Producer Secrets: Essentials on making beats! 10X your learning curve | Jay for The Record | Skillshare

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Producer Secrets: Essentials on making beats! 10X your learning curve

teacher avatar Jay for The Record, Music Producer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 33m)
    • 1. Introduction

      1:08
    • 2. Essential Melody Secrets every producer should know

      2:20
    • 3. BTS- Making Melodies from Scratch

      12:46
    • 4. Does your music have the right SONICS?

      5:51
    • 5. BTS- Making Sounds that are Unique

      10:14
    • 6. Do your beats have BOUNCE??

      6:06
    • 7. BTS-Programming Drums

      18:15
    • 8. A MIX will make or break your BEAT

      5:04
    • 9. BTS- Mixing Beats the Right Way

      12:05
    • 10. Mastering- Tips for Distribution

      2:06
    • 11. BTS-Mastering in 1 2 3

      15:13
    • 12. BONUS- The #1 Secret

      2:17
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About This Class

In this class you will learn the real secrets behind making beats! You will learn how to make interesting melodies that are catchy, drums that make your head knock, mixing and mastering to deliver your beat at the highest quality. Making beats is simple but at the same time hard. You will learn essential tips and tricks that took me months and even years to learn. 

 

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Meet Your Teacher

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Jay for The Record

Music Producer

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Hello, I'm Jay for The Record. Music Producer/ Audio Engineer

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Transcripts

1. Introduction: I guess what is welcome to produce a sacred I'm Jay for the record, I'm a music producer as obese and services to independent artist and music producers. I've mentioned irregular Bukhara reach records and have a bachelor's in our engineering. Now I'm not gonna give you a special secret plug-in. Do make Ruby sound crazy and better, Amontons in and give you principals and values and seekers that I learned through the years there were ten extra learning curve i'm material had and make your Meli sound bigger, sound wider, Sal, Fuller, or have the right sonics for your beads makers Dawson unique. How to program your drums to have a crazy balance. How to make some master your tracks so they could sound professional, honestly, down on yourself. Like, I don't know music theory, I don't even know how to play an instrument. And you have good equipment and you don't need to make gum used it. I'm gonna teach you the secrets and these tips. And at the end of this course, I want you to send me a fresh new B will all seekers and everything I'm teaching you guys and let me know if you guys haven't gotten better. So let's just get started and nasa you on the first list. 2. Essential Melody Secrets every producer should know: I guess what is up in this video, I'm gonna give it three secrets to improve your melodies is very important to understand melodies because this is all your emotion, feeling town of the track is, is now really on the drums as more of a balance. But the melody is like what gives the emotion, what inspires and artists to feel starting way even to one of the song is finished. The listener, the feeling is in the B, is in the melodies. So as very important, another step down. So the first CQ is that every producer has a basic fundamental of music theory, even if they don't know how to describe what they're doing. Like if this is a major chord, a major seventh chord in the key of this, no, at least something even if they don't know how to describe it, does a lot on the say, I don't know, music theorizes play by ear is good to kinda learn to play by ear, to hear things if they're not in tune and stuff. But it's very important to know about music theory because this is literally what makes music. And if you don't know how to do it and it's pretty tough, I'm Aleve down some resources us can learn as fast and as easy as possible. The second seekers that they keep their melodies real simple at the basis and the core foundation, NB, They, melodies are real simple, they just manipulating and a sound selection is very good. Remember when you guys do your melodies, you don't have to click a bunch of notes in the piano roll and make it look messy and do a lot of data that isn't even give space to an artist. And the last seekers, you gotta know how to space out your melodies. You gotta know how to space them out rhythmically and also in frequencies. So first, you gotta know when to add a counter melody went to move certain melody core structures around with meekly, like if you wanted an every quarter note and every eighth note, stuff like that. Also, you gotta know frequencies. So in classical music, they have bass, alto, tenor, they have different sexes for a certain instrument. Three violins, sometimes once plane like a higher melody than another one, I'm Miro and other one alone melody. So it's very important to understand all these concepts so he can make a very for good sounding melody. So let's dive here real quick. I'm sure you guys have amicable melodies. Show you examples of other producers remedies and that way you guys can get a good understanding of how to make your melodies. Let's do it. 3. BTS- Making Melodies from Scratch: So I'm gonna give you quick, easy tips to start melodies. And this is the way I asked her mom melodies. So I'm sure a couple of different ways and whatever you make melodies the easiest goal for that and just start doing that ladder. People, they know how to play piano, really good. Sorry, you see Latin musicians start the melodies with the piano and just kind of play a course that they know. And they just kinda go off or whatever they're filling. That's a number. Lesser, really important tip is to just based off your feelings, i go off whatever you're feeling, whatever we are trying to create, RCC guitar player songwriters, they just start strumming and just kinda finding cores and interesting cores to they could play. For producers. If you don't know how to play an instrument, one way is obviously to play the notes. So in the right key. So right here, NFS studio, if you just open up a piano or any sound in, I usually start with pianos, but I'm gonna show you an example on this, this little plaque right here. If you go on a piano roll file, helpers scale, here will give you all the scale. So right here there's all the scales and minor and major. And if you want to make, right now we're on minor, so all these are literal grayed out are in that key. So this is all the nodes that are in this key. For this node right here, you can start building your court and do your melodies. So outdo suggests that always start with course could that helps allow that host where your melody can go? So like for example, if I want to make a minor chord on this, will be, so I will skip. The way I do it is a star in the room know which were on B minor, 1233. And then from here just count 1234, or it's every other node in the key. So you see this great hour here, I just skip it. Click here, skip this on click here. So right here we're already a minor chord. So I could put a transpose it up. Another octave sounds as minor. And then obviously you could just click, I want to go higher. So I can click on this icon right here, and then just skip this now, then skip this now. And that's another core. Or let's say I don't like that with our sounds like click here, skip this now, and then skip this, know that enzyme is so you're already there, build enough cores. And even if you don't know music theory you kinda already doing. And in obviously the less you say you do that and you duplicate that. And then later on you want to allocate the rows by spice things up right here. See, I'm just kinda clicking wherever At this point. I don't know that in the sound. Good. Oh man, I can kind of be hard. My Lai, Let me see. Duplicate the Tito cutie about trap is that you don't really need or know a lot of music. You can literally usually lot of tribe music is just two cores. They just manipulated. So this gave him be like little Bureau who, you know, just duplicate this. So just right there, you already can tell that like there's like a whole melody right there. So that's one way to start it. In other ways to use this are VST cockatoo Lou. And if you don't know how to play a whole chord on the piano, you could click one note and then I'll play a chord for you. So like if I click this no, doesn't mean that's a major. The minor. And I pick right here what key? One in D minor, F major, which are the same key, the same notes in this key. So it's kinda like a sampler. You nice Apple Music. And they just kinda figure out a chord progression, the like. And then, you know, the D minor, so you just play the keys in D minor. So that's the second way and the last way to play it, obviously often instrument or your midi keyboard and just kinda have we know how to play music and it'd be way easier. That's why I really stress that know, music theory because that will help, you know, I carried changed chords invert core, so make us sound different. How to add a major seventh chord or a minor seventh ladder seventh chords are made in R&B and know just help a lab manager makes everything way more easier. Let me go through a melody that I've made real quick for a beat. I won't play the bu real quick. And then I'm gonna show you guys the melody. So as you can tell right here, there's a looks complex, but I'm gonna break it down to you guys so that way you can work towards becoming and me being better and melodies. So this may look a little complex, you guys. So I'm gonna show you guys what I did to it and kind of how I structured this so you guys can start doing your melodies. So this in the qiang B major, ignore this. I just, that's where I started when I made this session. All I did is just have good cores and move things around to create groove or create like a bounce. So if I break it down to is easiest form. If I move this node here. Now here, there's no here. That's already be major, right? And then I just added filler in notes. Filler notes. That way it could just kind of sound fuller. So this could literally just be like this. The liaison stuff, kinda keep a little more simple. And then this second section is actually the same as this, just with a little bit of variation. So if you just look at this right here, that looks a little more simple to you guys, doesn't. So overlook this and integrate these cores obviously, like I said, the more, you know, a music theory you could invert certain cores, change the position of it. And then what I started doing this, I started like moving things around, you know, like maybe let's move this over here. Move this over here. There's an I here. I don't remember exactly what I did, but I can't just move everything sick sound kinda good to me. So then, so I could kinda create a new melody patterns just by moving these nodes. See right there you already have a new melody right there just by the. And then you could duplicate it and then maybe a little different notes, you know, I'm saying to kinda make it sound so repetitive. You know, so that's a whole different melody right there. But just start with the main fundamental discords. I'm gonna show you guys another melody. I'm show you one from a producer. They can't look up to call palace. He makes ladder gray melodies, ladder cool sounds. These melodies from a splice that he dropped me send two arrow MFA MR. for like amigos, low baby, this is a melody. This is a good example of keeping things simple and edges kinda using core. So this is one of is a good tip is to have a basic fundamental just like the chords and then have the top melody. So you can tell us that a chord. And then here would just be just the top part. You know, the catchy part. You can't just use whatever you years are the kind of harm they usually start with the course and then you kinda has something now. Then I'm downtown and you kinda just figure it out. I'm gonna show you another one real quick. And then just repeats. Let's start with these top notes. That way you guys can hear what's going on. You could tell that this chord here, but they just kinda get strummed and there's that melody thing does on top. So like I'm delete these. That work would just give you guys a peer chords. And then if you break it down, the chords actually start off on a different, on the upbeat, on the three. And the movies. That's kinda what he is. We're pretty much what is Melody is, starts with the scores. And obviously he just kinda make some move to create more of movement. So it's really important to do that. And then he also had always at the top line. So this op plan would be would be this. And if you could tell it like he doesn't go like all the way crazy and started doing random things. So that's a really good tip of keeping it simple. Just using your chords and just figure melodies. I like that. I saw a hopefully this can help you guys are making your melodies. Always remember to keep the feeling and I always put filling in your music. Don't do everything mathematically, just can do whatever feels right to you. There is no right or wrong way to do melodies. So it's very hard. It takes a lot of practice, a lot of time, just create a melodies and become better. Some things I want you guys to do, some practical steps have become better. And it's one obviously spent a little time researching on music viewing in at least not the basic fundamentals learned from my piano player, learn online on YouTube. Like I said, I'm give some resources. And the second thing is to just focus on making melodies. Have days where we just focused on making melodies and add drums matter 4B, ugly me focus, I'm making my melody sound real good. And then over the time you're going to become way better. The way I became really good at making melodies is that I send out, I still send our Latin melodies to a lot of producers to collab. And I was like, Man, I need to become better melody. So that's what I started doing it and it helped out a lot. So just focus on making melodies. Now four beats. And then later on you can finish the whole b and endow will help you make better melodies. So yeah, those are my melody secrets and I'll see you on the next one. 4. Does your music have the right SONICS?: I guess in this video I'm going to tile bass sound selection. And the reason you should really focus iron sound selection is because that's where everything that honesty tests are. A lot of the uniqueness come from. Lateral. These beads nowadays have the same drums. The same trap drums get recycled over and over. So you really gotta step edges. Fine sounds that are unique that not everybody hears is very important because ladder producers find their sound through cancellation. Like if you take palace, for example, he has a lot of like mallets, flutes, dark South Metro boom. And as a sound, Zai Beethoven has a sound. Sga stores like piano sounds like every producer like you could think of. You're like, oh man, I could be that type of b. So you gotta make your sound selection super important in like find something that works for you that sounds good to your ears and manipulate things. So I'm gonna show you guys there are a lot of these producers due to their sound. So make design unique, different edges over r be better than everybody else. So the first secret to improve your sound selection is to make a four. What I mean by making a four, I mean, when you pick yourselves and make sure that all compliment each other. Yeah, if some sounds that just focus on the Miro frequencies, some at the lower end frequencies, somewhat the higher. So later on your melodies because South for and big. So just be conscious of the sounds you're picking. Makes sure they blend well, make sure they sound good to you together. But there is sounds, there's some sound, some better, some sound bad, some, some boring, some, some more interesting. That's a lot of people get on history because the VST is really good and has a lot of texture, a lot of different sounds in that VST secret number two is to sound designed to manipulate your sounds. I can't stress this enough, like ladder producers with just a regular plug in and they had all these affects. You know, obviously there's the re-verb, there's the half time, there's stuff like that. And once you do that, you'll find that your stuff becomes way more unique. Not that many people have the sounds that you have because everybody has obvious sees everybody could have the same preset. But once you start sound designing and start creating your own pre-set, your own tap of sounds manipulated to your liking. You open up this world of like endless possibilities and people who be it an invalid manual that sounds super interesting, sounds dope because it's different and that's the main point. Sacred number three is to use your feelings used to instate like this comes through time. I used to make beats and I just said, okay, this sounds cool. And then add another sound, in my own case, in the right key sounds cool. But then later on as I got more better matter as a man, I gotta focus on my sound selection. Makes sure a PIG good sounds that complement each other and making unique and make him different, make a mind, and now change. Hallway. You produce music honest, the feeling comes to just practice and practice. You know, this sounds better than this kinda we got through like a snare and you're like That is snare sounds weird. And then you find that snare that fits perfectly with your b is kinda like that, but just with your sounds. So this takes time and this all comes down to whatever you like. That's what you have to go really based off your instinct by other sounds kind of dog that sounds kinda cool. So it's whatever you guys like, it just make it creative, be creative, just, it doesn't matter if it takes you more time and a lot of producers now make beach really fast. You wanna feel pressure like I gotta move might be fast and it's good to make beats quake. But man, just kinda focus on your sound selection and just get better and making your sonics is all about the sonics. You hear people talk about Dre, like ME, his sonics for crazy during that era. You hear about other people like timberland is our just here in the sonics or sounds different. What catches you year every, all these big producer there, just like man, like you gotta have your sonics like, right. One quick bonuses is that usually when I make beats for artists, I use three, maybe four sounds. Because it just sounds way better when you, when you make melodies and you make sound, the simpler, the better you put too many sounds together, become a load too messy. It works like if you're doing dust Dave, EDM, but honestly that is like a small tip that I've been doing. I just kinda put four sounds on my beads and I'm okay, like I could just arrange this with DAC or work with that. Once you add too many sounds, things just started sounding like Nat cohesive. So what do you, what I want you guys to do is just kind of focus on your sound and then we start making a b, obviously lead to finding showered. There may be some at the piano and then find a cool core progression. And then after that, okay, let me find a sound that sounds interesting. Sounds different. Go into your VST is to just go in through in some movie nows around and figure it out or just add effects on your facts, right? There's really no limit. There's a limit of how much, how little you could do is all too hard the sound sound, so that sounds a little weird, but that's what you guys know what I'm trying to say. So just focus on your sounds and makes those tiny unique, I add allowed texture. So mass though, just to have that different bio, that's why I like here, maybe like frank duke, they summon his stuff is changes in pitch. The tuning changes here and there. Modulation, lattice, stuff like that really enhances your sound. So it's very important just to own and I are sounds. I'm not images, the melody sounds also drum sounds. People record the own drums. One time I used my kitchen like lighter thing. It has a high hat, the stove like stuff like that or more interesting things. And just add different feeling and Bob's your music. So let's dive in real quick and I'm gonna show you some example of the mixer presses that I included in this course to us can know how to use them, manipulate them, and get an idea of what to do when you're picking your sounds. 5. BTS- Making Sounds that are Unique: I guess so let's dive into real quick to a beat I made. I'm gonna show you a lot of stuff that I did in the sound design. A lot of stuff I did just to frequencies to make every exam for. So don't be too cluttered arranging so that when you guest speaker sounds, you guys have a better idea of what to look for, what try to hear. So yeah, lemme show you that there's bu real quick and then we'll get to it. Two. So first started off contact ethereal Earth, and then I put this to the flu. Addison's changing here, manipulate some of these and acquire a member exactly. See in an ad or semi q, just to Carlo loan out oh, boy. This to give it that texture like distortion and we're sounds, I wanted it to be that born in Archie Tony man, frequent 50k in my computer. Don't handle stuff I do now. And then that's how that came about. And then later on had this other sounds like guitar. And in this one, here's the matey for this on just the patch I've made guitar shred. And then just add an EQ. But anyway that if this be honestly, and now's all the sound on and he edges. That means Sandage brought it down an octave. And like I said, like I was like literally I have one sound to sound, three with a guitar. That's about it as a whole be and, and just the drums. And it just kind of manipulate instead of like adding stuff and take a stab at an eye guitar. Higher pitch of the guitar. And by two, just like you, you're just, like I said, to make things sound more cohesive, just kind of use the same sounds that piston up. I mean, just manipulates the form takes up, takes a, takes them out. And I suspect it is. And then add it as though voltage, Voc or charge. You gotta be careful because if it's too loud or too like promenade, distract a little bit. So I didn't put it them which in the track. But Asana like this. And I panned. And I did this to it to sound. So meet Q, and then I'll open up another beep. And there's just so much energy. The main sound is obviously this. Let me try to fund the Mitty, but I don't remember exactly what Santa is, but I know this is the midi. Yes, I originally used another sound. I don't remember which one it is, but that's the midi. Now let me prove it to you guys. If I get this Sandra here and i and i just reset everything. Remember I did pitch. So you heard down, right? And then it sounds like this. Check out this demo. So you hear the melody. But I just can't remember was sound I used Man, I just don't know what it is. But you get the idea. You should try to find a good sound and it tried to just after sounds. Interesting to you, you know, just manipulates a liking. I was like I had to learn to slow. So then later on, I edges. I stretched it like this way. And then suddenly it is. And then as I guess about two phase. But then what I did and his handler to low, so then I push it up a whole octave, right? And then later on that's also OK, added some, I added some EQ and then added some half time to pass law, like down as the loop. And then some just to make a sound law more, just more texture something add RC 20. Edison space distortion noise. Kind of battery level higher here. And it's a make a pulsar little more added some Kickstarter just to kinda psi chaining. But not too drastic. That's the first super drastic that's kinda predict 65. And as the live right there. And then on the second part here, obviously dispersed it up. And then I had this vocal thing. So now I want to think that do have the midi for now on. I just gotta remember. Honestly. But the sound underwater was man, sorry. So yeah, ministry much a would just sound selection and just pick good sounds from the beginning. And you just add a fakes manipulated to your liking, whatever feels good to you. Also, make sure things are not too. Like when I said about making this stuff fuller, like with the sounds. I, and I'm sure you guys real quick like this melody section are here, like sounds fool because I'm covering all the frequencies that I need to, like, have this main sound, which is kinda like mid-range, but not too high. A frequency. And this is like a high. And this is kinda covering like the lower, etcetera. So on the hook sounds like bigger because you covering like nudges. It doesn't sound just like this. I'm saying Not just like that middle part of the frequencies. Yeah. Hopefully this helped you guys out. Remember, this takes a lot of time, a lot of just conscious awareness, instinct of just like, oh, this sounds cool and I know what sounds go well with each other. A just trial and error to me, that's why I DO. Hopefully this helps you guys. Thank you guys for watching this video of you guys in the next one. 6. Do your beats have BOUNCE??: I guess we already covered the melodies and the sound selection now subfolder drops. This is super crucial, super important, especially trap music. If you don't have your jump sitting I, B, which is not, hey, which is now being good, to be honest. Like the drums is really like a lot of the energy comes from the feeling the bounds the glue will make people move like when the make their head nod like drums and everything like this super crucial, you could do step one, step two, perfect. But if we jumps just like flat as a pancake, who had ever, and this is pretty lame. Like no be impressed. I've been in studios and people just play their beads and their jobs and their makes everything really good. Like bro, like it's ten times different specialists to disorder, playing your beads and big speakers. And they're playing you beat with a bunch of other people. So you gotta make sure your drums are in the right placement and hitting the right thing. So I'm gonna give you a quick little secrets so they can help you guys out. Secret number one is the gatekeeper drum simple in the placing is everything ladder people paying to make crazy drums is to add up a bunch of stuff has perked warheads Park's case here, snares there is not the case, like the truth and like the key to good drama is the spacing the rest time, people forget that lane music, there's rest. And literally the rest is from makes everything pounds crazy and drums kick and an egg ages waits a little bit faster. And there is like, there's a feeling to that is not just like Kick Snare cake. And I'm saying it's Lasso sometimes, certainly tough mom use a like dubstep. Matt. I mean, dubstep is kinda interesting, but like the jobs just like Chuck. And then it becomes very manana IS manana. That's the right word. But you guys get the point. It becomes very sterile, very boring. And they had to compensate with adding crazy like frequent magnetron sounding, sounds like sugar target driven. But honestly, your drums a soup we're importing and having him sample literally here like the top line radio sounds right now, like some of these Drake sounds are coming out. It's just like there's not even a cake, bro, it's just like an 808 stare. And then that parking gives artists room to brave. You gotta have space for your melodies, for artists to rap on an, even on your drum, which is how they float things. So it's a very, very like hitting a lot of people don't really take into consideration. Jumps Simple and our place things Seeger number two is that you gotta know your genres, man, you gotta know styles. You gotta know what type of bpm goes to, what genre, how they lay in their drums, fs halftime drums. Are they like doing like a socket type, be like regular tonal type B, you know, know what the stairs go, No, the cake. One good way to study genres and like the drums, it just leads to the cake and lists to the snare that would lead to the tempo. Everything else is just kind of fill in, making a groove more. So listen to those two things. You know, some songs go check, check, check. And I'm saying, let's take different in a substance I've had time was I used my mass of fricking. Show you guys. But you guys get the point like study your genres, your temples does want they ended a lot like I know there are and be like Chris brands out, maybe to fit in. The 14x is like the fish trap R&B stuff. And then like the wheel RMB is like 8090. I know that some transpose like 7590, some stuff, a 100 agents. You gotta know your temples like when you listen to an artist, most artists have their literal like range of tempo and key that are really good at. So study that and be really cautious of what tempo you're making your sound. What type of John Rhodes, upper rhythm. And your last seeker is your hi-hats. Everybody says hi hat is the group I had is the one that makes the bounce of the track. And yeah, that's true. But I can argue that the 808, especially in try music and Latin music right now, this popular like popular music is the airway, like adding the right next to each other. It's just not I had like if you had a high going crazy and everything and the airway is just like Melander, right? Tone H is bouncing to Maasai, boom, boom, boom, boom, boom. Or like the AoA is very important. Like here the tracks usually wonder drop cams and there's no AoA or there's not even like a base like Google and Bea's best part of the rear them as well like having the base haven't. The a12 is part of the rhythms are really be causes of how you do your hi-hat in your 808, the scenario always go in the same spot. If you know the genre, usually on the 24 and kick me in. The pencils have music. It could vary as well, but the king usually goes with the airway and in some other music, instead of that I had, I might be the precursor, you know, me and my B sum Congress and might be some little like tambourine stuff. So you gotta really be cautious of wage Hannah, do way channel make. So yeah man, I will make sure all your drum sounds groove well with each other. They bounce off each other. They're not clashing with each other. They all feel good as a whole. Make sure you use linear motion, like how you want stuff to sound. Hear the melody sometimes in the melodies and gives you a reference of how you should lie in your drums. Also know that this takes a lot of practice, six a lot of time. So I recommend if you guys just like maybe you splice or, or just download, find ways to download loops and just program drums all day. So you know, I have included some loops in this k in this whole course. I'm hopefully help you guys out and yeah, go crates are making just our programming is going into the training room, quakes, I've give you some tips. Some guys like poly help you guys out when you guys are programming drum sounds good. 7. BTS-Programming Drums: And for write Dear boys, I guess I'm a download some stuff from spliced some loops with different genres and just add drums to it. That's what I recommend you guys to ask. Well, there's might be a low of a longer training, some showing you guys how to make drums, how to program transform, scratch. Literally, I've never heard these. I usually like to manipulate my samples just so Amazon like everybody else. And when I guess the fast plies PR for this demonstration, I'm going into programming drums, Azure perma, melodies around negative 12, that would have some headroom to add the drums. So you got this right here, right? The melody is good, like I told you on the previous videos, there sounds selection like oh blends. Well, there's how many sounds? There's already a bounce to it. You know, I'm saying like that's how you make these samples. They just know all these things. I'm telling you guys at the back of their heads and wonder makes stuff it looks so easy because they already studied it. They already learned how to, what works, what doesn't. And I already put in that time it's like, you know, you ask somebody plays spoiling, bro, you make it look easy like real people like like soccer, like Messi or basketball or bronze. And make it look like yes, as trash. And that's because they just have all these they just know all this knowledge, you know? And that's the thing about producing. Like the more you make b is the more you try to study, the more your child learn about different producers, you just become more well-aware of what to do in situations. I usually start off with the clap. Obviously just start an ArrayList par and just two-step i hat. And i gives you the good. And now from here I usually start messing around with the high hat. If I feel like it needs something, it's just above feeling like if I want to go on their way, I've gone the airway. But one of the last things I add is the kick. I don't know at that first at that I just I usually just start with the clap. Then they'd away because those are the foundations, you know me like the cloud which is laying that tempo and then the hand and nato a like I said in the video, is there are very important, so I make sure my hats and iterates are like the more you add things who will be, the less space you have at the end. That's my thought process. So I think of like if I add percussion, If I add more stuff of drums in the beginning, and then I leave the a12 and I had the end, like it's not as much space. You can hear this like, yeah, more space to work with. Yeah, let's lay in this I here. Some tips you could do is like, like I said in the video, like make sure your stuff grooves Well, so don't just come here and be like What? I'm gonna do random. Some people just like to go and pull one here. You see produces online. They just go in here and they just click here. But it's because sometimes they know, most of the time they know what the clicking they know like this in the lead up to this because they already like no FL Studio or wherever daughter using the back of their head or sounds as you produce, you go here and the like that, that do, do, that. Sounds good. And unlike God damn. It sounds cool but like it's too much, bro like like you're trying too hard. I mean, like you don't gotta do like at all. There are some BCE, it just had the whole time. Like what the features, what you can do right here for the hat before leading up to this there, like I say, group, you can make this roll up to a chopper and angle ideas. If you had like a blend well, like my yellow boy, so I like to see you. I take it to another one. See I usually do that add little bit of variation is like having more hi-hat, just pick them up and down. I know if I add more stuff here, I just make it different. A1b0 as cohesive the B, I'll just be like two different, you know, you gotta have your stuff catchy, ages catchy and just keeps on going. And one thing for stuff to be catches repetition. So if you have this section like way different than this section, is, every time like the frequent four bars path, they are going to be thrown off. So make sure like I should just do one section right here also with sound like what, like what melodies you gotta pick the right sounds like, you know, am I going to use this? Let's say like finite, bad found. So some of these ne'er, so sound better than the other. So here this one. So that's just like a lot. So you could use some of those sounds or whatever, but I know they're on try music right now. That clap is what on the tomb for NN usually snares is or purchase were used to just fill in. So I'm Jenna finite clap, you know, saying Sierra have the two and the four. Sounds bad. And then make sure your 808 and key. My niche because I was everything key this year is I just play that first? No. No. I usually try to follow the rule no over everys playing. But usually with the arrow age, it's gotta kinda like Hmm, something mean whatever comes to your head and in your usually here or another. So right here, I'm going to try to hombre. And then bro, your bound is crucial. Year passes, you are balanced or if you feel like pertinent in an awkward part, like do you proud EFA timberland is known for tumbling like keepers drums in a weird like good way like a fish, right? Am I not be technically correct, certain things, but I just typed fields, right? So filling like above all the instructions are these video tutorials stays and trying to teach abroad like the filling is everything I best super crucial. I gave you the math. I couldn't hear him put it there, but I'll just be like, Yeah, I mean, I just a failing is everything do you like once you start knowing they're producing is not frequent signs. It's just above failing and you just know it's everything's just fine. So yeah, keep your sample member and get packet, gets paid. See right there. I'm funny and fun and following my guru or whatever adding could be coin different. Usually like this pattern Kerrigan ideas, like instead of a regular producer would do this. And then we update this on. And this magnetic ME, nothing not is now wrong to do that. You know, some beat, I'd do it as simple, some beets, I do definitely. So now arises wherever you feel like you know me, bone, namely p, 3p, p and n. Maybe I like doing the last two bars or last bar suntan load difference so will be the same thing. So you know, like our back in the loop. And they go crazy with the slides or whatever. It may be distributor too much in. A space is not too clever, men too much. Sometimes you even had a cake, but one thing to make sure you keep subsample it just like, like I get the cake. Command be Paste. Ok. We'll go to the same C, safety and other kick or hit every time. Sometimes occur like low action here and there. Yeah, all depends, like right there, you don't want to add too many cakes this Lappin and a lot of people do like bomb back OEM problem by going, go here and there. There you see that boy, I amoeba, like dislike. Especially like if people are rapper either here to like it just too cluttered here. I mean, you Clarion there were like 22. And it sounds like maybe if it's a B on its own and you like battle. Beads, when you're battling is different than making beads for artists are completely different. This is a kicker, Yeah. Like here, how there's a space right here. Given that low-end breathing. But if you do this, a human eye and I'm saying like it's not just like like this one is more impactful, catchy, let us pay. It's kinda when you do this, you know me, you cut the PRI here and a callback right here. It's the same thing or drops. So like the Go Pro and like, if you don't add too much as a simple melody, so easy. Anybody can eat anymore. Hopefully that helped because that allowed limit do another melody that way. Same thing, same techniques just above fooling. You know, obviously like we creative like adder, you're parks. Allo transitions. Don't keep it to simple that you get lazy just above. So this is our 90 allowed in different ways. A, a, a, a like all my god is a good example right here. Like different millions of, thousands of million trillion away's watch. You could do that on Bosch soya sauce? Yes. So the Johnson got like a lot of different ways, man, like this is one-way right here. And yellow Lao Gu within you. That's pretty good. And then you go low F with halftime. Bellamy fixes. B like halftime. So, so yeah. I mean like people and expect that goo and Dagenhart thing. So like stuff like that. So makes it like go crazy like OK, even added another one, do it. That's how good this loop is actually. So this is, this is what I mean when stuff is half time. Let me add a view that so instead of doing It's on the darts or like 1231234 instead of being on the 241234. So that's more like it makes us lower. So instead of doing this amro or we get that Lake and I guitar props to you, bro, bye, bye. Yeah, man, that's the whole Berio, that's the hot training. Hopefully this can help you guys out and how to program draws mantle out of his about filling law and genres noise, what sounds good together and building up that. Lack awareness of like you hear loop and you hear this on a, you know, I mean, you like okay, this could go on. And I'm saying so and, and now we'll help you make better melody. Because if you program drums, when you make your melodies, your behaviour that trumps my melody, so discomfited by drops. So yeah, hopefully some of you guys out then you guys for watching catch in the next video, let's go. 8. A MIX will make or break your BEAT: I guess what does Welcome to the mixing portion of this course? I'm excited about this because I want to score. Some of you may know, I got a bachelor's degree in engineering. So I spend a lot of time, a lot of money just trying to learn all these, mix it in NAICS and everything that I'm about to teach you guys, and to be honest, is more simple than when you guys stick. And there's somebody out there each and I go to school, is that you should go to school if orange new view again, become a mixing engineer, stuff like that. But a vision may be, it's literally is super simple. So it's super important to have your mix nel dam because just like the drums, their own bank and the mix any clean in a witnesses cArray h is now going to sound good, like as in some messy people would like. And I just scape. Compared to other bees that you hear everything very clear. Inevitably sounds good and nice and it feels good. So mixing is super, super crucial. Arabic would think it's just like all make it be in an essay like don't even makes it. But it's very important. As you guys know a lot of stuff. I feel like a mix can literally make or break your beat. A viewer makes. It's just really low and doesn't sound good. The drums lane hearing then bro, like it makes this a very important try. Like go Gurobi stars go to like air Bay huge. I mean these people as beads or you hear like god, somebody's mixed are really good. And then you hear somebody else's BZ by ad that then encoded in it. So really, really focused on your mix. But secret number one is that it comes down to your sound selections, back to Step one or wherever. Literally we have Gus ours and we have too many sounds you're mixing should be super easy, super easy. And is like, oh, like aren't really makes this that's easy. That's do you hear some of these producers we like? How do you make sure it away is how you do that? And then I just pick the writer, you know, a, I just pick the right cake. I don't really do anything to my stuff. So it's very straightforward. If you records view laced of n, there's good, you're gonna come out the good product. But if we just put crap together and asteroids going and get out, that's what I've heard from our recording teacher. Airlines go if you record your stuff crappy and you're going to try to fix so the plugins allow that. It doesn't work like that law record a clean signal record at arise again with the right preamps or whatever might place them in is everything and recording. And then later on with the plugins, you make desktop sound better than what it is. So yeah, that's secret number one and number two is you're leveling and panning mixing basics one-on-one, you gotta get your leveling and Penny view per la, your plugins, all these plugins in your stuff and you're leveling impending is now write them. You just kinda Hrdy used oven the long run to first make sure you are leveling is right that your drum say right eye with your melodies. The every melody sounds right there. Obviously you are, has now blown super loud that you kick arrow aids like blend well, and then obviously panning, which with panning is just make things clear, has space for paths and make them wider. And guitars making wider base may be in the Mano, now have a two wire. It just depend too is very important to use your leveling to have everything, say Write ending your panning to be everything sitting right in the stereo field. And just like a bonus tip that I was thinking about right now, is that drums Usually entrapped beats are louder than your melodies. Now remember, why should China makes my stuff I'm like account make everything sound at the same level and everything sound cohesive and together. But to be honest, bro, your drums need to be louder than your melodies allows us had is as I have here and in other studios aside here when people prey there, B is there Jim dislikes magnet, like super loud. Some things you guys can do is listen to, like I said, other people's B, it's going to be stars and just focus on the mix and we hear things. Don't really focus on the production. Just try to fix your attention to the panning, to the leveling, the shutter here there had a panda drums and stuff like that. So you give you a better sense of how these beads are being mixed, ASO how loud they are. I know there's more of like the Mastery tab side of things, but it's good to check the overall loudness because literally, honestly VB is not as loud. Sometimes they would just say hard depends what it is, but it's very important to kinda know about loudness, our UCFS stuff about mastery. I will teach you some of this stuff in the frequent training, so hopefully can help you guys out. There's divey real quick. I'm gonna teach you as much as I can of how to make your drums like super, super thick, like soup or slam in Aramaic your B to the right loudness atom. Make your stuff be clean. How to make your stuff wide? How to make your stuff to sound better. So let's get right into it. Man is allowed to talk about and they'll get it. 9. BTS- Mixing Beats the Right Way: I guess so let's dive in this BB You guys are you heard I think I've played this before, like the South installation or another one of these videos. But so you guys are already familiar with the play real quick and go into the mixing portion of this go. So this I usually makes my Beats ones, I have everything, the sounds exactly how I want them to sound. I later on go to the Main Cook of the instrumental and I just loop it wherever there's more sound. The first thing I do is I go and check in with the cake and nato a, the drums. Like because this is where like I set the foundation in terms of levels. I give US dollar my melodies, NOT like a negative six dirty, like pretty loud. Denmark drums won't have enough space. And like I told you guys, drums is super important and they've gotta be smack. And the first thing I started with is my kick. And I usually kinda put around negative six. Sorry, there's fine. You know, I mean, a couple of things I did right here and this EQ, I'd just cut out some of this 40 hertz. Just like the super lowest of the EFA. Like I don't really need it. I mean, right now the cake, I just kinda wanna get that moral higher end type of kick. So because I want my, I want some space for my 808, like cutting their low and give some space for the 808 because there's more of a low-end frequency. And then I put some sauce, a distortion. So okay, so this is the low Seeker here. People, when you want to make the sound louder but not increase just like the level. One trig you could do is add distortion to like your kids to snares. If you hear without the sausage distortion, you see as our is like almost in a negative three, right? Now on what turned this on and is in the sound louder. And his MBA at negative six. I mean, isn't that weird, like ladder people as like a really crazy trick is to add distortion when you K Business Sam as good. So that's why I always make sure my kick is at negative six and it sounds as best as I can and negative sick also different TASO distortions. Make your stuff. Some different, you know, like if I use the distortion right there from SASA distortion and then maybe I used this distortion from mere, you know, I mean, this is a lot of different distortion. And then another cool trick with the cakes. You can also go to kick pattern. And it just pitch it up. As simple as it sounds a little better for segue right here. Then just write here. Sometimes pitching it to the right pitch of the song sounds better to all your drum sound. Usually people just tune the AOA because you could hear more than eight away and a key you can't use, like don't just dump so you really don't tune it. Sometimes on beats it sounds way better. V2 ni. So after you get the KC down at the airway, and usually I put the EROEI under my cake like around negative 12. The cake around 6808. Nader told lately I've been kinda go a negative nine. It just depends, you know, like here, if I do this, the low, too low. So I've been doing negative nine because I want, I want my kick a nato. It's kinda on this BY every beat is different on this b, I want them to sound like more together. And they relate to me as fine once you pick a writer you're a, you don't want, you don't gotta do them much if you pick the right Sounds like I said, it all starts with arrives sounds. I don't gotta do them much. Another cool trick with the cake, in some sense, the cake and the a12 or this are like the same waveform there kinda peak in, up and down at the same in, all cancel out. So I get things to do is I go and kick reverse the polarity and something that sounds better. So usually just here. Sometimes you hear the difference times as you want, and this case is not even facing, so it's all good. It's just like when you make up a real snare, sometimes like a real like for Trump k, usually make up the tab, my cup, the bottom. And sometimes you gotta reverse the polarity on one of them because it could cancel out or wherever and we could cause phase in issues. The snare, the clap L depends, but usually I keep it around negative nine and negative three. Usually around six. Usually I wanted to sound the same as my cake, the same loudness. But some clubs have like like this clamp has a lot of like higher end, like even a little bit of distortion in it sounds loud already. So I don't have to put it like exactly at a number. I usually kinda want it. That's an attempt by mixing is like there's no rules and like there's maybe stuff that you may do to help you out. Let me just put in that cake at negative six around there so I could set the foundation for the rest of the instruments. But sometimes like if stuff sounds louder, very like you don't have to mess with it. This was fine. I give up, put it S6. There'll be two. I mean, the, the ADM other filler ensnare usually like to have this Nair a little lower than my original like main clap. And this one, I mean, I don't have to panic, but I usually just like to pad things a little bit like I said, to get that more with just have low more. Especially I'm i hats hours panna, left or right. And in a high hat, you gotta be careful with this because society has, are like high-end frequencies. Usually the human you guess for t easier with higher end frequencies. If he hears a lot of like, like you just get tiring. So always make sure that this is not too loud. Sciences you could take out a loan. You know, like obviously, you can't really hear them much but but that right there. I mean, it's not that noticeable until you turn it all the way up. So another load trick right here that not many people do, and I've been doing it, and it just makes everything sound way better. A B here, this B here, the drum, right? If you see right here, there's a little bit, but it sounds like just not as together. So this is what they call like the glue. So you could do is add compression to all of them. One to put it all into this mix bush right here. And then this one on McCollough much rhombus, the one plug-in that I use all the time is called by Oxford, is called inflator, native. And in this broad, this is like the thoughts like this will make your drum stand out way more. And then all it is, it's just kinda like compression. And then it just sounds good. I usually just turn up the input. So then it starts compressing right here. I'll turn the input. And then I'm put clip as 0, clip it as u by just kinda don't in a lady-like kinda clip. So like the store or wherever. And then layer on this effect just changes like how, like more of like the compression and you wanted to do wherever. And then like the curve is like the tone of the plugin. But if you guess here, like here, the drums and just see where they're sitting there. And I mean, everything is a little more compressed and it's not as loud. So that's the kind of like a distortion type of thing. Then once you have your drums, then I go into my main melodies, which is this one. And then I was, I was on my melodies hours cut below and out just because you don't want to have all this stuff just taking out energy from your 800 eight, but at the same time you don't want to cut it too much. There. It sounds like there's no blow into your melodies. Humility isn't too thin or whatever. So it's very boring to do that now, but it too much. And they usually later melodies are around like run negative 12. So my drums Garcia look like up in the tab area, does have an Amana. You compile a squared our lives like Fitbit, Britain's bread. I got my drums louder. I'm Nash equilibrium. And then once you have a good mix, then you onto the mastering and they're mastering or make it sound from there to this. I guess so the, some of the tips, I've just had a mixture stuff better, make things sounds a little cleaner, a little better. Obviously, as you guys can tell, is not alive. You pick the right sounds. You don't have to do a lot of manipulation and mixing. Pick the right sound, keep your mixes simple. Make sure you use your ears as always. And yeah, I'll catch you guys in the next video. 10. Mastering- Tips for Distribution: Hi guys, welcome to the last video of this course. We're going to talk about mastering and the Seeger's behind mastering. A lot of, you know, they're mastering for producing four beat is not that big of a deal. Ladder people use like soft clipper on FL Studio and then that's it. Like done like, you know, I'm saying I didn't do them much stuff. So there's really not like a big secret. I'll show you how I messed up my beads because I go a little more in depth than like more of a mastery process. Once the grade honestly is that people tend to use like a SaaS clipper or a limiter because a limiter or literally like clip out and just limit your B no matter where it goes past that threshold. Like you just cut it off. And usually for drums is just hours. They just started sounding like really bad because it's just pretty much compresses your hobby in it isn't, you can't feel the drums as, as good the 808. So people use soft clipping because that's just like a more like softer way of limiting your beads and put them to the right level. The main secret to all this is literally just put your stuff at the right db, at right SUMIFS. That's how we usually measure loudness. I'm, I usually put my beater and negative ten just because there's a sounds loud and it sounds good, aren't really go more than that. Some people may go more smoothly, go less. But a hip object, a trap bees, I just put negative ten and that, you know, just to make sure things are not story. Things though sound weird on the drums TO bang everything sounds cohesive, everything feels good. That's pretty much what I do. I go in a little more in depth in the tutorial. Hi Massimo, Beats just things the Pali add to your arsenal. Then just put in a soft clipping are done by a lot of the times lateral producers, they just clipper or something like that. And then that's it. They just put it to the right loudness and make sure it hit hard. And because yeah, we do too much on the mastering eco mess up your hope be honestly. So yeah, I'm bar so you guys hopefully, this could be a lot of value for you guys and yeah, let's get it. 11. BTS-Mastering in 1 2 3 : So the first thing that I kinda do is as a kind of hear the whole be edges here like the width of the spectrum, like the image stereo field of the heartbeat. I'm now okay, is just that there could be a little more wider. There's stuff that could be a little more centered. And also here the frequencies. So like the tonal changes, I'm like maybe at least a little bit more maids, maybe something else is a little like to high whatever. So those are the first things that I changed. You know, if is like super low, low base, that you can really hear the base and take it to be a mixed problem. But you're makes should be pretty much already. They're already there. Small little tweaks that you do at the end to make it sound for making it sound cleared. So usually I kinda open up insight, which is just the, just a ham hourly or layout here, which just like the loudness is an EFS, like I say, this are measured loudness, which shows me the levels. Let me open up a little bigger. I have everything shows me spectrogram shows me a spectrum, and then just a Southfield, stuff like that. So I usually play the B and I usually go to a maybe like the hook right here. And then I kinda see stuff years, strata here stuff, and you just see whatever. So I'll play the bugle quick and then we'll show you guys kinda stuff. I see. Okay, so bring down a little bit. So some things that are Ciro now, it's obviously we're going to have to turn up the LU Affairs a little louder. And other thing is that it's hitting a lot of like the mid here in the little kind of Mano maybe wiring it out a little bit. The phases go, we're now going to be below negative one on the spectrum you maybe did down right here and a little bit. You want this little graph to be this, I really like, like a steep kind occur saying that's super light speed but it goes down. So you know, maybe around here, bring it down a little bit. There's really not that much stuff like sometimes there'll be a dip here and I'll bring it up with the EQ. But it's, it's pretty, pretty well-balanced. Yeah, this is just the same thing as this, but you can see like the volume or whatever. Yeah. So I'm open up an imagery here as a multiband imager. So every little ban independently from each other. Usually what I tried to do is ask you just cycle, make sure the bass and the eight or eight are like really, really dead on-center and low frequencies and make that. Very minor, sort of like a hero. Now, let's do a little bit of that with their, I mean, from like the just the path as long as you make lay their stretto Mano, Right? So your low end is gonna go out of phase. And I'm saying, and then I get a second band. And here, and I keep the center. And then what the higher enslave you could, cannot widen a little more. Co2. Beef seems a little more wider. You gotta be careful to not make it too wide. And I'm saying my boat to bore with the ISR and I'm a payload before and after. This is before. So are they opened it up just a little, you know, not too much. Usually louder like the weirdness thereby usually doing the panning of the instruments, make the instruments wire. So this is like a little fine tune. Once I do that, then that's when I use a dynamic EQ to kinda, Instead of taking out like the EQ, let's say like Something's kinda too harsh on something. I could just compress that a little bit and make everything more a little like cohesive and together. So I usually kinda go That's compressed a little bit on the low end so it won't be, you know, like low, too crazy, gone all over the place is consistent and is sometimes like if a hi hat or something like, again, the high end is too low, too annoying. I compress data level down. So yeah, let's just do the Buick. And then once I got there, I kinda do the vintage compressor. I just compress. I tried to kind of compress little by little. And then later on I shall put a limiter and intern and all the way up. And that's, I wanna kinda like keep the b really together. So then I do like a little mark compression. And then this is kinda what I do here is like super subtle. Everything is super, super subtle. So right here is just kind of this was going to be hearing, you know, I'm saying so this is what is in the beacon unlike hearing, and then work to compress. And then I kinda just take out the low end and not the tick, the Lohan, because later on with the other clipper or the other limiter like isn't a b the whole thing. So this is just kind of hear like the top mirror or whatever and then compressing all of that together. So then then later on I'm bypass everything into and everything else. So this is without nothing. Yes, everything is a little more wider, a little more full or whatever. And then after that, but as soft lip around as you just put the soft liver because just the sound of it and just kind of to compress everything a little more. And then until I see the meters come compressed a little, then I leave or like a lever like that. Just regular, just reset it in a threshold all the way up and then start bringing it down. So the soft blip right? Preimage is used just like flip of the little things just go overseas ADB. So as you can tell, I without it oboe over 0 dB and certain sections like, you know, both the Zak libri ecologists resolves that issue. You know, and then right now I'm my what's called the spectrum. If I play, everything's pretty solid. Yeah, everything is pretty solid in terms of the spectrum. So once I get the Q, the width and everything re, compressed a little bit here and there and then clip, then actually do my limiting and put it to the nominal level. So then I usually use Oxford limiter for that. You use any other limiter, open up inside and just kinda see the loudness. You notice you how loud it is and then get it to the right levels. Also, one thing to keep in mind is there like when you masses though, you know, try to do it in a place where it's like not them much River and then usually use your headphones. The pallets would like these headphones and this focus, right, especially is actually the focus right? When you turn up the gain to much on the headphone amp starts to story on your headphones, but the B's not distorting your, your app from the headphone jack is distorting because I've tried it. And to hear a beat loudly enough. Uhd, Apollo, and it sounds clean. And in the same level, I try to put it through the focus, right? And then on the folks, right, the headphone preamp business starts like story. So keep in mind with that. Sometimes you may be hearing it through headphones and it sounds like is distorting, but sometimes it's not. And I'm saying, But when you masses love, you gotta check on your headphones, check on your car, check on airport, check on your phone. Yeah. Let me see if I could load. C. So this is the mix and this is the master track. As you can tell, I were here in the beginning. It's a little more bigger of a waveform, thicker. And I'm saying, and then it is more for you see this little gap here. There's less of that here. But it's not two squares that it just seems like off freaking like, like a flat pancake or whatever. So it's a little better, you know, saying with beads, the majority as though should be done like obviously in the mixing portion. But even here, it's a little more like fall or wherever. And yeah, let me just lay the mix and play the mastering. So that's the difference is just a little bit more different enum saying low, more louder and stuff. Let me, let me show you guys how a sound which just a soft clipper. So I'm a play with the soft clipper than on play with my mastering stuff. So one thing you can really clearly here, obviously the loudness is kinda the same, but you could actually hear on the mastering the one that I did like you care a little more of the width of just like the melody. So try to focus on just the melodies and like the piano. And then, yes, so this is what this without a life just saw flipper. So you hear a little more like the weirdest averages, smart nuances. Honestly this beyond the makes already had like kinda knelt down so you don't hear that much of a difference because everything's already there, you know, I'm saying you don't have to do that. Might there's other beads that I like master and I'm like man is missing a little bit of like 500 and maybe it's a little too loud and 700 hertzs and bring those down and make matches and a more filters that within the sounds, that little bit of extra time like, it's like a smart thing. Like it to me, it makes a difference. So yeah, hopefully you learned a lot from this. Try you on things. Try your own mastering chained and stuff like that. Hopefully this can help you guys spark your mass to not just put a clipper and just kinda, you know, think about the wisdom, tonality of it. They queue and yeah, hopefully that helps you guys out and yeah, Kitchen Next one. 12. BONUS- The #1 Secret: I guys, hopefully you guys are watching this video. You guys already went through the course and hopefully inspire new ideas and make you think differently. You have mu A-B-A producing, but Azure must share the lasted VLSI grit that I think is super important over all that stuff. I just, you guys, over all the music theory or whatever, the number one thing is feeling, bro, like those sounds that were there couldn't be an AF, No, whatever. And if it feels like it feels good, like Uganda make music and you gotta make it with a certain feeling and know the feeling behind like the sounds we handed drums, we lay in a drum pattern mixture. You use your feeling and you instinct at this number one key, I learned this from turbulence masterclass. He thought about producing but hitting gone to all the technical details of how to do this, right? How to do it, right? Core is more like, oh, just feel the music like when you create something, think about what you're doing or whatever. Just like don't think about what other people in the thing about the music and try to calculate things. Maybe if I do this and I just like GameMaker, you'd ever feels good to you and all the way to get better, just making more beads, making peace with other people and collaborating with other producers. Collaborating with artists is just about a certain filling and starting by pages kinda gotta find it everyday. And even if you're not inspired, we now take a break, take a break off music. And then when you feel inspired, just make something literally the best of concrete. You just not even thinking about it. You're having fun with the 20 minutes, 30 minutes, everything just comes out and you're just like, Oh, like this is dope, just chat to do that. Like our's remember like have a good feeling like when you're make stuff like this, be in touch with the music. Something that I've had to learn. I should just really capitalist everything like what about this, this and this and that in an anthracite yo like let's go to sounds if something catches, I could go like I'm filling their sound like oh, this kinda like let's go with that. You just keep on moving. So yeah, hopefully there's not a lot I'm mousing and, and keep updating this course when a new content, new secret, new sars. Yeah, sure you asked us to don't be greedy or whatever. Yeah. You guys have any questions, obviously, you guys are feel free to reach out to me in Instagram wherever. And yet the US for whites than these videos, this course and paste Skip making music.