Safe Spots: Create AMAZING Drum Loops in FL Studio 20 | Riley Weller | Skillshare

Safe Spots: Create AMAZING Drum Loops in FL Studio 20

Riley Weller, FL Studio Teacher

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12 Lessons (1h 13m)
    • 1. [INTRO] - SAFE SPOTS

      1:39
    • 2. How to Ask Questions + Leave Review

      1:22
    • 3. What Makes A Drum Loop Good

      2:16
    • 4. Counting Beats With Creativity

      5:13
    • 5. What Are Safe Spots

      4:08
    • 6. Velocity Making Sounds Fit

      7:21
    • 7. Panning Create Space And Wideness

      11:22
    • 8. Layering For Depth Variety Fullness

      8:59
    • 9. Note Nudging For Organic Beats

      11:58
    • 10. Swing Automatic Groove

      8:57
    • 11. Sound Selection For Emotion

      7:32
    • 12. Sound Placement Takeaways

      1:52

About This Class

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Welcome to a term I've coined over the years called Safe Spots™.

You won't hear this term talked about anywhere else, because I've created it!

Safe Spots™ allow you to place sounds in your drum loop for them to sound good no matter what.

You may ask, how is that possible?

Well, if you think about it:  Music production is all about patterns, right?

If we look at common patterns, and where producers place their sounds within these patterns, we can then get a general idea of where we can place our sounds to sound good within our songs!

Pretty simple, right?

And, with my method of explaining Safe Spots™, it gives a further clarification of where and how we can place our sounds within a drum loop.

So is that all we learn?

No way!

Learning WHERE to place your sounds is just the first step.

We then learn about the ORGANIC TOOLS to further enhance a drum loop.

Why do I call them ORGANIC TOOLS?  Because they're ABSOLUTELY FREE inside of any DAW!

We're talking about:

  • Velocity

  • Panning

  • Layering

  • Note Nudging

  • Swing

  • Sound Selection

  • Sound Placement

If you've been producing for a couple of years, you may think, "These tools aren't special?".

But do you know what?  You're wrong.

These ORGANIC TOOLS are the difference between an average drum loop to a professional sounding drum loop.

Placing your sounds is just one piece of the puzzle.

You then have to venture into each sound's organic tools to further mold your drum track for the perfect fit into your song.

I've been producing music for over 10 years now, having worked with a GRAMMY-Nominated artist, and releasing 17+ FL Studio premium courses.

Let me show you how to use Safe Spots™ and these ORGANIC TOOLS to bring your drum loops to their fullest potential.

Enroll into the course, and I'll talk to you inside!

# GratuiTous

Transcripts

1. [INTRO] - SAFE SPOTS: all right. Hey, I'm gratuitous and welcome to my course called safe spots. So I've actually written a book on this. The book is on Amazon. If you want, Check it out. But you're not gonna need the book to take the course. But sometimes, you know, reading a book is kind of a nice, you know, nice wayto learn. Besides watching videos and stuff like that. Okay, so again, it's called safe spots. And the reason why I created this course is to give you guys a step by step video tutorial , pretty much focusing off that book. We go into a little bit more detail, but what safe spots are is over my years. It's just a term that I've coined. Okay, so you guys won't see out there in the industry anywhere. But the reason why I call them safe spots. Because as we program our drum loops, there's areas within our drum loops where we can place their sounds for them to sound good , no matter what. That's why I call them safe spots with an. In addition, we also have organic tools available to us. The reason why I call him organic is because they're free within any music program you use . Okay, These air tools such as, like layering, note nudging, sound selection, sound placement, velocity panning, you know, tools like that. And the thing is, many people, they're not aware of them. And if they are aware of them, they also don't know how to use them at a professional level to really make their drum loops stand out. So for those of you who do not know who I am, I go by the artist and producer name Gratuitous. I worked at the Grammy nominated artist. I've written books on Amazon about music production as well as I've created now 17 music production courses based on FL Studio. Okay, I also run the podcast music production made simple you guys can tune into that is totally free content. But yes, so you know I love to teach. This is a term that I coined over the years. It's called safe spots. You guys will learn to make amazing drum loops. So if you guys enroll, I'll see you guys inside the course 2. How to Ask Questions + Leave Review: all right. Hey, I'm gratuitous. And thank you so much for taking the course. The reason why I'm making this video is that I just want you to be aware that I also have other music production courses. Currently, I have 16 music production courses. They're based on FL Studio. However, the information does apply to all music programs. There's the odd video, which is FL studio specific. But for the most part, I teach the fundamentals which relate. Oh, everything to do with music production. E que compression sampling. So I just want you to be aware that you guys could be leaving a question as well as leaving a review. Okay, so I want to show you how to set that up. Okay, so let's start with how to lead. Ah, question. Okay. Soto asked me a question on skill share. All you have to do is click the community tab and just click basket question. And that's that. You guys can ask me a question. Post it and I will receive an email from you. And then I will come and answer your question. I'm really active with this stuff, and I want you guys to learn Okay. In addition, to leave a review, all you do is click the reviews tab Now. Skill Share says that you have to watch a few lessons before leak. Leaving review, Which makes sense. So, you know, after you're done watching, of course, just click the button here, leave a review, and I would really, really appreciate it if you would leave a review. All right, Now you know where to leave a question as well as a review. Again, I really appreciate the review. You know, it's gonna help my courses get to number one, hopefully help grow my online course business here. So again, I'm gratuitous, and I hope you guys enjoy the course and learned a lot. 3. What Makes A Drum Loop Good: Okay, So in this video, I want to talk about what makes a drug Good. Now, this is a subjective topic. You know, everyone's gonna have their own opinion on what they think. A drum loop. You know what makes a drum look good? But I really think that a drum loop, for the most part, is all is kind of subjective to the actual type of genre that you're creating it for, right? Like the whole goal is making sure that drug loop suits the genre and suits that song. But I just want to read you a section from this book here. I gave you a definition of what I think a good drum loop is. Okay, So what I wrote in the book here is a good drum loop is catchy and doesn't get a knowing. The listener should be able to listen to your drum loop on, repeat and still be engaged from beginning to end of that drum loop. Sometimes it's even hard to figure out where the producer has placed there. Sounds within the loop. No, this is just something that I've kind of, I guess kind of, you know, kind of figured over the years. Like if I'm listening to a track that I really like, Um, you know, many times I'll listen to it that drum loop, and sometimes you know it is. It's kind of hard to figure out where they place their loop like sounds within that loop because you're listening and it's just kind of like, you know, it's such a good loop. It's so refreshing to your years, like it's not just so repetitive that it's boring. You know, obviously loops always have to repeat. But the whole goal is to make them catchy and make it so that you always want to keep listening more and more so. Those are just, you know, some kind of things that I think, what make a drum that good again. It's always subjective. One thing I want to say that, like a main point, is, um, your sound placement is what makes a drum good. OK, and I personally feel that, like the division between like an amateur like a professional producer is and the third why sound placement? Okay, so I just have one more line in the book here which I want to read to you, so I say I personally feel the division from a professional to amateur producer is in their sound placement. Okay? And that's what we're going to be covering in this course is to do with safe spots. You know where you can place your sounds for them to sound good, no matter what and also how you could be created with them and then to even push it further , we get into lengthy organic tools. Okay, so in her next video, we're gonna be talking about counting beats because, you know, it's pretty important to know how to count beats. Obviously, we're just gonna be covering at a basic level. And I'm just going to show you how you could be a little bit more creative than just 123 and four, OK, 4. Counting Beats With Creativity: Okay, So counting beats with creativity. So most of the music that we make in our western culture is in 44 time. Okay. And so what that means is that there's four beats in a bar, Okay, And that's it. So if we look here in FL Studio, a bar is, as you can see from 1 to 2. That is one bar, And if we zoom in on it, you could see that they have, like, the little bars in between there. So we start here. So this is 12 three, four. That's one bar. Okay, so if you hear someone say, like, a 16 bar loop, which is common for, like, a verse that is just 16 of these bars. Okay, so you would literally count 1234 all the way up here to 16. Okay, lets a 16 bar loop. So again, four beats are in one bar now again. So if we're just recounting 1234 NFL studio, how it works is each one of these is actually 1/16 note. And then in 44 time Ah, quarter no is actually a beat. Okay. So, again, I don't want to get too intense with it. But that's just the basics. So to keep it simple, each of these is 1/16 okay? And if we're gonna play on beat so we need four of these for one beat, OK, so just to keep it simple, So 123 and four Now, if I hit play, if we discount so 1234 K That's a simple as 1234 is OK, this is what you probably heard all your life when someone tries to teach you how to count bees and then to get a little bit more creative with your county beats. So I'll build this a little drum loop here with you in this video. So, for example, right now is just 1234 And typically, you know if this is gonna take a dance track, this is where you would put your kick drum on every single beat. Now you're clap. You could put on the two and on the four. Okay, So for example, just 1234 Okay, so getting super super simple, let's just get like, a high hat here, Okay? So now where you can get creative with counting beats is you could go one and two and three and four. So if I put this high hat in between beats, okay, on every single beat. So again, this is 1234 And I'm just putting it halfway in between beats k for every beat. So now this is what this would sound like. So one and two and three and four and one. And okay, so this is just a really common ah way, you know, to kind of make your drum loops have a little bit more fullness and creativity. Okay, Now, there's one more way I wanna count with you, and that's one and two and three and four. So many times you could take a snare and you could play that on the ah, so one and two. And, uh okay, so if we just take the stair here, Google with this one, and I'm just gonna play on the one and a three, Okay, So one and uh and then two and a three. And uh okay, Now, the biggest thing that I want to stress to you and this is an important concept to understand, depending on how fast or slow your temple is. This is going to determine how easy sounds are to fit within your loop. OK, so all repeat that one more time. How fast or slow your temple is is how easy sounds can fit in. Typically when the temple slower, it allows more time for the sound to play out. Therefore, you can place your sounds in, and you know it's gonna sound better. But when the temples faster, it doesn't allow this sounds to play out. And it could sound rushed jerk and sound weird. So that's a really important concept to understand that you may have placed your sounds a certain way, but just your tempos too fast. And as soon as you come up here, you lower that temple. And it could even be just like a couple a couple beats per minute. And all of a sudden you're like, Oh, wow, it just it just kind of gels. Okay, so let's just listen to one and ah, here. Okay, so I just took a stair here and listen to this. Okay, so this is actually the same stare as the snare. Sorry. As he concedes, like number two So just take another stair here, give you something like this. And a big thing, which we'll talk about later is velocity in volume and stuff like that. So this is a big factor to making your drum loops work. So if we listen to this the way it is, you're gonna hear that. This is loud. If I turn it down, it's gonna help it fit in a little bit better. So let's listen. Okay, so let's just turn it down a little bit, okay? And you'll hear just kind of blends it a little bit better. It also allows that snare to hit you a little bit harder to because we've turned down. You know, the snare that is on the ah. Okay. One and, uh, can maybe tell a bit more. Okay. So, again, that's just counting beats. We have 1234 You go one and two and three and four or one and a two and a three and a four . Uh, in her next video, we'll be talking to you about safe spots, and we're gonna be including this. Okay, which I say is the A and then this is like the B um, again, I'll explain that more later on, but again, so counting beats is just really important to have a general idea of where you can place your sounds, how to count beats, that everything is in sync, everything's in rhythm. Um, and then again, understanding tempo, and if it's faster, slow is a really important concept to understand. It allows you to fit, especially sounds in again what I call the B and E A. It allows those sounds to be played out a little bit more and allow your drum loops to actually, you know, sound better. That's not to say he don't you can't have fast or slow tempos is just one thing to keep in mind that it could sound rushed. Or it could be the difference between making ah, that drum sound good. 5. What Are Safe Spots: Okay, So in this video, I'm gonna be talking to you about safe spots. Okay? So just like my book. Um, So again, this is just a concept I have created over the years, and I just think it just kind of makes it kind of breaks it down more easy to understand, because the whole goal as a producer is knowing where you can place your sounds. And then it's all about being creative from that point. Okay, so there's three concepts that you have to understand with safe spots. Okay, so there's the on beat, the off beat and then the in betweens, okay? And we pretty much already covered that even in the last video. But this was kind of breaking it down to more specific for you to understand. OK, so again, the on beat is just playing on every single Be. So if I just right, click here and go fill each four steps. So it's 1234 You know, that's super super simple to understand. Now we're on the off beat. So again, this is like the one and two and three and four. So a school for the high half. Okay, So this is the off beat, Okay? Exactly Like I just showed you in the last video. And just to keep it simple, I'm going to put the stair on the two and on the four just to kind of give the drum, you know, that kick snare and now high hat. Okay, so so far, we've covered the r B, the off beat. Now the in betweens is really tricky. Okay, this is where again when you deal with tempo faster, slow. This makes the in betweens easier or harder to fit in. Now we have the A and then we also have the b and the a is trickier toe work with. Then the be OK. So in the last video, I showed you that I played on the one and ah, right. And then the three and ah, when you deal with the B, because again, this is a This is a This is a and this is a cannot be okay. So let me just delete these and we'll go over that one more time. Okay? So again, the on B is 123 and four. The off beat is just in between beats. Okay? And now the steps that I haven't clicked in thes are what I call the in betweens. And again, this is the A. And this is the B, because again, in FL Studio, how it works is each of these is 1/16. Okay, so this is one be okay, so we go for the one. But we need four of these to make one beat. Okay? That's just how music works. So therefore, these to make one beat again, And the thing is, just repeats over and over. Okay, so on beat off, beat A and B. That's just how I have labeled. It makes it really simple to understand. And what I'm trying to tell you is that the on B and the off beat So these two, you know, the on being off beat these air really easy. They're always gonna work for the most part. Typically, on the on B, you can always have, like, your kick drum stuff like that for the off beat, you always put in like, ah, high hat here or open hat, especially in dance. Music is a really common technique here, but when you're starting to deal with ah, the a So the in betweens A and be This is where things get tricky when you're dealing with the B. This is where you can, you know, many times, like I showed you already. I've put a snare here, and it can kind of give your drum loop of loose and Rocky and they kind of like a late kind of feeling many times. This is a really cool place to put like a kick drum and stuff like that. So, um, for example, if I removed the kick drum from the on B and put it on the B for the in betweens. So if you listen to this castle, let's take this one off here and you're gonna hear that watch if I put the kick drum on lengthy A here, you're going to see it kind of throws off the drum loop, and it doesn't really flow so well, listen, doesn't sound too bad, actually, but this over my years for me, building draw moves and stuff like that, I have just always found that the A is trickier than the B. In this case, it actually turned out really good. That kind of surprised me, but again. When you're dealing with tempo, that's gonna help these sounds fit in or not fit in. Okay, you can always kind of adjust that. So again, just to break that down Really, really simple. There's three things you have to understand. This is theon B. It's the off beat and then the in betweens and the in betweens. Having a again that's here and then they have to be, which is right here is a little bit trickier that he's a lot easier to work with. And that's just how it broken down safe spots over the years. And it's just allowed me as I'm programming my drum loops. Wanna look at this step sequencer? It's like I know where I can place my sounds for them to sound good no matter what, and then it just kind of aware of the ones that are a little bit trickier. Okay, 6. Velocity Making Sounds Fit: Okay, So in our next section of videos, I'm gonna be talking to a boat. The organic tools that you have available to you to help push your drum. Oops, that next level. Okay. And I call them organic because they're free inside of any music program that you use. A lot of people just don't take advantage of them. They always think that they have to use these expensive V is teas and plug ins and stuff like that. But the organic tools or what really helped push your drum loop to that professional level . And many times it's that the subtle moves that you make that really help your drum loop be original and really some professional and sound awesome. Okay, So, for example, some of these organic tools is like velocity panning, layering, like a note nudging sound placement sound selection. Ah, and you could even go as far as like, with e cues and, like, filters and stuff like that. Okay, in this video, I want to talk to you about velocity. Okay, So velocity is actually such a powerful tool as a beat maker. Now, velocity is actually different than volume. So depending on the vsc you're working with. So this is typically to do with, like v ST's with riel instruments. However, other via cities can have it too. But they actually change the tambor of the sound depending on how fast you press your note . Okay, So, for example, velocity is how fast you push your midi key. Okay, Is not how hard you push it. Because, for example, if you push it slowly, as you can see in the top left here in fl Studio, you can see that for push it slowly. Um, you don't have a velocity of one. I'm pushing it slowly but hard. Okay, so I push it fast, though. You can see it. This I went to 1 12 there 1 19 and I tried a warmer time. Eso I got 1 25 there, So the maximum that you can get with midi is 1 27 Okay, Now the thing is, what these developers do is they can take a range of that velocity. For example, it could be from like 1 10 to 1 27 which is like the very, very loud If you pushed your key fast and they could change the Tambor of the sound. Now Tambor means kind of like the flavor of that note. So you're still playing the same key, you know, it's gonna be the same. It's gonna be in tune that if you play that Uh, no twice. But the Tambor is like the beginning of the sound. So is a brighter is a dollar. So that's just what I want to talk a little bit of velocity. Okay, so velocity is different than volumes. So we're dealing with volume. That would just be like in this case, we turn on the volume in all these actual notes, like how they're played If we go to the actual piano rule, this is where you can adjust the velocity. Now, when you're dealing with just a single, you know, one shot sound that's already been recorded, you don't have the option of like the Tambor. OK, it's like this is the sound. This is what it is. So if you turn down the actual velocity here, or if you turn down the volume, it's the same thing. You know, that's just one way how you could be a little extra creative with your sounds. OK, but as I mentioned to you already. So when it comes to volume, it's really, really powerful to help Sounds fit in because the thing is, even though you're sound placement might make sense. Certain sounds might be too loud. And because they're too loud, they're not standing out well in your drum loop. So it might just be a matter of in the case of this drum loop have set this up on purpose. I have this high hat and I've played on every single step. And if we listen to this drum loop, okay, so that high hat, it's just first of all, it's pretty loud, and it's just so constant, like there's no bounce. There's no nothing going on now to be creative. You could take the kick, drum and side, chain it to the high hat. So whenever the kick drum plays, the volume of the high hat turns down okay, But in the case of this course, you know, I'm talking to you about, like, the organic tools. So we're gonna go to the piano roll and how I would approach this. I'm gonna hold on control and right click. To zoom in on these notes is you could just left Click these types of notes and you can be creative. Another thing you can do in efforts to do is if you right, click and hold. You can, ah, kind of make it kind of grow up from the, you know, like, one note to another note. This is really cool for, like, effects and stuff like that. But in this case, I'm wanting this high hat to be, you know, kind of balance case. So I'm just adjusting each No, just a little bit. And this is really, really quick to a just like, you know, like when you're actually making your beat and stuff like that. So this is kind of trainers went out on that one. Okay, so now we're gonna listen to this drum loop with the high hat you're gonna here has a little bit more balanced, a little bit more flavor. Okay. So, again, that is just adjusting the volume of each individual hit to help it stand a little bit more . One other example I'll give you is with a kick drum. So when it comes to your main kick drum many times, you don't want to touch the volume in a sense of the individual hits. Okay, so let's just say that this is, like, my main kick. Okay? So I'm not going to touch any of the individual notes in terms of, like, their velocity or anything like that. Okay, But if I have a filler kick drum and that's just kind of like a secondary kick, that's kind of, you know, being filled in these empty spaces. So, for example, maybe we'll get, like, a kick drum like this one, and I was gonna drag it in between. And so now let's say I play the kick here. I play it like here. Maybe like here. Okay, So if you listen, okay, so again, it all depends on the track you're working with when it comes to the instruments. In this context, it's kind of hard to relate to a real song or anything like that. But what I can do here is this right. Click go to the piano roll. And maybe it's like this one. Aiken, turn down a little bit. Maybe this when I can turn on a little bit, too. And maybe this one as well. And now, when it comes to let's say panning, which is gonna be the next video. Like when you're panning kick drums, you never want to pan your main kick But you can't be creative and you can start panning even like your secondary kick for a little bit of creativity. You know, you kind of go against the grain of what the industry always tells you. The thing is like your main kick. You know, you don't want a pan that because you want it hitting hard and everything, but you're filler drum. You know, why not be creative with that? So let's just listen to the velocity how he did there. So we'll go back to the piano roll. Okay, so again, I'm just kind of clicking this stuff and fast. But if I was actually sitting here programming this drum move, listening to it over and over again, you know, I'd sit here And these are the types of tools that I can use to tweak this drum loop to get to fit again. Your sound placement might be good. It might just be certain. Sounds are too loud. So, for example, as you can see with this, snare it here. I've actually turned down the volume of bull snares. OK, but you know, in the case of the high hat here, I actually went into the piano roll and I adjusted the nose individually to make them fit. Okay, because, you know, again like I'm saying, volume could make a sound not fit in, or it could be the difference between making it fit perfectly. One of the thing I'll show you here again. I'm kind of jumping into my next video of panning. Um is in this snare here directly to go to the piano roll. I actually went to Pan and actually panned this to the left and right. So the biggest thing after that with FL Studio is if you look in the top left, this is always like your indicator. So right now, if I hover, you can see that this is left. If I go down, it's left. And if I go to the top, it's right. So this one up and left this one up and write a little bit. If we just listen to that drum the warmer time again, with the velocity being used on the kick drum and the high hat. And now just listen to, like the panning, thes air, this types of subtle kind of moves when it comes to these organic tools to help your drum, you know, be a bit more original, okay? 7. Panning Create Space And Wideness: Okay, So panning so panning is a very, very special tool. Okay, It allows kind of more interesting sounds within our drum loop. It also gives space in our mix because, you know, if we're dealing with, like, let's say three instruments ones, a piano wins the guitar ones, you know, some other type of sound you can actually pan went to the last one to the right, and it creates space in the mix. Okay, so here's just a couple things that I want talk about panning. So, uh, like I already said So panning gives our listeners something different to hear. It creates space as well as you know, an interesting loop as well as it's great for achieving a bigger and also a wider mix. Uh, with the tricks where I'm going to show you in this video. Okay, so there's a couple ways how you companion FL studio. You can use this. Not here. This is the panning. Okay. Just right. Click to reset it. You can also pan if you send these to the mixer. You know? So for example, this is clap here. If we send it to seven, you know, you compare it to the left or to the right again, right click to reset it. Um and you can also Ah, If we go to piano roll and again if you right, click and go No pan, you can also pan this way to again. If you look at the top left, that's how you can tell if you're panning left or right Now here's the cool trick. If you hold on Ault and left click on them, it will reset. OK, So instead of trying to, like, you know, fine tune and getting it perfect you notice Hit this whole on Ault. Hold on the left, Altynbek clicking and it resets it. Okay, so that's how you can also pan. As you can see, I have panic going on here, and that is because I went here. I went to helpers and I enabled ghost channels that allows you to see notes from the other sounds within that same pattern. Really powerful tool. Okay, so what I want to show you in this video is how to take your clap. OK, we're gonna be kind of overlapping on the layering video, so I'm going to layer the clap and I'm going to pan them. And this is a really, really cool way to get a nice wide sound. Okay, Uh, so when you're dealing with wide nous, especially whiteness plug ins, you have to be careful of face cancellation and especially when it goes toe mono, because when it goes to model it your actual song Connect collapse and they sound hollow. And the way how you contest that NFL studio is you have the knob right here. And as you see again, if you look in the top left there, it's called stereo separation. So my cameras in the way, Um so right now it's on merged, right? So merging is making it mano. And if I go the left now you're removing the mono content and keeping the stereo. So what I'm trying to say is, if you're ever dealing with these stereo separation plug ins, for example, I have ascend here. If you guys don't know but sends, you guys can check Oh, fl studio mixer workflow. I break that stuff down for you. So here is, uh, you know, this fruity stereo enhancer this so you can get some wide nous of your sound. However, what it's doing is is actually delaying the left channel from the right channel, or like depending on how you set up the plug in and again once it goes toe mono thes two audio signals go together. So when you have delayed one, you can get phase cancellation, which is not a good thing. So when you are approaching it the way how I'm going to show you with layering and panning your original sounds your risk to face cancellation, you know, for it to sound hollow when it goes tamano is very, very low. Okay. So, again, to test model, you could just come here and put it to model. And that's also a really, really good practice. As you're mixing your whole song in general is to test your mix and mono just to see how it sounds. If your music ever does go to the Camano system on stuff like that. Okay, Okay, so let's just get a couple collapse here, Okay, So So right now these are my clap, but things like this scenario now, so that was a good clap, as you can hear you. No, no, I I know We talk about exclusive audio quite a lot, but I'm telling you, like their sounds or such high quality. And I just I love their sounds. Kids get something like this. Maybe this 12 and maybe we will get a one more snare. We're going on lower. Okay, so this is a practice I do quite often in my music. So what I'll do is sometimes I'll even like plague a clap here and then a clap here. And then what this is doing is it's giving each clap different sounds. So from the two to the four, it's just giving the listener a little bit of freshness. You can approach it this way. If I do do this, I make sure that it is symmetrical. Okay, So what that means is like, I'm not going to take this snare. I'm not gonna pan it left. Because since this is original, I don't want it to be like unseen metrical. So, for example, like, I may take this one and then this one and I pan this one left a pan, This one right, because they're played on on the two and the four. So since they played together, I will pan those ones because that's creating a really, really wide sound. And I'm gonna break this down for you in simple terms. Here in a moment, I'm just kind of breaking this down for you. Okay, so what I'm trying to say is because it's played both on the two and on the four, I have panned them ones. So you see, this one's to the right. This was to the left, and that's gonna create a really, really wide sound. Okay, Because you know what creates wide nous? What creates stereo is the difference between the left and right channels. So since this sound is playing on the right, well, that's totally different from the left. Okay. And when now, when the song is playing, you know, these your actual hits, your snare hit some very, very wide. Now what I'm trying to say is because, see, I played this one on the two, but not on the four. And again, this went on the too. But this one on the four, I'm not panning these ones because it's going to sound a little bit weird. Come, You know, the actual song playing. That's just been my experience over the years. So again, if I was dealing with this one now, in this case, I wouldn't pan this because I would need one more snare to get that symmetrical wide nous sounds. So, for example, let's just get one more snare, and I'll show you what I'm saying. So because now it's symmetrical And let's just bring these ones up top. I highlighted them. Go. Hold on. All in the up. Arrow key. Okay, so again, thes ones right here since this, you know, since they're not playing together, I'm not gonna pan them. Um, but now these two, since it's symmetrical like so now I can take this one. Uh, sorry. I'm gonna take this one. I'm gonna panto left. And this one, this is a pan to the right. Okay, so if you listen to this drum loop, okay. So now the biggest thing when it comes to this is it's gonna be loud. Okay, so you're gonna have to mix is in, you know, to get a nice balance in between them to get a nice even sound. But you get a nice wide sound. Now I just want to quickly talk to you about best practices with fo Studio So you know, some people are unsure. It's like, Oh, should I use thes for mixing? You know, what's the point of the mixer then? Right, That kind of stuff. So, for myself, when it comes to like panning here many times, I will just kind of do quick panning or even that quick volume adjustments. But at the end of the day, I will bring it into the mixer and I'll make all of my final decisions. But many times I won't go in like reset this and then, you know, kind of pan each individual one apply. Just leave it as it is in the step sequencer, uh, for myself, this is like the quick and dirty method. You know, like, for example, when I'm building like that drum loop. If I'm in beat making mode and if certain sounds aren't standing out many times all just kind of either quickly adjust the volume as a whole on all the sounds or, you know, go into the actual piano rule and adjusting like that. But again, at the end of the day, I like to use the mixer for the final adjustments. Okay, so one last thing I want to show you guys here. So what I'm gonna do is I'm actually going to take these k and couldn't press control. And X, we're gonna go to a new pattern. And what I want to do is I'm going to put so one is the drum loop. Give it a color F two. Okay, we're gonna put this in here. Now we're gonna go to our next pattern, and I use the number pad ending the plus. Gonna have to and just gonna go like, um, wide clap. OK, F two for random color again and enter. So I'm gonna put the clapping here. Okay, So what I'll do is I'll put the clap, you know, on the third and fourth bar, and you're going to hear the wide nous that comes in. And I'm just going to adjust thes down just a bit, because again, you know, since you're adding more sounds in, it's going to sound louder. And it's not gonna sound good, because the whole goal is you want that? Nice balance sound. Um, but I just want to show you that how wide your claps Conceicao ound by using this technique again. Um, kind of overlapping into the layering video. But this is how I can show you panning and how powerful that is. Now again, you don't have to just do it like this. Um, for example, if we go back to this drum loop and in the last video I showed you about thes snares and if we go right clicking Go Pan I showed you how I was really subtle with this panning and it made, you know, the stairs kind of cool only the left and right off, Especially if you listen on headphones or something like that. You know what kind of gave it a little bit of a different sound? You know what kind of catches the listener off guard and can it gives him a fresh listen. Okay, but this is more of an aggressive panning technique. First of all, let's just listen to the clap, because I adjusted these volumes just randomly with you, so let's just hear the balance. Okay, So what I would do from here is I hear it the snare sound. Okay, so there's one more. So what I'll do is I'm actually gonna bring the ones to the right together, OK? so these two are on the right, and these two are on the left. And let's just listen to this woman time, okay? So let's just bring that down a little bit more. And, you know, like I'm saying, if I was actually working on this myself, I would come into here, and many times I used, like, the trim I use, like, the end of the out. Many times, I'll normalize it, too. And this allows me just to fine tune these sounds to get him exactly how I want. But, you know, this is more of a kind of a quick up and running course to do a safe spots and how to use these tools. Okay, Castle, even this one here, I will do this quickly as well. I'm gonna go trim. We're gonna go out, and that's just trimming just the tail of it. Okay, so without it and then with it, case is a little bit quicker. Okay, Okay. So the whole goal when I'm adjusting these, even in terms of volume, is just getting a nice balance, because right now is I'm listening. I'm hearing the left side's a little bit louder than the right. But again, I don't want to spend tons of time on this. Okay, So again, just that clap. Okay, so let's listen to this drum loop from the beginning. And this is a really, really cool technique when it comes to building up, like you know, your song. So, for example, if you're in the beginning of verse one many times, you could be playing it like this. And then as the song starts building, or maybe only in the chorus, you can apply this technique and these now you have these wide collapse. And again, you don't have to worry about face cancellation because they're two. Totally original. Sounds that again. If you're going to test in mono, you don't have to worry about the, you know, face canceling. And that's a really, really big point. Okay, so again, let's check it out. Imagine this being like the beginning of verse one. Imagine this being like the course. Okay, You got a big wide sound now. Okay? So just to kind of give you ideas, OK, so that's just panning again. You can just panning from here. You're gonna just panning on the mixer or from within the actual piano roll. And, yeah, so even like thes snares right here. So if you listen to the drum of one more time, listen to these pants, snares, thes ones you know. So again it's subtle but powerful. It gives your listeners just a fresh listen, and that's panic. 8. Layering For Depth Variety Fullness: Okay, So in this video, we're gonna be talking about layering. Layering is probably something you're aware of, but you know you want always take advantage of it. It's just so powerful, you know, You have a kick drum you can layer, you know, high hats, you know, bongos. If you know any type of other percussion on top of this kick drum one thing you want to be careful of when it comes to you kick drum layering with sounds. Just making sure that if you are layering another sound with a kick drum that the base doesn't clash. So, for example, if I have to kick drums here, so these two Okay, let's just play them together. Case of a play them. Okay, So the biggest thing you want to test when you're layering kick drums is making sure that they're not canceling because, like I just said, with the wide nous and stuff like that. So how face cancellation works is with a sine wave, you have the positive and the negative. Okay. And if you have ah, positive and a negative playing at the same time, it's going to subtract the difference. So, for example, if the positive was like, you know, seven db and then the lower part of it, like the negative, was like minus five. You're gonna be left with, like, two. Okay, and especially when it comes to your kick drums your low end, you have to make sure that it's hitting hard. If you're getting phase cancellation, your tracks going to sound horrible. OK, so what you want to do is when they kick drums playing, you can test reverse polarity. And what that is doing is now, if you're sounds at the same time we're playing and one was, you know, plus seven in the other ones, like minus five. If you flip the phase now, you would actually have plus 12. Okay, so these are just things to be careful of and things to test again. You know how we always try to speak to you is to be aware of what you're doing and acquire these skills so that you know what you're doing. And you can, you know, use these out of like your toolbox as a producer. Okay. So again, let's just test it with the reverse polarity. Okay, so on my headphones, I hear that this is canceling out, and I hear that this hits harder. Okay, so you can also, depending on your room and stuff has an effect on that as well. But that's why you always want to test on like you can like headphones speakers. When you're doing this, types of you know of tweaking. Okay, so that's just one thing to think about if you're layering kick drums, Okay. Now, if you're gonna layer like a high hat, let's say let's mingle with, like, an open hat. It's a little bit longer, OK, so if you're gonna layer an open hat with a kick drum, you know you're not gonna have to worry about this face cancellation because, you know, typically on a kick drum the high end of so quick you know you're not going to hear that kind of stuff. Um, but what I'm trying to say is, if you are dealing with a sound that is a little bit lower and let's say it's not a kick drum, that sounds like a bond or something like that, sometimes you might have to e que use like like a low cut filter and kind of cut out some of like the lows. So, for example, imagine like the bongo was on here. Take on E que. You know. So money is a low cut filter, and you just might want to cut out some of the lows in that bongo. That way, when it plays with that kick drum that you're not getting again like that phase cancellation and you're just getting the benefit of the layer again. The layer just gives more, uh, just more of a creative sound, many times like a fuller sound, a different sound. And it just makes your drum loops sound better. Okay, So, for example, if I play this open hat and again, I'm gonna adjust the volume, because if the open, if the open has too loud, it's gonna sound bad. But again, if I make it blend, you're gonna hear it sounds a lot better. So in this case, I'm only playing the open hat on the one, okay? And I've also added in back these collapse into this pattern. That way, it would just keep it simple. Okay, So again, I've layered the open hat on the one of this drum loop toe layer with the kick drum Okay, so let's just hope to some percussion and we'll get into a little bit more layering just to kind of show you how powerful it can be. OK, so let's just take some some bongos here. So again, you sure how it's kind of Basie. So you just gotta think in context of your drum Now this base is up higher, OK, It's not like that low, lower kind of kick drum, so it's a bit lower. This is a little bit higher, however, it still has that low end to it. So again, when you're mixing your track, you just gotta be aware. Is it clashing? If it is, you may have to bring it to your mixer channel. He's a low cut on your cue to kind of clean it up so you get the benefit of the layer. But it's not affecting the power of your kick drum. Okay, these are just things you always gotta can to keep in the back of your mind. So it's take like a bongo. Okay, so what I'll do. Here's let's this layer of the bongo with these snare hits. Maybe it's later this bongo with ease. Their hits getting to turn down a little bit. They will get, um maybe just like a different sound here. So let's go to, like, metallic. Um, cast. This might be cool. So maybe I'll play it here. And then we'll take another sense tambourines and will play only the off beat. So just like we're talking about with safe spots there. So we have the one to the 3 to 4 sits on b and again. Now, if I'm going to be creative with my percussion, I can again reference back to the safe spot so I could play on the off beat here to, um and maybe I'll take one more sound and we'll play this on the be so off with the in betweens again. This is a This is the B and I play on the B and then on to be here so delicious. Listen, okay, I don't like it, but again, I'm just trying to show you what you can do. So maybe what we'll do is this one here, Lets play that here. Okay? Or Syria will play the tampering there, and me will play like the bongo baby. We're maybe just remove that bongo Okay, so let's listen. Okay, So in this case, I understand that as I'm listening, it's like the tambourines all kind of sound the same. But this is where the vault volume can come into play. So if we turn this down and we just kind of listen to him So this sound here to be created with it? Let's go to the piano roll. I'm gonna press control and down arrow. I'm gonna bring it down a whole octave. Okay? Okay. So now what? I could do here with the layering. So let's just bring these to their own mixture track. So I've highlighted those I'm going to actually click on eight. The reason I'm going to do that is because I want seven to be a subgroup. Okay? I'm just gonna right click here ago. Channel Road and Ghost wrote Selected Channel starting from this track. Okay. And let's just but F two integral tambourines sub and F two and was gonna hold on control shift and click to highlight them. Gonna right click and go to, uh, wrote this track on Lee. OK, so now what's happening is all thes tambourines. Okay? Are going to this mixer insert, which is called a subgroup. And now what I can do is that I can control all the volumes from one mixer inserts. So I'm just going to compress these really hard and again like these are things that I would actually apply within, like, metal on track again. I don't know how this is gonna sound. I'm just kind of rushing through it with you guys. Ah, but I'm just going to reference. So if I were to play a sound here on, then I'll just my makeup gain. So without compression case, that's pretty even. So, if you listen maybe more aggressive on the compression que often on the compressor. Okay. So, like, the thing is like, once I add instrument in here, I have no idea how this is gonna sound because many times, you know, a drum that can kind of sound weird as we listen to it right here. But assuming just adding some instruments in all the senate just blends, and you're just like, wow, but I'm just trying to show you that. So in this case, what I did was I just applied all these to a subgroup. I compress them as a whole. I turned on the volume of them as a whole, and it just helped it kind of blend in a little bit better. So again, layering is just super powerful. Many times, you know, you can layer on without one with the kick drum or even playing a little percussion. What it's doing is you're actually layering over top of these other sounds to and as a whole as it keeps growing and growing. You know, these sounds are layered. You create this big, full composition. Um, and at the end of it, hopefully you know, your track sounds big, full and professional. Okay, so that's just one thing to think about with these organic tools is layering. Don't forget about it. You know, try these different sounds. If you're kick drum is kind of sounded weak. Or if you're warning a different flavor, more crunch to it or whatever, just take a different sound. They could even be like, ah, snare or something like that. And you might just want to thank you. It are. You turned on the volume of it and just make it. You know, you essentially force it toe work with all these different tools. Okay, so that's layering. Hopefully kind of, you know, spark some creativity with you guys and we'll get into the next organic tool. 9. Note Nudging For Organic Beats: So when we talk about note nudging in this video now, no nudging is a very, very powerful trick with digital music production because the thing is, digital music is perfectly programmed. So in this case, with our drum loop here, all these notes are perfectly, you know, wherever it clicked them, they're gonna they're gonna play a perfect time forever. When I hit Space Bar is gonna loop over and over and over and there's no difference ever, right? So if someone a human were to sit at a drum set and play the drums, they're never gonna be able to hit everything in time. It's gonna be really, really close, but it's never gonna be in perfect right Loop after loop after loop is never gonna be in perfect time. And that's the difference between, like, real music towards digital music. Now, that's not to say that digital music sounds bad, but it's just something to be aware of that when you hit play that if your music is super rigid, kind of sounding, there's no movement kind of like everything's in perfect time, especially if you're playing chords, you know, like chord, chord, chord it can sound again Really blocky, really rigid and not musical. So that's where no nudging can come into play Also swing as well, which is right here, which will be the next video. Ah, swings of really cool way to kind of do automatically for you But known edging which are gonna break down for you just allows you to create a little bit more of an organic feel into your music. It also allows for more of a human sound again if I was going to be playing the piano and if I hit Kwan ties, you're going to see that everything just kind of get snap to grid. It can sound really, really robotic, really rigid and again digital. Okay, so how note nudging works is right now If I just right click and go to the piano roll and I'm gonna eso right now. Let's see. I can't see my notes, So I'm gonna hold on control and right click. It brings it right into zoom for me. So if I hold down Ault in the scroll wheel Okay, that is ah, volume case. That's just one cool trick, but no nudging. If you hold on shift and the scroll wheel. Okay, you can actually nudge these notes. And so what I'm gonna do is you can make them early or late. Okay? So, Lucious note nudge, These high hat song little early in the early will go late. Ah, and one thing to think about. So if I went early here and then late here, So I've actually nudged it more than what I think I have. Okay, so it's just something to think about because so because so right now, I actually measure early. So? So the actual space in between here is now longer, right? But if I nudge it to the, you know, to go late now Ah, So what's happening is they have actually expanded the space in between. So sometimes that can kind of sound weird, depending on the tractor working with Okay, These are just things that I have experienced over the years, but I'm gonna leave it and just hear how it sounds. That's just something to be aware of. So we were, like, no nudge. Maybe we'll no nudge this. So I went twice there. Go twice here once. Here, once this way. And they here. Okay, so let's just listen to this with the high hat. Okay, so in this case, it kind of sounded weird so well like this. Okay, so we'll leave it like that Now, where this could become really, really powerful is with your actual snares. So with the snares we've done layering. So it's one form of these organic tools or done panning. We didn't really, really aggressive panning. So again, that's another organic tool. Now we can use no nudging on them. And this is where hip hop, especially riel. West Coast, loose hip hop. This is a technique that they do very often, especially when it comes to their collapse and stuff like that. Just that riel loose, organic clap. OK, so if I right click and go to the piano roll. So watch this. I might make this one early, So gonna holding on shift in the scroll wheel boom will make this one late. Okay, we're gonna go to our next sound. We're gonna right click now. One thing also to be aware of. So as you can see, Ethel studio put the note here, but it's no actually there. I just made early. Okay, Just by one guest, a little step or one notch. Okay, So also, instead of hitting escape coming back here and right click and go to the going to the piano roll, you guys can also select this sounds from here, and you can work your way. You can also just use the scroll wheel to go to the next sound as well. Okay, so in this case, I made this one early. I'm gonna make this one late, okay? And I'll make this one early, cause I made the last one late and we're us worker way. So maybe I'll just make this one early and just leave that one on beat. Come to this one, make this one late, but leave that one on beat, and we just leave it like that. So now we're gonna listen to our collapse. Okay? So not a huge um, I guess change up in that. So let's actually go to just a new pattern here, and I'm just going to show you that just a little bit in more simple terms. Okay, so I have these two collapse because these the ones that aren't hand, so I'm gonna play them like this, Okay? And I'm going to right click. Come here and again. I'm just going to make this one early. I'll make this one early, too, and I'm gonna leave this one on beat and I'll make this one late, Maybe by two notches. Okay? So, listen. Okay, let's be a bit more aggressive with it. Go to more. Okay, So maybe will make this one is a little bit earlier and will make this one, actually, too. So one, too. So you're going to hear that we could push this only so far to the point where it's like, Okay, now it's sounding. It's like, actually off beat. But in this case, I'm actually able to push these pretty far without it sounding off beat. Okay, So as you can hear, it sounded really loose, really organic, and, you know, depending on how many snare sounds we have, So in this case, let's just make it just gonna reset the panning. And let's just add one more staring here. Okay? So we'll make it late with it, and we will make it Aaliyah's well, castle kiss. So that snares pretty late. Another thing, too, is the volume. So because the volume is so quiet on this, as you can see. So I'm gonna turn up, and now we're gonna hear the effect more. Okay, so that's this kind of note nudging and especially if we're going to be playing like Accord . So I'm gonna play some chords here for a second. Quickly. Okay, So have this guitar sound here. I'm just gonna put two the answer 11 here, hold on. Control in l and I'm just going to click in the sense that have available for me. So this is this is just like my template I have. Okay, so now this guitar sounds like this. OK, so for example, I just recorded these chords and with the guitar, I applied some effects, which really helps it kind of sound a little ITM or emotional, but this is what it sounds like, and then we're gonna get to do some note nudging. Okay? So in this case, like this loop sounds good, just as it is. But I'm just going to show you how to do note nudging. Sometimes it can really help a track sound more emotional or just sound better. So, for example, if I hold on the left and click it allows me to break free from the snap. So, for example, if you come up here to the magnet, you can see that you have different snap settings. And this this allows how fine you can adjust the note within your piano roll and playlist and stuff like that. But if you hold on all you could break free from the snap. So if I don't hold on all you know, I have to follow this, which is a pretty big jump. Right? But hold on, Ault. I can break free from that. In addition, if you hold on shift and this girl, well, it's the same thing. But so in this case, let's just say that my note is like this. But if I were to Kwan ties this, the shortcut is controlling Q. Okay, so now everything can kind of sun rigid. However, the benefit of this is that it's actually easier to edit because, you know, everything is lined up. What I would do is I'd hit play. I'd listen to the loop over and over again, making sure everything is in sync. You know, everything's in good rhythm, and then I would then go in and do know nudging to help more of a humanistic flavor If I feel that the track needs it again, not always. I just want to show you that this option is available. So again, all you have to do is hold down shift and the scroll wheel. Okay, So I'm just going to go maybe Dodge this one and this one once, and I just went back forward one and again. It's just really, really subtle stuff. Okay, So I don't know what this is gonna sound like. I'm just playing with it with you. Um, but you're going to hear that as we listen to this actual. You know this these courts, um, you know, what a difference it makes care. Cancer. Here. What kind of sounds weird, I guess this one. I'm gonna put late. Okay. Okay. For this one. Late as well. Okay, so I'm kind of finding when it's early. It kind of makes it sound too rushed when it's late. You know, typically, you know, even when you play notes and stuff like that, many times, it is like you're late. Not so much early, but there you go. So that is no nudging. Okay, so super, super powerful. You could be using that for your kick drums for your collapse as a showed you here. Just a matter of right clicking. Go into the piano roll holding our shift in your scroll wheel. What I'm gonna do here quickly. So I'm just going to cut this. Let's go to our actual loop. And this is the loop that I built with you. And so, since our loop is only four beats again, there's four beats in one bar, and our loop here is actually eight beats. That's two bars. Case again. 1234 That's four bars. 567 and eight says eight bars. Okay, so what's gonna happen if I hit Play The drum loop is gonna stop playing, but the guitar is gonna keep playing. So all you have to do in efforts to do is just click this. And now when I hit play, we're gonna hear the drum loop that we've created again with our all our layering and stuff like that. One thing out to be careful of is one sec. Let's go back to the other snares here. So this one here, um, I want to pound that left. And then I want to bring the volume back down because that's kind of how I had it before I get I reset. Did that just so I could show you, uh, in a more real world example when we were actually doing the note nudging for the collapse and stuff. Okay, so let's listen to our guitar with the drum loop that we've created. Okay? So as you can hear, I needed those tangerines. I didn't like the tan brings it all. I heard that the high hat was pretty loud. So, you know, I'm just doing a little quick, little rough little mix with you guys this right there. But again, this is how it sounds. And then again, you don't for myself as I'm listening to this, you know, I'm just hearing kind of more, just kind of, um it's not balanced in terms of, like, the left and the right, And, you know, just being a producer, mixing music always and stuff like that. I hear that stuff and it just bothers me, right? Like even when I'm trying to make to the course here Nice and quick, nice and fast. Those of this the kind of the subtleties that you know when you adjust them when you find to tune them. And when you get the right, that's the difference between it's like a This track is enjoyable. You got it. Okay, so that's no nudging. As you can see, I played some chords with you guys we know nudged in there. I know. Nudge some of these actual clap sounds. Um, and yes, in the next video, I'm gonna break down. Swing swing is a super powerful tool, okay? 10. Swing Automatic Groove: Okay, So in this video, we're gonna be talking about swing. One thing I want to do before we get into swing is I also want to talk to you about just the panning here quickly as well. So, as you can see, I was really aggressive in the panning. I went hard, right, hard left, that you don't have to do hard, Right? And hard left, though, Like, you can go in between, you know? So, for example, here's the cool trick. So if I'm gonna go, baby goal, it's a halfway. You can right click and go copy the value. Okay. And now the one that's also pad left, I can right click Ingo pace that value. So now you know they're panned the same. You might want to may even make it like the same panning that you don't on the left, to the right. So, in this case, what was it? Um sorry. My cameras in the way. So, like, well, 1 55 left. So I'm gonna come to the right here, and we're going to go 55 to the right care. So I'm going to, right click copy value and then same here hunger, right? Click and paste that value. Okay, let's listen to that one more time. Okay? So now I want to talk to you about swing. Okay, so what swing does Let's go to a new pattern. We'll go back to this one. So swing actually adjusts your eighth notes. So every 2nd 16th note. Okay. So for example, if we click in here in here, in here, in here and it just it nudges these notes, Okay? So, depending on how much swing you adjust, it will actually nudge this No over. Okay. And what this does is it gives your music such a loose and organic feeling. So instead of having to manually go in and do note nudging again, you know, when I came here with the collapse, right, collect went to the piano roll how? Downshift and use the scroll wheel. You know, you can use swing as well as manual note nudging. But the cool thing was, swing is that Does it kind of automatically for you and you can just put in a percentage of what you'd like now. What's really cool here is in recent versions of Fo studio they have actually allowed you to adjust How much swing that you want, each sound toe have. Okay, so how you approach it is First of all, you adjust how much swing you want for the overall song. Okay. So again in late in earlier versions of FL Studio, this swing, I believe, was only to the step sequencers, so it didn't actually adjust the swing for even like your melodies. You know, for example, like the those guitar notes that we just played. OK, but now swing adjusts everything in fl studio, adjust your piano notes like in the piano role as well as on the step sequencer. Now, in addition, you can actually click on a sound. Okay, this is your channel sampler. You can click the wrench and as you can see in time, there's swing. So if there's one sound that's too aggressive or you don't want any swing, you can simply adjust it here, which super powerful. You have tons of flexibility on how to affect the sounds When you're you know, when you're dialing and swing. Now one thing I want to talk to you about quickly is when I first started up, I actually really couldn't hear the difference in you know what swing was doing to my music ? It was more of like an acquired sound that I had to kind of train might Year two here in later years, you might hear it right away. Maybe it helps that I'm showing you, but I just know for myself is kind of like compression. OK, so for those of you who are still learning how compression works and you know the uses of it with the purpose of it and stuff like that, compression is a very, very hard plug in our hard tool to really understand what you're doing to your music. And is it benefiting it? Or is it damaging your actual music right in the same way with swing? It's like when I was dialing it in, I really couldn't hear what it was doing to my music. But in short, what it's doing is it's nudging over your eighth notes or your 2nd 16th note. Okay, so, again, each of these is 1/16 note. So 16th 16th 16th and 16th. So our 2nd 16th 2nd 16th Okay, So eighth notes are these these air eighth notes and it actually just nudges them over, depending on the percentage that you have dialed in. Okay, so what I'm gonna do is I'm going to go to our drum appear I'm going to actually view the guitar, and we're gonna focus just on the drum loop. OK, so I'm going to emphasize the amount, you know, because typically, when I dial in swing many times, I won't go like more than, like up here. So what is that? That's, like, Sorry has, like, 53%. So, you know, this is kind of like the general area of, like, the maxim I go, But many times, your tracks do benefit from a little bit of swing. Always. But many times I might just all in a little bit. And if I get a little more aggressive, typically it's around this range. I never really go full because your music can sound really, really weird. Um, but again, you can play around with it and see how it sounds. But in the case of this course, we're gonna emphasize that just a little bit. Okay, so let's just play the drums. Kayla style in quite a bit. Okay. Here it is. Kind of loose, more Okay, Now, we're gonna go to zero, okay? When I dial it in one more time, Okay? Now, like I'm trying to tell you that Ethel Studio has also allowed swing to work with your piano rule notes, which is huge now because now your whole song as a whole can have that groove, that swing sound. So let's just listen to it with the guitar notes turned on the guitar just a little bit, okay? And lets his hit play here. Dollar back. Kaysville swing. I want to swing. So listen, look at these guitar notes And there's a few things that, as I'm listening what I'm hearing. So first of all these notes are longer than all the other notes. So that's one key thing that I'm hearing that's different from the other notes. Because, you know, in your music, you wanted to kind of, you know, have a nice, repetitive sound to it. And when one note is very different from like the rest of the notes, you know, I go in and I'll correct it. So in this case, I have eight of them all. Just bring it back 11 other thing I'm seeing is that they're louder than all the other sounds. OK, so since I have them highlighted, I can hold on Ault on the scroll wheel and was going to bring that back a little bit. Okay, so what's just listen to the swing one more time? Because I kind of actually, like, I think this swing like this it sounds very, very loose sounding. Ah, little Mawr musical is like a term people say, But again, that one cord this quarter here, I think that was just kind of standing out weird. So let's listen one time, get out to apply it one that's a little bit. Okay, so let's turn off the guitar and listen to this swing one more time. Okay? So I'll dial it. And here we're gonna copy that value, and I'm gonna reset and well paced the value back in. So here we go. Okay. Really, really. Leave sounding. Reset it. Gonna paste it in. Okay. So, again, what it's affecting is it's affecting the eighth notes. So it's affecting like this note right here. This note, you know, all the way down. Okay, It's also affecting this. No, right here. It's affecting this note, but not this. No. Okay, because that's your on beat. It's affecting this note. It's affecting this notice well, for go back to safe spots. Really? What is affecting is it's the in betweens. Okay, So again, if we go back to safe spots so you know, we have our on beat. 123 and four. We have our offbeat And the thing is, swing actually doesn't touch these notes. Swing is touching the in betweens, the A and the B, they and the B, right, So I just keep doing that. So if I remove these, these are the notes that swing adjusts is your A and the B. The benefit of swing is it doesn't automatically for you. And then, you know, with FL Studio, you have the ability to go into the sound to adjust swing, or you can actually go in and manually note, nudge. If you want more creativity, a little bit more organic flavour within your track. But swing is so powerful. Typically, my tracks always have at least a little bit of swing on, and it's just a matter of playing with it. And then in conjunction with that, you can also adjust your tempo to get like that perfect groove for your song. 11. Sound Selection For Emotion: Okay, So in this video, I'm gonna be talking to you about sounds selection. Now you're gonna be amazed at the difference between your sound selection can make towards Europe from drum loop. OK, the biggest thing is the type of music that you're creating many times. You have to be really, you know, even extra selective on the sounds. If you wanted to create, you know, that older style of retro kind of feel of, like, dance music or something like that. I think back to the eighties or something like that. It's like the sound selection that you choose helps amplify that sound even further. Like now the thing is like, you know, these types of genres many times as we play the sound, that's just sound placement, like actual rhythm where you place your cords, the type, of course you're playing stuff like that. You know, that's one factor to creating that type of genre, just for example, right now, if you choose the right sounds with your sound selection, that's gonna help amplify that sound even further. The same thing with hip hop, you know, if you have, you know, kind of like a really clean kick that kick may not suit hip hop. You may have to distort it a little bit. You might have to get some kind of vinyl kind of static going on in the background. You know, these are just things to think about now as an building. My beats as I actually have my drum loop here. And if I hit play and if I listen to like this guitar at the same time, I'm gonna listen to my you know, to myself, I'm gonna sit here and listen. I'm gonna be like a Maybe that snare isn't standing out. Or maybe that snare needs a layer. Or maybe it's too loud or, you know, these are the things I think about as a hit play. So what I'm trying to tell you is that as we have our drum loop right here, you're sounds Selection is actually it's amazing. The difference it can apply to your track. Okay, So one thing you guys can do is if we right click here. If you're using FL Studio. Um, I believe I have my f p. C right here. So the FTC is a really cool drum pad. Fiesty. Okay, so for example, I have the guitar here, and I also have the FTC. And if you click the arrow you go to presets, you can select just different banks that they've given you. And I'm going to go through these and I'm gonna let you hear that. You know how this sounds. Selection can change the overall sound of the song. So right now I'm on. I think the seven or so seven bank and you can also click up here to select different loops . So right now, I just have a one loop kind of loaded up, and I clicked the loop here and she's gonna play over and over. So this is what it sounds like. This is a seven or seven bank. Okay, lets go a different bank. So in this case, I'm not really feeling that one right, like the seven or seven actually sounded pretty good. Let's try the ate away so way, Ana. So that's the kick drum. We can also turn down the volume, I think a little bit, so it's a bit loud. So here's a different vibe. Seven or seven sounded a lot better, like you noticed the sound selection. So in this case, the kick drums. Not bad, but the clap. I don't like the clap, so if we go back to the seven or seven, you're gonna hear. Like, I found that this was a really nice balance sound. So even with the kick drum, like, maybe we could layer a kick trump just for a little bit more body because the kick jumps very, very upper range in the low end. Right? So, you know, if we had a nice little body, for example, uh, let's call it the F B. C is You could just load sounds on. So let's just get a kick drum here, do some of this, so we'll load that on there. So I haven't used the EPC in a while. But what you can do is you can turn on like the master volume here. Yeah, so now we're gonna listen to the kick drum with a little bit more body and that stand. Okay, let's check out one more and again. I'm just trying to show you guys how sounds selection has a huge impact on the overall sound of your song. Okay, so what I'm gonna do is we're gonna put this F p c to a mixer insert, and I'm gonna compress it. That way we can hear a lot better because some of the sounds are kind of getting lost. The love to dynamic. So what does compress it a little harder compressing really hard. Cool thing with a A compressor like this is you can make it so that the kick drum isn't triggering thing actual compressor here, kids. So sounds like OK, like that one's not bad. It's just a totally different feel. So we'll check it like the metal kids check out the jazz kit once it loads up here. Okay, so again, I'm just trying to walk you through just kind of quickly, you know, we can actually go in and manually click and drag, you know, sounds in. But what that's gonna do is gonna overwrite the sounds. But this is kind of like what we've created. And so I went the f p. C wrote because, you know, which is really simple just to show you how the different sounds can give your song a totally different flavor. At the end of the day, I thought seven or seven was pretty nice when we layered it with against this organic kick one, I gave a little bit more body again. And then when it comes to the mixing, this is what gives the track the overall balance, the overall sound. I just threw a compressor on there because, you know, like I was saying, some of the sounds were a little bit too dynamic. Some are super love summer super quiet. Um, so yeah, so again, just think about sounds selection. Once you have actually built your song, you know you have your drum loop, you've started adding some instruments. Listen to the sound selection. Do you like how it sounds as a whole? Do you feel that the kick drum is too low or is it clashing with the baseline? Or in the case of some of the presets, we had some of the kick drums there too high and frequency. So it was like, Well, we're not really taking full advantage of the full frequency space that we have again. That's not to say that every song has to have the low, low end. Um, but just one thing to think about, like, you know, with this guitar when we had our loop going on. You know, I like the lower end of the kick drum hitting. Um, you know, so again, sounds selection is all subjective, but it's very important to keep in the back of your mind that do these sounds suit this song, And can it be improved upon? Can't you know, is some sounds too loud? Um, well, layering help and just stuff like that. Okay, So that's one more organic tool that you have available to you is your sound selection and make sure to use it wisely, okay? 12. Sound Placement Takeaways: Okay, so this is the final video. Kind of like the conclusion wrap up video, But I just mainly want to talk about sound placement. Okay, So for myself, when I first started up, the biggest thing for me was I wanted to learn where I can place my sounds within this step sequence here to build my drums for them to sound good, no matter what. I tried so many times building these different drums, different combinations, trying to find out Where can I place my kick drum for it to sound good, no matter what, Give me a different feel a different groove. And then once I built that drum loop, I'd end up just deleting it and honestly, just starting over again with new sounds. You know, it would just be a matter of Let's just say I added some sounds down here. You know, Just be a matter highlighted them in fl Studio. Hold on, Ault and delete backspace. And I would literally just delete the sounds and I would start fresh. So once you have placed your sounds, then you have these organic tools to help further make that drum loop work for you. So At the end of the day, the goal is knowing these different tools available to you, and you can essentially force your music toe work for you. So hopefully you guys like this course on safe spots again. This is This is the term that I've created over the years. So you're not gonna hear it out there in the industry. Okay, So to wrap up this video, there's two things I want you guys to take away with you. I've just written them down here. So first of all, trial and air practice in patients, those air, you know, you're gonna need those, I guess. Skill sets. You could have a lot of lots of patients, but just keep trying. Keep trying. Keep practicing, keep creating. Just delete it and start over again. Just to, you know, until you understand what's going on. The next thing is, you wanna learn where you can place your sounds and the effect that they bring to your song . Okay. So depending on your sound placement, Okay. So I hope you guys like this course on safe spots. I'm gratuitous. Let me know what you guys think. Leave a review. If you guys were watching on the hue to me and still share and stuff like that and let me know if you guys have questions on another course that you'd like to see and I'll talk to you guys in my next course.