REGGAETON FUNDAMENTALS: Make Beats Like J Balvin - Music Production In Albeton Live | Kia Orion | Skillshare

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REGGAETON FUNDAMENTALS: Make Beats Like J Balvin - Music Production In Albeton Live

teacher avatar Kia Orion, Artist & 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

24 Lessons (4h 2m)
    • 1. Dancehall Beats That Bang Promo

      1:09
    • 2. Intro

      2:36
    • 3. Dancehall Walkthrough 1: Melody

      15:14
    • 4. Dancehall Walkthrough 1: Drums

      13:58
    • 5. Dancehall Walkthrough 1: Percussion

      16:36
    • 6. Dancehall Walkthrough 1: Vocal Textures

      12:19
    • 7. Dancehall Walkthrough 1: Mixing & Mastering

      13:53
    • 8. Dancehall Walkthrough 1: Arrangement

      10:29
    • 9. Dancehall Walkthrough: Melody

      5:18
    • 10. Dancehall Walkthrough: Vocal Textures

      7:36
    • 11. Dancehall Walkthrough: Drums

      14:43
    • 12. Dancehall Walkthrough: 808s

      11:31
    • 13. Dancehall Walkthrough: Counter Melody

      2:35
    • 14. Dancehall Walkthrough: Mixing & Mastering

      9:13
    • 15. Dancehall Walkthrough: Final touches & Arrangement

      16:47
    • 16. Conclusion & Next Steps

      1:13
    • 17. Dancehall BONUS: Melody

      7:33
    • 18. Dancehall BONUS: Drums

      12:19
    • 19. Dancehall BONUS: Percussion

      8:17
    • 20. Dancehall BONUS: 808s

      12:47
    • 21. Dancehall BONUS: Textured Drums

      12:50
    • 22. Dancehall BONUS: Vocal Textures

      5:59
    • 23. Dancehall BONUS: Mixing & Mastering Dancehall Beats

      16:05
    • 24. Dancehall BONUS: Automation & Arrangement

      10:37
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1

Project

About This Class

Reggaeton music is dominating the music everywhere, and in my new class, you'll learn how to build Dancehall beats of your own.

From drums and bangin 808s to mixing and melodies, this class provides the structure for professional sounding and head knocking worthy tracks.

You'll learn: 

How to easily warp, chop, and manipulate audio samples

The key elements that go into an Dancehall track

My three big takeaways it took me years to learn

How to mix and master a Dancehall tracks with mostly stock plug-ins

Mixing secrets that are unique to dance beats

How to get a radio-ready sound without wasting money on expensive gear

How to design drums to KNOCK in the car and on headphones

How to make better decisions in terms of sample choice and sound design

For the course project I’ve provided the song files so that by the end of the class you'll have your own fully mixed track you can show your friends (or your mom...she’ll be proud).  

This course is for beginners and intermediate students, but I recommend that you have a basic understanding of music production (and your DAW) to fully utilize the lessons I teach here. 

I’ll be using Ableton Live but you can do these same techniques in any DAW. 

You ready? Get the course project files and let’s make some beats!

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer

Teacher

Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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Transcripts

1. Dancehall Beats That Bang Promo: I need one dance big. You know you can make money. You don't get stale. One. You can make your own. Now, when it's game time. I want to make bets doing when it's dance courses their hands on Lee, which the fans won't make it for you in the way that you demand hands on deck. Let me give you what you asked for. It's cutting dry your man over the last time you beat so can teach you on the line, always on the ground. So that hotline bling said hands up. You know what they're singing? Let's get it. If you want to make dancehall beats, let's break it all the way down. The key here is in the drums, percussion and the feel of the track. I'll teach you my techniques for dancehall, and I'll give you the stems. You can make your own track from start to finish. I've been making beats for a decade, made the mistakes so you don't have to Let's get it 2. Intro: gentlemen, welcome to your course. Dancehall beats that bang. My name is Key O Ryan. I'm coming to you live from this very pink and purple room from Oaxaca. Mexico is a small city in the southeast of Mexico. And since I've been down here working on music, I've found it's been incredibly inspiring in terms of Caribbean Latin American dance, whole rhythms, types of music. So it's really inspired me to dive more into that type of music. And now that I'm making that more often, I wanted to come show you how to make it yourself. So these are some my favorite beats to make these or dancehall beats. These are gonna be things like, if you think about whiz kid or burn a boy. That was kind of like dance. Um ah. Mawr inspired Caribbean, Latin American, um, Afrobeat types of beats. These might have a little bit of kind of trap hip hop influence, but I think they fit the best into the category of dancehall. These is also key is take on those. So if you're a purist, thes will not be Ah, probably what you imagine, but this is kind of more of a modern trap, hip hop influence, dancehall type of beat. Ah, for all of my courses you taken any of my things before? You know that I'm all about hands on learning. So for the course projects, I will have the stems the files for this course there for you to follow along, you can downloaders and, of course, project. Follow along as a kind of tweak the knob and switches kind of seeing what I'm doing and doing along with me I'll share with you all types of different tricks, tics, tricks and tactics when it comes to creating different drums with dancehall how I find inspiration of my drums, how to start with ah, sample. But then also make it your own the tweaks that you can do so that you can stand out from the crowd when it comes to using original samples. Um, I also talked to you about how to use it awaits mixing, mastering arrangement, those sort of music production fundamentals that go into making dancehall tracks. So I hope that that sounds fun. If it does, please stick around. We're gonna have a great time. I have ah, the step by step process. I have for building a dancehall beats start to finish of this stems that you can follow along. So please download those the course project Give this a shot and for the course project below paste or soundcloud length so that we can hear some of your songs. Or if you give this song a shot post a screenshot of the song or a link to this song if you're able to remake it. So look forward to see you know what you come up with an will see on the inside peace. 3. Dancehall Walkthrough 1: Melody: All right, so welcome back. This is a new tutorial. This is your boy coming to you live from Mexico from the purple House in Mexico. You feel means we got that purple action going on. Um, so with that being said, um, if there is, if you hear mariachi bands, if you hear people shouting in the street for your firecrackers, it's just a la fiesta, Uh, all the time out here. So I apologize in advance for any crazy sounds, but that ain't going to stop us from bringing you the eye quality content. Eso Today we're jumping into another dancehall track. It's gonna be the dancehall walk through. This is a, uh, little chord progression of some steel drums I found. And so I'm going to jump into these and start messed around with them. I really liked the sounds I was hearing in here. Um, but I think what I want to do is I want to re arrange these. So I'm going to do now is jumping here, start toying around with ease, rearranging the notes little bit, but I really like the overall vibe, so I'm gonna add some effects key. If I had a little bit and see we came up with. That's cool. Almost Sounds like old record player. Don't you feel me? That somebody as I'm hearing in my head don't don't don't, so don't Don't, don't, don't. There it is. That's what I wanted. Don't Don't, Don't Don't studded it. Don't Don't Did it, Dodo. Don't Don't, don't do do do. I think he's I'm gonna reverb it out. A little bit of delay seeking to fill some of this empty space. Just something like if he only something. Ah, just just to kind of kitchen. Bob spent two. No, this guy needs to calm down. That's for show. Come in here. And I was gonna get him so load so I can take his volume down. That's almost feeling a little too w with the delay. Don't Don't, don't, don't, don't, don't, don't. There it is. Don't Don't, Don't Don't A I don't I don't. Okay, Did it go? Let's see what else we got down here? We're working with All right. Don't don't see if I can just do this manually, but pitching He's down a little bit. No, I actually might just keep this one. Just rock this joint. Nah, that's not another was gonna rock with this one for now and see how it goes. All right, let's take these down and let's see. Let's see if you move these down here and see what this is about. Uh um I'm still not exactly feeling it. Let's see what happens. Oops. - Go . Okay. All right. You know what? I might actually flip these around, see how it goes. Uh, come on. There you go. Let's see if we could add this note in. I feel like this. No, I don't want to use this note. It's sub you out. Go, go. - Let's see where this I kind of like this go . Maybe another time. - Good . - Soon . Maybe you want to bring us some more that high in a little bit, and then smooth it out a little bit. Some quick fades. Uh, - all right. So that that's at least a working melody for now. Also with the's. As we add more drums and things of that nature, we might I might end up taking these, um, some of these notes out this starting to sound a little bit busy. Ah, And as we have more drums We might want to make it a little bit less so, but it works for now. Something, at least, is a placeholder to jump in the next part of the beat. 4. Dancehall Walkthrough 1: Drums: Now we're getting into it getting into it. Drum down, baby. And if you already know about Kilo, you know, I like to hit him with that little drum loop real quick. But little thing I did I render up reversing them, eh? So what I did, if you do, if you put them all together and you do come in J you join him? I reversed him. Just don't want to see how to sound. And I thought it turned out pretty dope. This what they sound like reversed Mr Me Sounds pretty sweet. I also found this Ah, little drum loop. I'm going to use his inspiration jumping off point. Or you know what? Maybe will reverse it later in the song, but to keep it simple right now, let's just keep it. Ah, the normal way. So that's what we're rocking with the beginning. I also found some kicks in here that I liked in this. I liked this pack a lot. I'm gonna get a couple of these, you know, splits be my jam. Cool. Let's see if we can do is even do some damage with ease. Just experiment with a couple different kicks and Let's see what we got, - E . I like that one. - Same thing in here. - Cool . Okay, so that's kind of our main simple kicks. That's that's, um, Snares get some snares going. Yeah, yeah, yeah, yeah, That's it we got with our snares over here. Another care as kid. I love this guy's stuff these air agree, jumping off point for, um I love his kind of dancehall drums. - Mm . I go in a lot. It's kind of a cool sounding snare. Okay, so let's see what we got going on here again, - again . Doesn't have to be perfect. Just something kind of a placeholder get you moving, Get you grooving. - All right, so I'm here in two different open open hats in Here it goes. Boom, Boehm. So we're going to go. Let's look at these open hats. No, it sounds like a 909 type of hat. Open hat. That could be a cool one. Um, that's a cool one. Let me get that again. No, I had some, uh, there's some nine or nine hats in here. Maybe it's eight. Await, Like that one break down. Mm. Attorneys down. I also like that Had a lot that's in my favorites, But I'm gonna put him for another time. But you for another time. It's almost like, Ah, it was like a ride. It was like a ride. Symbolism listen, isn't quite exactly it, but so but, hey, it'll work for now. And you know what? We're going to do two of these because I want that 1st 1 to really just kind of let Iraq like thes Aiko behind this rotten. Let's see, a little sounds together back to the drums. This is kind of a cool sound in here. I like this basically sure what that is. But I think I'm gonna add in some hi hats. You know what? I might also add in some percussion? Let's Ah, this is a kind of our basic drums. Let's add in the percussion now and get a bit more fancy with the percussion element 5. Dancehall Walkthrough 1: Percussion: okay is percussion time. Let's get it. But I'm also hearing a shaker in the background. Let's get a shaker out. Let's, uh, let's duplicate that. Let's go Shaker. So that way here, that's very it's paying pretty hard to the left. Actually, Maybe it's a tampering. Maybe it's a team brain. Let's try chambering for a second. And Tambo. All right, let's see how this goes. - I don't love that. I do get some cool percussion sounds. Try that I have might work better. I do like the Tangerine. Nothing has the tin Marine, but ah, I might use a little bit more sparingly. So let's go and we'll go. Ah, small snare. I don't even know what this thing is. Let's go. We're gonna throw something in there like there's a Get it, Get it, Get it. - No , look, come back to that. Thats where it's really important to learn how to listen to these things. So if you want to borrow ideas Ah, you know kind of what you're looking for. But it's also find a kind of add on to your own, so I'm going to see if they made add some other things in there I dragged him off just a little bit. I might end up doing those again, bring it coming back to him. But I really like those high hats a lot that I had sound from the care. Risk it. So now I'm just going off. I'm just going off. What? I feel kind of what kind of sounds good to me gonna add some high hats, some shakers and just kind of toy around. I think we have kind of the general idea of what, um, the sounds are There are a couple other things kind of in these last parts of the bar. But I was gonna kind of experiment with my deify the percussion. Let's get it. - Thistle's really I'm spending so much time on this is this is really where the heart of your track is gonna lies in this percussion. If you can nail this, it doesn't matter what you do with the rest of your track because they just groove edges grooves. So people gonna want to dance to it. This is really the meat potatoes. - Actually , I'm not really liking that kicked out much. Let's try this one duplicating these. I don't even what that sound is cool. That works for my percussion For now. Once I mix it, it'll sound better. These air kind of a little bit all over the place in terms of their volumes and things of that nature, but also think what would do this justice is to have a kick. Is this a little bit more of like, uh, um, in your face, Kind of like a punchy, like a real bang type of kick. So I might sub that out a little bit later. But for now, this works. Don't spend too much time on it right now, because we'll come back and makes it a little bit less jump into the next section. 6. Dancehall Walkthrough 1: Vocal Textures: so before getting back into the next part, your boy likes to throw in a little bit of just a little bit more of a texture. Maybe some sort of Ah, maybe another melody or something. Something just give up. Give it a little bit more, Um, depth. That's a fun word. All right. Texture of vocal texture. Let's see if we can. I did find this, which was cool, and I think it matched. - This is already a pretty wet, um, vocal. Could has been mixed in everything, so there's actually not too much you have to do to it. But what I'm thinking, I might pitch it up or put you down. Kind of just toy around a little bit. - All right, that's what I want to go right there. So lets you haven't if I bring it in like that. - Subtle . Something simple, something subtle. That's a cool kind of vocal texture. Not sure if it exactly fits the mood of the track, but we're rolling with it. All right, so we got that. Now I'm gonna add some equipment. Add some eight aways to this joint that's coming here. Fund. There's a certain eight await that I like for these, um, dancehall tracks this. Ah, this one. It just seems the fit. Well, at least for now, because I'm teaching you so I don't want to go look around for a new way to wait Sound. So I'm using this one for now. All right, um, so it almost going to do is come in here and do a little cheat code convert Melody du midi track. This way you can kind of see what the notes are. Ah, and it gives me a starting point. Ah, with what notes are being played when this isn't always super accurate, but just kind of Ah, general idea. So I know, uh, kind of what I'm looking for. All right, let's take this. Come on, Little Billy. Death. All right, take this. Put this up in here with my eight await, And if you didn't notice with the eight await when I had it over here, it's because this comes in a d. So I made the root note. D I should have explained that, but now I'm doing it now. All right. So let's see how this goes. - What I'm doing now is I just like the line. My fate awaits up with my kicks. Don't. - There's a little bit of a bounce, that kind of the Zeta ways. That's what I'm looking for. I like the way I like that Kind of, like, just drops off suddenly. Um, it just like bone. Kind of a little growl here. That that this length of no is kind of what I'm looking for. Cool. Something simple might come back to that a little bit later. Um, but it works for now, so we're going to stick with this. Ah, Might also come back in. E. I just don't know. I want I really want those kicks to really, like punch for some reason in this track. So, um, I think that will come out when I mix it till So right now, I might add one other kind of melody on top lets yet sounds of the vocal texture cool. I think this works. I'm going for one more main melody and then I'm gonna mix it, Master it, arrange it, gets you out of here. Let's get it 7. Dancehall Walkthrough 1: Mixing & Mastering: Well, all right, let's mix this joint. So coming in here, seeing what I need. What? I don't don't need the base of the start. Color coding, everything. Make sure everything's labeled correctly. This is gonna just be snare one. Don't need the drum loop anymore. Shaker One high hat one smallest. There ran a percussion. This, I think, is a actually, it's not even on. We don't need that hampering. Opening at one to ride Cymbal at transitions. Laters. Main melody. Ah, I'm leaving either. Rushed that sample vocal texture be guitar. You know, add that another track when we need it. Okay, let's make this Who All right. So typical. Mixing fashion. Bring everything down. Zero everything. Zero. Everything's We have a clean slate and let's bring this kick in. What I'm looking for is for toe. Sit around. Seven. There it is. 7 57 months that I think I just cut my toe producer struggles. Okay, so I'm coming in at 7.5. Bring if I want a little add a compression is, um, to the kick. Bring that to around when it's certain and knock around the five and bring this up a little bit. I want my kicks to get too out of control. If this were a track track, sometimes that trap track I like to base the eight awaits super up. But in these I don't like them quite as in your face. - I'm not gonna have as much Pirlo compression. Excuse me. Such an impression on these they normally do because I don't have that many in a trap track . I might have this older way up because I have a ton of eight awaits. But since there aren't that many amusing many's the more sparingly. I don't know that group isn't not going quite the way that I remember it, but maybe it's because we got to bring the main melody back in for it to feel the bop that doesn't exactly it feels a little bit choppy. Yeah, the end. I think I feel like there's something wrong with the and it doesn't feel quite right. Well, well, what's wrong with it? See how it sounds altogether? Sometimes you can't have things I'm singled out before. It makes sense. I feel like that that kick just feels late. For some reason, I'm not loving it. - I think that was it the kick that for some reason the other kick just felt a little bit late ? That feels a lot better to me. - It's all right. So when I add in mastering, I'll be ableto feel off these air coming now a little bit too much. I like these high hats, little bit louder, the shaker and how much shakers like that a little bit louder. This small stare I don't love is merges kind of an effect. So I want that to blend a little bit more of these Randall perks. Um, let's bring in these vocals that guitar and get it cracked. So my volumes coming in and get a decent I'm looking for, like, negative 4 to 5 somewhere in there. But somewhere around there, there's so much, um, happening that it's ah, it's like peaking at like negative three thinks right there. Let's see how it sounds with mastering. They're gonna spend a tenner time a mastering in this tutorial pretty much just gonna turn the volume down, see if I can bump the volume a bit. This just feeling a little bit too bright to me. - Cool . There's gonna my main loop and we'll track this out, and that will be the 8. Dancehall Walkthrough 1: Arrangement: art. So tracking this beat out, I've got most roaming components ready to rock. So I'm going to delete everything else. But just in case I want to add something Wait around like some cool, reversed elements or something like that. Um, I'm going to keep these little chops right here, So I'm gonna move these chops. Way to the back, to the back one time. Crisscross. Okay. Ah, take thes. I move these all the way to the back just for backup for backup. All right, now, let's get it. I'm gonna join everything and work. So how are we going to start this off? Um, we're gonna take this out here. - Federal . What do you think should be started with the hook or just a little bit of something? Lesson two, let's do less intense is built into the hook. That's a great suggestion. I like your like where your head's at. All right. Um, an hour's gonna add and remove elements, so no, it awaits to start from, uh, what else do we need to start with? Probably read that little thing to start with. Let's see. I like to add a little bit of something different each one. So let's Whoa , whoa, whoa. Chill, Chill, chill, Children. Mm. But in my ad is like, ah, one of those, like vinyl joints. You know, it's still trying to work in that reverse If I could, um, let's just add in just a simple bit of filter. But this will break down. And if you have seen the other elements of dance hole that I teach, I love there's a certain like breath. There's some breath transitions that I think are really cool. Is this it? I like that one a lot for dance like that one. That was okay. I don't love it Seems like he's doing the most, but it's cool. Stretch that out a little bit at a bunch of reverb, did that and get some sort of you know what? I'm not gonna take that one will be going do, though. So what, we're going to we're going to a little impact like this. Ah, traffic allows tropical house. I like that one. That Reid impact is, though, - for a little bit of variety in the hooks. And then this little vocal can also add is a bit of a transition into the rest of the hook again. - Cool , that's all, she wrote. I feel like there could be another, um, things that could do with the percussion, but I already kept you here long enough. So thank you for sticking around for listening for watching the beat for making your own beat. Hope that you learned a thing or two kitchen on the next one Peace. 9. Dancehall Walkthrough: Melody: All right. So coming into this right now, this is gonna be the melody section of this course. So I found this loop unspool ice, and what I want to do is make it my own. So I'm playing it back right now. But if you've seen any of my stuff before, you know that I like to start with an idea but then turned it into my own one way or another. So it's from doing here is in this video. I'm going to walk you through and kind of show you how I'll take an original loop and then making my own. So right now I'm going to be pitching this up. I'm gonna be rearranging the notes, pitching it down, just toying with in one way or another to I kind of see how I can really key if i it in a way. So I highly recommend whenever you do this, if you have a loop of some sort Teoh add effects, reverse it pitch. It's something So that it you at least had a little bit of your own perspective too. So that's why I'm doing right now is you'll see this is all trial and air. I have an idea in my head. I wanted to go, and I'll just be kind of fiddling with it. So let's check it out. So I have a pretty good idea now of the rhythm for the notes, and now I'm going to start adding effects to it. This is I have a couple go to effects that I love just to kind of bring out some personality. And again, this will be trialling ariz. Well, I kind of throw things on, tweak some knobs, see gonna what it sounds like with a little bit of reverb sounds. But it sounds like what some multi being compression some saturation is right now. I'm just kind of I don't have an idea necessarily how I want it to sound, just kind of testing things. So that's what we'll be doing in this section is throwing on effects and kind of seeing, seeing what works. But that doesn't mean that would be keeping all these by any means. - So I found that with all the river been effects, after all, ended up not being when I wanted, So I'm going to try to pitch it a little bit, sounded a little bright to me, so I'm gonna pitch it down. Uh, and so this will still be in the same key, cause I'm pitching it down only three semi tones. But I found it felt it was a little bit too bright originally, but with pitch down three, it feels a little bit more kind of in that, like dancehall that I'm I'm looking for. So right now that's what I'm doing is I'm pitching it. And then I think I might even pitch it up just to kind of test that a little bit. But that's what we're going to do here now that I have a general idea, kind of the effects that I want and it's gotta feel that I'm going for gonna just come in here and just mess around with the Fader is a little bit faith. Things out. Fate things in and see if I can hide any of those little cliques because once the beat there's more the beat you can open hide these things. But I'm going to try to just smooth it out a little bit more before, uh, before I finish this up 10. Dancehall Walkthrough: Vocal Textures: you know that I love vocal textures. So here I'm going to experiment with these I found and see if I could make some sort of melody with, um again. This comes down to pitching, reversing, dwarfing with vocal textures. It's all about just making them your own and manipulate Can you can see Oh, Theo. Vocal texture is a big part of it, too. Is a thief effects that you add? Because I don't want these to be extracted so at a bunch of effects, But then a river of the mouth at a bunch of delay? Just more. I want more of a texture in the lead melody. - I actually liked how that sounded, but I think it's still a little bit too loud, and I also liked it pitched down. So what I'm going to do is I'm going toe, add another track and duplicate this and then have the one that's pitched down the one that's pitched up and blend them together. And so that's what I'm gonna be doing here is kind of blending them and finding a balance between the one that's high pitched and distorted in the one that's more lower. And now now that I kind of have a balance down, I have it. The first few bars that ending. I want a different ending at the end of the full four bars. So I'm going to find maybe another phrase fits. They replace it, end the four bars, also, that I have a full kind of little vocal texture that is has, since military is also different enough that it keeps it interesting. 11. Dancehall Walkthrough: Drums: now we're getting into the drums is the fun stuff. And in here Ah, What I like to do is one of my favorite tactics is to find a loop, some sort of a drum loop, and then kind of take it and replicate it in one way or another. So what I'm going to be doing now is, um I found a drum loop that I thought kind of worked. And then what I do is I build on it because I don't always love everything about there's that least gives you a jumping off point. It gives you a starting point, and in doing so and doing this technique, which you're going to see is that you don't have to even if you use their idea originally, some of the loop, you just you tweak it and you make it your own. So that way you don't have to try to come up with something all from scratch. And this way you don't get stuck making the same drum patterns I find. Sometimes if I just play them out by hand, I end up falling into the same rhythms, the same bops, because those were what I gravitate towards. So this is a way that I find really helps me push my comfort zone and also allows me to kind of start with an idea that I might not originally have come up with. So that's we're going to jump into here up now, moving on to the snares. And for this I might take some snares from the actual loop, and I believe that I do here. But then I also like to bring in some of my own snares when it comes to dance hole because you have multiple snares. As you can tell in this drum loop, depending on what type of drugs you go with, also like to have different snare sounds that I use meaning maybe the first snare sound you hear will be a certain type of snare. And then the 2nd 1 might be a rim shot. And so, in this one, I actually believe I use I am using three different snare sounds because it keeps the be interesting. And because the stairs were such a driving force of these beats, you really want to make him count. So I think I was so steal one from their loop. We're gonna find out here in a second, but something to keep in mind. Ah, you don't use the exact same sneer throughout your entire track. You can kind of mix it up a little bit. I did the same with the kick as well. I'm using a couple different kick sounds. So experiment to it works for you. - Look , what I'm looking for now isn't going to be adding in theme high hats and the Russian, So that'll be more the shakers. Things of that nature also apologize. Here, it looks like it's getting a little bit Laghi. Um, but this is kind of where you start to get a little bit for the box. This is where you start to build the pocket for your artists. Is this gonna be in your percussion, your high hats or shakers? All of that. So now I'm gonna start experimenting with that, And as I build out the percussion, I end up going back and changing some of the other elements to fit a little bit more. So keep that in mind as you go. Nothing is set in stone. It's all flexible. Generation is the name of the game When it comes to your drums like the high hat, but actually need I have, in my mind, feeling a little bit different another way. So actually want a shaker. So when When I would be doing now is adding in a shaker for a little bit more percussion - realize that beats one more thing. And I think that needs some open hi hats or something. So I'm gonna I'm gonna keep the right rhythm going to have an idea kind of where I want it , but I think it needs a little bit more. Just one or two more elements to the progression of the drums to kind of make it completely 12. Dancehall Walkthrough: 808s: Now we get to the good stuff. Now we're going to start doing the base in the eight awaits. So in this in this beat, I feel like the eight awaits air about her choice. So that's what I rocked with, um, and for dancehall a lot of times, like some dope short, punchy base, especially in your eight awaits, goes a long way. Something growly some just going to give it a little bit more of a bounce your eight awaits can really kill it. You know what I'm doing here is a bit of unable to NCI code. So I'm consolidating these part of the melody, and then I'm doing convert to Melody track because I don't know what the correct notes are so I could figure them out. But instead, what I'm gonna do is by doing this technique, I can. Then it automatically gives me the notes that the melody is playing is able 10 is just don't like that. And so then we're gonna do is I'm gonna take those the midi track that it gives me. I'm going to bring that up and drag that into my eight awaits, and then use that as a starting point, so I at least know some kind of bass notes, Um, in base, I mean, some beginning notes to start with with the scale of what I'm looking for, - things were sounding a little bit out of tune here to me. So I want to go in and I'm gonna I'm gonna just do one bit of the track where I feel things are a little bit out of tune And I'm gonna add a tuner to my melody and see what I'm looking for See if I can figure out what I'm looking for Get this to sound in tune E e Here. I'm going to start just toying around with the eight awaits pitching them up, pitching them down, messing with their velocities in their legs. See if I can get a little bit more for rhythm with the bop that I hear in my head 13. Dancehall Walkthrough: Counter Melody: what I did was I found a little melody that I wanted, and then we're gonna add a Merima sound that I end up. I don't actually end up using this until the very end. So I'm not gonna spend a ton of time on this, but wanted to show you kind of how I go about figuring out a second lead Melody, Something to add to the hook to give a little bit of character if needed. 14. Dancehall Walkthrough: Mixing & Mastering: have you taken any of my courses before? You know how much I hammer home mixing. And so what I'm gonna do now for this track when I mix it is gonna bring all of the levels down to zero. So that way I can mix in the elements one at a time, starting with the kick. The low in the most important parts of the track served the drums that makes everything else in mixing is something that's more intuitive than it is simply scientific. It's a mix of both and unless you're going to see here, mean making creative decisions both when it comes to volume and, um, affect choices. But again, when it comes to your mix, you want to think less about adding a ton of effects more about just getting your levels right. It's all about where things sit in your mix. So that's gonna be doing here, going in and kind of adding different effects and really trying to hone in what elements of the trade, what elements of the truck I want to stand out and where I think, um, certain elements that I that I really want to shine compared to the others. So that's what you're going to see here. - Uh uh Ah, - here I found that there's one snare in particular that softer than the others. So rather than trying to turn all the snares up, I'm actually come in and just add some volume to the one snare that I feel like is lacking because I don't necessarily need to turn all of them up. It's just this one, but I'm gonna adjust the volume on, duplicate that and then mix the snares back in as a whole. Uh huh. - Here , I found that there's actually an eight away. It's sticking out to me. That sounds like it's a little bit long. So I'm gonna come back into the eight aways, actually. Well, I'm mixing and make that slight adjustment just to give it a little bit more of a box. Think side chain Compression of me was a little bit too much. And so I wanted to kind of adjust it to see if I get a little bit of side chain compression , but not so much that it started distorting doing here was rolling off very low end for the entire track. Also apologized for the glitchy nous, and I'm also going to add a limiter so that I can bring the rest of the volume up all of the volumes together. Maybe do some final tweaks to kind of get the tractor kick into bouncing. I want to. 15. Dancehall Walkthrough: Final touches & Arrangement: Now we've got the final mix. It's time to add the finishing touches. Things is going to be tracking the beat out. There's gonna be arrangement coming up with the different sections verse, chorus, transitions, everything like that. Maybe some final mixing tweaks here and there that become across. But what you're gonna see is when it comes to arrangement, a lot of it comes down to simple techniques like automation using the filter and things of that nature. - So what I'm doing here is now I'm going to, ah, start just building the beat out. So I'm looking for, um this kind of eight bar loop four bar loops that I'm gonna use. I'm going to duplicate that out. I'm going to start, um, kind of deciding which pieces I want to keep. Which pieces. I don't and, um, kind of building things that one piece at a time. Um, also joining the clips. Since I used mostly audio. I don't want to have to be messing around with the little pieces, but I also move these way out here. What you're seeing me to hear is because I want to keep those backup pieces just in case I'm going to join them all here. But in case something goes wrong with sample or want to pitch it, I I want sort of a backup. That's why I moved those. So now I have this kind of little loop. And now, when it comes to arrangement, the key is just adding instruments, taking them out. Little tweaks here and there doesn't be anything extreme and creating a bit of an intro. So that's where you jumping into. 16. Conclusion & Next Steps: I hope that you enjoyed the course. If you did, please leave a review. If you didn't, please leave a review as well. I'm a grown man. I understand that I am not for everybody. But the only way to improve is to get your honest feedback. If you did enjoy the course and you want more materials like this, find all the resource is either below or at Kia Ryan dot com slash resource Is anything that you saw in this course I have available for free download. I have a built in templates of free, able to crash course. I've got sample packs. I've got free guides, everything that you need to level up. I guarantee that I can help you do it. So that being said thank you again for taking the course. It means a lot few tuning in. And I appreciate you for watching. I'll check you on the next one. Tell me again, keep making beats and I'll see you at the top. All right. Check you in a minute. 17. Dancehall BONUS: Melody: I So today I'm feeling dancehall inspired. So I found this Kalimba Turtle Bay. Mr Cool Old Kalimba. Luke. So I'm going to jump into it and toy around with it a little bit key if I it I think it's lacking a little bit, um, of some attitude. So I'm gonna just toy around with a little bit. Also might miss the tempo. Let's see what happens nationally. This beats gonna go but excited to Ah, try it out. Let's do it. Hey. Hey. First a typical to you, that's a t t. Little reverb, little saturation. Okay. I want to start this joint here. A Okay. Good. Uh uh. Hm. Okay. Okay. Uh, groups. Okay. Uh, okay. Okay. Okay. Okay. Okay. Okay. A o. Okay. Uh, there does that. I was looking for right there a little. Okay. Okay. Okay. Okay. Okay. Okay. Oh, So this already has a ton of reverb on it. Um, but I'm still gonna maybe riverbed out a little bit. Maybe a little bit of delay. I'm not sure it's already has a bunch of beaver. Okay, Okay. Okay. All right. So that's kind of my main melody there. Um, I don't love it go. But there's also I downloaded a guitar that goes along with this say, from the same pack. So let's see you. Maybe it sounds awesome. Guitar. This is better. Copy these effects over to the guitar. Okay, That makes me feel better. Having some cool guitar action. Okay, cool. So I'm not gonna mess with this guitar too much. Maybe it's amore effects. Um, I want to get some because there's more than I'd imagined I want to do to these, But I want to add some more drums first. I kind of want to start getting my drums down. Um, sometimes I can end up doing too much with the melody and in the drums. But the drums, it ends up being confusing cause there's too much going on. So I kind of have a bit of a melody going on a little guitar action, going to get my drums down, and then maybe come back to these. Let's do it 18. Dancehall BONUS: Drums: Okay, a couple things. One, I'm trapping at the Airbnb in Mexico. So if you hear mariachi playing in the background, Mike's picking that up. I apologize. But what you gonna dio? Secondly, drums when it comes to dance all Not even gonna pretend your boy is anything that he's not . So as a little Blanco is a gringo white boy. I don't even know what I'm doing with dancehall drums. I just know that I feel them. So what I do is I download drums from other like dancehall packs or I find other drum loops that I like. And then I, um I kind of build on them and create my own vibes from them. So what kind of used that isn't jumping off point, but and I'll love this technique of kind of bringing in drums that I wouldn't normally think of and then building on them from there. So that's this is what I'm kind of doing here is I have a drum up. I found I like, That's a dancehall vibe. And then I have kind of tweaks and ideas that I wanna always I want to take. So that's I'm gonna do here way start with because I'm just a low and type dude. I just like I like kicks I like. That's where a lot of the heart is for me. Meditators is gonna be in my low end, so let's jump into this. I also got some cool kicks from the pack. Some dope dancehall kicks. Let's see what we working with. It's cool kick right now. I'm trying out a couple different kicks. Also through when I was listening back to this one because it's a both a kick in a clap on that same I've seen this was a kick or if there was other stuff going on. - So when I listen to this loop, I hear a couple of things going on here. A shaker. It's a little bit more parent. I hear like a shaker in the background. That's much softer. That's kind of just adding some movement track. And then that kind of shaker one off. It's more like it's more like, uh, I don't know the name of, but it's a different type of shaker. And then there's also the, um, there's like the rim shot joint. So that's what we got cool that works for Now again, I'm not overthinking this too much. Just trying to get loose kind of skeleton down. Well, actually, let's see if this changes. Sounds like he has some Congress there, but nothing too crazy. All right, so let's figure out this room Shah Joint rim, that I have more of those. That's what we got. Uh, that's cool for that. Keira said some really cool layered snares. All right, let's try these. I paying these the left that I can kind of distinguish. He's a little bit more than the ones in the loop. Wait a minute. Okay, Interesting. So when he has them in the that's interesting. He only has him at the very beginning of the phrase those at least many has that clap. So let's try that. Clap out the suits up with a quick clap clap when we see that day and clap. Oof! Kind of a slappy clap slept, clap Hope and the others. It was cool. That was cool. That's a really popular clap right there. Let's try that. Also, try like that's near to I don't think. Let's try that. That's cool. Maybe I'll try to different collapse and just see how it goes next , I'm gonna move on to the more parent Shaker. And obviously guys like to spend a lot of time on my drums. I don't feel like you have to spend all this money this much time on your drums. Um, but it SSM most. So if you wanted to just rock with the loop, you probably could, like, just use the loop that they used that, um, care issues but drums of my favorite part of the track. And I'm a drums guy. So that's kind of like to spend the most time, because this, for me, is just the most. This is where the heart of the track of eyes and struck every track for your boy. - It's almost like it's at every kick. There's not a shaker here, but I kind of an adult. - This isn't ideal shake, but that's probably more like it. The reason I have different ones in here is I'm just kind of trying things out. I'm just going to see what it's played back with the, um I'm gonna play it back with the samples and then kind of choose the choices from there, saying I couldn't have different snares in here different things along those lines. I just kind of like trying them out. And then I'll audition them once. I actually have the It was actually kind of have things cracking, Um, down the line. Now, the last is going out like that. Like slow Shaker in the back 66 But I might do is I'm gonna stop this video here. I actually think I just saw the coolest place pack about Shakur's that I'm gonna go try out an audition and then jump right back into these to finish these drums up. 19. Dancehall BONUS: Percussion: Okay, I found some shakers. Let's get it. Found this organic shaker pack. I'm gonna try some of these out. Um, so if I listen to them, it sounds like also sounds like they're pitched down and almost, like, filtered a little bit. - It sounds like they're dragging a little bit like that. - I still like these. I might actually. This is where I start to key. If I things a little bit, Um Well, I just kind of make it my own. And so I start to kind of tweak things. Ah, lot of this comes down to drum loops like this comes down to the mix, having things like this shaker loop. Maybe a little bit too loud and panting these. But we're gonna worry about that too much right now. As I'm creating this, I'm just gonna kind of feel it out. Thies. I ended up liking this little one more. I thought I'd see these. I thought I'd like, but I don't at least in this context. - Something needs to go in here but haven't figured out exactly what that is yet to figure that out. Maybe a shout. We'll see. - I take it back. I think this kick is actually a little bit jarring here. - Okay , um, I'll come back to this more later. I'm gonna add some eight awaits because I think it will add a little bit of bounce. This Let's jump into it. 20. Dancehall BONUS: 808s: fadeaway time. Let's get it. Let's have a little bounce of this joint. Is that a little bit of bounce? Is this a got that? Hockey was up so that I have won eight. Await that I love to use, but I might try to switch it up a little bit, but chances are I'll probably come back to it anyways. I am a creature. Have it helps if I have it in F. So I'm changing my note. F I want to do is take this duplicated Join it. Oh, it's the thing for that again Mrs J. A. So you consolidate it and then I cheat and go to convert Melody New MIDI track able to enact you feel me and I can find out what the notes are for this track. But I like this is just kind of a starting point. Is someone who doesn't know music theory because it helps me at least to have a jumping off point of kind of a ballpark. What notes I should be using. So that's why I also feel like I wanna have more to these drums. Still, too. So don't get Don't be surprised if I end up adding more to this. All right, let's you go sees. All right. You should be in f there trying to follow the same pattern as my kalimba. But I'm a white boy. Would you expect I found the same rhythms way? - I don't love that. I probably is a C, but yeah, let's try that. Let's try a couple different notes that e like that. More you like them or to write? Uh um, that's gonna go. That's gonna call. Uh huh. I think there should. That's it. Sounds at the kick. Doesn't sound great. Um, I'll be honest, but we're gonna roll with it. Come on. - Sounds of the rest of the track. - Let's see. Hate to be that dude. Let's see what happens if we switch out this eight. Wait for another one, Steve. It sounds any different. Wait Sounds when it's do it with this second part of the the sick report, probably keep this part similar. - Wait , I'll experiment. Ways leaders slide. I'm glad I'm doing that kind of stuff, but for now I just want to kind of get a get them down. Sort of a general idea. Eight ways, maybe. Let's get it 21. Dancehall BONUS: Textured Drums: So I'm obviously producer That's driven by the drums, right? Because I like to spend so much time on my drums. That's where most of my beat this was so most my time. So people love melodies. They love writing melodies, coming with a bunch of different things. So what I'm gonna do now is actually go back to the drums because I want to finish out that four bar kind of the four bar flourish at the end. Um, and then I might go back and then toward it the other way, too. But more so if it were highly apparent. I love my drums because in my mind, um, once I mix it all down that melodies the two melodies already have are pretty much going to be doing a lot of the heavy lifting its terms of the melody. I might find some other cool vocal texture, cause that's just but I like, but, um, in terms of the drums, I want to make sure that they that's really what's carrying the track for me is the drums. So I'm gonna come back to them at the flourish, finished the drums up. I was want this to be a testament to the fact that there's no real right or wrong way to making beats that it's kind of this constant fluid iterative process. Something to think about. Let's do it. - I need more. I use this one shout a lot, Um, because I need more shouts that are dry and short and punchy that aren't like actual words . I hate shots that are like, yeah, or like Hey, I want things just like this one, which is just like a rap, just like a like You don't even know what that is. But it's like super cool and distorted. I guess I could find another one and, like really reverb, reverb saturated out and stuff. But this one's kind of good to go, so use it a lot. But I would definitely somewhere I love shouts of vocal stabs, things that nature but a hard to find good ones. You know what? I'm a creature habit, you know I am. I might have to do my open hat, Come back to that cool kids open. And if you're taking into my classes than you realize how much I love certain drums. No, no, I love that I just love those open tricks I kinda like to do, is they take these two and it's like it's been pushing down a little bit, - expecting one more hit. All right. I think we're good. We always come back to this. - A little bit of flair on my weight, See if they, uh, see if I can glide him a little bit. So cool works for me. 22. Dancehall BONUS: Vocal Textures: Now I'm gonna add some vocals. I need a little bit more texture, a little bit more Something for the hook. Let's do it. If a download, a couple different vocal samples eso it's suit this sound. I really like this one, but it's a fortune Austerity took all the fun out of X charity, did all the cool stuff to it. So, um, this one's kind of like cheating. That's not really what it kind days could already reverb it out and everything. So I'm gonna try toe at some other things at my own flair to some of these and then, um uh, see where it goes. - That sounds good to me again. Because these were already, like, made to be dope. I just reversed them just so that I could add a little bit of my own swag to him, chop them up a little bit, Um, pitched him. Ah, what ever so slightly again? The Zahraa Just vocals that I just adds some texture at a little bit of energy, filled the space up a little bit because most of my instruments are gonna be the Colombian , the guitar. So something maybe for the hook. Um but other than that, this is sounding pretty good to me. I'm gonna mix it, put on a rough mix and then kind of see if there are any spaces that need to be filled after that, so let's mix it. 23. Dancehall BONUS: Mixing & Mastering Dancehall Beats: All right, so we're going to a little rough makes see with their any holes in the game. See if there any holes in game getting Gang, gang, gang gang. Um Ah. Well, it said those just in case you want to bring those back in. All right, so come back through, make sure everything's labeled no base. I might come back into toward the other way just to piss you off. Drum loop. Don't need anymore Shaker loops. Snare one. Uh, hi. Hat one. Shout shaker. The open hat. Open it to class. You bring the shaker. Looked down with shakers Shaker loops shaker shaker to transitions Have come back to me, milady. The guitar vocals. Cool. I think we're good to go again. You're gonna come in. You're gonna want to zero everything makes it all back in one at a time. This is my process to each their own. So we'd like to mix it on the fly personally to come back in the mix. Everything one of the time I really want to kicked up toe pump on this, depending on how once I mix this out in the kick is really like popping. I'm might I might switch out some of those kicks because I don't like all of them. I thought I did. Well, room, right. Well, in this regard, I don't want the ate away Totally super distorted. Like I wouldn't attract track. I just wanted to kind of be, But I still want enough distortion that I can still kind of hear it here. The high end trap track. I think that all the way. What? Well, you gotta be careful, this one, cause it's hitting at the same time as a kick. So it's gonna be really loud. Um, at that point in your song, every time you have a kick in the snare on the same beat. So one tip is if you painted a little bit more you the voters have to be quite as loud as that. Makes it easier to here with sticking out so far, anything that's not quite right, they're definitely something's off right now. I'm going to see if you can catch him first. - What happens if I just drag everything off a little bit? Just a little bit Li, see if it has any bump to it, know the rules you can break him. All right, let's see how it sounds. The melody in the guitar way. I'm betting so much side Jean. Compression to everything is because one Why not to, um, because I have a lot of things coming in on the same beats is the kicks. It's gonna be I just need a want that kicks to still shines through We're not and have still have room for them. And so there's kind of like a pumping like a bop that you get from a lot of such in compression. I grew up inspired by J Dilla and Fly Low and all those guys, and there's just kind of this, like bop to their tracks that I find I can kind of achieve some similar vibes with a lot of such in compression. I just kind of dig that I think that vibe to each their own. So that's why I'm looking for right now. There's a balance, because if it's too much thing is too much to create a little bit of motion to Is that a little bit of auto pan? It's a little bit of panning to it. - Come out a little bit more of this nearby don't. I'm worried of turning it up a little bit too much, Um, someone to see if I can add some compression. - I'm sorry. This is probably not very exciting, but right now I'm just listening to make sure things didn't have a bit of a have the balance that I'm looking for and that they're different. I'm just trying to fear for neither Here, If any characteristics kind of jump out at me, I'm gonna throw on a quick limiter just for ah, Rough Master, um, make you a ah, If I were a real man had come in and, um, edit out the frequencies in here, Um, the resident frequencies. But I'm not a real man, so I'm gonna instead just throwing a limiter when I use pro L. Because my computer is so old, it it freezes when I'm recording. So I'm just gonna throw on this limiter real quick and bump up gain. I don't think it toe come past negative six before it starts to really sound crappy. So I kind of turned it up past that and then bring it back down. - Do you think we track it out? Let's arrange. Let's try this. Try now and call today. 24. Dancehall BONUS: Automation & Arrangement: of arrangement arranging the beat. So first thing I'm gonna do is typical Kia fashion Copy the beat all the way out. Um, so I have this for backup. That's just a little key. Ah O c d action. I'm not sure I'm gonna need those. I can always bring it back in line. Etem. And then once I dragged that out, then I'll join these clips and then I'll bring these. We're here for my main melody. Did you hear it? Kind of sounded glitchy year Right there means there's something going on over here. This is why I do this. Because let's see if that does it any better. Actually, let's do this. Let's duplicate that. And then let's look that Oh! Oh, Alright, let's try. This one is dead. Okay, Get over there. An easy way to arrange things, at least for me kind of kids. Chico, to arrangement is base, um and then adding in just different percussion elements and things of that nature. Ah, so I don't think that we have the guitar, I think halfway through, maybe bring in some vocals to make it interesting also , um, minute edit the drum situation a little bit way, adding filters of the drums, admitting filters to part of the melody, amending filters to the part of the, um, put it Ah, eight awaits just so that it oh, has a bit of, ah, way kicks. It might be a little bit too loud. Maybe not. That's the mixing an arrangement. Easy way to arrange things. Take elements in, take elements out. Think it probably around a little bit more. But again, you don't want. You don't want to get too confusing. You kind of want your listener to settle into a group you don't wanna mess under the too much. But, um, filters in an amazing way to create bridges and create arrangements. Hope that you learn a little something in the dancehall track from your boy. A little rough mix. Rough master, right Action. Let's get it till we meet again. Peace