Music Production in Logic Pro X: Tech House Music Production in Logic Pro X | Martin Svensson | Skillshare

Music Production in Logic Pro X: Tech House Music Production in Logic Pro X

Martin Svensson, Learning music creation since 2006.

Music Production in Logic Pro X: Tech House Music Production in Logic Pro X

Martin Svensson, Learning music creation since 2006.

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23 Lessons (3h 5m)
    • 1. Introduction

      2:19
    • 2. Reference Track

      7:16
    • 3. Bass and Main Sound

      10:43
    • 4. Finishing The Main Sound

      6:56
    • 5. Adding Drum Loops - Part 1

      6:14
    • 6. Adding Drum Loops - Part 2

      7:13
    • 7. Arrangement Markers - Part 1

      7:00
    • 8. Arrangement Markers - Part 2

      8:32
    • 9. Arrangement - Part 1

      7:00
    • 10. Arrangement - Part 2

      7:00
    • 11. Arrangement - Part 3

      11:18
    • 12. Arrangement - Part 4

      10:00
    • 13. Arrangement - Part 5

      10:01
    • 14. Arrangement - Part 6

      7:37
    • 15. Arrangement - Part 7

      10:00
    • 16. Arrangement - Part 8

      10:22
    • 17. Transitions and FX - Part 1

      10:00
    • 18. Transitions and FX - Part 2

      8:52
    • 19. First Mixdown - Part 1

      10:00
    • 20. First Mixdown - Part 2

      6:31
    • 21. Checking The Mix In The Car

      1:45
    • 22. Fixing The Mix

      8:47
    • 23. Mastering

      9:50
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About This Class

In This Music Production: Tech House Music Production in Logic Pro X course, I will show you how to create a full music production from scratch to the full product - arranged, mixed and mastered. This Course will learn you how to make this Tech House track with Logic Pro X & plugins as well as a few pair of paid third party plugins and free third party plugins. All paid third party plugins that are used in this course do have Demo versions with full usage within a period of time. You Can Use The Same Principles you will learn music For Both EDM, Hip Hop or Even New Music Genres - it will work for all Genres!

Meet Your Teacher

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Martin Svensson

Learning music creation since 2006.

Teacher


- Founder and Owner of music-prod, a platform with courses for learning Music Production and how to be a musician today with over 10 000 Subscribers. 

- Music Producer and Professional musician. Producing music for 10+ years with Logic Pro X and Ableton Live. Produced music for several big labels and for other Producers, Dj's and big names in the music industry.

- Certified Apple Logic Pro X Producer since 2015.

I have a lot of experience in making music in different studios here in Stockholm, Sweden and also in Los Angeles, California. I've been making music with big names as well as teaching how to make music since 5 years. 

I'm now into teaching music on the web as well as making different businesses because I really wa... See full profile

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Transcripts

1. Introduction: - Hey , guys! And welcome to the Learn. Take House music production in Logic Pro 10. My name is Monica Johnson, and I'm an Apple certified logic pro 10 user and I've been using logic for over 10 years now have been creating music for a lot of different music producers, and this is my full time job since about five years now, and also, everything I make is made straight in the box in logic on my Mac book pro here. In this course, I'm going to show you how to create this awesome sounding Take house track in Logic Pro 10 . My goal is to teach you how to go from knowing nothing about creating tech house music to create your first full track. In just one day, we will cover everything from how to find sounds get inspired to create different sounds, how to arrange a track, even though we don't have a clear idea how it it will sound like in the end, we'll create mix towns. You will also see me go to my car and take notes in the mixed on process, and we're also going to create a quick master for the full track as well. I'm also going to show you my own secret tips and tricks that I've been using with logic for years and years. Now you also get a bonus off free sample packs with a library that is exclusive for you. To me, students and all of this, if is for free. That sample back library contains a lot of different sample Packs and nuance are added every week. You'll get free access to them Lifetime with the purchase off this course. Alright, guys. So I hope you're as excited as I am to dive into this course and start making tech house music with logic Pro 10. So see you in the course. 2. Reference Track: Okay, I say welcome to Discourse in this first lecture. We're going to take a look at how to get inspiration for creating our track. So we will create a take house track today. So the first thing I will do here is to pull up Spotify. So let's do that. And, um, I've just found this amazing track. I heard it on radio a few times now, and I love it. It's a take house track from Fisher Call losing it. So what we will do here and and this is the process that I always use when creating music is that I tried to find a reference track where we would like trying to kind of recreate that track, not necessarily do the exact same thing, because obviously, you will copy this that track. But you can still do something similar to that. And this is why I always have a reference track to work with. So let's take a listen to it and analyzed the small bits of this track. So, um, I will just listen to it a few seconds or if you like 10 2030 seconds or something of that , and I will try to find different elements in this track. And after that, we're going to take a look at how to find those different samples and sounds. OK, so let's take a listen to this track. Okay? So in the beginning, we heard, um, um kind of like an alarm sound. I guess something you can find us a sample. And this is, um I think this is a sample kind of alarm sound that the producer found have some kind of snares there on a huge breasts sound. And I think the breast sound there is what's doing the whole track puts. Let's take a listen to it. You can hear a baseline going on there as well. It sounds kind of like a like a really bass guitar, but still kind of synth and sample as well. So we'll take a listen to different bass sounds in logic that is reversed reverb as well. Yeah, Now you can hear the foundation of this track, and this is a breast sound as well, but it's kind off. How would I explain? It is It's a low sound, and it's not like the breast sound is playing full on, so you can hear this is actually just two or three notes playing in, repeat all of the time, and then you have effects with reverb, and echo is going on just to have it kind of expand to the to the drop section. There's a lot of Reiser sound effects going on as well. She had the breast sound and the base, some playing almost the same notes, but in some in the end part off the the looping bar, you can hear that the bass sound is kind of off, and this is made on purpose. Just because it gives it gives it some variation in sound theory and at the breast sound is all. It's like the same thing all the time, But you can hear that the bass sound. It's actually a bit different all of the time. Way. Yes, so we have a few elements in this track. I'm not going to play it, too, then, because it's it's We have the idea now, so the main elements here are obviously the drum section. They are doing almost all of the work in this track. So then we have the bass sound, which is doing the same thing as our main since sound or main breasts sound in this track, and it's playing the same notes as our breast sound. But it differs a bit all the time. And, as I said before, this is to create like it's to not having the track being repetitive all of the time because all of old house tracks, or actually take house tracks are or take no tick tick house tracks. They're always playing the same kind of drum sing same kind of notes. And if you're not doing some kind of variation in the track, you will get a boring track. It could be the best sounding track ever, But if you have all of the elements not changing or any of the elements not changing all of the time, you have, ah, very boring a simple track. And as you can hear in this track, this track is very simple. It's just a few elements. It's not like it's a lot off instruments, a lot off tracks. We have sins going on here. You have a few elements. They're doing their own thing here, and when you're doing this, you will have an amazing track, and I think That's the case with this track. Okay, so let's go on to the next lecture. We will start Teoh, create the elements. 3. Bass and Main Sound: Okay, so let's create a new idea here. So what I'm going to do here is to create a new software instrument track that I have here . So I have, ah, one empty, softer instrument track. So I'm going to open up the plug in called alchemy. That's see how this looks. And I have a preset here that I created on my own, which is called Base FM pluck. And this is basically just a sample loaded into alchemy. And it sounds like this. It's very deep house kind of tech house sounding. And um yeah, you are going to get this priest that as well. If you load up the project file, you will see this. Ah, this sound here. And if you want to save it to your computer, you just go to this list here and press save ass, and it will show up in your lists here as well. Okay, so I have this sound here, and I'm going to play something that I tried out a bit. It's a very, very simple idea. And them I think all of the take house tracks out there are pretty simple and pretty easy. There's no match that much of complexity inside of the sounds and inside off the notations . So what I do here is to basically just get a very, very basic sound. So I have something like this. So I'm just playing on my media cable here. So first I'm going to go with something called Let's See a Customer's Control Bar on display, something called low lading See mode. And this is very nice to enable. When you're just playing around on your meeting keyboard, then all of your late NC is going away in logic pretence. So you're going to play very, Yeah, there's not going to be any delay when pressing your meeting keyboard, and we're getting sound and logic pro. So what I'm going to do here as well I'm going to take away the velocity from my media keyboard here because I don't want to hit my keyboard all the time. So if we go to media fakes velocity processor and then I'm going to go with maximize velocity and now we're going to have the velocity at maximum all the off the time when I'm playing this pilyeon or distract here. Okay, so 1 20 b p. M. is going to be my preferred temple. So let's record this. This idea, okay? I want some Metrodome here as well, because I don't hear, um, the speed here. So let's try it out again. Okay, so something like that. So impressing que here to get the note Qantas sized And I'm going to, um, cut its hear bits. So I'm going to use this part as the beginning part as well, and then the rest here. So I'm going to select all of these here and go to command g to join them. So they are now one region and let's play it now. Yeah, that's exactly what I wanted. So let's get rid of the click here. And I also got rid off the low later smoke because I'm not playing on me to keep what? As of now, So, yeah, this is basically what I have, and this is going to be my main idea that I'm going to build up on. So now I thinking off something some sound here that, um, is going to complimented is So why do I want some more sounds here in for the base on and this is very easy because we can analyze what sounds we have in a track, and based on that, we know what we should add. And this is what I learned because some years ago, when I just tried music production out, I didn't know that much about mixing and how attract should be done in the right way. Then I just through in a lot of different sounds and, um, they sounded too much but still was pretty empty. And this is the explanation of that. And I'm going to show you why you should think of this when you're producing a track. So if you go to your steering out your master channel here and just go in Ah, Channel de que here and just have the analyzer on as well. So now when I play this sound here, you will see that this sounds is around this area here. Yeah, so this is basically a base area, and this is our let's say, mid base and this is our mid sounds. Serhiy sounds and this is our very, very high sounds. So you should have one instrument playing in one section off the frequency spectrum here. And when you're doing that, you're not going to have sounds that clash with each other, and you're going to have a very easy step when you're mixing a track as well. So the whole mixed on process is going to be very, very easy if you produce in this way. And if you take a look at the Channel E que all of the time and analyzer eso, you can see where you place your instruments. It can also just use your EQ you on some different instruments to e que out some frequencies so we could you can just let's say you have an instrument that you only want to play in this area, that you can just do something like this. And now you will have the instrument playing only in this area that's going to do this because they sick you are is on the master. So that's disable that. And if you think in this way, it is going to be a lot easier when you're doing your mix down and you're going to have a full track or a full sounding track. Basically. So, yeah, so we're going to do it like that. So if he take a look at the Base FM pluck again. You see that? This sound is, um, the most of the sound this is going here. They have some elements sounding here. So let's go to this ultra here and what I'm going to do here. Let's go here to choose to switch on a low pass filter, and I'm going to eke it out to around this area. So what you should do here is to get rid of all of frequencies that you don't need in the sound. And yeah, As you can see, I'm already doing the mix down process and we're still in the kind of idea process. But this is very important to do because it's going to make your mix down a lot easier, and you're going to have a nice sounding track immediately. So as a guest here, I'm just getting rid of all of the frequencies here that I actually don't here or that is not that important to hear in this instrument. So you also want to low pass everything or actually high pass here. Everything that is underneath around 40 hurts because you can't really hear that anyway. So there's no it doesn't make any sense to have it there. And this problem, this area is a problem area. So you should get rid of all of these frequencies on all of the instruments. You can also do it in the mastering stage as well. But I still find it nice to do on all of the instruments as well as in the mastering. Okay, so, yeah, let's just have it like that. And I can hear that this sound is very clean. You know, when we have it in this area here, Exxon and going to add ISS on FM sound. So it's a one Maura from Sound, because I want this sound to be fuller. So let's create a new soft arrangement track. You can do that by going to the plus sign and go with soft arrangements. But you can also just double click here as well to get the same as you had selected here. So I'm going to get rid of this channel strip setting that comes as the fault, um, research on the strip and let's go to E. F. M. One, which also is a logic plug in that comes with logic. And here I'm going to choose FM base and let's go with. Ah, let's see. Detroit Base. Yes, that classic kind of deep house sound. I'm going to copy this media section two here as well, and let's solo it and let's listen to it. Okay, that's too low. So I'm going to open up the piano here, going to select all command a and then I'm going to put it one octave higher. I think that yeah, you can now hear there's there's a lot off base going on here, so I'm going to take it away because we have this sound that is going to take care off the base sounds. So let's take a look out. This looks. Yep. So I'm going to take that base away. So I only want to this kind of sound here. Yeah, it makes a lot of difference here. So these two sounds air going to be my main sounds in the drops drop section off the track . So now I have these sounds ready. So now I'm going to build up on the track even more. And I'm going to do that in the next video to see them 4. Finishing The Main Sound: all right, so in this video, I'm going to add two more sounds here. We're goingto a sub base, and we're also going to add pluck Sound that it's, um it's a bit above even the frequency spectrum here, So I'm going to add one more sound. Basically, let's dubbed IC eight this space FM pluck sound. And we're going to Dublin, Kate it two times, and I'm going to have the same sound as the sub base and as the plaque sound So I'm going to have this sound sitting in the mid section here in the frequent spectrum, so going to back it off a bit for the bass sound. So we have something like this, so I only want this fingers the spectrum here because, uh, sound. I think this sounds should be hitting around here, and I'm going to create the sub base here. So we have some bass sound, and the reason why I doing this instead of just having it as one instrument doing the bass sound and upper sounds basically is to get more control in the mixing stage. So now we have our kind of made bass sound. Our low bass sound and then we have the higher upper section in the frequency spectrum. Kindof plaque sound. So this is going to be our no base. Let's take a listen to it. Okay? So I'm going to back it off a bit here around 100 hertz. Let's take it and knocked it down. Yeah, you can hear the sub base here being a lot better when we're having it in. Ah, let's see here when it's at a short zero instead of being at minus one here. So I'm going to live it like this, and I'm going to copy over the media that again to this track. And let's see how this works going to have this in the upper section. So let's leave it like that. And let's take it up to around 500 hertz. Let's take a listen to it. Yeah, it should be more in the upper section off the actives, so I'm going to take it up a knocked out more. Okay, so let's take a listen to all of the three. Now. Let's take a look if it's better if we take some more high frequency stir. Basic rule here is to roll off base or roll off frequencies that you don't need eso As soon as you hear that something is going on with the sound itself that you're basically destroying the sound. Then you should take it up a bit more. So as you see here, I'm some cutting away frequencies here. And as soon as I can hear that sound is changing. I'm stopping basically. So I think somewhere in there, So now we have a full pluck based sound, and I also want to hear how it sounds. We did this Detroit base. Okay, so we're having a lot of things going on here, So I'm going to take a look at their master here and just put on gain plug in here to lower the volume a bit. So we're not clipping the master. We also want to hear something, so I'm going to make it a bit more here. Okay, so I think this sound is a bit too much because it doesn't make a lot off difference when I enable and disable it. And when you're producing this kind of music, it's very much less a s'more. So as soon as you're starting to adding up sounds that you don't really need or that isn't necessary for the track itself. Then it's going to sound too much and you're going to have problems with the mixing. But I still can hear that sound is. So when I add this Detroit based here, you can feel that sound is hitting him. But more so we can feel that kind off pumping somewhere, I guess, um, so if I a b they see, we'll hear it. I think I'm going to leave it like that, But I'm going to roll off some frequencies. Yeah, let's leave it like that. So now we have all of our basic sounds here that we need for the drop, and I think this is going to be our sounds in this track, and I'm going to leave it like that for now. So we're going to do now is to basically start to arrange the track and, ah, we don't have any kick drum. We don't have any drums or anything and we just going to start to arrange it. I think it's very important to create the arrangement very fast in this process, so if I start to range, it's right now It's going to be a lot easier to finish the track, and we're still going to see what we need when we start to arranging the track instead of just throwing in different samples and hope for the best when you're range, you know. So in the next video, we're going to start the arrangement here and basically arrange and adding up salts, so see in the next video. 5. Adding Drum Loops - Part 1: mute. That's and just try to see if we can extract the kick drum from this removed. Yeah, so let's go in the marquee to Yeah, definitely. We can extract the kick drum from here, so I'm going to create a loop playing that shorter loop and copy over the kick drum So we have a aligned and you can hear a bit off a click where the sample ends. So let's go back to our fate, too, and I'm going to fade the last section off this loop. Now here it's clean. So going to delete that and companies over, let's go back to our marquee to and they would have are clean kick drum. So let's do it like that. I'm going to select these two regions, go to edit and go to or sorry function folder and pack folder. So I have a region and I'm going to. It's got a bit bigger, so I think we should divide. It's like that. So Nike cr two dots here are to kick drums, so now we can loop that and have it like a region. Great. So let's name this stick drum and I also want the same kick drum, but without the base. So I'm going to copy this region over Dublin. Kate, the track kicked from without base. And, um, put something Q on here and country get rid off some base here. Yeah, and they would have a kick drum with base. All right, so that's mute that. So now we have three different loops here. We have our kick drum without any base. We have a kick drum with base, and then we have the drum loop with the kick drum, so yeah, and then we have our second drum loop here, and this drum loop contains the kick drum. So we should get rid off the base or the kick drum here. Um, and this is because you don't want to kick drums in there because there's going to be too much fighting about the base space in the frequency spectrum. So let's just get rid of the base from this drum up and see how it sounds. So now we only have the higher frequencies and actual drums here. Yeah, I think that sounds great. So we're going to keep it like that. So now we have all our our all of our drum loops here and let's go and put the kick drum on the upper side here, offer project and then without basis well, and Trump loops underneath. And then we have our base sounds and our main sounds. So now we're going to start to range, and I'm going to do it out in the next video. The first. Let's just get some quick housekeeping here. I always like to Luke my my tracks like that in my regions, because I want to have it very like organized like this. So now we can see whatever is here and let's go to our tracks and name the region's my track. So you do that by going. I have ah, Kikkoman for debts Options shift in, which creates our region by the track name. So if we have our track name named Kick Drum, the regions are going to be named kick drum as well, as long as you select the region's first and then go to options shift on end. If you don't have that key command set up or if it doesn't work, just go to logic pro 10 Kick mons at it and now we can set here regions by yeah, name regions by track name and they would have the key. Come on. You can also color regions by track color. So if we have a track collar, which we don't have, then you can set the same color off the region. But I don't usually don't color my tracks. I only color the regions. So um yeah, let's collar. It's as well. So open up the color palette there and yeah, and if you can't do that, just go to the toolbar. And here you should find the colors. If you don't right click, customize to bar and here can select different things you want in the toolbar, such as the colors. So here ever kick drums. Let's color it like that Red May wants are Trump's. I'm going to keep the drums blue, and I'm going to keep the main sound screen as they are just like that. Okay, so we have our kick drum really want to name that as well? We have our big drop beat. Let's go for that. Congo Flam beats sure. Instrument three. Let's see a basic from plaque. There isn't any base here, so let's get rid off that name that we have? Yeah. Are some base now rfm pluck to So let's rearrange, stare. And then we have our Detroit base. Yeah, which is Let's call it a mid base for now. Groups just like that. Okay, so now we have our fundamental stuff within the project. So now we can start to arrange your track. So let's see you in the next video. 6. Adding Drum Loops - Part 2: Yeah, I really like that drum loops. So let's face it in their public it again. So we're going to keep this drum movement and compare them, because with Tech House, it's all about the drum loops here. So attract can sound a lot better if you have a very nice drum up in there. And as you can see here in this course, I'm just hastening apple loops quickly, and you can do that. You can also create your own drowned moves and drums. You can extract different drums from different drum loops, and I have a course that it's just focus on that, creating different beats and extracting different drum loops. So I suggest you check that out if you want to see how to create different beats that are unique. But in this course I'm going to focus on the music production itself. So it's not going to be a very, very long course where we create drum loops although, like for two hours, you know, because that's a lot of waste of time here. So I'm going Teoh Public eight. This drum loop mute. That's and just try to see if we can extract the kick drum from this removed. Yeah, So let's go in the marquee to Yeah, definitely. We can extract the kick drum from here, so I'm going to create a loop playing that short loop and copy over the kick drum So we have a aligned and you can hear a bit off a click where the sample ends. So let's go back to our fate, too, and I'm going to fade. The last section off this loop can now hear it's clean, so going to delete that and companies over, let's go back to our marquee to and they would have are clean kick drum. So let's do it like that. I'm going to select these two regions, go to edit and go to or sorry function folder and pack folder. So I have a region and I'm going to. It's got a bit bigger, so I think we should divide. It's like that. So Nike cr two dots here are to kick drums, so now we can loop that and have it like a region. Great. So let's name this stick drum and I also want the same kick drum, but without the base. So I'm going to copy this region over Dublin. Kate, the track kicked from without base. And, um, put some think you on here and country get rid off some base here. Yeah, and they will have a kick drum with base. All right, so that's mute that. So now we have three different loops here. We have our kick drum without any base. We have a kick drum with base, and then we have the drum loop with the kick drum, so yeah, and then we have our sick and drum loop here, and this drum loop contains the kick drum. So we should get rid off the base or the kick drum here. Um, and this is because you don't want to kick drums in there because there's going to be too much fighting about the base space in the frequency spectrum. So let's just get rid of the base from this drum loop and see how it sounds. So now we only have the higher frequencies and actual drums here. Yeah, I think that sounds great. So we're going to keep it like that. So now we have all our our all of our drum loops here, and let's go and put the kick drum on the upper side here, offer project and then without basis Well and Ah, Trump loops underneath. And then we have our base sounds and our main sounds. So now we're going to start to range, and I'm going to do it out in the next video. The first. Let's just get some quick housekeeping here. I always like to Luke my my tracks like that in my regions, because I want to have it very like organized like this. So now we can see whatever is here and let's go to our tracks and name the region's my track. So you do that by going. I have ah, Kikkoman for debts Options shift in, which creates our region by the track name. So if we have our track name named Kick Drum, the regions are going to be named kick drum as well, as long as you select the region's first and then go to options shift on end. If you don't have that kick mond set up or if it doesn't work, just go to logic Pro 10 Key Commons at it and I can set their regions by yeah name regions by track, name and they would have the key. Come on. You can also color regions by track color. So if we have a track collar, which we don't have, then you can set the same color off the region. But I don't usually don't color my tracks. I only colored regions. So, um yeah, let's collar it as well. So open up the color palette there and yeah, And if you can't do that, just go to the toolbar. And here you should find the colors. If you don't right click, customize to bar. And here can select different things you want in the toolbar such as the colors. So here ever kick drums its color it like that Red May wants are Trump's. I'm going to keep the drums blue, and I'm going to keep the main sound screen as they are just like that. Okay, so we have our kick drum. Really want to name that as well? We have our big drop beat. Let's go for that kind of land. Beats sure. Instrument three. Let's hear basic from pack. There isn't any base here, so let's get rid off that name that we have. Yeah, are some base our FM pluck to. So let's rearrange, stare. And then we have our Detroit base. Yeah, which is Let's call it a mid base for now. Groups just like that. Okay, so now we have our fundamental stuff within the project. So now we can start to arrange your track. So let's see you in the next video. 7. Arrangement Markers - Part 1: Okay, I So, in this video, we're going to arranger Track. Finally, So we're going to do first is to get all of the region's moved a bit from the beginning. And let's now start an arrange our track. So we're going to do it is to copy regions over to the place that we want them to be. So I'm starting to cupping over this kick drum without base. So the track was start with the kick drum, Um and yeah, because the base is rolled off. It's kind of like an intro and outro kick drum something like that. So now we're going to put some sound in its as well. I think that some drum loops would be fine to use here in the beginning. I think that's a bit too much for now. So let's go to like that. Okay. So as you can see here, we can go in guessing, different stuff. We can put different drum loops here if we want Teoh. And if it sounds good, it sounds good, you know. But we're going to do here is to take a look at our reference track to see what they did, and basically copy over the arrangement from that track. So that way we know that we don't do anything wrong. You know, there is no wrong things and music production. Actually, you can do whatever you want, but still, if you want to track that sounds good and that are kind of up to the standards to the other big tracks out there. I suggest you to have a reference track, listen to it like, analyze it wherever they put different stuff in the track. Maybe you should put the same things in there or at the same time. And yeah, let's go to Spotify and take a listen to a reference track and see what they did. Well, I'm back here in Spotify, and what we're going to do here is to use another reference track. So I'm I think this would fit mawr into the actual tech house. And, Johner, So let's take a listen to this track is from Fisher again. I really like that producer and let's take a listen to his new track here like more. Listen to it. Yeah, very nice sounding. Take house track here, so let's go back to logic and let's take a listen to our intro here, so I think we should go back and put some basin. It's Let's take a look at Spotify again. Let's go back to the beginning so you can hear at Ah, beginning here you can hear ah reversed reverb. It's called. So it's a reverb off some kind of instrument or vocal or something that is reverse. So it starts with that, and then it goes to the kick drum and the kick dramas again. Here it's Ah, the bases rolled off as well and you have some reverb on the kick drum as well. And then you have some reverb that IHS automated that goes up and it stops for a beaten for a moment. And then at 17 seconds, we have our, um, main kick drum going on and some base. We're going to do the same thing here, So let's go back to our track and logic and at 17 seconds. So let's go with our custom LCD screen here so we can see everything and 17 seconds should be summer around. That's a 16 seconds is going to be here. So this is because our tempo is 1 20 bpm so if we would like to have this as our reference track, the track that we have on Spotify, we would like to have the same bpm as well, because it's going to align in our project here. I'm going to go to a Web browser and search for this track and see what BPM the track is having. Googled Fisher, You little beauty on DPM. There we have ah beat port here. So be port is always the best thing Teoh go to when we want to look for some BPM and keys for different stuff. So as you can see your baby in 1 24 So I'm going to go back to logic here. And, um, let's go and set it as 1 24 instead. So now we should see our track in 1 24 So if you use something else an apple loop, let's say you use different drum loops that are in wave form and you're changing the tempo off your project. Then you're drum loops can get out of sync a bit, so if you're in that position, you have to. It's very a very basic thing to do. So let's say that you're Sam or drum Loop is, um look, something like this now or something like it's It's bigger than than the actual alignment here. Then you can just go and hold. Option. We will see. You will have this little marker here, and then you can just drag it out to be set to to this bar here, and then we would be in sync. So if you're just using apple loops as we do in this course, then you won't have this problem because Apple Apps is flexible to the temple off the project. So it's looped it like that. And we had this. 17 seconds mark. So some around there. And as you can see here, um, usually Elektronik music is based on four bar loops, so here we have 8. Arrangement Markers - Part 2: So here we have our 1st 4 bars that are four bars for bars and four bars. So this is our eight bar. It shows as nine, but yeah, it's because eight bars are, um, done here and then the ninth bars starting. So yeah, and and 70 seconds is basically something like that. So you can see it's kind of misaligned, but this is because he used a reverse reverb in this section here. So the track is basically starting here instead of starting here so good to do the same thing. So just move it like that and we don't have any reversed reverb as of now because we don't have any vocals or other different sounds that going to add on later on. But for now, I'm going to have it like this. So let's just start off and we're going to create a skeleton off the track, basically, So we're not going to create our final arrangement in this section here, but just something to start off with. So if you go back to a Spotify, No, we have our Drumlins there, so the drum loops are basically in this section, and then they kicking off the track here. Okay, so I'm going to add some reverb. Two are the kick drum here. So that's ad a space designer. Or it can go to reverb space designer like that and for drum loops or drums that you want some reverb on. We want some light river, so I'm going to go with weaken, try either small spaces or menial spaces, but we want to automate this. So I'm going to go to medium spaces, then put some plate reverb and then we want the drum plate so he can automate this wit section here. And yeah, that's basically the amounts off the reverb that we want. So if we go to our automation, just go to a and now you can see here space designer And if you go to with outputs and now we can automate this. So let's take a listen to our trek so it doesn't have any reverb at the beginning. So I'm going to do the same thing here, and we're going to add up bits until I think and sale. Yeah, let's take a listen to it. Yes, so it's basically to our 17 mark, 17 seconds, which is so around there, but he's dropping off somewhere around there. So I'm going to creates on one more reverb points here or automation points take off the reverb here. So it's just drops off like that. Then we have the this section here right before the drop. Yeah, and that's that. This section here and then our reverb is dropping off, and then we don't have any kick drum in there as well. We're going to move the drum loop here to the drop section. And just to make this a bit easier for us, we're going to create some arrangement markers. So if it click the global tracks, it confined arrangements. But we're going to use something else so you can see the marker here going to create marker . So 1st 1 is going to be our intro. So let's just they made like that. Then we want the next one, which is our drop. So let's click on the plus sign drop and let's take a listen to a track in way. Have our break section with this, which is some around there. Yeah, 32 2nd mark. So 32 would be there. So break or actually this is our build up, I think. And then a drop ship section goes on again at 47 48 seconds over. And they're so should be there. Yeah. Kate. So we have our trump to here than 1 19 We have our break. So Yep. Groups shouldn't be camps luck there. That's and again. Yep. We're break section 1 49 s our next drop. So, uh, have somewhere around there Trump to or drop three, Actually, 2 20 I should be there. Yep. And there we have our break, too. 2 51 is our next drop. So drop four. Okay, so this track doesn't have any outro, so we're going to keep it like this, And just to make it a bit easier, I'm going to color code, these different arrangement markers. So I'm doing this with just random colors just to make some difference or to differentiate them a bit from each other. So, um, something like that. The colors are a very tough one. Um, okay. So now if we minimize this or global tracks here, you can see all of our arrangement markers. So this is very easy now to work with you can see that we have our intersection. Then we have a drop section buildup drop. And so in a so far so now it's very easy to create our arrangement here. So in the next video, we're going to continue to create arrangement or we're going to start to finish our kind of skeleton off the arrangement. And then after that, we're going to take a listen again to the reference track to see what sounds there are missing toe. Add up some different sounds. Then, from there we're going. Teoh have arrangement finished, and we're going to create a mix down off the track. When the mix down is done, we're going to go to the car, take a listen to the track in the car just to make some, like real life kind of judgments off the mix down. Go back to the mix down, creates mixed down on the mastering stage, and then we're done with the track. So let's see you in the next video 9. Arrangement - Part 1: Okay, so we're going to continue creating our track here. So we did the first arrangement, and now let's continue with the arrangement arrangement here. So I'm going to go back to Spotify and, um, yeah, just listening to the track basically and see what they do within the track. All right, so we're going to start with with the Inter here, So we're going to create our reverb as we did before. And let's just take a listen to the kick. Trump. I think we need some bigger river be or so let's go to to space designer. Let's put on some big girl. That's a snare plate here. Yeah, that's better. So, um, okay to go back to Spotify so there's a kick or ah, clapped as well, So we need to find our clap, and I think we're going to borrow or clap from one of our beats here. So let's take a listen to the beats. So there's a clapped there and let's see if we can export this clap from this drama. Hope so. Let's just copied over. We need to solo, it's yeah, there's a high at there as well, so I think we're going to undo that. It's taken us into dist. Beat instead. Yeah, there's a kick drum there as well, so I think we're going to find one more drum loops. So let's go back to our Apple Loops here and take a listen to some different beats here. Yeah, there we have, ah, very clean sounding clap within this drum loop here. So if we just select it, there's still a kick drum being in sight of this flat loop here or the clap sample. And But just let's just get rid off the low end here and let's see how it sounds great. So we're going to have this clap here. It's rename it to clap. Let's put it some around here. Let's put on some Yeah, let's just get rid off more base here. Yeah, I'm going to do the same thing here. Functions, rips. That's redo everything like that Select Functions folder, pack folder, something that I think that sounds pretty good. Okay, so let's go back to Spotify. I think there's a lot of not more reverb here, so let's put on even more reverb. I think I'm going to go with something else than plates I think something like a hall. Yeah, some short, tall. Yeah, And I think we have some base going on from the reverb itself. So I'm going to move the eq You from being in the first in the position off the channel here to being the last. Because then we're going to get rid of all of the base from the kick drum as well as from the river, because it's going to be the second plug in here. Yeah, let's have it like that for now because we don't want to slam, like, too much effect there. And then we're going to makes a master, and it's going to be sounding too much, you know? So you always start like this and then you can add on later on. So now we're starting to get some different sounds here. So I'm going Teoh, create our master or are pre master, which is basically some limiting going on in the story out. So you can see I have a 10. Arrangement - Part 2: you can see I have a gain plug in which I always have on my master whenever I produce. So I always said it to gain minus 9 to 5 or minus tender on somewhere like that, because that is going to make our volume lower overall. So, yeah, we don't have to, like, put on a plug in and lower the volume each and every time. So it's very easy to do it like that. And then you won't have your master like with a lot of different volume, you know? So that is what I always do. But I also put on some limiting, so I always use fam filter pro L. That's a very nice sounding limiter and always have it like that. But for this course, I'm going to go with the built in limiter that comes with logic, and it's called adaptive limiter, and it's very transparent. Doesn't do too much of things here, but it still keeps our volume from being above zero decibels, basically or clipping. So I'm going to have its as my last plug in here. So let's just make some room there and I'm going to put on some O t t. So this a free plug in from extra records taken Dollar. It's as well. It doesn't cost anything. And this is a basically, um, multiple compressor. I don't really know what this does. Ah, there are a lot of different videos out there. Um, try to explain this, but still, Yeah, there are different things going on here. The most important thing. That it sounds great. So I always just use the death here and put it around, um, somewhere like this nine. PM something like that. And, yep, just put it like that, and you will immediately have a much better sounding track. And I always do this whenever I start to produce red, Then do it in the, like, mastering stage because I can now immediately here what my track would sound like. Yeah, and I can now here that we need some reverb on the clap as well. So I'm going to put the EQ you lower like that. And space designer. Let's just try it out as the default presets. Yeah, sounds great. Let's go back to the kicked from here with the reverb, and I think we're going to make it a bit smaller in size. Yeah, like that. So it wants rumble around, you know? Okay, so let's just do it like that and let's take a listen to our Trekkie. And so then we have our drum loop there, and I'm going to go for for all of the other drum loops here. I'm going to go with music prods, sample packs. So we have Ah, deep house sample pack and we have a tick house sample pack. I'm going to start with a deep house, drum loops, sample back and, um yeah, let's take a listen to our difference drum loops that we have here. We want something very basic, so I'm going to drop in this drum appear and yeah, it's not Sink your tempo so we can see that by just put it in alignment with the beat ear. And yeah, you can now see that it's actually aligned. So it is in Temple Perfect. So we don't have to do anything more and ah, yeah, we can just place the drumming up like that, but I'm going to move it so it's aligned with the drop, so it starts at the drop. But in this track, we also have this section where the drum loop is presented in. So I'm going to copy over like that. So just basically cut it from there. And, yep, then just having it like that so I can do it like that's copy it over, and now I can just join them together so we won't have to do anything like that. And the problem doing like that's what I did is that you want you would get some different sounding here because, ah, it goes through all of the different Mixer Channel, so I'm going t o undo that. So instead of doing it like that, I'm going to copy over, then just delete everything and paste it in again like that's and now we can loop this drama appear, and then we're going to start a drop. So let's go to the drop section now that and just focus on it. So let's take a listen to what is added to it. A drop section. So have our basic drum loops. We don't going to use the big drop beats here. Let's move this and we want our full on kick drum and want some base here. So let's try this first. Yeah, I want some sub base as well. Sounds great, but we miss one thing here, and we need Teoh. Make some side. Shane here. So are based sounds and all other sounds is going to duck when the kick drum is presented. But we don't use that for drum loops. Only four base and leads and other main sounds like that. So I'm going to group all of these sounds by just selecting them all like that, then right? Click here and create tracks like So now we can just, um you can see Fuller stack or something stack and going to create something stack so we can use it like 11. Arrangement - Part 3: use it Like it, like treat all of these four Sounds like if there were one sound, you know? So it's just created like that. Now we have, ah, separate track for all of these four tracks. Weaken Just folded like that. So we now know that all off these are our main sounds, so I can name them like that, and I can treat them as one. So first of all, I'm going to put on on O t T just to kind of glue them together. But I'm going to use it's very softly here, so only at around 10%. And this is just because we want to glue the sounds together so they sound like one instead off, like I'm being treated like difference or separate instruments. Then after that, we're going to put on some side chain, so yeah, we can do it like this. We can have our compressor. So just adamant Compressor basically. And we will have the compressor open up. We have ah presets called side chain, which you, um probably want him because I created on my own. So you can just copy these all of these settings here. So you can just post the video and basically copy every single setting in here and then just go to side chain and you will see that you have different things. So, uh, yeah, we need to create a ghost sighting track first. So let's quit this compressor for now. And it's just create a new, um, softer instrument trick. So I'm going to go to utility and going to go for the club guys here, and this is basically just, ah, trigger for the compressor. So I'm going to explain what I mean by that. So I'm going to just create like, a kick drum, so just emulates the way. Yeah, just like it would be a kick drum, basically. So now we have this a very small sound that sounds like kick drum, but very, very small. And we're going to do now is to instead of having there's going to steer out, I'm going to put it to a bus, and I always for this use Bus 32. For some reason, I think it's because it's the last bus off. You can actually go ahead and use whatever bus he wants, but I'm going to use Bus three to for the side chain. Always use that. And then you having the bus 32 here on this side, which is goes to steer out, but we don't want to hear. This is a click in our tracks on going to disable the story out. So it's no output. Is that so? We can't hear this sound at all. And this is what we want to have because we want Don't want this to be as a sound. We just want this to be a trigger for our side chain. So whenever this goes on than the side chain is working, Okay, so now we have this track here. Let's call it our ghost track like that's And now whenever I put on the compressor, go to side chain, go to bus Bus 32 which is our ghost track and the sicker listens with. You can see that the sound is now ducking whenever the kick drum is going through, so this is a pretty short side chain. So let's see if what happens if we make it a bit bigger and let's not compare it with side 10 without, you can hear it's pumping through to the beats, which is exactly what he wants in a take house track. Okay, so this is the side chain and yeah, let's go back to our reference track and see what is going on here. Yeah, there's some stuff going on in every single. So when a beat ends like that, we will have something else going on inside of this. Let's say sub base. So I'm going to show you what I mean by that. So let's say that I have I don't know, some base. We won't actually hear anything. So let's go to this effort plaque. So, uh, in the ending here, maybe something like that. This is very random, etc. On its sounds. I am going to keep it like that. So yeah, let's just like that. And let's go back to a reference strike. So now we have on only are kind of made base, um, going on without any some base. And we also have the kick drum without base going on here in the build up, a swell and no and drama appear as well. Yeah, but we still have our clap. Yep. And same thing goes here, so I'm going. Teoh, Let's say here, make it a bit shorter. So this is going to be the same thing as this part here. So this part is going to be, um exactly like this part. So something like that. Then we also want the same automation for the reverb here analyst or something like that. And we also want Teoh. I think we would like to have some kind of automation on the reverb for the clap as well. So, um, let's do something like that and then just get rid off the reverb wherever this section goes on here. So for now, let's have it like that. And there is something like Affects is going on here as well. So transitions of fixes, for instance, and we're going to Adam on later on, because that's the last thing I do when I creep the track is that I add on different transitions in the later sections. That way we can see whatever transitions we want, and we don't have to search for different transitions each and every time we create a new or introduce a new section or a track. So let's leave it like that. And now we have our build up here as well. So let's go back to the second drop, which I think is going to be the same thing as the first drop. So it's usually is like that's in a lot of different music here, so I'm going to do the same thing, just copying over like that. But I think I'm going to introduce some new sounds in this drop. So we have our effort plaque to and let's take a listen how it sounds with all of the other instruments here as well. Don't Yeah, let's take a listen how it sounds in the reference track in this part. Okay, so there's only a short kind of sequence here with within this part. So I'm going to do the same thing. I think we have to see how it sounds first, maybe something like that. Um, I think it sounds great. Yes, so that's we can do as well. They can reduce different sounds. You can introduce new sounds. You can take away some different meeting notes from it to make some different variations and other stuff like bats. So I think we have our drop to made here as well, and I'm going to keep it like that. So now we're going to go to the break. Drop three. And yet all of the other sections off the arrangements. So, yeah, we're going to continue that in the next video. So see you then. 12. Arrangement - Part 4: All right, so let's continue create this track. Okay? So we're going to go to the break part here, So let's see here. How the sounds. Okay. So now we have to back to Spotify sickness into our let's see it. 1 19 mark. Okay. So I think we're going to go with the same kick drum here without base. Yeah, and we have to lower the the river, but to had automated. Yeah, and we still want the drum loop to be present in this part. I also want to clap. And we also want the bass sound, but not the sub base. So only the base that you can hear. But not that you can feel basically. And here we can introduce the meat base, I think. Let's take a listen to it, e Think that's something that we can use here. Okay. So, yeah, we want to get back to the second drop here where I would actually, um, create or remove the kick drum from different areas here, So that's just to get some variations. So let's take a listen to it. A drop second. Rob, here, there We have one kicked ramos, and here we should have to kick trims off. I don't want that. It's Yeah, And I'm just basically copying over different drama lips here and see what's what does work and what doesn't. And also coping over these section here that ran. So let's see here, Um think, yeah, one kick drum off. So I kicked him off. Should be to kick drums off their thing. I'm going to do it like this and then put it like that. So now it should work. Now I think we can remove this strong appear I'm of one kick from off there and to from this side way should have our ghost track in there as well. So let's cope it over because we want the side chain way. Also want to remove the ghost track wherever the kick drum doesn't play. So you want to get the side chain whenever the kick drum isn't playing? Yes. Or something like that? Um, yeah. Let's take us into dropping in. We haven't. Okay. Kick drum. I think we have an overall pretty nice sound. Um, but in a reference track, we have something else going on or a new sound that's introducing in this part candid later . AARP Sound. Yes, we want something similar to that. So I'm going to create a new software instrument track and I'm gonna go for Let's see, I'll give May. I think it's pretty good for these kind of sounds. Um, let's go with arpeggio it in here and let's see what we have here. So we're playing in the root note off a sharp. So let's play something in a Sharpton. Let's hear. So I'm and Theo, So I'm looking for a pretty, like strange sound kind of. But I still wanted to be. I wanted to be kind of mystic, kind of strange song. It's, I think it's pretty. It's tough to say exactly what I'm looking after, but if you listen to the reference track, you will hear, um, what we would like to have in the track. So something about I think this is pretty good, but it's too slow for them arpeggio later. So if we go to our appreciator and, um, the rate so double so instead of 1/8 we go to 1/16. I also want to have some car a phone, so just filter out not that kind of filter I think we have a low pass instead. Okay, so I also want to have some kind of feel Terry going on way can automate. So we wouldn't want want to automate the cut off here? Um, OK, so I think there's something here that we should use a sharp three. So let's create c r a sharp three. They are me, like that's and now we can make it bigger. Like that's if you hold option and drag it out to me to keep meaty notes. You can drag out the meeting out as well. So now it's very long. So if we go and automates this thing here and I think I'm gonna move this sound to the main sounds credit tracks like hair. Okay, so now let's automate the order filter here, and we're gonna go with cut off. So now let's see how we don't have any automation and we have to enable that. Okay, so let's go. Something like that. Yes. That was exactly what I was looking for. So, yeah, let's take a listen to how long this goes on for. And, uh, 13. Arrangement - Part 5: in the reference trek. So until 1 49 which is to our third drop, basically. So I'm going to copy this region over, and I also want to automate the cut off until 100%. So when the drop, its we have it, um, 200% basically. So I also want to make the notes rising in this part because it does it in the reference tracks. So I think I'm going to do the same thing here. And there are different methods. You can do it. Either You can create a pitch bend within the meaty data here, so you can basically just take this no tear off this region, make it smaller like that. And then we can create an automation media. But we go to pitch bend, and then it's basically just something like putting zero here and then going up like that. Yes. So now it should bend from zero to whatever the maximum amount is set on all coming here. So I think I have to go to see it. I want to pitch Bend. I think it's in the settings, not there file. Okay, so let me take a look at this first, but it goes up one active. So what we're going to do here is to set it a bit different, going to make it a bit shorter because we want this area here to be set for our next introducing our next section, which is the third drop. And we also want to back off, off, off the pitch, bending a bit. So I'm going to say it like that. And then I wanted to go down back to zero Sears 00 There something like that. So it should sound like this. What? Yes, very nice. And I also want some kind of more effect here. So it sounds like it's opening up a bits this sound. So I'm going to just loop it a bit and see what we can do inside of alchemy. - Yeah , there's some several things we could do here. Either we can go with the resonance here, make it a bit higher, or we can play around with the effects. So here issue where you can be really creative with different. Um, you have different affects is different transitions. So I'm going to automate the resonance here going to go with this one. So if we go to automation and now we can go to all chametz and we have a lot of different things here, different parameters so we can search for its we can go through or we can just record automation. So you basically do it like this. We can go to it, say rights or yeah, for this, it would be touch, actually. So alchemy. And we go and put whatever here resonance. And now we can go back to read and arrogance. See, Filter one resonance is our automation. So now we can go like this, and we can automate it all the way through. I'm going to make ah a bit of a curve, so it won't happen that fast. Yeah, Let's see how it sounds. Ah, with all of the other instruments here as well. So I'm going to just copy it over everything from here. I think that also that one. It's making like that for now. Okay, this isn't to the whole break section here. - Yeah , let's take us into ah reference track in. Yeah. So let's go back to our in effect here. Yeah, let's go to this one. Click here. Pitch band, and I'm think I'm going to go through with the pitch bend like that instead. Okay? And no. Now we want this drum loop to be here in the last section. So just get rid off everything like that. Just borrow one part to this part. Exactly. And now we want the regular drop section here in here as well. So just copy it over, and I want to be careful to not over ride our regions here that we had before the original ones. So let's just take the drop here, go to drop three and just put it like that. And here I want to also include this region here. So just so we can get some more sounds in there for the next drop, So it won't sound exactly like drop to let's take a listen to how the riff instructed with 1/3 drop, you have those kind of sin sounds that starts from here. And then I think the next one is here and so on so far. So we're going to create something similar as well. So let's doublet Kate, this track, because I'm going to use all commie again. I think all Commies very 14. Arrangement - Part 6: me is very nice for these kind of sounds. So let's browse here and maybe look for some kind of lead. Yeah. So I'm going to use this sound air and just recorded in and played with my mini keyboard. So that's closer like that. Kwan ties that and this notice kind of out of tune. Something to change it. Yeah, I think it's going to go one octave down from this snow tear. Yes, I think it should be a bit shorter. Yes, and then we want it to inter be introduced here as well. But I think we're going to create some other kind of sound for this part, just so it won't repeat itself all of the time. So I just abdicated it again. And let's look for some other sounds here. Yes, I haven't idea with the pitchman again, so I'm going to create it. Okay, so let's go with something like this. Sometimes I got an idea in your head that you want to create or just experiment with it, and you think that it's going to sound awesome. And then you realize that it sounds like shits. So, um yeah, the pitch man is here again. So let's create some kind of pitch bending. So I think it should be like that. And from here, we are going to go with an ox it up like that. Kenneth? Yeah, I thought so. Um, So, yes, something like that. Maybe going back again to the root notes. Let's take a listen. Mm, No, but I'm going to switch out to sounds. I'm still going to keep the media notes, so let's create a cycle here. Yeah, that sounds better. Okay, so let's take a listen to a drop section here again. So I just want to try this inductive up just so we can get some some kind of difference. Yeah, that's fine. I think it sounds pretty good right now. And, um, you know, some sounds Can I mean sometimes when you're producing, you can feel that it sounds great or sometimes it doesn't sound as you think it should sound, and you're kind of happy with it, But you want to tweak it a bit, just so it sounds awesome all of the time, and that's both a good thing and a bad thing, because if you're start to not committing to the sounds. And let's say that we are in its 100% happy with this son because I'm not. Then I could tweak it for 23 hours and then I'm get bored. So ah, I will. Just everything would start to some bad to me. And I think this kind of ghost with all of the producers out there that you have to commit to some sounds just to get the track creative. Then, when you have the full track created and it's all done, then you can start to switch out different sounds. So that way you would have some different versions off your full track. It's very easy to do so, so that is really what I recommend you to do. Okay, so let's take a break now from the sounds, and I'm going to take a break as well. So let's continue and finish this arrangement in the next video, so see you then 15. Arrangement - Part 7: Okay, so it's time for our final section in this track and make the arrangement complete. So as of now, I have all of the different instruments in this track. But I don't have this one, so I don't I think I'm going to use it. May be in the fourth drop just to make some kind of difference. But I'm going to delete all of the other regions because we have them inside of a project now, so there isn't any kind of off. It doesn't make sense to have them there. So we have our second break and let's take a listen to our reference track to see what it's done in the second break. So from 2 21 mark, So at 204 around there, we have our, um yeah, arpeggio Gator being introduced again. So it's gonna be from the middle off the third drops. I'm going to do the same thing here, So just to make some difference and um, yeah, just have it like that. We're gonna have the cut off here to be at the smallest amount, so he wants better here. It and I want the resonance to be low So basically, we're back to how it sounded in the beginning. Hair off the brake and we want to automate the cut off a bit. So not too much into the break. So you want to have want to hear the radiator a bit in the second break here, so just copy it over way. Can't hear the sounds I'm going to. I get a bit higher, and I think it should speed e even more. No. - Yes . So there is one really nice thing going on in the second break. And it's the snare roll. Yep, so it's basically s narrow, so we're going to create it. And yet let's just create new, softer instrument. And there's a lot off ways you can do that. We're going to stay to stick to, ah, free plug ins and logic only plug ins and this course. So I'm going to create something with logics built in samples, and I'm going for an E excess 24 year. So let's see what we have here for snares. So we have kind of electronic snares. Let's try it out. Let's see how it sounds. - Yeah , let's try this out. So I'm going to play something in the mini keyboard. It's kind of them to me. The region. And we have the a sharp. So you can even to in the snare hair. I'm going to screen a cycle. Okay? Yeah, something like that. I'm going to move it to them. Copy like that. And here we want in the beginning, here once a very, very fast, narrow. So good to do Like that. And now what you want to do is to set our time signature to 32. So you can see now the grade, um have double the nose in the great here. And I think it's actually not 32. I think it's 48 here, so yeah. Now, just copy this thesis notes. Yeah, something like that. It's very, very similar to this. But this is how you do Cool. It's narrows. Basically, if you want to, you can go with the different time signatures, and I suggest to, as they did in the Fisher track, you could hear in the beginning here. It's not the usual kind of aid off eight, um, or eight awaits kind off time signatures. So we're usually in the 16th notes, but instead of going double to 32 or 64. You want to go to the kind off different time signatures here and that are split up in into the middle off the 16 32 or 64. So 24 4 date or even 96 to get some cool kind of time variations here. You can also try the time Qantas qan Thais they can do if you have a lot of notes here, we can just select the mall and then go with here and try the South. It's triplet time signatures and then it can also do with, Let's say, for a part off the notes. So let's say we will only want these notes to be contacts like that. You can select them and go here and choose triplet, for instance, so it can go with 48th and then the notes will rearrange themselves basically. So now we have this narrow here and you want Teoh loop it. So I'm going to loop it throughout the break section, but we want to stop one bar before the fourth drop. So now we're going to go with and cut off here as well just to kind of introduce the sound . So let's go to the altar filter. It's close that automation and now wants auto filter and cut us. So we want to turn this on. Let's go with zero for now. And let's just make it retire like that. Also wanted to have some kind of reverb. So let's go with the space designer again. And, um, yeah, let's try this out. This let's make the sights a bit smaller. 16. Arrangement - Part 8: smaller, and we also want to automate this one as well. So let's have it a bit up like that's and then and creating information like that. So sick. Listen to this narrow here. - Yeah , because you can hear that the reverb is going up and then the volume goes up a swell, and we usually don't want that. So I'm going to add gain plug in here as well and just automate to gain. So it goes a bit down when the river goes up. Basically. So something like that should have small differences because this can get very low. Let's try it out. And this may be too low. Something around that I think. Kate. So now we have our snare. Oh, it's renamed that. And we also want this to have some kind off so kind of effect to it Sound wise. So I'm going to go without a T and have a lot of depth on here. So as you can hear the snare Oh, some. How sounds better when I put on the OTC and I don't know. I don't really know why, but it sounds better. I think this plug in takes a lot of different instruments from sounding generic to sounding like it would fit into a track or fit into ah really song, you know? So, yeah, it's very nice Plug in to have its for free downloaded from extra records. I really recommend you to use it on anything. Basically, I also use it on the master as well. So Yep. Um okay, so now we have this narrow here, and we have the AARP, and then I'm going to copy over everything from the break section. I'm not going to go with a big drop beat there because it's too long. So other than that, I'm going to just copied over like that and, um, maybe do something like that. Let's try it out. And here we want this naral to have a picture rights similar to DARPA jitter as well. So let's go with something that I'm going to copy over these this looped section, and from here, I'm going to just go with command J to make all of these loops as one region, as long one long region. So now when we have this narrow region as as one and you have a lot of notes here You can also go and create a pitch rights for all of these notes. So pitch band And now let's go for zero groups zero. And then we're going to make it like that, and I want the pitch to be back to zero. Like that assistant. So it's Yeah, something like that. I think I'm going to make this a bit shorter, so let's get rid of that parts. And now make this. That's here thing. Go to suspect zero here. Yeah, something like that. Okay, so now we have a tear. The break to section is basically done. Yeah, we want one more thing here on this is to copy this region over. So we have the picture rised AARP as well. We should really rename this, but let's go for this. Go for now. OK, so let's play it. Yeah, And now I think I'm going to borrow this media region on Let's see or yeah, this drum drum loop I'm not going to use it. Sounded way too off. Um, yeah, so I just got rid of that. And now let's put this drum, appear to the second drums or drop section, and we're going to use the same thing as I did right before the third drop. We just got being over basically. And, um, I think this sounded a bit bad groups. So I'm going to copy over this instead. It may be no. - And then in the drop is going to start. So that's doing that? Yeah, that would repeat itself. I don't think that sounds good at all. So I'm going to just copy it over like it waas and add some kind of effects in this part instead. So in next video, we're going to start with a fixes. And as you can see, the the arrangement is now done. So we're all done with the track. We can go and do something that to make it full length. So now you can see track is basically done. No, it's not bun, But the arrangement is done here, and there isn't too much of work left in this track, I think, because we only want to add some different fixes here, maybe some different variations. But I think with the fix is when you start to adding different transitions and stuff, it sounds a lot better. And you have the variation there as well. And if you start your throwing around different sounds because you think that more sounds is equal to a better song I don't think that's the case. And especially not with the tech house. Johner. So you want to keep it very simple in this kind of music. So, yeah, I'm going to just have it like this. And, Ah, put on some effects Is that we're going to go with mixing and mastering. So, uh, yeah, let's see you in the next video. 17. Transitions and FX - Part 1: All right, So in this video, I'm going to add some fixes, store, track and transitions. Okay, So I'm going to use some Appaloosa for now, and, um, I just go and browse these different sample packs that we have or the apple oops pack that comes with logic. So that's if we choose, For instance, take house. You don't have any sound effects in there, but you have it in deep house. So if they sort it on sound effects, you can see that we have some different sound effects here. Yeah, this may work. So let's see. I think that works. So as you can see, the key here is a so let's transpose it one octave down. But I think that's follows. Ah, see, it follows the projects tempo, which we didn't set because I don't work that way in logic, some people sets the key here, so as you can see, it's set to key C major. So what we could do here, basically, is to just put it on a sharp minor. And then we don't have to do any pitching with the apple. Oops, Yeah, but it's just changes, and this is because we want to change it in the global tracks, and ah, yes, can see you have the a sharp minor there. So I'm going to just double click. Or, um, we can just delete that. Yeah. Creates key signature A. We want a sharp minor. Let's see if this iss, um, in the same key as to drop. Yeah, that sounds great. So going to use you can do it like that's a swell. I don't know why this sample didn't work with the key here because it should match with the apple. Oops, key. But sometimes it doesn't do that. So it can. You should go by the air instead so it can copy Ah, the sample over to part of the track where you have a lot of different notation information . So a lot of melodies or based information, for instance. And then you threw in a sample and play around with transpose until you hear that the sample Ihsan in Key in tune or it doesn't have to be in tune or in key, it could just sound greats, and then you know that it sounds create. So, uh, you have to be a judge off those kind of decisions. Okay, so ah, sickness into danger again yet. And here this samples stops around here. So I'm going to just do like that. Move this sample for now and then just loop this section e. I want this to be lower. Okay? So let's take a listen to some other fixes. Let's try it out in the beginning here. Um, yeah, I think it's a bit too long. So we're going, Teoh cut it a bit. Just so it starts. So there should be a starting point. Um, that could work. I think it's not in tune, but let's let's hear out. That's way out off to Yeah, that sounds okay. I think that sounds could be better. Um, for this kind of situation, take a listen. You can also create a reverse reverb er off your own sounds that you have in the track and it could sound good. I mean, that's usually what you want to do, but in this track, I want to create something different. I think we would see if that sounds good in the later section. So I want something to kind of boom sound here when this is done. So it's just don't begins with nothing. You know, just a kick drum. And this local example We have the sample pack called up and down lifters from music proud , which you can download at the website where I explained that in the beginning, off this course. So in this pack there are a lot of different samples that we can use, um, to make the transitions very smooth. So I created this sample pack because I like when tracks have very smooth transitions and doesn't have too much going on inside of the transitions. Um, so let's take a listen to them and see what fits inside of this track and see if this works . Yeah, I think that's OK. We can add that to the drop section here, So the drop starts there and he wants the biggest peak of it happening when the drop ISS happening as well. Something that's try this out in the buildup section. Yeah, and I want thes notes to be heard in the break section. Um, yeah, it sounds way better, I think for a break section Yeah, let's try it this very, very long. A blister up here goes to the drop section so it should end when the drop hits or not, when the drop hits. But this section comes up the section just before. 18. Transitions and FX - Part 2: section just before drop. And I think we want the same kind of uplift er here in this section before the drop Way to wondering, Um and see if this sounds better going to cut it off there. I think we're going to do the same thing in the drop to a section here. So just basically copying them over. Not like that. I want that to be there. - Maybe something. And that's to this break section. And this is very randomly so we can throw in different up and down lifters everywhere. Basically, it can also copy them over. But if you start to copy every single up and down lifter eso if you're just having one sample all of the time in the track, that could sound a bit boring on, but generic. So that is why I tried different samples is just to get some difference way I'm going to use this snare. Oh, this part that is pitched in this section here as well. So we would introduce this narrows here, but this would be a longer version off. This narrows and we want Teoh make some cut off here as well. Secrecy. Even though we were like the intention of this video was to create affects ISS. I would still tweak the sounds whenever I work on my track, you know? So, no, I didn't fit at all. E, - That sounds a bit weird. Yeah, logics automation can be a bit strange sometimes. So if you feel that your sound is out of tune, just press stop and play again, and it should work. - That should come on. Swell. - Alright , guys, we're done with the track. So after this video, we're going to start to create Ah, simple mix down and by simple mix down. I mean, just doing some basic eq you, um, or Samy queuing and volume levels. And that's basically eight. Then we're going to go to my car. We're going to play this track in the car, and from there we're going to take some notes off different places in the track that wants to be changed. They were going to go back to a proper mix down, and after that, we're going to Ah, measuring stage. Okay, So see you in the next video. 19. First Mixdown - Part 1: Okay, So in this video, I'm just going to go over very quickly here on day. Take a look at the volumes and the levels and the EQ You. So let's open up the mixer here. As you can see, I have e que on almost all of my instruments and, um, yeah, we want Let's see, I want this drum loop. There isn't any kick there, I think. Yeah. So there isn't any base information in there, so we want to cut the base information. Yeah, and that sounded a bit weird, but, um, you can't hear the base information, but there usually is something going on there anyway. And if you don't need that information, you can hear it. Then I suggest you to just roll off all of the base information, even though you know you can't hear it. So I have it in there. Um, and if you start doing this, you would get a lot of space for the base coming through in the mix, and then he would have a great mix. So, um, that is what I always do with all of my instruments. I just roll off the base wherever I don't need the base. And I also roll off the high end whenever I don't need the high end. This sound has very strong iron, so let's get rid of it a bit. So a pro tip here is to just roll off as much as you can until you can hear that sound is starting to get tweaked. Then you go back a bit. So, um, if we will not from 20 k just roll off until you can hear that something is going on with the sound and then just go back a bit. So some around there. Okay, so now we have our main sounds, and I don't I think there is so much to tweak here because I don't need a name. We could have the base information from there, but yeah, we can roll off the base here. We don't need the base from the appreciator anyway. Yeah, let's do it like that than the big bright lead. We want the base to be off a bit here. Same thing goes for the buzzes saw lead. So everything that doesn't have any base just roll off from around 500 to 200 hertz and down Um, yeah. So here you don't need the base. So I have it there. And here we have everything. A cute as we did in the beginning, and this narrows. And I think this narrows here, Um are okay. They're good to go. You don't need to eat you those. And the reason behind this is because, ah, the most important thing to have here with the base or the most based information in our track is going to be in the sub base. So as long as you're not using any other instruments whenever the sub bases used, you're basically good to go with the base. As long as you don't have too much going on in the base frequency spectrum at the same time . Then you want to roll off of different instruments. But this track is so pretty simple. So I think for this narrows here, we can of course, we can roll off some base here and because this is what you don't need. Anyway, So, um, greats, um, from this track, we can roll off some base as well. This is a vocal. So you actually don't need any base there? Great. Um, yeah, the fix is we can do we can do for the fixes. Besides, the vocal here is to group them together, create a track stack, and now we can rule off some thank you from all of the FX is. And the most important thing here is the lowest low end and the highest high end. Because if you have too much high end going on, I mean from around 15 K 2 20 k there ISS where the ears are going to hurt. If you put on too much off, it's it's going to sound very sharp. So you want to roll off from around 16 k and up? Great. So now we have our, um, R e. Q. So what I'm going to do now is to play the track in full from Start Teoh. Finish here, and I'm going to adjust the volumes whenever I feel like it needs to inside of the track. And if I feel that one volume, I tend to like, say I it's too low and I'm going to raise it a bit and then I find it's too high, I'm going to lower it, then you need to create the gain plug in trick that I showed you before. So you basically automate the volume instead? Off making it higher and then lower. It's all of the time, you know? Yeah. And immediately. I think that I need a reverse reverb off this FM plaque here. Um, I'm going to show you what I mean by that. So, um, we can do ISS. Yeah, we don't need to destroy this meeting that I can just copy it over here today, kind of ending section. Yeah. So now I want to Dublin, Kate, this track. So once mess anything up in this one, I'm going Teoh. Yeah. We don't need to rename that because this is going to be, ah, track that we're going to delete later on. So now I'm going to use a space designer. Ah, create some very large space. So I want hall. It's great. Something like that. Put on wet too. 100%. I want to length to be shorter. Ah, that's too short. So, um yeah, we're looking for that tail, that reverb tail. So for now, I'm going to just bounce it like it is. So come on, be. And, um, make sure that normalizes off and you can press mode real time here and then add to project as well and just press. OK, so now it's bounced, and we can go to the media section here projects and, um, look for FM pluck. Ah, we can do it like this. Um, yeah. Okay, so it's the sample that it's, um, on the lower section here so they would have our new sound, the reverb sound, some deleting the track that we created. Um, just dragging this one out. So now we have a new track with this river tail. I'm going to double click it, go to file functions and reverse. So now we have a reverse. When? Now we have a reverse reverb. Yes. Okay, So we want this to be right before. Um, whenever we have the base starting out, let's try it out. Yes, 20. First Mixdown - Part 2: e. - I think it sounds pretty, um, pretty, like, even with the volumes and everything. So, um yeah, I think it sounds pretty good. I'm going Teoh. Just try out the master so you can do that by just basically race the limiter gain. So let's try that out. So here it is, very important. Teoh, look at the reduction at the gain reduction. You don't want your track to be reducing mawr gain reduction than five db around there, so there's going to be that should be the peak off the track. Eso basically the highest? Yeah, The highest peak off the track should not go above 5 to 60 B. - Yes , we're pretty safe here with the limiter. So if I disable it, let's see if it clips. No, it doesn't. So I'm going Teoh create. I'm going to bounce the track. We're going to bounce it out with the limiter on and none elevation way the limiter off just so we can compare it a bit. Okay, so, um, Command B and from here, it's very important. Teoh have the offline now because otherwise you would get the different strange things that we get when we play around with the pitches and normalize should be off. You don't want this to be under to your project? Um, yeah. So way form it is very good, because you would get the raw audio information. Um, sometimes my phone fights me about it, so maybe I should go with them for three. Um, yeah, you can go with them for three as well. I'm going to upload it to my private Soundcloud. And from there I just go to my phone and fire up the tracks. Basically, from there in the car. Yes. I'm going to create one bounce here with the limiter off and one with the limits on. So when that is done, I'm going to go to my car. So in the next video, we're going to see me in my car. So see you then. 21. Checking The Mix In The Car: Okay, I So I'm in the car here. And as you can see, I have my iPhone here with Google Drive connected car plate. And this is a very nice thing to do. You can just, um, basically just fire up your track, take a listen to it, take some notes. So let's say that you lack some base or like some trouble, for instance, or something like that. You can always check your mix out in the car. And why call while your car, you know, on then this is a very nice reason behind that because, ah, you're listening to music every day on a car. So, um, it's you have very easily judged your track against other tracks in your car because you know how your track sounds in your car. You know, you know how all of the music sounds in your car as well. So if you just listen to your regular radio music in your car and then switch over to your track and you feel like, Oh, there's there's not men, not much base, um, in your track. So you have to add base or something like that. Then you will judge it very, very fast. You will know what to add, what to take off in something of that. So, um yes. So I will take a listen to this track in the core. And when I'm done with that, I'm gonna go back to the studio and finish off the mixing stage. And then we would go to the mastering stage and they were doing with the track. So you have to see you in the next video. 22. Fixing The Mix: Alright, guys. So we're now back in the studio. So I've been to my car and it took some notes about the track. And overall, I think that the track sounded pretty good. There were some minor things that I want to change. Ah, in the mix. So, um yeah, there's not going to be too much off mixing in this course because when you're doing that volume leveling all of the time when you're producing, you're not going to have much off mixing when you're in that mixing stage. So it's very important to have it like that because now we're only doing some minor things here within the mixing. Okay, so 0 39 vocalists stopping. All right, So I'm going to go to time here. So it waas 39 seconds, which is there and, um, have the vocal. So let's take a listen to the vocal and yeah, I can see it's a gap there and there and is disappearing like that. So, um, going to do something like this instead? Just the lead it and loop it like that? Yes. So that's what I was looking for. They would have base Overall, it's a bit dull. And by that I mean, it sounds pretty boxy, So this can be a bit strange. Yeah, but it sounds like it's played a bit in a box, and I mean a very, very small, like I'm kind of a perfectionist when it comes to this. So I don't want my sound or my track to sound like like the basis stuck somewhere. I don't know where, but it's not that round. It's just steady to turn good to take a look at how the mixing looks within the base sounds so I can see your sub base. For instance, I ever rolled off 34. And I think I'm going to go back a bit just to get the lowest frequencies here. But still, you can't really hear anything above or under 27 hurts around there. Actually, you can't hear anything around 30 hurts, but I'm going to roll off like that. Yeah, you have the compare, but in here so you can compare between how it sounded, um, before you changed what you changed. And, um and after. So yeah, I can immediately here that the base sounds a bit rounder and deeper. It's a very very subtle change if you don't have any, like, very, very nice sounding base headphones on you right now, you won't hear the difference. But, um, I have pretty good based sound system in my car, so I can really hear the bass and the basis of very, very important parts within any kind off electronic dance music. So I'm going to have it like that. And I also going to take a look at this base so near? Yes. So we haven't done any queuing on this one. I was Should dio Yeah, this sounds are much, much cleaner because we won't have to basis playing around in this area. And this is very important. You only want one base, two or one sound in your whole track to be played in this area. So all of the other tracks should be backed off from around 100 hertz and up. So, yeah, you only want to have one single sound in your track. That that covers this area is this That's very important. So I'm going to have it like that. So where I think we're done with this part, then I'm going to go with Ah yeah, high base in the drop should be louder. Um, so high base, it's this one, you know, you can really hear it. So that's that. And effects in drop to should be louder. So, uh, yeah, I think I meant dropped three, actually, because this is where they we have the effects. Um, this this this one? Yes. I'm going to add something here. I think I'm going to add some kind of overdrive. So what? Overdrive Thus is basically to make the volume much fuller and not necessarily louder. Eso it's adding up frequencies, which isn't there or which wasn't there before. Um, so I think that going to solve these kind of problems and I think I'm going shot it here as well. But let's take a listen to how it sounds in the mix. Yeah, let's take a listen to how it sounded without this overdrive. Yeah, it disappears in the mix. So, um, as soon as I put the overdrive, it kind off brings out this this sound So let's take a listen to how it sounds on this track as well. Okay, So, um dynamics Oh, sorry. Distortion, overdrive. And that's having on the same it wants some reverb here because it's just stopping suddenly like that. And I think most of the sounds in a take house track should have realer bond them because there's so few elements inside of a tick abstract that you need to make them full or you need to make them a bit bigger than they are. And you do that by, ah, adding on real herb. Yes, that's it. Okay, I So we're now done with the mix down. So what I'm going to do now is to bounce out this track as we did before, but this time without a limiter on. So I'm going to just back off this limiter and make sure that you have volume here around at minus 60 B at its peak. So let's see how we're doing here. Yeah, that's pretty much Okay, um, you need to have some head room, and headroom is basically the space above or under zero to whatever the peak is at. So you want to have some kind of headroom here to make up for limiting in the mastering stage. So now let's see the next video. We're going to cover the mastering, and that's going going to be the last video for this course. See you then 23. Mastering: Okay, so it's time for the mastering here. Um, yeah. This track is going to be very simple on the mastering, basically, because we already have a very nice mix down. And when you have ah, clean makes down that sounds great acid iss then it's basically just, um it's just putting on the limiter and ah, have make the volume not to clip. You want to get in a bit? You also want Teoh put some frequencies in mono s. I'm going to show you how to do that as well and some basic basic EQ Ewing as well just to have the very small things fixed. So we're going to imports are bounced our track, which is without a limiter on. And you can also choose to import the arrangement markers which I did here, so I can really see Ah yeah, all off the different parts off the track. Okay, So what I'm going to do first is to put on an OT again. So even though we had a noted t on her monster, I'm going to add on one more here because I love them so much. And then I'm going to use 1/3 party plug in. And this is only because I haven't felt really found a way to do this inside off logics own stock plug ins. And this is not that important to do in the mastering. It's good, and it's great to do it, you know, if you have the possibility. But this is not what should like, make it or break it for a track. So I'm going to add a plug in, which is in the plug in Alliance, and it's called BX Control Version two. So what this does is a lot of things, but I'm going to use it for the model maker and the steer with. So, First of all, Monta Maker is where we choose on what frequency that we want anything under this frequency to be in mono. So you always wants all of your different based sounds to be in mono, so I'm going to have it set on around 100 hertz, so everything underneath one other hurts will be mono, and the rest of the track would be in stereo. Then I'm going to have the stew of it with to around 130% which will make the track a bit wider, and you can do that in the mixing stage, of course. But I'm always doing it with this plug in because he wants get any, like, strange, um, effects. Um, a soon as you go to playing this track. Imano. So what is very important here is that your track is obviously going to be played in a big club someday, and on a big club systems. There isn't any. Um, there isn't an mysterious systems. There's only mono systems, meaning that your track is going to be played in mono. So you want you want to test your track, how it sounds in mono. And if things starts to disappear in mono and let's say you have a sound there, which you can't hear in mono or it sounds strange, then you have to go back to the mixing stage, and you can solve that by just each Ewing your track as I as I showed you in the mixing stage. And, um, you shouldn't be having any stereo widening kind of plug ins. So if you're using any third party plug ins or any like silent or any like big since out there, that has some kind off stereo effects in the priest preset. Then you should take that off because that can make some problems when you doing mixing and mastering. So if you take those things off, it can sound a bit. Um, it can sound like it's a bit empty, the sound, But then you can put stay away with on your whole track instead. And then that is going to make up for, ah, for the stereo effects. So this is what I do here, and there are a different lot off plug ins so you can do the same thing. I think there are some different plug ins that are for free as well. But in my opinion, this was the best plug in out there for mastering. And yeah, this is what I always do when I master. So let's take a listen to is now, and you can hear that it's not that much of difference. But trust me. If you go to a mono system, you will hear the difference. Okay, so now we want to test our track in mono. So the easiest way you can do that in logic is to just put on a gain plug in on your master and then switch on and off between the mono. So let's test this track out so you can hear there's no difference at all. It just sounds less wide. And this is exactly what you want in your track. When you're doing mastering, you don't want sounds to disappear so very nicely done by me and ah, yeah, You can also test this by just going to a meeting here and put on ah, multi meter. And here you can see Um, yeah, the correlation here. If it's goes to the right hand side here, then your your mono compatible or your track. Is that so? If you're in the middle, you should take a look at some of the different stereo things you have going on. And if you're on the left hand side here, then you should really try to redo your mixing on and see what you can do about the problem . Yes, very nice. Okay, so now we have the last plug in and this is the limiter. So I'm going Teoh, go for dynamics, adaptive limiter again. And now the same thing here we want to out ceiling to be at zero that Serie B and then just put to gain up and up and up. And I'm also going to show you what I'm doing with the fab filter limiter. And you will hear Yeah, we'll see if there's any, like, noticeable difference between those plug ins. - Yeah , and you can. Here we have the same strange kind off problem with AARP sound. I didn't notice when I did the bouncing, so I'm going to redo that sound later on. Ah, yeah, But you know what? Why, um, why it happens. And I showed you before. Ah, it's just logic, logic how it is sometimes. Ah, all right. So, uh, yeah, it is done. Yeah. I'm also promised you to show the fab filter problem that I'm using. Ah, I'm actually never using the adapter limiter, but that's the best limiter. I think in logic. If you don't have any third party plans, so same thing goes here with the fab filter. I always code for a loud, preset and, um, aggressive and tight. Let's see how this sounds. So let's compare it. Yeah, besides it being a bit louder, I think, yeah, there's there isn't a huge the of difference. But there is some difference that you were here when you doing your mastering and limiting with the fab fielder profile plug in. So I really recommend you to get the Fairfield to plug in and the brain works plugging as well. But you're all good if you don't have it. And only using logic plug ins as well, it will sound good. And that isn't the, um the difference between if you're track is going to hit record or a label or not. Um, yeah. So that is how I do my limiting and mastering. And, um, that is it for the track, guys. So I hope you really like this course and ah, I really hope to see you in the next one as well. Have a great day, guys.