Pretty pretty close the whole song, whole songs basically clipping right now. So that's the whole reason we're putting these in their own separate tracks anyway because we want Teoh volume makes everything individually anyway, school scroll wheel moves between these, so don't worry too much about not being able to see all of them. But we're gonna start by making everything we see go to around this level, and that's pretty much what game staging is in past that point, you're gonna recognize what these things are by that point. And then you make some things quieter than than others. Pan some stuff, but let the mixing begin. Gonna start straight from the beginning, making sure that all these things are below this second line here. We're gonna do that way before we do anything with Freddie limiter or, uh, with compressors or anything. And we're also gonna change this a each Basim sterilizer on the master. Another example I mentioned in the mastering um the mastering lecture and mentioning again is H bottom Sterilizer is for individual tracks. It's not from Master Chef E, which is also again included. Shefi is for master, so strapping instead of age chasms. Remember that Anyway, let's play the zone and volume match everything for your match gain stage. Yeah, you What? Anyway, let's get to game staging year Justin games do it 66 at about a good Yep. After everything is stopped from clipping stop from clipping, you can adjust the volume. These little things here, that's left. That's right. You ever wonder? Yeah. What? Um, to be honest, things don't seem to be clipping much, so we can probably just, um, get to doing some of the mixing, so we're gonna wanna e que these whoop things because they currently don't sound good enough. He sounds just knowing point, But other base, remember what you Every trick I taught you suck out the middle of it, and it always sounds better for somebody. So this is a fruity reverb. Usually something I want Teoh avoid. Because it's not the best. We've rib. Sometimes you just gotta use it. Yeah, we're right now. I just decided I want to make the volumes equal. This is a sudden choice that I'd rather just make them equal. What? What? What what remark ? Remark. I must remark that it sounds remarkably cleaner. It's much cleaner now, mostly because I think it's remarkably cleaner, mostly because these things are remarkably less what Marco, that's grating. I guess I i e que these so they get out of the way of the rest of the song, right? They know their place a lot better, so I'm gonna say that again. 21. Song 1 Part 3: again. Now we're going to continue working on this song here. Two. It sounds a bit. I also go over certain things that I did. So you I want you to listen for a second. Where do you think the basis coming from? What? It's coming mostly from the right side. And that should never happen with base. They should always be front and center. So we want to replace each Basim stereo. Wiser. Never put age 1000 sterilizer on the master. No. You want to use Shep E for the master Shep E? No Chippy as a bunch of presets and those were just fine. You have deepened why, Max ambience, That sort of stuff. I find r t B and B clarify. And, um, default are probably the best one. But you can mess around with a bunch of them and I'll show you some different ones. So is that one basis in front? What? What? What makes it a little bit hot? Meaning too loud? That might be fine. So are lacking in this song is just a bit of refinement. And I'm gonna show you one of my favorite kind of funny tricks to make Um songs sound better, Especially songs like this. This won't really work on classical music. But when you got a bunch of notes that you put on a computer and they're screaming at you, I'll quick. Then you're gonna want to do this. So does put two density mark threes in the master y two. Just do it. So I got big picture on the first preset in the next, preset larger than life. You really mean? Uh, we're actually gonna move these down as well. This is a chain. So the one of the top is where it starts. Move down, down and move down. I don't think we need to free limiter anymore because these things do a good job. So next we want to put an e que on the master. It may seem like a bad idea at first, but there's actually this magic. You cute that I'm pretty. I met if I mentioned it in the mastering section. Yep. What? This one? You just follow my lead. You spend with a little bit just put, like, move things around where I move them around. Right. So 4500 here A little bit narrower. And you want to dip it around here for the of It's actually good. If it doesn't go up to high above, there can change things. But anyway, through all these things it activated and again and music production, things could go both ways, Right? You do a bunch of things that, you know, makes a lot of other things sound good. But then it, like slaps in the face, right? No, but we're gonna move Shefi down to we want the song to be completed and then specialized, you know? So you want all this these effects to run, and then you give it a nice big stage or else they're gonna be compressing the stage? It will defeat the purpose of theme the actual ship e plug in. So let's give it a go. What? What? All right, widened This a bit. I don't know if you're hearing it. Hi. Hat was really hot. Really loud and piercing here. What? What? It was normal we gotta do. There's nothing wrong with this CQ. The thing as wrong is with the melody. The same melody murders will go into how I made it so in ah, trap music, which is kind of the theme I'm going for in trap music. The themes are never happy. You know. It is not happy sounding music. It's just the genre, right? So if you play Theo, that's my pattern. And how I made it was from putting in the rave, stabbed from one of the key packs at this rave stab number seven. Throw it in on move it around like if you put the note up too high, it sounds too quick and too screechy and put it too low, you know? So it's not like using a synthesizer. You've got to stay around where the original note is, or else it it's character changes way too much. But you can also hear that it's kind of say it again. Grading. It's Ah, it's like putting a cheese grater over your ears. You know, it's, um, it's a bit too sharp, and it sounded a bit more balance with the song, but it's just not not fair. Teoh. Leave it at that right? Only problem is that there's a few things I do believe in. You were five. What those are you know? Actually, yeah. We got a snare also in there. We got this one in there. We got a whole bunch of stuff. So I think that probably the best thing I can do is, uh, this Move this to a different channel, one that's not being used. I know for a fact, 18 is not being used. That's mosey on down over there. If we do this correctly, we don't need any sort of additional effects. Right way. I thought this plugging called epic verb and everyone sounds, says it's supposed to be really, really good, but every time I've used it, I was disappointed. For some reason, you can kind of see what I mean here, no matter what, no more what preset I use. It sounds weird. How is that modern drums? Is this really life? Am I missing something I like totally nerves. The sound. It's quiet now. Is it on send or something that sounds like it's on. Send. What send is that it doesn't play any of the dry. It only plays the wet, you know, is CEO of this right up on wet. But what? But what? There's the problem now. It's quiet, but every time we hit another preset, it's gonna do that again. That's frustrating. Yeah, I haven't met another reverb thing that would do that, you know, like make it initially simply wet instead of dry. Wet means all all effect, driving's no effect. It's like dipping it in a vat of watery FX. That was that's referring to this, adds a bit of air around it that's normal right now has a bit of air. We're gonna throw on density mark three. But what? What? But put a big picture on that one as well, because I don't think I've ever found a more useful preset and plug in for just General Elektronik music making. Because anything you put this on becomes bigger, like in the musical space. Like if you're not used to high end audio equipment, which most people aren't, um, listening to music with high end equipment, you get to hear more details. And, uh, one big detail is if a song sounds really big or really small like, for instance, and on professional recording, all the instruments would sound like really mini, you know, even some professional recordings. When producers just don't get it, things will sound really, really many and, um, thin, I guess like It's almost playing a snare drum. It sounds more like there tapping pencils on table, you know, like everything is just miniaturized. So that's why I like density Marc three with the big picture and larger than life presets, it reverses that it makes this snare sound like an actual snare. Instead of, you know, Block. I could actually demonstrate that. I think almost everything can benefit from having the density mark three here. And I know the praise that right now is not that one. What density Mark three is. Oh, this is ah, this aftermath from the problem. I was having this. No, actually. Density mark three. It's like, Ah, something. I feel sure. Uh, anyway, then see, Mark three is gonna make it bigger and do the same thing. Same game. Big picture sterilizers on. We'll see what happens. Way more crisp. What? Too quiet and not enough reverb. I guess it needed way more river than I thought. You say I'm not like a heavy supplier of reverb. Eso it always like, kind of shocks me, but it needs it. So epic verb. Show me what you got. I think I need something like a large plate play plates are what they use to make reverb and old recordings. It's just this big plate that shakes when music is pumped onto it. And then you just like re record the audio from the shake. I'm pretty sure that's how it works. I haven't ever worked with a plate. I just know that it's one way of surprise supplying river but things. But we're gonna have to open this and then not make it fully wet. So let's see. I don't know. This one's going over. What? What? What? We're not talking here, just looking into things. You just kind of watch and learn. I guess I'll try to talk about what I'm doing. Just get really sucked into it. It's a great You want everything to be as big as possible, Not necessarily is allowed as possible, but you want things to sound big, open, kind of realistic, spacious. That's what you're going for. So any plug in that can help you get that is a friend of mine. I really, really, really 22. Song 1 Part 4: So let's see. It's like a really big volume in here. - Was it just visually teaching that in the beginning, these air, like, run through a totally separate seeing? I see the both pushed into six. I think they're the only ones in six. To be honest, pretty reverb, pretty delay. So I'm gonna put save. I'm gonna put epic verb on here. I don't really have to save for that, but whatever did it anyway, there it is. Found a pig verb. Now, you know, it's dirty. Little secret, but always being wet. That sounds really wrong. Oh, my God. It's gonna abnormally large and see what happens, all right? What? What? Highlight. Jeez, these need more space. Like, um, I think these ones have to sound the most spacious out of anything. So we already pumped this 12 max. Right. So I'm gonna do something unprecedented and ad space to this base, but adding a Shefi on top of it, we just want to absolutely pump out as much space as possible from it, you know, because it's the wood book thing on Duh. What? What thing will sound kind of bad if you don't have a lot of space for it. So let's see what happens there. Yeah. You know, - 70 . You on this again, make sure it's not missing. Everything was there. Ah, so now I can go back to the master and then turn on the magic e que Now it should do its work. What? What? Ah, thing about this? You in here, It working. You can hear the magic, You making things better. But it's the weirdness of the melody that gets in the way of that, right? So without even looking, let's kind of tweak it. I know a lot of the information for the synth is around this area here, right? And this is the area we've messed with the most. So this down here is probably fine. A little bit more air, obviously. Fine. I should spike this a little bit of a higher point and ah, dip this at a higher point. You make like, a lower sort of wobble here. Queueing could be extremely subtle, but, um, when you get good enough at it, you just kind of wanna do it. You know, you don't even have to listen to the song as long as you know the right patterns. So another thing I'll do with particularly tricky ones is I'd actually warm it up very, very slightly. Wideband with around 500. Um, it just seems to help sometimes. What? What you thinking? Little scenes, every Gerbier putting restrooms. Also, if you're wondering wides popping so much, it's because I changed some settings earlier to make better, like export export something better on then I didn't change it back, and it could be fine. A lot of people species, but, um, make sure it's on 44 100. That's easiest for your computer to use anyway, lagging a little bit, but it does sound marginally better. What, what, at the same time, this sound. It can't have any sort of, um, trying to say it can't sound small. Let's just say it has to be quite a big saying. Like the end of time sounds a bit scary. So course make it a bit like, equal, dry way and see what it sounds like starting here too big. Wow, No wonder why is called end of time. I think, if you like, put a snare a the end of a song I want to do that? Yeah. If you put like a snare at the end of a song with this preset, it will sound pretty neat. Let me say that. Let's do it. Why not? Screw it. Let's do it out of 15. Just doing a test. Don't do that. By the way, don't follow my example. I'm a teacher. But no, you're kidding. Anyway, we're going to want to clone it. She was. That seems near Put that with this one up to 20. Put that in the beginning and click there. Throw some epic very bond there, Put on preset for end of time, Open it up, make it wet and dry equal And then for, like, the last thing in the entire song. And we're gonna super extend this because the river blast for so long. You see? You see that? Yeah. You hear that? In some songs, it's just super long ringing out reverb. Um, but we're not going to keep it on this. Obviously, they're still here in that she's Yeah. We're gonna want to make this one a little bit smaller. Guitar ballad. What's that river? But that be so I take back everything I said about this this is Ah, this is epic, verb like accurate name. The reverb is actually quite good. Very realistic. Very professional. You should. I don't hear this sort of performance of free plug ins. So kudos to them for sure. What? What? But what? That's awful. If that ever happens, don't Don't blame yourself. I guess you know, this is this sometimes happens for absolutely no reason. It could be a project that you've been working on for ages and even at, like, 26% CPU usage. It was stutter like a mofo. Why? I don't know. Does minding its own okay? Its computers. It seems to sound a bit better specialized like that. What? What? What? What? What? So I hope you understand how I made this because FL Studio is kind of dying right now, but I think I've kind of proved my point that, um, think about how songs there were made, I guess. Make it all you want. It's all trial and error. Throw together patterns, make sure they all fit together, put together drum beats and listen to other music. See if you get inspiration from that. But really don't think too hard about it. just do it. You know, a song will always appear as long as you just throw the notes on the page. You know, every time I try to make a plan about what to make, it's always something completely different anyway, isn't there's not even a single bit of point to trying to plan a song like this, you know, aim for your genre, maybe aim for sad or happy or some sort of emotion. But from there it will take on a mind of its own. Trust me on that. So I want assignment, though we got this song right? But I want you to do is finish it. Or if you made a song along with this one, using advice from it, then finish the song and send it to me. I want to listen to all your songs. I want you to finish them, and I want to listen to them all. I'll give a quick rundown on song structure first, just to give you a little bit of a kick start. So this intro, and then starts the main part. Usually it's not just like a four bar, um, intro. I usually have Philip like the full section. I guess something. Yeah, I usually intros go up to about here. I think eight bars Mine's kind of short again. It doesn't matter what other people say. Just do what feels right. So if you want to make a intro, that's like one bar long All the power to you as long as it sounds good. Long as it sounds good to you. You know, if you wanted to sound good to everyone, of course. But if it sounds really good to you and not good to anyone else, screw, you know, doing it for you. So, yeah, is intro. And you got first part before the drop. You gotta drop another part of the drop is kind of like the relief, the relief from it. Drop leaf. After that, you do something that similar to this part using like, the main drums and everything. And, um, maybe you won't use these anymore, cause they, like you've over used. Um, You just come up with some other sound that you like, and I go, That sounds good. Throw some notes on the page, put it with the other stuff, and if you think it sounds good, it sounds good, and you just build upon it that way. Then once you get enough with out of the way, you go to another drop, which has the same bass kicks as this same drums. Um, maybe different pattern here or the same depends on what sort of feeling I'm going to go for. And then a completely different sort of drop thing, you know, like every drop has its its theme. I think of animals with Martin Garics like it just the kind of wood block. Did it did it did it do to do? Did you can't sing like a wood block, but you know what I mean? Um, that's that's thematic thing in mind is that will put book. So once you're done with the Woop woop lips, I'd say Move on. Don't return into the would put books they have been. They've been used up. Let's say it's like will be starting to wear on people by this point like this, about the limit that people can take. Maybe you bring them back for, like, the last section, but you give some people give some people a break. Just think of something else that might be need to put here and then just throw it in the next drop drops take the same form as they do here, and then you'll have its song and you could make an intro Outro if you want. But by that time, it will just be a complete song. You just put all these things you see here. You know you got your build up with kick drums. You have your, um your samples that you use Remember to use lots samples in your music. I mean it. Put some atmospheric things into fills space. Use some automation if you need to lower volume or something. Actually did this because the buildup I made here didn't really mesh perfectly well with this. But if I turn down the volume and when these air going up, it would match pretty much perfectly with pattern eight. That's why I did that. But that in automation, all you like just go nuts. You know, the best producers, they usually don't start that way, just going nuts. But if they did, they would have been good right from beginning. And you could be good right from beginning. You can be tone deaf and you can still make something that doesn't sound half bad. As long as you're just kind of following your lead, you know, just do what you need to do. That's how songs work. So, yes, go out there, finish this song, finish your own song and ascended to me. I will listen to it and I'll tell you about it, All right. That's what I want you to dio That's your assignment. Cheers, beeps. 23. Song 2 Part 1: There's one thing everyone just considers, you know, kick drums there what they are. Um a truer statement has never been stated, But you can actually do something, Something people don't think about. You can actually change the pitch of the kicks. You can actually make, like, a little melody out of it. But we're not going after that. What we're gonna do is open up the piano roll if you right, click on kick or any of these channels What? They're called you. Right. Click on any of these channels. What you get is a little menu here with a bunch of options. But if you click piano roll here and you enable funeral, you know that for now. We'll go over that later. As you can see, this is the piano rule button. And as long as you are connected to a channel like this, then whatever you hit piano rule, it will be for that. So as we see, we have, you know, usual kick drum stuff. But we can actually Wow. Well, this happens to be this there stair works, too, but I want to go with, uh, wanna go with the kick drum. Did you go See there. So what we want to do So I want to see what this sounds like and we can play it. You see, it sounds really bad. Can dio now think about composing music and one of the things that things that makes it really easy, actually, is that it's all trial and error, Really? So you could make a many areas as you like and one of those errors will end up sounding good. You know, like anything you make on this software, you usually has nothing to do pre existing ideas. He just kind of sit down with, I guess, a notion of what you want to get out of it. But you just kind of do it. And truth be told, the song just kind of comes out of nowhere after quite a few hours of working in time will fly. I promise you, what a few hours of working you will have a song and you will be proud of it. I promise you, you will be proud of it, especially if it's your first song. I promise you that, and it's going to feel amazing because that is a start to a beautiful career. Music is wonderful. It's a wonderful career. It's a wonderful thing and music didn't exist. I don't think even like with nearly as rich as it is which, and flavorful another flavors for the time. I don't know more stupid analogies anyway, So we want to Dio is kind of like mess around with the kick drum a little bit and I do something something no one standard. Um, so as you can see, I'm changing the pitch of the kick drums. - As you see, I changed the pitch And, uh, that's not exactly a melody that I made, but I changed it up a little bit. Now this is really hitting mass. Uh, you really have toe, you know, mess around with it until sounds good with the entire song because that's all this is music production. As I stated before trial and error, if you could do a trial and error, well, you could try there. Well, you'll be swimming. You'll be laughing and swimming and playing and dancing. Whatever you people like you never mind. And what do you mean, you people? So what? I meant Sorry about that Anyway, not Swedish. So we have this now and then you see in the step sequence where it looks different. You see, this shows that it's in the piano roll. We can have whatever we like. The funeral. Actually, um, anything that's in the channel menu, you can toss it into a piano roll just by clicking there, even if you add samples will get to those later. Once you had samples to your song. Once you drop them into the play, this is called the Playlist. This is where all your patterns go. You see, I could paint it in. And then if I hit this button year, which switches between step sequencer and the playlist, this is your song. Then thats plays. That's pattern. Now look, it's playing your song. What we want to do now. Actually, you can zoom in a little bit. Um, I just want to make this eight 17 bars. I think of it. These Aaron sections here. I don't even think of any terminology or anything. I just kind of do you like all the sections on. That's one of the really big things that want to drive home in this course is that you do not need to be too picky about knowledge in the terms. And everything, of course, are in any music production whatsoever, because the means to the end is making music. You know, you you wants to make songs, you know you don't want toe. You don't want to get a degree in music engineering or something like that. No, no, no. You're here to learn a very powerful, better software so you could make the music that you've always wanted to make and that used what I'm helping you with. And for that reason, I will not go too in depth technically, but I will cover every aspect of the software that is completely essential for making music . And that's one of the ways I make this course a lot easier. Most courses, they really focus on technical aspects of production, and it scares away new students. But in this course, I am not focusing on that. I'm focusing on how to make music so you can finish this course. You can walk on over to your computer that you probably already sitting at this period, of course, and make somebody tunes right after that Seems you're done. You can go and make professional level music. It doesn't matter if you played instruments in the past, you're gonna be sitting down and you're going to be making music because I have a lot of different skills that I built up over time that are extremely useful in the field of music making. So another thing we can do as recieve you gotta be here. I think I'm gonna change this here. Just so it's when we're gonna make it boring there. Yeah, you could make it as crazier they want. As long as it sounds good, I get something. Just doesn't seem Teoh mesh. Well, and you don't. So just so you know, the stock drums, NFL studio, they suck. They never, never, never used any of these as you were Drum kit because, uh, tell me this sounds good. I have a hint for you. It says that shit. It really, really sounds bad. And if you I guess if you're a new NFL studio, you might think it doesn't sound that bad. No, I'm used to f f l. Studio 11 have really long thing to scroll down. Um, but yeah, seriously, You don't want to use that drum kick. There's really poor quality you want to do is you want to get a sample backs. And in this course, I have included a download, large download of all the samples and plug ins and everything I use for this course, so you could follow perfectly. And, uh, these are some of the sample packs right here. We have 808 traps. Step here. It's a very, very useful one. And as you see, it has kick drums. So you want to do is go through here. That's a drink. Yeah, I guess. Is supposed to have some sort of sound That some great songs, I don't know. That's quite distorted to me. Um, yeah, you have. You have so many different options here, Mr recognize that one there. Now, that's a pretty brutal, brutal kick right there. So that's pretty meat like that. Let's see what that sounds like here. Now, just changing the kick, we could see kind of how it changes the sound. As you can see, this one sump contains, like a little note in the background, which we have now made a little kun with the note in the background that you see what I mean Thistle's kind of how music production works. Now with music producers, ears, you can see that you got something here, right? Yeah. I'm feeling it we gotta do is change more things. Remember, you can always click this and it goes away. Who goes away? You didn't close. Play this. And if you don't have any idea what these things are, if you hover over it and look over here, it will tell you exactly what it is and see It says of you playlist just pointed at my screen. You can see that. What am I doing? I'm crazy. Anyway, next up, we want to add a snare and snares of super important for trap in any sort of modern music. So we wanted to kind of go through here, and I, like, go. It's like a traps near right. I hooked you up, man. You have all these different. You have all the trap scenario drums and snare drums for any purpose. Really? I'll take you out at, like, change the sound of anything you want using the Q. Um, yeah, I You have everything you need here for drunk. It's and for just advanced production and this is what the real guy is used. They don't, you know, go and sample their own snare drum. When you first started out music production, you feel a bit about using samples of other people. But then, if you go look at tutorials and famous people, Mom Garics, she pulls over examples and make their but anyone that gives like examples of how they make music and stuff but they have is a huge library of samples, some they make themselves. If I think it's good enough, usually they just find them online or by them, or get them from a friend on. That's how it works. It's It's a very sharing sort of community. Even if you find a loop at some sort of complicated drumbeat, we'll see. If I find one here, you could just toss that in your song and wounds gonna call you out for it like it's not. These loops aren't coffee, right? So you can just put them in music you like, and very often in mainstream music. If you listen to enough of it, you'll hear thes common sounds a lot of different songs make, and that's one of the things that actually defined genres as well are the sounds and common that people use. So, John, right in the beginning, it sounds like a bunch of copycats, right? But then, as time goes on, it defines itself as Jean your enemy. So there is a fine line between just copy and joining a genre movement. Uh, a weird example I can think of is a vapor wave, which is mostly just slowing down songs. And then, conversely, night court, which is just speeding up some, um that I recall not much musicianship, you know what I mean? But really, it's evolved into a genre. There's a lot more that goes into these days. It surpassed its basic whatever its past. What began as an actually vaporware is all about aesthetics now has its own style. And that's a really cool thing about music as well. How it can bridge the gap between other forms of art as well. It really just goes hand dental. Anyway, back to the task at hand. What I'm looking for right now is a loop you want to find. And I do not think I currently loaded up a drum moving here, but I might be these are the basic basic things included with FL Studio and feel free to use, but anything that's basic and included it. It's going to sign a little bit cliche outside of the realm of John Rose cliches when you share sound too much, but it's not genre specific, you know what I mean? You got a snare snares for trap, right? Let's get back into this. So if you hear this one, I like with it one. You see that? Let's say you had no going well connected to it whatsoever. You just hear that snare in particular so many times, it's not even a John. That's, uh, that's pretty cliche, you know, and then everything that is included. Like basic NFL studio, it's concluded when you get software. Um, anything else included when you get software tends to be used by a lot of people, and you don't not very original. If you're doing that anyway, what we want to do, let's take this and drag it into the snare category, and we're gonna keep doing that, and I get to show you how much better he's drunk. There you go through these just kind of just one that's the least, Grady. It was not bad. I guess I like that one. We can work with that, um, a little bit more and then for collapse. I do believe they have classes. Well, yeah, that's a good ass clap. Isn't that super good? I like collapse with that rigor. So you don't have to think much about it when you're forming a drum kit, You just scroll through the list and find one that sounds good and then throw it in. It sounds bad as a whole. You just throw it in. If it sound bad as a whole, you simply change the instrument. Spending too much time being a perfectionist when you're picking the songs, picking the sounds in the beginning is just gonna waste your time. So trying to be way too much of a perfectionist in that sense, So when you got that down, you could just kind of play the pattern here. And I'm going to see what it sounds like. Yeah, that sounds awesome. I feel like a little bit of magic there, so that we have, like, the beginning of a song, and then you can add like a ah, some some huge base can come in after a little bit of that. Let's say like one section of it, uh, you condone, actually make a snare drum sort of trap better, Pepe Pepe. And it can lead directly into the base and then, ah, melody and whatever else you want to put this is kind of an example of how song might start . You just kind of shows and stuff together and you get a nieto's. 24. Song 2 Part 2: some of my weird trial and there I have no idea. I call that on Earth, but we'll get into that later. It's one of the songs I was teaching at. You have to make, um, most call this one Dumbo. This song is now called Dumbo because it just kind of the flow of it. I mean, like, I really hip elephant again. Don't question. I just think of good things sometimes. And you can change the tempo if you want. Do you think it sounds fresh at 141? Could be. Look, you are You can crank up Ship 174 year in the kind of drum step range from the base. I don't think this pattern really goes along with 174 beats per minute. Really, You gotta design the pattern for BPM. But occasionally when you change to be PM, it will sound a lot better. And I find it usually that's a transition down. So let's go back down. It sounds really fresh. Uh, 1 30 Drive it to 1 20 It is getting a bit more funky, isn't it? Five. 1 20 is kind of a sweet spot. Turn it early. Six on and you could slow down a little bit more. It's getting more and more, uh, liquidy school. I don't know. It's getting more. Chill more. It slows down. Do you think we could drive it any further? E wonder what's gonna happen? Let's drop it too. 111. Five. I think we're losing a bit of the steam. Actually. 2121 way. Might be picking up steam here. Actually, this is pretty sick. Yeah, one of five. This is kind of shelling fresh. Yeah, I'm feeling that it's sick. Let's go back up to where we started around here. Does that sound right anymore? Does it 1 20? Still kind of cool if you're wearing headphones or speakers. Good base. You can really hear really nice kind of sub base. Don't to this, uh, some get down here. Good. Like, give a lot of force to it. I mean, go back, Teoh. Little five. You see that? It's just walking. May. This is good ship. I don't know. I swear I needed me, but don't tell anyone, but anyway, this is just I'm feeling this, So I want to do next. Obviously. is throw in something else. Let's do a sneer. Run. So, you know, in a trap, they always have a little bit. Did service snares, right? We're sounds bad. S so we want to dio is, um I don't know, Just mess around essentially until something sounds good. Oh, did you see? Yeah, we gotta You gonna go down for this, Teoh? Probably work. That's kind of the usual. Done. Done. Done that. And you hear it like little bikinis. White Time song here. That's pretty funny. He Yes, flow to He's good. It's interesting. Not common for a comedy sort of style rapper to be actually. Good. Good. But anyway, this is de piano roll. Um, for their what can I say? I want this again. It's just trialling there, just kind of throwing words down. I don't know what this is gonna sound like. Ah, really? Some producers strive to get an intuitive feel for how something is going to sound when they're putting it here and you've been gain it just a bit of practice. You get used to it. I said, I just don't bother you. No trial and error is is quick enough, but it's No, it is absolutely good enough. And that's what most producers to even really famous ones. Just about a trial in there. It's a fast We got some do, Did it there. That sounds really bad. So you screwed it deducted a dire because, yeah, getting the proper snare trap. Whatever thing down again, it's just kind of trial in there. All the all the traps. Song of the year. It must have taken. Definitely did take the producers quite a while to flying a snare pattern. That sounds cool. Um, so you want done? Done. Done. Done is over going for I don't know how far away I have to kind of position it, but that's the whole one of it, I guess. - Doesn't . Doesn't you see? I'm gonna throw this one? You. So you really you got a really basic try pattern a year. So it's scroll up and go through this year. This is It's a transitional pattern, really common in trap music. I'm sure you know about that. That was pretty fresh. It doesn't work too well, does it? I think no, you, before really again see is trial and error. I think we should have some sort of melody or or something before this pattern Here. See, it should be something kind of there. And then, um, get to this point. I don't think we need one that long temples to. - So what I'm trying to do now is just kind of lying it up. It's a song. It's, like a little bit off. So we're gonna want to Dio is make a straight up run of kick drums, just kicked this all off, and then we're gonna want to put, like, a little melodic scene. So let's go back to Pat. Wow. Hello. Pattern to, um, patter Tomb seems to exist now. And how you gonna see you? We can switch between patterns. And, uh, yeah, Apple Studio 12 is really useful. Even switch Petri patterns here. It's way more evident here. Uh, guaranteed you'll be confused by it. At first, you're destroying the limit on your own. Luckily, you have my help. You can see and you can just kind of talking between parents here have to worry about. In fact, you can link go up to pattern 500 or something assumes you put something in it. It will appear in Spanish Mr Put something first. So I want to Dio is Go Teoh. I want to go Dish want Teoh? You see how you can paint it? She's a paintbrush. He's a painter on the deck. Progress. Happy little basements. Yes, careful strokes its mother, Teoh, Where God daring were the Get some of that van dyke brown. Hey, Africa. So it goes above for us. How can you hate Bob Ross anyway? You know what? I think we need a different kick that, um you can make this work. As you see, it doesn't line up at all. Uh, I think that should be faster, actually. Ah, one cool thing you could do is, um, just kind of highlight everything. And he grabbed this. You squish. Er you swish it down. Now, thing you gotta do those. You really gotta zoom in and make sure that nothing is amiss, because when you're sliding it, it's not like, um, it doesn't snap to the right place. How do you see? There's, like, minimal subdivisions. That's pretty cool. Okay, go. Have you got something going? We've got something going. So, um, next step is to use a different kicks on pattern three close up in a role for now. Got a pattern? Three. And we're going to use different kicked wrongs. Why? Because that dog talked over hollow sort of sound that belongs Teoh de mean, mean drum pattern. We want to make a difference. Just just kind of a little thumb. It's been a neat so no, I found one before it was really type, huh? I think it's Tonka. Hey, listen to that. Is that and I'll give you any orgasm that doesn't give any year, guys and I, you know, made of not human stuff s for sure. Oh! Oh, baby, it's all right for my weird, weird sound effects. 25. Song 2 Part 3: instead of you did that type of way, and you want to see what that sounds like. It's a little bit of you. Get that sometimes and samples you won't be able to hear it. So we want next is kind of Ah, buildup FX. You see that? That's a rising mate. Come on. Yes, that's so weird. Uh, it's kind of neat The How do we use it? You want to use it, Figure out where to use it, though. It's all trying there. You can see e. I think we should stretch that little bit. So another lesson. You can stretch this stuff, you can stretch it, Teoh, whatever sort of size you want, but pitch changes. Changing the pitch independent of its, uh, length is kind of difficult, so let's see. All right. Yeah, a little riser there. I think if we stretch it a little bit like past that, you get, like, kind of an overshoot sort of feel that we're gonna have a different rise in there. I think I will work. So nothing we want to do is add this to track five because it's past the tracks there going to mixer. We want to add reverb. You wanna add space you want to add to lay? We want to come really mess with this sound So it's really big and kind of long. Yeah, clear of your mind us anyway. We got a delay up in your we got you. Let's do a delay send. Good. I think those issues basic delay they send. It's just it doesn't use the initial sound only gets in the way. That will sound cool once I have other stuff in there. Right. We got a bit of a rise in there. Well, we can put it together, this putting on rising. So say you go right to the beginning. We got some sort of Miletic pattern play you want to have, Like, a way. Mostly diesel in being greedy really loud. And, uh, yeah, just turned him down. That's what I say. There are always gonna be way to, uh, so it's double click. I'm go to this volume button here. Pretty straightforward. This is actually Pan, you changed the position. This is left ear it. This is right here and then everything in between. For the time being, I'll just keep it all front and center, So I want Oh, so you hear how the poll was not You couldn't hear it here. That's a problem. So we want to Dio is jump back into this Go here. You see as number one we want to head into here and we want to do an e que And now you can see how e que let me to does. You might have heard e que You might have seen a speaker before. You have no idea what it is. Uh, this is what it is. You change the spectrum of the sounds. This is a kick drum, right? Like I'm not interested in changing the basic yet anyway. Actually, you would usually tighten up kicks by lowering it a little bit around there. This is why I'm you curing. You. See, I can turn off the volume of that sound there, so it cuts through the louder sounds here really funky. And now we haven't e que to cut through that butter. So you've got a sick ass sound here, So, Uh ha ha. Let's go back to the beginning and see what it sounds like. We can add melodic elements. C way Wanna have like it's not quite enough way. Um, you wanna have This will be loud as help So you can pannitto left and see what that sounds like. That was pretty decent at this point. You have the base coming in. Did it in a dio. Yes, we're not doing fun. That's more of a funk pattern. Right back to the inning with all of our parts and everything. And actually, we can you do like, lazy Man stereo Here, pick here if you want this in both years, Lazy man stereo without using the mixture is collecting this little way of thing you hear after putting two of them, what you do is you make unique. That's it. Now it's his own click. So if you double click this, you can change the pan to the other side. And what you get is stereo sound. Now, what I don't like is that this is just, uh who, uh, be careful. Switching tracks you. Yeah, you know. So it switched both of these Track five. See what happens. That's really loud. I haven't the faintest why. It's anyway way you got a bit of a stereo sound, but a delay reverb And we can actually stretch the hell of these things if we so desire and turn off stretch when you're done with it. Because there will be many times when you're just trying to trim a little clip, make it sound better, and you're gonna squish it all the help. And yes, it is not fun trying Teoh re stretch it. Um, but actually, on that note, um, there is undue NFL studio. Usually it's controlled said. But NFL studio is control all that. Uh, if you just controls that, you go back and then you do it again and then it fun does the undue so it goes forward again. But if you can control all said, then it will undo like you're like, you still keep on going and also open a menu on this side that tells you the current project, and we'll look into that in a bit. We will have to undo something at some point that arise it up here way a little bit louder way wanna have, like, kind of have a powerful effect? Uh, it comes to the explosions. Just, um, that's the whole point of it. You go. So another thing we want to do is there's, um, a plug and I've included. It's a magic looking, and I'll kind of demonstrate it right now by, uh, well, this one's in there, but we can specialize this so this one will go in. Six. Do you want to put these in tracks? That's the mixture mixture. You can add a whole bunch of effects up in the mix. Just you gotta change the track and you can do it in the step. Secrets in here change track or whatever you like. It's pretty cool anyway. What we're after, though, he's going into the mixer and adding a, uh, sterilizer. This thing is awesome. It's really, really quite enjoyable. You'll see what I mean. Second, love it. What happens? Everything has, like a hell of a lot more space to it. One excellent thing put it on is snare drums. I love it. On the air comes you'll see what I mean. So this is Channel four. As you can see, snares are pretty much always channeled for this year. Do eat it. Just toss this in. Is it that is seems to have changed the tone of this snare. This time doesn't usually do that. Um, way. Just gotta turn the sneer down at this point. Normal. Yeah. Look, we've got space to the snare. Now we turn this off, got some space up in there. You see? You can even push it right up to the top, pushes it more towards mono, but still gives it space. You see that? It's now we've got, like, a nice kind of realistic snare. It sounds like you recorded it. It's really awesome. That's to write the fun thunder explosion, whatever is still too low. But we don't want to quiet either. We wanna make a statement here. So, like a down riser here, which is also too loud, I gotta admit, turn it down a bit. So you want this to be something like grand openings? We gotta have some sort of melody in there. Right? So anyway, save, always save. You can hit control s actually, if you had control, Ask person doing now. Area you see up in the corner up in this corner here you had control s same for dumb bowed out at Philippi. And that is how it is done. Drool s is your friend. Press it frequently on. And actually, if you go do control said on your taken to the project menu, you can go way back in time on frequent backups, and backups are made every five minutes. I do believe, um, so if you really messed something up, you can't go back. Let's say you you unscratched a very sensitive channel. Let's say you stretched a vocal channel like if you stretch a vocal sample right after you painstakingly matched it to music. Oh my God ruins everything, you yanking out your hair. So that's why back up. It's so good. Turn off stretch. When you're done with it, Turn it off. You'll have a bad time. All right? This is so plan. It's pretty funky is pretty fresh. And I hope that your maybe doing some other things suit just kind of experiencing and playing around. Um, but you should be feeling pretty good because you're grasping how rial big producers out there make their music, you know? And I'm giving you some pretty crazy secrets as well. Like these all these plug ins that I'm giving to your computer, You free and they sound excellent. So? So we're gonna put, um same thing on the high hat you hear at a high hat. Now it sounds more full body. Then you know, it's got a body on it. See what I mean? I might have to turn it down a little bit. Um, I think the specialize er seems to turn up the volume on certain things. So, yeah, if it does just kind of break it down a little bit, it's good riser. Does this kind of flow to it? I think like that. It's interesting. The actual kick drums are creating, like the the melody in the background Here. Save. So you got this so far over the political. But what we want is a bit of, uh, you know, music stuff. So let's go to the pattern four. And I'll teach you how to add a channel. Hooray! Whatever that means. You have no idea. Dio, Here we go. We're gonna hit this little this little bugger here. It's Ah, friendly. Look at it like that is friendly looking trap. Is oId here upside down and rhombus and, uh, no, no. What am I talking about? It was in the mind. Here s everybody on though. You wanna add a e A. Since I think this is a recent that I included dull set over this. Let's see what we can do with Bill said here, So does set. Actually, this is a perfect opportunity to you first detached. You see this in the corner does Let's just go over this. You will quickly learn that you can't see all of your plug ins. And if you don't know this next tip, this will piss you off Because you know what you want to reach you one knob down, right at the bottom. Whoa! The graphical. Which work? What is a glitch, er feature? Oh, it's a bit weird, isn't it, huh? Well, let's hope, uh, doesn't break doing this. But anyway, so click this this little friendly little happy little heroin. Corey, you just want to do a little happy, little detached. Just that terrible bug Russ detached. You want to make a detached not like depressed and separated from reality? Not that that would detached. Hopefully your V STs remain happy and something good, but anyway, it detached, turned out to get inspired by it. Become detached yourself. But as you can see what happened now, you're flying over everything else. You have conquered it. You are now the king of the castle. You can take this brother anywhere you like. You see, it's like being constrained Freedom. Jail on release. Wonderful. Um, cathartic. Anyway, I don't know what sounds on this right now, but you can actually go ahead and hit the Y key on your keyboard or whatever you like. Oh, there you go. That's the Y key because it doesn't work. As you see, it is a keyboard. That's right. You your, uh, keyboard is a keyboard, if you know what I mean is a piano. So the thing and it's played the same way. So So let's say the top row here are all white keys, and then you have you have black keys in the number, RO, but, um, some black keys don't work. So right now I'm pushing number eight, which would be a Blackie, but it's actually between I do believe b and C, and there is no black between there, And the same thing goes for between e then deaf and again. You don't have to really know that. It's just a piano thing. You're gonna look it up on Google or something if there's enough demand that go over the basics of Absolutely because, you know FL Studio involves piano, but I think it's pretty straightforward when it comes to piano. 26. Song 2 Part 4: It's just, um, touch the notes and makes a music and I'll go over how to trial and error. Actual songs give you wanna If you want to import Barbie girl in here Um, let's say you want to make your own Barbie girl song in this sort of violently sound. You can go ahead and do that, you know, Um and you can do it by just figuring it out. You don't even have to listen to the song. Actually, I'll stop. I'll show you. Let's find a decent sound. Something that's going to sound cool, I think is, you know, fault. That sounds cool. Well, that is mint is really, really, really good. Um, um, that's even, but this might be this might be a decent for uh, that sounds like Zelda music video. Uh oh, that sounds good. Yes, to you. Hey, so that's roughly the Delta song. And I just figured it out now to try on here, we gotta do is if you wanna marry Willbros theme or something like that. You do? Is you todo So you think that ETA and find that note that happens to be the key on your keyboard. W doesn't work. Que works that And I guess tea. And it was right. Next key might be difficult. That was to be the Beaky right at the bottom of your people. Because your keyboard isn't just this long piano thing. It's, you know, we're for typing. I don't know what else to say about the keyboard. Uh, anyway, so you gonna go all the way down to the bottom to get that shit? So that's the Beaky. So what have we learned so far? E t e. She would. I mean, and you can go further, So you d so Q b c So I went to end MJ in. So that was B q e r w e. That was cute, an M B. And I don't know how to play that song. And I'm playing it on a keyboard so you won't be asking. No, Evan, how did you How did you do that, though? Uh, that's what it's trying to explain. You just have to kind of do todo You have to know the melody, and you have to keep the first note in your mind. Do you want to find the first note? You find it e and you want to hold on to it. And then when you hold on to that note, you can anchor on that. And then you can think about what's the next note? Dio you want to find, uh, like you? You know, it's like, not too far below the It was pretty close. You just check the keys, that kind of close. And then you might think that the next note t here, this one. It sounds like it's gonna make a major chord. You just kind of guess that's cute. E is It wouldn't be like this. That's playing the are That doesn't work. So you can just kind of guess that it's, ah, major court be. You know it's lower, so it's a bit more trial in their further away. It is from the key. You anchored yourself on a little bit. It's a little bit harder to guess, but you can really just start matching things up just from the melody in your head. You don't have to be a musician. You just anchor yourself a note in the news trial and error to find the melody. So, uh, well, for humor's sake, let's see if we can put, uh, Barbie girl in this something, so we gotta find a good old sound here. Doesn't seem to be working. There we go. You better here? No. So why are why I seven and then why t e at seven. And why t r this is played on some weird and metal bars Sound, um, figured that out. Really? There's so many different presets here. You can definitely like tickle these knobs here. That sounded wrong. You definitely, you know, tweak the little knobs all over here and then make your own sound. But what I'd recommend is just using the presets. That's one of the reasons I included this amazing free sentir. Those sets is one of the most unique since either I've ever heard. Really? There's, um, they sent by image line called Sakura that it's kind of similar to this. It's meant to simulate, like the body of an instrument of you sounding a little bit realistic. But even then, it doesn't have quite the same essence as their centers. And this is very, very nice. So this is a crap of areas Stradivarius. But this one's supposedly sounds a crap. We'll see. No Um, yeah, that might work. Uh, yeah. I forgot to mention space bar placed up boom, boom boom. Anyway, um, I don't know. I think I need, like, a bit more of a fat plug in. Only problem with dill set is mono. It's not in stereo, so you don't have, like, that huge fat sound used to It's a little bit, but that is, uh is not a problem. Another thing we could do. Actually, you can right click, and you can replace. We want to replace it with is, uh, this attracted? It's an additive since called Harmer and watch its loud out of the box. Mind your ears. Press the tiki year. Who is that man? Sorry. Very, very sorry about that. It is allowed and amount of times. I've, like, scared the shit out of myself by just trying to breast a key because murmur. But I forgive it because it's awesome. Armor is the She's I swear is so good. You have a bunch of bell noises here. Um but I think let's see what Jade sounds like a cool thing about Harmer and happens to already be detached For some reason that I remember feeling that in this session, I guess it keeps your setting the nipples to do 12 into that 11. Anyway, this is a keyboard. That's pretty legit. That sounds really cool. So I don't I don't know if we're gonna be I don't know if we're gonna be doing what I said we're gonna be doing Nofal. Barbie girl just doesn't really fit, but we can definitely definitely do something. So remember what to dio they would do. Probably be a crazier but anyway, you right click be on a roll about a boom, But being you're exactly where you want to be I was gonna do this. It was easier ways that you can just hit full screen and its feels the whole thing. I don't know what I was doing. Just call me a scrub. Bloated and full of the day anyway. Yes, his keyboard. You have this need sound. I really like that sound. And then can game. Okay, um, so trying to think it will be like a neat little you know, trap usually has. These little tiny melody is usually, like minor major melodies and ballads. Just kind of like, creepy. Almost so it could be better. What would be a bit longer? Uh, not too long ago. Oh. Oh, I have no idea what's happening. Let's change Snap here. That's 1/4 step. Just wanna change it this step. And, uh, well, that's odd. Uh, is one result of like, um basically, you get the same length of a thing every time you click it. And you can't shake that after you've clicked it. You done. You know what I mean? You're stuck with that. So what? You either You either have to do this turn snap onto none. Because you see the great gets much finer and you have to manually adjust aside the size, or it's very, very conveniently you could use the sliced You do is you just kind of drag it over the apartment. You do not want undesirable part. And, uh, you just go ahead and hit the delete key. I am that is gone. And now what you gotta do? You gotta click. And boom. It was now in the memory banks. And every time you want e Wilkie that size, you can get it. No. Yes, you like? That's kind of neat. Keep adding more. - That's pretty cool. I gotta admit, very, very intense, high energy sort of thing. I have no idea if it's gonna fit with song, but if it does be dancing when you have really cool patterns like this, you hold bet with saw. But sometimes they just don't you have toe waste The poor thing really change it that loses its magic. You just feel like making an entire other song around it. Okay, Usually okay, often. But let's see. It's also it's kind of the fun part, you to see works, and I I hate it when this happens. Look, this pattern is only this big, but for some bizarre reason, like Oh, um, wait. But it's gonna complain about it. Didn't actually happen. Usually, for some reason, things just end up being selected that big. Even when they're only that small, right? It's quite frustrating, but it wasn't the case this time. I'm not sure why. On the playlist it drew was long. It is still drawing them as long things. I That's confusing. Yeah, yeah, this is just a festive days, and I remember you got a click something before you can go ahead and paint it. Let's see What this sounds like probably won't want to do is that it's an automation to adjust the volume, so he just gets louder over time. I'm just gonna do that now so I can show you how to do it. He'll happen to hear your happy little Harmer and, uh, doing, um, I asked were doing, um, automation is here. We want to do is just move it slightly. You see, it's a way. Got it around a little bit. And you gotta tools you gonna last week and then create automation. What's this mysterious automation clip? I wonder. Let's do this. All right. Create automation. Clip. Bam, Wham o glamour Camel was actually they can't agree. Stick came cool. This is not anyway. Clothing, Of course. Even sell. Probably not. Well, let's see what happens here. What? What? What What is this thing? How could this possibly be? This is automation, sir. Now let me go over the controls here. If you right click anywhere in the line, it will create kind of pivotal. And it's really frustrating because it will move. And this is the volume of jade volume of this sound up here. So no one little bend and the volume is all messed up for the entire track. It's really hard to avoid that. Even if you're also presume you can. Actually who did this, whom you can change the size of this and much longer. One really benefits automation because you have much work ness. She's size there and whatever even added a lot of things. So just to prove my point, see it here and you see, it's longer so you could be more accurate and people in the same. So you want to Dio is do this. We want to drag this thing. Now that we have a pivot point over here gonna drag this thing all the way down, we see pats, everything's gonna this quiz. All right, so let's see. This is gonna sound sick. Let's do this. This is this is really hyping you up. That sounded really cool to see how it, like, raised from really low volume up. One thing you know, I just set up all these things from a fire like a box. Don't do that. Don't do that. Because, uh, look, you got a big old gap here that completely ruins the timing of the entire song. Never. I like to do that from afar. I've done so many times. And why is that not Sam Rate to go in and like that? I did something I shouldn't have done. Assume in. It's not hard. Whoa! Okay, I know that. I thought something weird for a second. Uh, these one seem of it. Teoh close together that I mess it up. Here we go. 27. Song 2 Part 5: see if they're all like Snooki. Not so. Click away the selected all. You can actually cook this and then click and a D selects everything. What we want to do is move this away a little bit, and then, boom, You got we in there in there? Let's see what happens if we play this sending more. Just like a like an e g m trackman been trapped way wanted to sound like trap. This is when you make it sound like trap. Are you as pumped as I am to turn this bitch into some to wrap that? But anyway, what we're gonna do is going to patterns, and then they hit cologne, and it's gonna make an exact copy of this, but it's going to be a different patterns. Gains who? I guess it pushes everything else on the way. Chiefs. That means what we wanna do is do some rap stuff. So where were the guys to go? Here. Right. Well, here they are and vocals. Oh, that is wrong. That I don't know what I opened here. I want to get the here or even here. You use either one. Uh, I think, uh, a pack falling to better. Yeah, well, then two is better. This has better vocal stuff. So we want chance vocals and chance bills. That's kind of cool. It sounds like is that he's making the sounds you make when you get waxed. Now that I've ever been waxed. But all right, I need you really frustrated with someone where you work. I told you 100 times. Sure. Yeah. Stop playing. Just get punched or someone gives you a wet Really wish you, like, Always yet. And you, like, go away. All right, enough. Not screwing around. You got a whole bunch of these chance, right? What you want is the Hey, you're the characteristic. Yeah. No, we got a Okay, okay. A was that. How is that a We're going to use that for her. You just want to say hello to your friends at the start of the song. Hey, awkwardly friend shows up one day. You didn't invite him like e buddy. Uh, how's it going? Uh ah, no, I didn't know your coming here. That sounds like Hey, okay. Put down my Cheetos. Hey, again, This kind of sounds like I don't want to make that joke. Give me back my ball before. I think this is good enough. We got what I was going to do it that, anyway was kind of turned into that because this is more It's almost like a clap, you know? So I think they go here. But sometimes, depending on the beat, they will go somewhere else. You might get one. You know that some fancy ass trapped here. We're not done yet. Want to dio You got this? First trap one. And we want a coldness again, Right? Won't want to do Is piano roll? Yeah. I want to see what happens when you pee on a roll. I had me too. I love it. It's not up to, like, crazy trap monster levels. Yep. We turn on, like, 1/4 step. Then you can start doing some damage. They get a trial in there. Most of it's gonna probably sound not right. - Do you starting to get, um, some high hat, uh, wizardry going? Yes. I was pretty cool, but I didn't. You saw? It's not really strategically planned. It all just kind of apple around as soon as it sounds good. You all right? That's good. you toss it into your Knicks. You see, I changed the picture of some of them. It gives up. It gives, like a trap. Eu whatever sound to it. So we want to do this in layers. So this one will be the 1st 1 we made. And in this interview next, that is all the supers. And it's the trap line. This is the crazy high hat stuff. Um, you wanna pace ourselves a little bit? You don't wanna You know what? I give a listen there. Everything right off the bat. We also don't want everything to be too stale. So to this was, uh So I do believe that one. Yeah, with a chance and stuff. And then you got pattern. Should be pattern three. It has like that yet as the messed up, uh, I had some stuff. So one thing we're missing, though very, very important for trap case. I think you've been thinking about this the entire time. I've been way too excited. Just, uh, making the exact base. We're gonna get there. We're gonna make something that sounds cool. All right, let's play what we have so far. And if you're making some original things as we go. And you really should just kind of you stretch your creativity a little bit something original. Or if you're following along either, or is perfectly fine, see what we have. That's just that. All right, here we have thing is driving isn't all right. Got some trap going on here. We're gonna shove in some vocals. Don't let this loop a little bit. We don't need that one. I don't think. Do you have something really sick here? Just here I am, talking to you on behalf later. We got something sick. That's a week. Yeah. Music producer. Now, let's get some more out of agencies. We're gonna throw in some more automation, but this time automation will be for a shelter in Ah, this thing here. So we're gonna go into Harmer. She now says Jay, because that's the name of the preset again, no harm in you preset samples groups and not feel ashamed that everyone doesn't. So we have this and, uh, savor. Just gonna tell you to play the pattern. We're not in that pattern. One was in a lot of crap again. Don't don't not label things unless year. What's your okay with no rifling through your stuff to find it, which I'm okay with. Personally, I don't know why I am. Oh, why, Okay, you can The reason I volume so low right now because it depends on where we endless on again. I'm not sure why that happens. Something to do with that step. Secret way want to do, though, has changed. Like stuff. There is, as you may guess, yes. We absolutely are going to make an animation go here. We're going to do, We do this'll time we can do, You can do some funky stuff. They want way Bend it. Yeah, we're gonna, like, bend and accelerate up to here. And we're gonna, like, create something else sharply decelerate down before, uh, rising again steadily up to like Max at the time. I mean, it sounds like Yeah , good. Start going on. What? I mean, save often. Read it. Hey, hey, hey, hey. Get off. Eight Sounds kind of like sinister, but bomb and then the base would like, come in there. It's kind of Ah, it's like a dead knows esque, sort of build up here. So, like mixing Jonah's one right and again if you want to like, really stick hard to a genre You don't want to have your style going on. I'm always, you know, using just my mind. So I was infused with style. But if you want to really, really stick hard and fast to the formula, just listen to a bunch of drops offs. And it was cop picking up. Listen, one puts him down. You really get used to it. You get a feel for it if you want to really make the generic stuff. But you don't get anywhere if you make meeting generic. I just thought of something even dio that was absolutely needed. So you want a bit of base? I think she's ready. Definitely. We need to change this build up a little bit later. Don't worry about it. Just doesn't sound quite right. I want to do Is I let all of this do another riser? We're gonna hit control. Be watchful control be does not blow your mind. Bam! So good. I want another riser. That is when you're somewhere Fx arising. So you wanna were to use that one? How about that? Eso Oh yeah. We can totally use this it's gonna be super light use already saw it. Super lab around number six. Just so it gives it a little bit of space and see what happens. We got into, like, e. I gotta find a B. And again you couldn't look on online yourself, Uh, for things I mean for samples. E. So this is our server symbol that we're actually going to turn into a normal simple We are completely defeating the purpose of but was really, really, really, really loud again. I got to stop doing work so far away because it does not benefit you at all Fresh. 28. Song 2 Part 6: so we're gonna want here is really fat Eataly base. That's what we want to save. Control s especially fine. We want some fact that fat ate away base up in this, So ah, find next empty pattern seven. Because I'm a scrub anyway. Oh, now we don't want me doing all to me. Ah, sort, It is unsorted. Yeah, you go These air, all the normal things. But we want waits. What does it do? You wait. Eight away is a classic from machine. I just had some really, really solid sub basin it. And ever since rap crap, Yemen, everything. I was used this to really get the deep bass. Let me give an example. Yeah, What we want is something that sounds cool. We're gonna make, like, a really neat base pattern to go along with the beans we have, Right? That might be cool. I kind of want to try and see if I can make something with this. So one thing you can teach you for these things just kind of ring out. You can tell it to cut itself. Cut yourself. You know what that does, is it? If you did, you have one note and then play another one. It cuts it off. Never use. So, um, extend this bit, um it might not be working. It's working. Just only one is being played in sequence. Every job. See if this patterns worthy, Are you where the sound like Shater will sound good? It's not audible. Happened to not be audible that, uh, that's a problem. Do you have this huge buildup to the basin? Really? What base? I don't hear any base. We shit. Oh, shit. You just be totally just nerve that Oh, uh you that that dead dead. That does not seem to you looking No, no, we haven't had the wrong octave. We have the wrong nodes. They're wrong. Everything like this. This base pattern is cool. You for a different song. Mm. You know what? You're just gonna you're gonna go ahead, find the same thing again. FX is don't don't lose. It was gonna go ahead and recommend you. Don't. God does loud. Super loud. Anyway, go pattern. Sounds like it might be more which was use. Do you ever find yourself king? Disorganized. You might wanna not do what I do comes to mean conventions patterns began Ever. Every individual can do their own thing. I just tend not Teoh. Name them. I honestly don't even know why use that challenge Finding it everything. But I waste time it absolutely wasted. So what we're gonna do is play this pattern you needed it, did it? Did it. All right, Now we know roughly the key should be I think this Who here that if you plant here, maybe it will be audible for once down and often and see what happens? We're going up there. I think it sounds pretty cool, actually. Uh, one thing we could dio you'll see control be you copy it on and I can weigh Missed it. I can have a high active and a lot And I could get like that Best of all worlds. Crap. I don't know. It sounds kind of cool, but I think I really need, like, a different bass sound for that. In order to make it work the same time, we gotta find one in the same thing. About eight awaits when you put them in. It defaults to middle C like the middle of the piano is Seiki. So everything you put into the piano roll. The note off the sample will be MLC. So even if it's a if it's a, it will be see so again it all has to be figured out by year. That's the sort of like a down and dirty nature of this, and I love it. See if Gower's will give us any more look, uh, but but But the I did not have the effect I intentions. Not this, like not in the slightest sometimes, if you like. Really, I You know what? This might be a good time for me to get into Syncopation. There's something called Syncopation where you like mismatch the rhythms and sometimes they will sound good. So poly rhythm. So let's say like like there. Let us say I'm this here. Can you play it? I don't think it, uh, the patient works super well with Let's go Me Isn't it way ticket booth? That's what's happening. And then if we move back different, you know, now is done. The down, down, down, down and and and And all I did was move all these to the side, and that is it. Isn't that cool I want to do? Is uh, at this. Yeah. Don't forget this. We can add it to a channel. Whoops. At seven. Going to mixer and I'm going Teoh que it actually, Because I want some high notes to come through. - You really wanna you clip it there so it starts. Ah, it's a tough one. - There you go. So you eliminated the bum note there. I have a feeling that this should be something else here to, you know, shouldn't just be the base, like some sort of I know I could Do You put this in five with all the delay? Yeah. We want this toe last, you know, we want We want the space to be filled up. It comes to songs. You gonna fill up all the empty space with the noise. You know you don't want any gaps. You just want everything to be filled. Where's noise? You know what I mean. So you have to create, like, its own thing because it doesn't sound right with that one. All right, What's interesting is in fl studio 12. I just couldn't talk when something's playing. NFL Studio 12. All of these are actually drawn by your computer instead of just being picture 2nd 11 everything here. So that means you can have incredibly high resolution screen. And it was jail correctly, no matter how big the screen is. Quite cool. Quite cruel indeed. That concludes my session for the day. Always safe. Oh, safe control. Yes, there is backups, but getting the practice of saving backups will always save you. You know what I mean? Still trust.