Music Production in Ableton Live 9: Part 4 - Making Your Own Beats | Tomas George | Skillshare

Music Production in Ableton Live 9: Part 4 - Making Your Own Beats

Tomas George, Music + Audio Production Instructor

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7 Lessons (1h 7m)
    • 1. Welcome to this Class

      0:38
    • 2. Chopping up Audio

      7:41
    • 3. Slicer

      12:36
    • 4. Drum Rack

      10:17
    • 5. Drum Rack Groove Pool

      4:15
    • 6. Bass Part

      14:58
    • 7. Pads

      16:50

About This Class

In the Part 4 Series of my Complete Ableton Live 9 Course, we now look at creating our own beats.

This class will contain screen capture tutorials where I show you on Ableton Live 9 how to :

-Chopping Up Audio

-Use the Slicer

-Use the Drum Rack and Groove Pool

-And How to create Bass Part and Pads.

Transcripts

1. Welcome to this Class: Hi there. It's Thomas George, and welcome to this music production in Able to live nine, Part four class, all about making your own beats. So in this class, I'm going to show you some basics about creating your own beats, including chopping up audio slicer, drum rack, drum groove Paul. Also how to write a base bar on Pat's. So this is a part full class. I do recommend going back and taking parts 12 free. If you're brand new to able to live music production, however, you can always skip these If you just want to have a look at making your own beats in ableto live night. So join me in this class if you want to learn all about making your own beats in a Bolton Live night. 2. Chopping up Audio: Hi. This lecture is all about chopping or audio. So previously we dragged over clip from a Biggie Smalls track or a remix of a Biggie Smalls truck. I'm just going to solo that's now so you can just hear this audio clip. So it's just the intro drum part. But I really want to change this because it's not my part. But I just want to take that snare hit. You can hear that snare hit there, and I want to put this on the two on the four, so it's really quite easy if we just create a new audio track of commanding T. Just copy this. Sleep over to the arrangement and just drag it to this audio track. And if we zoom in, you can see instantly where the snare is just by the waves. This one here, that's this one here. It's really simple or we have to do is just copy, then drag out. I want to under two on the fourth, so we'll leave that there for the time being. So if you drag in here on the to Andi on the full, maybe, um, I actually over again have it there as Well, okay, then. Drag over. Commanded lt loop. Also, remember to hit this button, which is their back to the arrangement bottom. So drug this over. Command Delta loop on solo. This instrument here just gonna solo this one. Okay? Something that click on this clip here and will to transpose this up slightly. That's how this back now. So that snare hit slightly higher, but down a bit. Maybe this one. I want down minus free semi tones. Same of this month, so can actually change the effects. Each separate clip. Okay, I also want to add a bit of reverb onto this snare. Let's go on. Audio affects be that. Open it reverb and every day. So what More dry than wet? Wet is just the reverb and dries. No reverb, less of the K time. Smaller size. - Okay , I actually want to add a bit of distortion to this. I'm gonna add a just before so it's more the hard hitting sounding snare. So that's without amplifier. It's with the amplifier. I might swap this for on overdrive. Take out that. Okay, so now it's more punchy, kind of snare sound. So now we're going to turn this into one audio track so we can consolidate this by hitting command and J, which turns it into a one audio track. Let's create a new audio track commanding t if we drag this down here. And so they were also notice that it hasn't got the reverb or the overdrive. It's what we can do also is just bounce this. I'm just going to say hello this and then exports. And now when I drive this over, it will include the effects we added. I'm just gonna find this. Just drive the saver that's allowed. Turn it down here. Okay, I from copy this over to the arrangement have just created and you snare part by sampling the snare from this Biggie Smalls remix, we could hear this part here also go through the arrangement view. Maybe I don't want that extra snow there so I could just loop the first section. So this allows us to quickly sample a drum hit from another track, and it sounds nothing like the original Now, which was this completely difference? We can even consolidates. So the audio is all one track. Well, I would normally do is consolidate the audio truck first such one track on, then, if want to bounce it with the effects, bounce it with the effects on or enable two terms we call exports. So we find the track loop where we want to export, so loathe track and then hit file exports and then drag it back in. That's basically how weaken sample in ableto there is other ways of doing it, which will explain soon. We can do it by converting the audio intimate E with a sampler or using slicing to slice up each individual drum hits. So thank you for what's in this lecture, and I'll see you in the next one. 3. Slicer: Hi. This lecture is all about slicing audio with a MIDI track. So we've got this Biggie Smalls loop that I actually sampled from a rat a tat remix. I just play it now. Previously, we actually trapped talk this drum loop and took out snare and consolidated this and then put some effects in it on exported it or bounced the region. And now it's a snare hits that has overdrive and reverb. What wants do next is actually slice up this audio with MIDI. It's really simple. Just hit control on click on the audio. You want to do this with and go down to slice to new MIDI track and then we can go through here. Here it says, create one slice per transients. So this is basically the peaks or where a Bolton realizes there might be different drum hits or alternatively, going here, we can choose the amount so we could have every 16th now or every eight note. I'm going to choose transient and that's it. OK, actually created a drum rack here. Each one of these this will Mableton thinks is a different drum hit. So you got kicked from here. Sounds nice not sure about that. I got that nice collapse now, So I'm gonna rename this one kick because I would use this. This one here. Snap rename. What else have we got? Slightly different. Call this natty. So out of this loop, There's only really free hits that produced If you have a mini device plugged in like a middle cable, for example, that's sleep ladies on your keyboard. Or we can actually just type these and also look here actually drawn in the midi information dramatically like so make sure the headphone is on so we can hear what we did. We can change the amount and the length, but go back here, remember Snatch too. It's this one. Go back with shift in top. Okay, so these are free notes sung actually going to delete all of these. They weaken, draw in some more with the information. If we choose, we can also double the notes up so I can have both snares playing the same time to give a more meaty sounding snap. Let's just hear this. I'm just going to loop this. Maybe on my I didn't have a kick here. Let's hit this. Maybe move the service lightly. I reckon we could do something with this. Let's drag you up here on. Let's hear this of their snares that we created earlier on the original drum hit you could even go through on Copy this over re killer This choose a brown color, go through and just change a few these around maybe get rid of that snare. Maybe this one as well. So we've got kind of two different sections. So this is the first section. Second section even changed in the last days of each note on 11 feature notes. We have this velocity died of this for loss to down. I prefer doing this slicing method then actually dragging the audio around. I think it gives you a lot more freedom when you converted committee and just easy move stuff around. So this is how you can convert audio to Amidi slicer waken go through, pick out individual drum hits and create a river Massive it. We can also do this not just with drums. We can do this but vocals. Also, I'm just going to console Oh, this play this focal pop Okay, tro click and sliced a new media track same is four. Transient. Just stop full eclipse. Okay. But but But but But but But Okay. You hear this? A lot of dance music where they chop up the vocals and plates. Part of the vocal that that he we could even use this as effects. For example, there sliced 16. You could probably use just in effect. Let's go back into the media ranger here. I'm going to delete all of these apart from the last one, the I need every okay, So I'm just basically, just deleting these and trying to make a quick river from the vocal part also so can quickly make some interesting effects. You just from converting this to a midi track and changing it to a slicer. Let's just hear the slope. Yeah. Okay, let's just say this. I just want to loot bar 5 to 6. Okay? I always add effects onto this. Also, try a ping pong delay. Okay. Maybe chorus. Also before that, did I Good. Maybe also on overdrive before the chorus. Okay. And let's hear this in the mix for the song. Maybe this could come in when the drums properly kick out e. So it could make percussive elements and beats out of anything really doesn't necessarily just have to be drums. This is mainly from the singer Pete's voice. No actual words or lyrics is a lot of it's just sounds of his mouth, weighs about to breathe or in the middle of a sentence. It can make some call interest in sounds that normally it might not be able to do or think of quick enough without using the slice. And the slicer really allows is just a throw stuff in, Shop it around and move it around really easy and really quickly. So thank you for watching this lecture and I'll see you in the next one. 4. Drum Rack: Hi. Now we're going to have a look at actually building our own beats Able turn. The has something called drum rack. We go into investment here. You'll notice that is drum rack. There's also instrument rack, and if we go into audio effects, you'll notice that there is also audio effects rack. But for now, we're going to go back into instruments and have a look at the drum rack. The drum rack allows us to actually insert our own audio or audio samples on control these via MIDI. So let's just drag this into a MIDI clip. And here we have a drum rack, so the easiest thing to do is to find a few audio samples. This doesn't necessarily have to be drums. It can be any kind of instruments. Let's start off with drums and here I've got some kicks. Let's just have a listen to some of these hard kicks. Use this one. Drag it into C one now on the keyboard. It's down Octave. We can see the lights on here, so if I play C two, you can see the light above here on DSI free. One above. Here. Let's just play, see one and this is playing the loop here. We can change the start point of the loop. So now it a play from here, just the tail of the loop. Really? Let's put it back to here. And also the endpoint, okay, could also transpose this sample as well. So that's put it just seven semi tones. That sounds quite cool. Now let's find clap. I generally like tohave the kick on the sea on the snare on a day and hi hats. Well F shop, Andi G shop and open high hat on a shop. That's just the way I've always played drums when you have preset drum kits on keyboards is always the kick on C one, The snare on D. Normally a clap on C sharp high hat on F sharp, never high hat on G shop and over the high hat on the open high hat on a shop. Normally, they also have the crash on C shop to shop to Andi, the right symbol on D shop to, But for now I'm just going to inserts snap and also high hats. So let's go on snacks and collapse. She is this from, and I've got a snap. You can also change the start point on the end point. We can transpose it if you wish. I think it's a lot better. Diarrhea at time. Back to zero. Okay, on. Now let's just find symbol closed higher. Helps us find one here. Oh, I move this to G shop and now I've got a bit of a groove going that my adder opened high hat. Also, it's a good idea to find your own loops and samples. You can click on samples here. These are the ones that come with ableto We can actually search here for high that. So if we use this as an open high hat, you'll notice that it's actually the whole sample here. I really, really want this. Open the high hat sound. So I'm just going to drag it to here on ended here. Let's hear this. Now I've got this high hat, this one, this one. This one's a lot quieter than the rest, so I'm just gonna crank up the volume here. That's a lot louder Now can play a bit of a groove with my medic keyboard with these drum sounds. So just a recap of Got the kick. The snare Hi hat. I never high hat on an open high up, so the velocity also works because it's midi information. Surfer presses snare softly. It's a lot quieter. If I press this now a lot harder. It's a lot louder. So we can't even perform this end life, which is really simple. I'm gonna have to mention him on. Have one bar countin Andi hit this button here, so it's only really the end section of that I wanted to keep at the moment folders on. So it's only actually showing us the notes that we performed. So I think it's more about here. It's only the section I want to keep. I'm going to delete this and then a contract with Start Market to here. Also the loot market. Let's just say that's up and also command A to select all I command you to Kwan ties. Just going to hear this back Also going to select all the kicks we can turn over. Lost is up or down here. The hats, I believe their velocities were way, way too loud. I'm just gonna put these down a bit. Some of these hats Okay, let's say this back. Okay. On the other way is we can actually type in the media day to ourselves. Also, I'm going to delete this. Slept all delete. I don't hit this pencil tool here and just type in. If you did it, Oates, drag this around and also hold down Olt to copy the notes over. Okay, let's hear this back. That sounds all over the place. So you can't always get this 100% right when typing it in a lot of the time it is trial and error. So, for example, here I just want to copy over the hats with a hole down old. Totally, Always. I want the loop a lot smaller as well. I'm just going to select here. Made a loop a lot smaller. Okay, let's hear this. Okay. Perhaps a little bit too crazy there. So could hit this button here. And this will actually play a double tempo. We can play 1/2 temper. Just going to hit half tempo on these have actually changed. Now, I'm just gonna make this really simple and just for kicks, mainly. Just unbeaten one. Someone here drop the velocities of the hats. Okay. That's basically how we can create our own beats. Enable Turn with the drum rack. 5. Drum Rack Groove Pool: hi. In this lecture, we're going to have a look. Adding grooves on the bit swing toe are drum rhythm. So this drum rhythm that we made from the drum rack it just sounds a little bit too robotic on wooden at the moment, a light and a bit swing and a bit of groove to it to give it bit mawr of a human feel. Let's just hear it back again, Okay, said the way we can do this. Yes, we can open up groove, pull here and then go down to places and hit packs on, Then expand core library. And then let's go down to swing and groove. And here we have different swings and grooves just going to choose Latin percussion. Choose this Afro Jazz one. I think this might sound quite interest him, so all we have to do is drag it down into the groove pool and then go down to Amidi editor . If we end of a view, we can even switch back and forth here or use the key command chef top and then go down to groove and here we should have the group from our group full and it commit and you can see that the notes aren't quite on the grid. Now let's just hear this back, okay? I also want to change some of the velocities of the hats to make them sound like the rolling A bit more. You can choose this one, drag it down. That's actually changing the kick. Start here. And I'm just going to copy and paste this now have paste that onto the line again. I'm also going to make this a four bar loop and have just copied and pasted these hats. And it's lost some of the grieve so I can select the hats again. Choose the groove, pull and hit commit. If he's even here, you can see that the hats aren't banged on the grid anymore, So I've got a bit more of a group That's a this back. I'm going to change this Teoh open high at on this one on this one. - Okay , I'm going to select all again add it to the grave, and that's here, This back. I think this has a bit more of a groove in the river and give us a bit more of a human flavor than the rigid beat we had before, so thank you for watching this lecture. This lecture was all about adding a groove to midi information. In the next lecture, we're going to have a look at adding a baseline. 6. Bass Part: Hi. This lecture is all about adding a baseline toe. Are drumbeats so on adding a bass part or a baseline? Do you think it's really important to listen to the drums as much as possible and really try and lock in with the drums of live music so alive drum kit on a live basis? The bass and the drums really have to lock in on, especially with the kick drum. So listening to this beat here, two things I want to do one is I want to actually use the same grew from the groove Paul. So the grooves lock in, and the second thing is, they're basically just want to follow the kick drum on, maybe add a few different notes so I can add a few harmonies and basically add the underlying note for the cause. Could go on top. So let's just hear our drumbeat again so I can actually hear that the baby off the kick drum is bomb, bomb, bomb, bomb, bomb bomb from the base part really has to be built around bump, bump, bump on something like that, really, just to follow the bass drum really kind of emphasized that beats on that river. Also add a few different notes. So when we do put cause on top will make a nice, thick, rich harmony as well as a good driving beats. So let's create a new MIDI track. We can do this by just hitting. Come on, shifty. Let's make this a bit smaller. Let's go to instruments that's choose analog base and find the bass sound. Um, I think the 1st 1 can actually work, drag it into here and then on a MIDI controller. So now I think Maura, about the rhythm to start with and after I've got the rhythm than a my experiment with different notes. So the best way to do this, in my experience, is just to jammer out the drums on Think of a rhythm that locks in with the kick drum, so let's just listen to the drums once more. Let's go to the editor so we can see the media information. I just have a look at the kick drum. The easiest thing to do is to start off just following the kit from Pattern and then think about other stuff we can add to it. - Thistle's kind of built around C minor. Seven Chord. I'm also using the fourth note, which is an F rather than the third note, which is that you flat basically C minor seven sauce. Fourth, if that sounds really alien to you, is basically a C minor, but with a few extra notes swapped around. So what I'm going to do now is basically just jam this out and play in a few different times. And hopefully I might be able to play this well, once or twice. Basically, just put that on a loop. I'm just going toe. But the match their mom on recording, I think the second time was fine, so I'm going to delete this pot also going to hit fold. So it's just the notes that I played on, then just tracked this forward. Try this back and I want to copy over the group that are used in the drums so select all and go down to grief on Choose this Afro, Just assuming just to make sure. Yep, it's not completely on the grid, so it has Kwan ties to this Afro jazz. Quantas this and again just to double check, then zoom in again. There we go presuming we can see here. It's not completely on the grid. So we know that this group has actually worked. We're gonna leave these velocities as the way I played them because I think my Adam or kind of human feel Let's just play these two back at the same time and just hear what this times like and turning them off. I don't like this bit here. Is gonna be this over. Okay? I'm also going to go to simply a change a few These sounds around. I think this face part needs to be a bit more hard hitting, So I'm gonna add a bit overdrive on here too. So just gone onto audiotex on overdrive spent more hard tonight and they just want this same cord going over again. Again, again. I'm just gonna copy over this drum parts and then I've got this base part here. There's a few ways we can do this. I could never play this and again, starting on a different chord. But if you've got quite good musical theory, I know this is in the key of C minor because the first called was a C minor called We don't necessarily have to stay in this key. But I think for the purpose of this, I'm going to stay in the key. So for this one here re color this so no, it's slightly different. Starts off with that's choose in F minor, less Jews in F minor for the 2nd 1 the first night's and F before the second note, assuming a bit more. Okay, drag this up a bit so you can see a bit more. It's the first night was a C before down here, So let's start this on enough. And this was an F. So basically, I'm moving it all up 1/4 so we can drag. Move them all of the fourth weaken. Go through individually to make sure we get the right note. Correct. So four notes up from an F in the key off C minor is a B flat. So let's move this up here and same see up to an F. Do you have to know your key signatures. For example, I know that C Minor has free different flats, which is an E flat on a flat and a B flat. So if you're not too sure about your keys, or keys and it just just pick up, or even Google, the different keys or casing that just just so you you know what's what, really. But this course is all about able to rather than music fairy. But the best thing to do is just Google different keys in that, just just to find out what notes were in different keys, If you don't know. So see again smooth this up to F F. This is a B flat. The J does this say on DBI Flats said day and say up to an F So we've got the same pattern here, but basically just moved up a major fourth. That's here. That's back. Okay, I don't I don't think actually finished the pattern that still a bit more to go. So what we can do is select all the deaths, move the mark, Turvey flat slept all the seas. This is a quick way. By the way, I should have really intelligent be It is up to an F on slept all the G's on move these two se. I think that's about right. If I haven't quite got the exact same place, it doesn't matter too much they don't always have to be the same notes. Let's just hear this back, for example. They're coming up the same interval here. It goes down. That's from selecting all the notes. But I think that does actually work. That goes up fourth. So it could buying this up because I moved the deaths so could move this down again. That goes back down again dirty. So it starts on. That note is a C So this one should be an F. Really? If we want to move it up. That that note is a B flats when I shot. So this is the same pattern? Moved a before. But I did quite like having the same note here. Having this up was in a shop. Let's hit it. I quite like that. They're so sometimes making small errors can actually work in your favor because it makes you do stuff that wouldn't normally do because did it by accident. That stops you going the same pattern. So don't be scared to experiment and try new things, because really it can work out your favor sometimes. Let's try this. Okay, so this is basically how we create a baseline. I would normally try and lock in with the kick drum as much as you can, and then think about having different chords. So here this is basically based around a C minor, but of the fourth instead of the third and also 1/7 note. And this one is basically based around an F minor. But with the fourth instead of the first is like an F minor sets forth kind of thing. And the more basing this on the six notes to have the seventh notes, it's more. How did that? You could call that F minor just four. So sex against will add six. But that's just getting a bit too complicated for the sake of it is basically in F minor, but moving a few the notes around just so it sounds a bit different. I do like to sometimes try a different kind. Of course, rather than sticking to the same just f Monica would, you could try what kind of different runs that don't just use the 1st 3rd and the fifth that could use the first, the fourth, the 2nd 6/7 just to make it sound a bit war jazz here guess a bit more interesting to me anyway. It's completely up to you. What kind of cords? You wonder what kind of type, of course you want. You might just really like just a standard 1st 3rd and fifth. Or you might want to try an experiment. News more kind of extended chords. Let's just hear what we've got so far grievous starting to get that. It's still a lot more things we could do. Also going to go back to this here on just change the groove to the Jazz won because I didn't move a few things around. Snap it back to the grid. Now, if we zoom in, you can see it's not completely on the grid, which is what we want. So we had a bit more of a groove in a bit more of a feel toe our music, rather than just being completely rigid on on the beat all the time to thank you for its this lecture on. I'll see you in the next one where we're going to have a look actually building cords and pads and since I just kind of change in our groove and our beat to something a bit more substantial 7. Pads: Hi. Now we're going to have a look at actually adding some pads on some symptoms to our group. So I would really do is have a look at the base part and think about what we can actually play. So if you just assume in here, find our beats here we go and hit the fold button. We can see here that is basically using a C lef J and I flats. That's it. So the first chord is basically based around these notes C f gene A flats. We're not really familiar with music Fairy. This might be a little bit confusing. That is actually C minor sevenths us forth. So the suss space, it means you play this, notes Devin of one soon playing. The fourth note in this case is four notes up the C minus. It's an and instead of the flat, seventh in the minor scale. Is this b flat here or a shop? So it's basically this this cord. So really, I want the sim part or the pad to be based around. This court obviously can add different notes. It doesn't have to be this. Most of all, we usually hear don't just think I have to use desperate visits in the geese and 1/2 to use this because this is the core that's being played. Just think whatever sounds good, really. If something sounds better than something else, use that. You don't have to stick to the rules. But just think that they're they're just as kind of a backup, really. So if you're not too sure what to play, you can just think it's got C N F G and A B flat, so you really know it basically based around his cords. But for example, thats f shot might sound really dramatic at one point. Just add a bit of tension. It's not in the key signature, but it might sound really interesting is only really one way to find out. That's two experiments. Let's go on sounds click on this muddy track here. Let's go down to a pad. Okay, let's use this one track the some let's have a look at the other clip as well, and this is basically based around. We can see the notes here, actually F B flats I buffets in flats and Sharps f a shop say day, which is kind of F Minor six US four for Guess, says Neff. Minor, but playing the route notes naff, and it's also got B flat c a day You can play the That might clash. I'm gonna play first Lipin that's just hit record on record. Okay, on the basically, I just played those notes of the cordon and then just added, They say an added esti shop to the D shop wasn't actually in the basal. The flat wasn't in the bass part, but I thought nice to kind of extend the court even more So Now the cause has the third and the fourth and had quite a nice, interesting sound just going toe quantities this command day. Come on, you. Let's have a look at this again. This is the bass part for the second clip. Basically an f a sharp say in a day so I could play something like this playing the G and the flat. Just add even more color. Okay, let's try this. Something like that. That's just command a command. You quant ice Had a bit mawr stuff going on here in the first part. I also need to change this, make it a leap. The second part is actually twice as long. Let's just play the first seen on, then go into the second scene. I'm also going to turn off the Metro. Not too sure about one. Those notes there that's hit fold. Let's try it. Just moving a few nights. Randa's by here could put the headphones on as well. So I know that no sir Girl was go in and edit this symptoms. Well, we have the macros here, which basically control more than one part of this simple. So whatever has a green box on? It's actually controlled by a macro over here. It's not really that dense at the moment. This Simpson, I'm actually going to add on another keyboard parts just on top of this, just to kind of bulk out a bit more. So let's hit shift control and t never midi part here. Let's click on sounds. Actually, let's click on instruments going to go to this operator here, and this is a Cynthia. We've got a load of different presets sounds, so I'm going to go on piano and keys. That's just a few of these e thing, and then we just have to Olten click the change the color of this as well, so I know it's different parts. Okay, let's say this bit Basie for this. Try a different side. Uh, this is Mama for Nexus. Means only plays one note at a time, which could work. Actually, that's here. This in the next booth, go to audio affects thinking a delay. Sound might sound quite nice. Top of this since. Sounds a bit too dry at the moment. So let's go down toe Ping Pong Delay. - It's going to try overdrive on this. This part here, it's to make it a bit crunchier. I think this could work Nice is an introduction. So let's just select all these parts here by holding down a command button and directly is done. Another way is we can actually inset and you've seen. So that's just click on here and create and insert scene. This will create a scene here so you could drive these back. Have this here. This is the second pop double click to make sure this is part that stops on the F ear. This is the part that starts in the sea. So it was renamed these as well because sometimes you can get a bit lost if this to money. So I'm just going to call it See? So now it's the part that's the sea or even back to see C minor. This one here, C minor labeling is a great way to stop you, actually forgetting what sections? What? Because I do color my tracks. But sometimes you forget what colors which call this one f minor f minor, this wand af minor swan minor. Okay, now we're starting to get given the arrangement going from here as well. It's going to start off just with this pod and build up on at this plastic heart sound, and then we're gonna add the drums on the base. Then we're going to change the court, actually, So I'm gonna leave the same court going when the drums and bass come in. Then we're going to change the court. So I've just unsettle. Oh, this Let's go from the start and hear what this sounds like. So we could even make a bit of arrangement out of our beat. So festival is going to change some of these base parts. That's even simpler. Let's just delete that altogether I've actually got these labeled the wrong way as well. So let's rename this. This is the sea bought. That was something a bit strange going there. This is the F. Okay, so let's have to see there. Make a copy of it. Really kill of this one. Some of the cool that's C minor one, because it's the first section basically have a look at the cake from again. So it's just basically on every beats, apart from the third beat on a halfway through as well case. It's a bit mawr for simple drum part to start with, then we're going to go to this section here, so there's a bit more of a section going on. So really, I beat now is kind of these free sections here so we could have this in a little Still a lot more. We could do mix wise some of the e que frequencies equalizer frequencies of clashing to really want to separate out some of the different frequency so we can hear each instrument individually for creating a bit. This is normally the method that IRA Jews generally start with the bass drum and then add in the rest of the drums and then add in the base toe lock in with the based room, and then I think of a pad or a simp line or string part. On top of this, we could always add in melodies as well. This is the basic structure, the allergies and creating beat in able to.