Song Structure and Arrangement Music Course [FL Studio 20] | Riley Weller | Skillshare

Song Structure and Arrangement Music Course [FL Studio 20]

Riley Weller, FL Studio Teacher

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17 Lessons (2h 34m)
    • 1. [INTRO] Song Structure and Arrangement

      2:59
    • 2. How to Ask Questions + Leave Review

      1:22
    • 3. 1 - Arrangement is Emotion

      5:47
    • 4. 2-1 - Different Sections to Build Emotion [OVERVIEW]

      8:20
    • 5. 2-2 - Different Approaches to Intros

      3:51
    • 6. 2-3 - Keeping the Verse Interesting

      6:26
    • 7. 2-4 - Communicating with the Pre-Chorus

      9:38
    • 8. 2-5 - Change it Up with the Bridge

      7:34
    • 9. 2-6 - Hit Them Hard with the Chorus

      8:42
    • 10. 2-7 - Making Your Outro Count

      6:09
    • 11. 3-1 - Arrangement Bones Section Breakdown [OVERVIEW]

      5:05
    • 12. 3-2 - Building Our Arrangement Bones

      19:32
    • 13. 4-1 - Revealing Audio Painting [OVERVIEW]

      2:42
    • 14. 4-2 - Audio Painting Example #1 - Desires of My Heart

      22:22
    • 15. 4-3- Audio Painting Example #2 - Ambition

      16:44
    • 16. 4-4 - In-Depth Audio Painting Transitions

      23:37
    • 17. Song Structure and Arrangement - [OUTRO]

      2:44
12 students are watching this class

About This Class

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Can I tell you a secret about producing beats?

The difference between an amateur to a professional producer is the patience they put into their arrangement.

You see, when you rush your beat's song structure, you're literally CHEATING YOUR SONG's EMOTION!

It's important you take the time to continually engage your listener into your song's arrangement; otherwise, they'll get bored of your music!

The key is all about communicating with our listener. And the way how we do this is with the various tools I share with you in this course.

In this course you will not only learn song structure and arrangement, but how to push your song's emotion to that next level and compete with your favorite music.

Being a music producer is actually a really special skill; once your listener puts on their headphones, you're literally in control of their emotions.

Now, you may be able to create a great beat.  But, can you keep a song exciting, play with your listener's emotions, and understand the tools we producers have to achieve this?

Let me introduce you to a term I've coined.

It's called Audio Painting ©.

Over my 10 years of producing music, and working with a GRAMMY-Nominated artist (also releasing over 150+ music production tutorials on FL Studio), I've described this process of engaging with our listener and playing with their emotions as Audio Painting ©.

(I've also written a book on Audio Painting © which is on Amazon if you'd like more info - we cover audio painting in the course, too!)

Audio Painting © is what I use to describe communicating with our listener, and preparing them for what's next in our song.

This course will teach you how to build a song's:

  • Intro

  • Chorus

  • Verse

  • Bride

  • Pre-Chorus

  • Outro

After learning about basic song structure, we then learn how to communicate with our listener and prepare them for what's next in our song.

Again, the key to an awesome arrangement is all about communicating with your listener.

Want to learn how to communicate with your listener through Audio Painting © ?

Enroll into the course and join me as I walk you through real-world examples of my own commercially released music that is on Spotify.

You will learn how to build an intro that gives your listener goosebumps, a chorus that your audience can't wait for during your song's build-up, and adding excitement in your song's verse to keep your listener engaged.

Ready to get started?

Enroll, and I'll see you inside the course!

# GratuiTous

Transcripts

1. [INTRO] Song Structure and Arrangement: Hey, what's up, everybody? Gratitude is here, and welcome to song structure an arrangement. In this course, we're gonna be talking all about how to structure your song, how to arrange your song as well as how to be really creative with your arrangement. To make a good B is one thing. But the arrangement is what takes your beat to the next level and then even further. A term that I use is called audio painting. It even pushes the emotions to the next level. Audio painting is to do with like adding transitions and various types of like effects you can use to build up or even transition from one part of the song to the next. We cover all that as we proceed throughout this course. So what I want to cover in this course is, first of all, let's talk about some common structures. What are some common ways that we can arrange your song? For example, do you always start with an intro? Do you just start with the verse right away, or do you start with the course and hit a hard? The cool thing with arrangement is that there is no set in stone rules. But there are some kind of general guidelines that you do want to follow because it's gonna help you with your arrangement. But the really cool thing with arrangement is that the sky is the limit, and really, your creativity is is your limit. Next, I want to talk about the sections that we have available in terms of like, there's the intro, the chorus, the bridge, the verses and how you can actually use thes. I'm gonna make a specific video on each section on kind of, you know, to share with you how to use each of these sections to your advantage in your track and different tools you could use to really excel these emotions into your listeners. Another cool part of this course. What I'll do with you is we're going to take a song that's complete, but it's not arranged, and we're gonna take that. I'm going to show you all of the shortcuts to speed you up, but I'm gonna show you how to organize and structure a song, and then we will arrange it together, and that will give you a step by step walk through of you know how to go about arranging a track in the near the end of this course, I'm gonna break down various tools you could be using. And I'm gonna make a specific video on each of these just to show you the tools that you have to help with audio painting, OK, and then finally, I'm gonna walk you through just a couple of tracks that I've commercially released and that might give you some more insight to song structure, an arrangement. So this is a course that I really want you to soak in, and song structure and arrangement is something that you really have to have patients with . I hope you guys enjoy this song structure course and let's get into it. 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. 1 - Arrangement is Emotion: Okay, guys. So welcome to the first video in this course about song, structure and arrangement. So the first point I want to get across to you is that arrangement is all about emotion. Okay, You have to always be putting yourself in your listeners shoes and thinking, you know, how can I increase this emotion and make my listener get the most out of this song? And how you do that is through what I call audio painting. And what that is is you're always communicating with your listener to prepare them for what's next in your song. So, for example, you always have to have some type of transition before you go to the next part of the song . So for examples like you're in the intro, you need some type of transition before you hit your course before you hit your first verse . And just so you know, silence is also a type of transition. So that's kind of a cool thing to know. Now a really cool trick is I like to just kind of, you know, build my beat. First, I want to make sure that all my instruments that for the most part are created, like, you know, Don't get me wrong as you're actually arranging your song, you might feel I want to add a new instrument in here and you could do that. But for the most part, I always trying create my B and try and complete the instruments is as much as I can. And then what I do is I do a rough arrangement. Like, for example, if I just take this here. So I'm gonna hold on shift and click and highlight. Bring it over to start arranging like, you know, my complete song might be this right here and then it's like, OK, so now do I want an intro? I want a verse one you don't like. Where do I start from? So a shortcut in fo studio is understand a hold on control and highlight everything here and you would press control and be And that duplicates your actual pattern. And you can just do that a couple times and and so from here, what I would do is like, let's say, you know, I'm going to start removing some of these things and it's like a I'm going to start building my intro and you know, like I'm saying. So you want to build just the kind of bones? Okay, so you want a kind of structure? It's like just get a general idea of this Could potentially be the intro. This, you know, in this case, it's like, Well, this is my course, because it's like, you know, all these sounds were here. It's like, Well, these are all the sounds of the songs. That's my course. Like I already know that. But when it comes to the verse, it's like, Whoa, what is my verse? Do I want the piano tops in there? You know, and drawn with the baseline? So this is where I'm talking about the bones of the song. You want to actually just kind of lay out the song? Just a general idea. So let's go back to what I've created over here. So I'll just delete what I've done with you. So, for example, like as you can see here, my intro, it's like, maybe I didn't actually have ah, these filters and stuff in the beginning. So if we listen to this, just like from the beginning, you'll hear it kind of filters out. Okay, so you could hear the emotion is building, so I'm using a filter. So if I go to my mixture here and I think I've done this so as you can see it is opening up now, right? So it's the song starting to build. Okay, So again, it's just all about that emotion. I'm just trying to enhance it because the song already has, You know the emotion there, but you have to be using these tools to kind of pull it out even further. And again, you want to prepare that listener beforehand. That's the key, OK? And you know how you could be doing that with a reverse symbols or or even think of it to clap, like, for example, that's actually what I did in this track. But this is the sound of used right here. So it's a clap, actually did a reverse clap. So I'm pretty sure this is the same clap as you can see. It's clap 47. I just cloned it. So is like a reverse clap. And then the actual collapse. So it just sounds like this. Okay, so well, that you listen to that because you're here, it's like I've prepared my listener. I've told them now it's time. The courses, it's now right. So here we go, you know, So that didn't give you too good of a context like you'd have to listen a little further back and then you really hear that clap. It kind of hits you and it's like a It's game time hit that chorus. So if the very beginning of your song, it's like There's so much room for creativity there it's like again, Do you want to start with that intro, do you want? In this case, I used filters to kind of, you know, I started high energy, and it kind of filtered it out. Is I OK? Well, now it's gonna start building, or I also have created songs over the years where I start with the chorus right away. Boom Just hit him hard and it's just, you know, high energy right off the bat. You like, for example, a delicious They would be like intro, uh, chorus first and then course. And then now, for the second verse, it's like now I might kind of change up some instruments, and to do that it's like it is just a matter of kind of clicking in, uh, just your different patterns and seeing the combinations. And that's one of the benefits of creating songs with tons of different instruments. Because then you could be even more creative in your combinations like a lot of hip hop. A lot of times, they just repeat. So, for example, like they will have like, let's say, intro ghost Oh, chorus, verse one in the Newell course. And then it would be the exact same. As you know, Verse two would be the exact same adverse one in terms off the instruments used to stuff like that. Over my years, I typically like to always mix up verse 12 verse two to like, you know, a bridge and stuff like that. And when you have tons of instruments, you know you could make the combinations. And one thing I will tell you about that is as you progress with your song, you'll notice that some instruments can hold their own by themselves. But then some instruments can't they need a supporting layer always. So you kind of find that as you progress with your song again, every song is different. But then some instruments, you might need two or three instruments to make that one sound work. OK, so that's something again. You'll learn as you progress within your tracks. Okay, so we got a lot to cover in this course. I hope this one helps you a lot, so let's get into it. 4. 2-1 - Different Sections to Build Emotion [OVERVIEW]: Okay, So in this section of videos, I want to talk about the different parts we have for our song. Okay, So the different sections we have for, like, our arrangements. So, for example, like are in show our verses, the chorus, the bridge, pre course and, you know, stuff like that. Now, I just want to share with you. I actually use Wikipedia, you know, quite often. Like, if I ever have a question like a, you know, just type into Google like song structure or something. And, um, you know, I just kind of just get a general idea now my own music theory knowledge like by no means that have I gone to, like, school and stuff for it. But I think of this stuff in terms of when you're building a song like you kind of keep it simple, like, you know, it's a cage is you just don't have that intro. Kate and I have your chorus. Your courses like your most energetic part, right? You know, that's typically what chorus is known for. You know, we have your verse. It's like now the verse obviously isn't as exciting as the chorus. However, the verse has probably, maybe a stronger message. Or maybe you're trying to explain whatever you're trying to say, you know, in more detail. And then when it goes to like, let's say, a bridge typically like a bridge, is different from the rest of the song. And then, like, let's say, like a pre chorus is typically like again, right before a chorus, especially when you have vocals. This could make a certain word that someone says always before, like that chorus comes or something. But this is something that's really interesting. If you guys want to read Maura about song structure, Um, you know, these were probably written by very, very talented musical people, but I just want to pass it on to you. Okay, Another thing I want to pass on to you guys. And this has kind of been like a little secret that I've learned over the years. So early on in my producing career, I've realized that trance music and like, you know, a lot of dance music is very, very good at building your emotions. Okay, for example, you guys can check out this song is by a deejay melody called Sound of My Dreams. I think Cascade did like a remix of of it. You guys can check that. I will leave all of the links really list into the transitions. Listen to the buildups that they have, like a lot of times that they use like a kick drum, and they just, like, put so much reverb on it. It just tales into, like the breakdown, just kind of stuff like that. So that's been a really kind of cool one that I've discovered early on in my producing career. I actually kind of took some time to listen to a lot of trance music and really listen to, like the transitions that the use now in terms of your arrangement I look at it is there's two ways that you can go about creating your song. Okay, so when you build your song, you can just keep adding in more instruments, and this is typically how I make most of my songs again. I like the combination that I can have in between all my different instruments and then building. The song is really, really easy because it's just a matter of adding in or removing instruments the other way to build a song is to actually change up the cords and progression in the chorus when compared to the verse. And this is a really powerful way, you know, to create that emotion and to build your song. The reason why I typically don't build songs this way is because one they take a little bit more time. Two. It's like now because the court progression is different. You can't be using all the same instruments again, like you could be using the same sounds. But you have to create new parts for those sounds with that new court progression, right? Because, you know, this is a chord progression right here, and it's like the thing is within that court progression, it's like you can only be playing certain notes at certain times if you guys want more information on how like music theory and how a piano works. I have created courses on those ah one's called music theory and cords for beat makers. The other one is learned piano for beat makers and producers, right? So when we play a court here, it's like you can only play a certain amount of notes within like that chord. Otherwise, it's gonna be out of tune, and it's gonna sound weird. So, like I'm saying so if you've built the song where the verse is one set of chords, you go to the course and now it's a different set of chords. You can't be using these same instruments. Um, like and how they're played. You're gonna have to be creating new instruments. So both ways allow for lots of emotion. Um, I typically work this way because, you know, just like I said, it's just way easier to build a beat this way. You just can't keep adding in your instruments and then come chorus time. It's like you had all your instruments. Well, for the most part, like sometimes you don't add in all their instruments that, you know every song is different. But generally, you know, you just add all your instruments like there's your course. Now, as he build the song out, you can simply add in or removes sounds and, you know, make different combinations, especially when it comes divers, divers and stuff like that. Now, another thing we'll talk about in this video is bars, Okay, so if you ever work with the hip hop and stuff like that you Many times we hear rappers say like, Oh, I I spent like 16 bars or or whatever. So what that means is so the easiest way to look at this is within fo studios. So you'll see here we have the numbers up here. So this is one bar, so from 1 to 2 is one bar from 2 to 3. Now, you have two bars there. If we zoom in a little closer, I'm gonna click on the magnet here. This is like the snap, and I'm just going to be OK. So as you can see, each line is a beat. So we recount right here. So 1234 and then it is repeats. So 1234 and that's it. So when we're talking about hip hop and they're talking about those 16 bars because that's really, really common. Okay, As you can see, I even had a 16 bar adversary here, So, as you see so 1234 1234 So 81234 as 12 1234 So 16 has a 16 bar loop. And so if each bar is four beats, OK? And if we times that by 16 bars. Okay, so that means that there is 64 beats in those 16 bars. Okay, just to kind of break that down for you. And that's how simple that is. Okay, so it doesn't have to get any more complex than that now, typically, when it comes to like, let's say in intro, a lot of times it might be like an eight bar intro, and then you go to like a chorus. As you can see, it's like this course eight bars here, Um, another really common way for your choruses. Like so right now, As you see, it's 12341234 slots. Eight bars, Right? So sometimes in the beginning of the song, So, for example, ever intro, right? And then it goes into the chorus, and the chorus only played for eight bars. Okay, we played our 16 bar verse. We played the course again for only eight bars. Now, when once near to the end of the song, as you can see, I played the course for actually 16 bars, so sometimes you want a kind of tease. The listener as they're listening to the track. It's like a So you gave them a little taste test of the chorus you listen to like the rest of like the verse like Kate. You kind of tease them again. And now it comes into the big chorus. And, as you can see, you know how, like a riser at a snare role. And it goes right into like the big chorus has played for 16 bars and then goes right to the Outro. So, like I'm saying, there's no, you know, set in stone rules in terms off. You know what you have to have in terms of, like, how many bars you have to have for your insurer or how many bars you have to have for your chorus. Um, I'm just gonna pass on common tricks and techniques that I've done things that I've seen, as you know, over my career, creating music. But a lot of times like music is kind of symmetrical. So, for example, it's like you don't just want to have, like, a ah, 15 bar loop, you know? I mean, like like sometimes that might be weird, like it just kind of sounds weird. Sometimes what I have done is so if I have 16 bars here, sometimes I might take out this course and I might just nudge it over one full bar and then right here, You Sometimes you can add something in here like a big a totally different sound After you've done that, It kind of throws off your whole arrangement, for example, because if I move this over right, it's like now you adjusted the whole song over one bar, and if you had that kind of like a little transition right here, like one full bar transition. Now you've moved over The whole song kind of screws up your structure a little bit, like, you know, not so much from a listening standpoint, but more from a visual standpoint, it's like, now you're choruses, starting on the second bar when it should be here. So in her next video, we're gonna be talking about the intro, okay, and different techniques that you can apply to your intro to help build that emotion for your listener. 5. 2-2 - Different Approaches to Intros: Okay, So in this video, we're gonna be talking about the intro. Now, not every song has an intro again. It all depends on the song you're working on with this intro. It kind of started off aggressive. And then if we just kind of look at the automation clips here, So just as the song progresses, you know? So first of all, it starts like this and, you know, it kind of builds down. And then, as you can see the red out of mission clip here as it increases, you'll see that the filter increases. Right. So this is this building the tension and the emotion for the listener at the beginning of the song, and in terms of the length, it could be a four bar intro. It could be even longer than what I've done here. It could be, you know? So, like, I'm saying, there's nothing is written in stone. Now, another thing I'll share with you that's really cool for an intro. Um, is you can actually play like a totally different melody or have, like, a type of interlude, or, like, you know, spoken word or anything for your intro. You know, this is really, really common in, like, you know, albums that we've all heard over the years. OK, so if loaded up another track here, This track is called What's inside and is often my beat takes by gratuitous volumes six. If you would like to check it out, it's on Spotify where you can download it for free on my website. Now I've applied a technique in here and I've created a course on this is called Sample your own music and the whole point of the courses to teach you how to sample your own music to avoid copyright issues. Let me just break down how I approach this song and then I'm gonna show you the intro. OK, so we're going to go to the sound here. So this is the actual guitar sound that is used for the sample. So I just took a single guitar note and I, you know, made a melody. Okay, so I recorded that into Edison, which is right here. And this is the loop. It sounds like this. Okay. And then now I went to slice six. Slice six is a really powerful tool within FL studio where you can drop a pure sound. And I literally just drag this in and drop it into slice six. Okay? So as you can hear, I processed it a little extra. Because when it comes to the sample, this is what I've created out of that loop. Okay, So, listen, As you can see, here's the samples, right? So what I'm trying to get at is the intro or so, Like I was saying for the last point there you could be playing, You know, your intro, a totally different melody or some type of interlude at the beginning of the track. Okay. And I want to play this for you because even though I've used the same guitar note this the way high plate is totally different from the rest of the song. So let me play that for you. And as you can see, the kind of play fast, as if I kind of like this. Okay, like on a midi keyboard. And so let me play that for you, and it might kind of inspire you for an intro for yourself. So here we go. Okay. And let's just go to the chorus just so you can kind of hear the track. So here we owe. That's kind of what I want to talk about with the intro. As you can see, this was only a four bar intro. I played a melody that was totally different from the rest of the track. I just, you know, it was just kind of totally different was kind of sporadic. I'm just trying to get across to you that you don't have to be following the common things that are out there for your intro. Not every song has an intro, but if you do have an intro, it's like you know, why not be creative and try things like I'm showing you right here So hope that gives you some inspiration with your intro and let's move on to our next section. 6. 2-3 - Keeping the Verse Interesting: Okay, So in this video, we're gonna be talking about the verse. Now, the verse is where the real message of the song really gets portrayed. Like right. So the chorus, you know, it might be a really catchy chorus, but the verses, What is really trying to describe that message to your listener And the thing is, inside of verse A lot of times, you know, you might kind of think it might kind of sound boring. Now when you're creating an instrumental, that is something that you kind of have to start to learn as you produce your music. Because when you have vocal, it always makes the verse sound fuller. If you don't have vocals, sometimes it does get a little bit trickier. Which again, which is why I like to have multiple instruments to help, kind of create different combinations so I can have a full verse as well as a full course. Now, as they mentioned, really, really popular in hip hop is to simply just have the same verses repeat over and over and over. So, for example, I have Macoris right here where, you know, I've just added in all my instruments and Then I removed a lot of the high energy instruments and just kept the verse and, as you can see, you know, goes back into the chorus. But then we go back to the verse again, and in this case, it's like if these weren't here, these are the exact same, right? So in this case, I actually just did rinse and repeat my verses. Ah, a lot of times I do at least add in, like, one new instrument or something in, like the second verse, as that just kind of I don't just gives my verse a little more flavor. Um, that way of my listener isn't always listening to the same thing over and over. And I kind of create different combinations throughout the whole progress of the song. Now, inside your verse away to mix it up is a lot of times you can start doing things was like the drum loop. This just kind of zoom in here. So what you can do is let's make this maybe, like, 1/2 beat on your drum loop. A lot of times you can kind of be mixed it up, like around here or something like that. So you know, you might, like, repeat or something, or he might have some silence. So, like, let's say it comes in, comes in and then maybe you'd have, like, some silence right here. That is how you can kind of spice up averse to kind of, you know, give it a little bit more flavor rather than just constantly like the same drum loop over with the same instruments. You always want to kind of change things up a little bit, but not in a way that pulls the listener's attention away. But they're still focused on the verse. But this kind of you know what kind of spices it up a little bit. And remember, silence is actually a really, really powerful tool and transition. Now again, with the verse, there's a really, really fine line between it's sounding boring your because again, if there's no vocals involved with it. But if you don't have vocals like like I was saying so you gotta try and find a combination in between your instruments so that you know they actually blend together and it complements the song, and the only way how you'll find out how to do that is once you have built your song like with the chorus is you literally just want to play around with the different combinations. But you can also be used in, like, different transitions and stuff like that, Like a reverse symbol toe Add in a new sound or there's tools out there that's like a tape stop. So, for example, D blue glitch, uh, the creator of Plug and actually has two versions of paid and a free version. And as you can see, like this plug in allows you like a tape stop modulator, so you could be really, really creative with it. Okay, so play from here, you'll see that this sound actually starts playing. And then again, I use my mixed knob. Okay, so I turned the effect all the way down to zero. I right click create the automation clip after I highlighted. OK, So, like a highlight of the area. And again, the reason why I automate the mixed knob is because otherwise this effect since it's on the master, it would constantly be using this re trigger right here. Okay, this is the re trigger. Um, if you do use this plug in, um you know you can you click on the sound here, you would click it in. And then if you want to put, you know, if you want this plug in to stop, you can create another section by clicking like the blank here. Okay, so we'll let you listen to this, just like the re trigger. Just to kind of that you hear, like, these are the types of tools that you could use, like sometimes in between your verses. Toe help. Kind of speed it up. In this case, this isn't like the greatest example, because it goes from the end of a verse into, like, a bridge slash kind of breakdown here, but let you listen, OK, okay. So, like, that re trigger, that kind of gives you, like this kind of that kind of sound and really like that is all from pretty much this plug in right here. You know, this products of reverb and stuff going on as well. Another thing with the verse two is at the beginning of the verse. You know, sometimes it is this kind of little bear, like, you know, obviously is still catchy with the track, right? That's the whole goal. It's engaging to the listener, but you have to always leave room to set yourself up. So, for example, let's say our versus playing like this, right? And in this case, I actually didn't use a transition to add in this piano, which is pretty rare, like Typically, I would at least have like, a reverse symbol to bring this in. But it must have sounded fine the way it waas, but again, So as you can see, it's like, you know, from here the 1st 8 bars, you know, it's just pretty, like pretty basic. We have a kick drum, piano pad and a base. Okay, that's all that's going on. And then again, you know, typically you want to use some type of transition when you're going to bring in a new sound . But what I'm trying to say is so at the very beginning of the verse, you know, it's pretty basic, and then, as you can see restoring toe, add in another instrument, and this is how you can kind of build up that verse to give it more energy before it hits like the chorus or before you know, it changes up into like a bridge which will be covering in a future video. What I'm trying to say is, you want to kind of leave yourself room to kind of keep building up? You don't want to just in the case of the verse Anyways, you don't just wanna have all the instruments there, you know, like you want to be able to build it up and typically, like your high hat is a way to do that, For example, like, let's say, appear to hear you have like, ah, hat that plays on every beat. But then, from here to here, you might have a high hat that plays a little bit faster. Okay, so, for example, if we go to, like step sequencer, let's just go like a new pattern here. So instead of playing like let's say, on every single beat like this, you might add in it to play on like every two steps. So it's actually playing like this. OK, so hopefully that inspires you with your verses again. You know, typical hip hop is, you know, they just rinse and repeat this verse over and over again. I typically like to have multiple instruments so I can create combinations for amore engaging, listening for my listener. Okay, so let's move on to the next section 7. 2-4 - Communicating with the Pre-Chorus: Okay, So in this video, we're gonna be talking about the pre course, so the pre course typically place after reverse, and it just prepares the listener before that course. Okay. And this could be maybe a certain set of instruments that you don't play anywhere else, or it could be instruments that are within the chorus. But maybe the's instruments never play inside the verse or whatever. In other words, you're just communicating with your listener and preparing them for the course is coming again. That's to do with, like, this audio painting and preparing our listener for what's next in the song. I'll cover audio painting further on in this course. Okay, so with the pre chorus, I actually have two examples that I want to show with you. Okay, so one would be like right here in this track. Okay, you can hear it's like this is before the course is building up. Its preparing the listener, getting them ready for that course now quickly is talk about a bridge. We'll cover that in an actual separate video. But ah, bridge is something that's totally different from the song. Typically, it's only played once in the song and it's totally different from everything else in the track. A pre course is just after like a verse, and it just prepares that listener for the chorus again, with vocals. Sometimes it could just be like that, that one catchy line that someone says So in the case of this track, I actually had this kind of build up and like, this would kind of be like a pre course because I'm preparing that listener before the actual course. Okay, so I actually didn't use the Capri course here, and then this was kind of like off like the intro on then just kind of built some excitement, so I wouldn't really consider this Pre course. I would save more around here. This is kind of like the buildup, so I'll play it from here and then in our next example is actually a really, really good example of a pre course. Okay, so here we go. Okay, it's gonna build up. Okay, Now it's in the course. That's probably not the best example of a pre course, because it really only happened once in this track. But what you could do is like so after this verse is done Instead of going right into the chorus, I could have played, you know, just all this right here. You know, I could literally just kind of copy and pasted this over to help build in that chorus. So that's a really common thing that people do is, you know, little kind of rinse and repeat the song structures is that they've created. And then it just kind of it lets the listener no, it's like Okay, now the course coming in. So let's check out the next example of a pre course I mentioned in a previous video where you could play like a transition within, like a full bar. You know, the the full four beats here. And what was gonna happen was that your whole song structure is going to kind of screw up on the grid. As you can see here, it's like, you know, it's like nothing is really in order because what's happening is this is my pre course right here, okay? And as you can see, I've just copied it over. So if I hold on shift and click, you can see that it's gonna match up perfectly right there. And it's also gonna match up perfectly for the most part right here. So in this case, I took out the drums at the top. You can even see I've done it again here. So it's the exact same thing I've added, like a filter in. But as you can see, I keep repeating this pre course over and over and over. So how I approach this pre course was different from any other pre course I've ever tried before. And it worked out really, really good. So what I'm gonna do is I'm just gonna copy this course here and just gonna hold down, shift and clicking. Duplicate this over here. Okay, so a typical grid on FL Studio would be like this, but what I did was I actually nudged this over one full bar, okay? And I'm going to grab that pre course we'll grab it from right here. So on his click up in drag, and then I'm gonna hold on control shift and just click to grab this last one. And now it's gonna drag this over. And this is what I did to add a pre course. And it turned out really, really good. Okay. When I let you hear it. You hear that? It's just kind of like, OK, the verses done. Now it's gone into the pre course, and now we're getting ready for that chorus to him. So again, this was kind of a unique approach because, you know, if the verse was like here, for example, right, So the verses like playing like, normal on. Like, you know, we have a four bars here, Whatever. Now it's gone into a pre course, which totally throws off our arrangement in terms of the grid. Not so much in terms of listening, because this is being used to prepare the listener. But now you know, our grid looks kind of weird because now it's kind of overlapping into like, ah, bar, which should be like the beginning of the next verse or whatever just prepares out listener . Ah, that the chorus is coming. Okay, so let me just let you listen to the very, very beginning of the track because actually started the beginning of this track with the pre course. It's really, really high energy, and it's just it hits hard. Okay, so here we go. Okay. So as you can hear, it went from that pre chorus rate into the chorus. Now, typically, you know, you might hear that. And you're like, Well, that was the intro. It's like, Yeah, but I actually use the pre course as the intro because as we progress a little bit further okay, I'll play it for maybe around here and you'll hear that. You know, the song is going to start progressing. Maybe we'll go back to about here. So all that this play into about the course, Okay. And again, we're gonna listen to this pre course, which is the exact same as our intro. I've just used over and over and over again. So let's check that out. Okay, so there's two things I want to talk to you about their. So to go back to the verses. As you can see, I have allowed myself to keep building up the verse, you know, continually engaging my listener, keeping that excitement up. So the very, very beginning of the verses you can see, you know, it's pretty bland in a sense that, you know, the pad isn't playing right, like over here. So this is Ah, you know, the beginning of the verse, right? then also, we add the pad in. It adds tons of emotion. It's a very, very big sound. This pattern, this track. And then I add in the strings and a pad layer. And again, it's adding into that emotion. Now, the key trigger that I used to let my listen, I know that the pretty course was coming with silence. Okay, As you can see, I literally removed the drum loop right here, and we'll listen to that again from right here. So listen to the silence as soon as the drum loop is gone, it's kind of like, OK, it's something's gonna happen here. A change is happening. Okay. I've indicated to my list in order that the drum loop has stopped playing. Something gonna happen. So here we go. Okay. The drum loop. Pre course. Okay. So pretty cool how this track turned out. Like I'm saying, I've never really used a pre course this way. And it turned out really, really good again. It kind of threw off the grid, but in terms of listening, in my opinion, it turned out really, really good. And then ah, again here I used the pre chorus and, um I'll show you. I use the debug, which again for another Ah effect. Here and again, I just automated the mixed knob. That way it's not constantly on, so that's pretty much a pre course. Okay, so typically comes after reverse, and it's preparing that listener before the chorus again. When you have vocals these elements in terms of like the song structure intro, your chorus, pre chorus bridge, all that kind of stuff, it's kind of easier to describe to your listener what section is what section when you don't have vocals. Sometimes it is a little bit trickier, but in this case, you know, I think this is a pretty good communication with our listener. It's kind of like a This is a pre course. I've repeated it multiple times throughout the track. So just to give you some more ideas about, like a pre chorus like again, you guys to be used in the maybe like ah, clap that has tons of river like I showed you in the previous song, The Desires of my heart. You know, I had a clap with a lot of reverb, and it was just before the chorus again indicating toe our listener. OK, now it's time. The courses coming. Get ready. You know, um, you could be using again, like, silence, which I used here, which was actually a very, very effective way of preparing our listener for what's next in our song. And then I hit the pre course right here, and then it just went to the course. And this is just like what this sounds sounds like. Okay. And then this is actually the same sound up here. Typically, I do a lot of stuff like this. Um, you know, I, like take a sound, and I'll just like you Don't take what I want out of it. And that's all I did right there. Okay, so this is the same sound. I just played at the very, very beginning for my pre course, and it turned out really, really good. So if we listen Okay, so that's the pre course. Let's move on to the next section. 8. 2-5 - Change it Up with the Bridge: Okay, So in this video, we're gonna be talking about the bridge. Okay, so the bridge is typically used to break up a track, and for myself, I typically will try a combination of instruments which I haven't yet used anywhere else in the track to give it a totally different sound. Um, and yes. So the bridge is really used to help kind of break up the track. So, for example, if you're always, you know, intro, chorus, verse, recourse, chorus verse, you know, if you're kind of stuck Ah, bridge. Kind of all of a sudden comes in, and it totally mixes up the track. It kind of gives it a fresh listen for your listener. Okay, Now, these bridges are typically quite short in comparison to like the rest of the track. So we're thinking only, like, maybe like, like, four bars, maybe eight bars kind of thing. And then we'll either kind of go into the course again, or you can bring it back into, like, let's say a first. So I'm going to give you two examples. So in this track, desires of my heart right here is kind of like a bridge. It's kind of more like a breakdown slash bridge, Um, in this track, You know, I didn't play these instruments, this combination of instruments anywhere else on the track. So this kind of breaks up the song, Okay, Kind of slows it down. And if you were to listen, it's kind of like, you know, the an artist with vocals could say something totally different over this track. You know, maybe, like a really meaningful point, which maybe is a little bit different from the rest of the song. Okay, So how I used it was I went from universe to because again, 1st 1 and verse two. Or like the same. Okay, so the 1st 1 it's like right here in the inverse to would be, like around right here. Um, And as you can see, the only difference again was just like this. Ah, this symbol sound. But then I broke it down. And as you can see, I had a quite a big little transition from right here. So how about this? Like, little sterile. And I'll break this down for you in future videos. When we get to let the transitions in the audio painting and stuff like that. But it sounds like this, okay? And it sounds really cool in context of the beat. But as you can see, I used a transition to kind of break down into this bridge. Kind of letting the listener No, it's like, Okay, change it up for a second. And then I used a transition again right here. Just like I showed you in a previous video. I just took one of the sounds and then I literally just did this and then I remove the beginning of it, and that was this sound right here. Okay. And this riser just sounds like this. OK, But then come in the into the pre chorus. You know, the riser sounds more energetic because it's longer. Okay, this is more engaging for that listeners. It is building up its rushing. It's like that emotion feeling and then boom chorus. Right. Okay, so let's talk about the bridge a little bit more. So, like I'm saying, I went from verse two, and it's like, Okay, time to mix up this track. I use some transitions here. And then, um, it just broke right into the actual bridge here and again. I use the deep blue glitch. Which was this This plug in here against the totally free and it's just such a powerful tool. It's so great to kind of manipulate your track and prepare your listener for ah, change up, right? Like in this case, I went from first to in into this what I'm calling a bridge camp. So let's just listen from the bridge and will go into the pre course. And then we'll hit just a little bit of the chorus. And then we'll hop into our next song and I'll break down a bridge there, too. Okay, so here we go. So from the transition into the bridge, okay. And then into the pre chorus, and then we'll just play. Maybe just a little bit of the course. Okay. Okay. So it kind of broke down, and then I use a filter here to even solidify that even further. Okay, now it's building. It's like the pre course. Okay. And that would hit the course there. Okay, so let's go to our next track. Okay, So this track is called independence again. It's off of my beat. Taste by gratitude is volume eight and the main element of this track is the synth chords, okay? And actually used it as an intro. So if you listen to this, Okay, so that's just the intro of the track. Okay. You know, it gets into, like, some drums and it starts building up. Okay, We're going to the chorus. The chorus is pretty Is pretty. Ah, high energy. I have a lot of symbols and stuff going on here. So, you know, these symbols were here. Okay, So if we listen to that, just the chorus just to give you a little perspective of the song before we go into the bridge. Okay, OK, but the main element is the synth chords, and you'll notice that where I stopped playing the synth courts is at the bridge. Okay. Actually, quite a few of my songs have kind of followed the same structure, so, you know, have a little intro. This kind of built up into the actual chorus. I have the verse, and as you could see, like, you know, this 1st 1 is pretty much the same as this 1st 2 here, except right here is kind of like a little pre course. So, as you can see, you know what went from my verse two and Verse two would just sound like this will play this pre chorus will hit just a little bit of this chorus And then I'll show you that, you know, because I didn't play the synth chords. It makes this like a bridge. It makes it totally different than the rest of the song. And again, from an artist standpoint, where they would be recorded their vocals, they could say something totally different here and just gives the listener just a different perspective on this song. Okay, so let's just play this and will listen to the pre course into a little bit of the course. Okay, So from the end of the chorus, we're gonna go into the bridge here again. The synth chords. This blue pattern is not placed. Okay, like a totally different kind of flavor. And then you'll see that I bring them back in. Okay, right here. But as you can see here, like, I would consider this a bridge because it's just totally different from the rest of the sun . Because I took out the synth chords and I allowed a different combination of these instruments to play together. Okay, so just a little overview of a bridge again. So a bridge is typically used to kind of break up a song, okay, To kind of, you know, change up the structure and give your listener different. You know what kind of a fresh listen towards the song that's typically pretty short in this case, you know, this was maybe a little bit longer bridge. I used eight bars instead of four bars. Um, and then I typically like to use different combinations off instruments here to let the listener know that this is just a different part of the song. Let's break it up a little bit, and then we can work our way back into the course or, you know, kind of start working towards the end of the track. 9. 2-6 - Hit Them Hard with the Chorus: Okay, guys. So in this video, more talk about the course. Okay, So the chorus is really what the listener is waiting for in your track. It's where they get the full experience of, like, the whole song. This is what you really built the whole song up for is the chorus again. You know, there's two ways to kind of build that choruses. You can just add all the instruments and that's the full song. Or you can go the approach of change up the court progression of notes. Now, from a mixing standpoint, you have to be thinking about what are your main elements. And when you decide that you can actually through the mixer extra process, thes certain elements, you know the certain instruments to make them some bigger and, you know mawr energetic. And, you know, you could do that through things like parallel processing like reverb, distortion. Ah, wide nous, chorus effects and stuff like that. If you guys were more information on the mixer, you guys can check up my course at full studio mixer workflow. In addition, when it comes to the course, you can also automate certain effects to turn on Onley in the chorus. I actually automated distortion on a certain instrument to turn on only in the chorus, and it's horribly changed up the sound. Okay, so this track is called showers. Love again. Off my volume. Sixth be tape. And so here is the lead taps. Okay, so it's this one right here. And so in the verse, it sounds like a plucked sound. And I'll let you listen to that. Okay, so it sort of sounds like in the verse, but down here, as you can see, I have a blood overdrive. And this is just a plug in a distortion plug in that comes native with FL Studio. You can use any distortion plug in and you'll hear that it changes as it mixes in. And then come the chorus time. It adds so much excitement. Okay, so I just played the lead taps from here again. As you can notice, I use the mixed level against if we go to the mixer. You know, I turned it all of it down, then created the automation clip, and then I automated it on because they only want of this distortion toe happen when it hit the chorus Okay, so let's play it from here. So as you can hear for one, it got more exciting. It got a little bit louder. Um, and it also sounded longer. Had a longer tail. Okay, listen, one more time, and then we'll listen to it in context of the actual whole song. Okay? So again, it got louder. You got more energetic and it got longer, okay, with more sustain. And that's because distortion is really, like a form of limiting and compression, just super super aggressive to the point of your adding more harmonics and mawr fullness to that sound, more frequencies. And it's just adding more tail to that sound. So one more time. Okay, so let's just check that out in context of the beat. So I'll play it from ah, maybe around here before the lead taps comes in. And then you're going to hear that because of my automation. Now this lead taps totally changes up on Lee for the chorus. Okay, I allow my listener to just get the full experience of this track, and it's just full of energy. So again, play from here, lead taps comes in. Let overdrive is not on we get the actual real taps and then chorus time we get the distortion you can turn off. So, as you can hear is just way more exciting with that blood overdrive. Right? So that's a really cool approach to working with a chorus. I use the same instrument, all throat the track here. But then come chorus time. I automated some distortion, and it was a totally different sound at way more energy to the chorus. So again, when it comes to a course I typically like too many times like Tease the listener with kind of like a shorter course a short, of course. And then all this and then you hit him with a big chorus That way, you know, the song was already kind of progressed and also in Boom. Then you hit him and then they get to enjoy it kind of twice. Okay, when it plays twice, it's just kind of like, almost like what they're waiting for, like that whole time. Don't get me wrong. You guys could do whatever you want. You complete the course twice here at the beginning or whatever, but sometimes I just find it might just be a little bit too rushed. It's kind of like you rush like that relationship, okay, instead of just kind of, you know, taking it step by step, getting to know what the song is. All a bow and then all of a sudden, as it progresses Once you kind of get into the middle of the track, then you know, now it's time, okay? It's like let him have it. Let him enjoy it. I'm talking like here, so if you could see I played the chorus twice. Right? So this is 16 bar course. Where is here? This is like, uh, an eight bar chorus K. So 1234 5678 And as you see, So I went from an intro to, of course, I went to reverse. Had a little breakdown here. This, I guess, kind of like a This would be like my pre course K. So I added, like, those lead taps in without the distortion. And then it hits that. And then, as you can see here again, you know, here is the lead taps again. And this right here, this is probably just in automation clip just to kind of filter out those taps. So again, the reason why I did that is just because, you know, maybe I like to kind of filtered out around here, and we start building up for the track. And the reason why I opened up the filter to is because I added in this blood overdrive. And as you can see, if you watch the mixed knob down here, So when the tracks back here, you can see the mixed knobs at zero. Right? And then when I increase it, you can see that the distortions increasing. So now we have the full amount of distortion, and I've also opened up the filter. So that way, you know, we get, like, the high end of the sound, whereas back here, it's like, you know, I've filtered out, Uh, this lead taps in context of the track. It's kind of like, you know, I'm letting the listener No, it's like a starting to build. And then I opened up that filter, as you can see, right here kind of opens up. And then again, we have the fruity blood overdrive. Um, just to increase that distortion. Okay, so that's kind of the structure of this track on. That's what I did for the chorus. The really the biggest element was this fruit. You bled overdrive on this lead taps. But earlier I mentioned about you know, when it comes to your course, you have to be thinking about what instruments are a part of that course. Like you know, what do you want to be front and center? And when it comes to those instruments, it's like you want to make sure that you're mixing them so that they, our friends center they are like the most important part that without that instrument playing, it's like you don't have a chorus, and that really comes down to a couple things. First of all, is the actual melody catchy? You know, that's probably the most important second of all. It's like How have you processed it? To make it catchy, You know, as you can see, this lead taps here. You know, I've done a lot of signal routing again. You guys can check out my fo studio mixer workflow, of course, to learn about the mixer. But as you can see, if you follow the cables, it's like I've rode the lead taps toe like a stereo wide nous send, and this just helps with wide nous helping with Mick. It's on bigger. I have some reverb on there has been delayed, and a cool trick I'll pass on to you is sometimes What you can do in the chorus is as this course is playing. If you really don't know, you know, like what instrument is really kind of the front and center. What do I want the instrument to be for the chorus. Sometimes you can kind of turn up an instrument, just, you know, just his volume. And you just kind of make it louder than the other instruments and just listen. It's like Is that the one that is the front and center? Um, and you can kind of go through each instrument and you then you know that is a way to kind of sift through your instruments. But sometimes your course could actually maybe just be as a whole, like it's just like a soon as all the instruments come in, it's like as a whole. It's like it has sounded like a good song. Okay, but for the most part, typically you will always have with that one or two instruments that come into the course and they're big sounding there front and center. And without them, you really don't have a chorus. Okay, So again, ah, chorus really is the most important part of the song when it comes to excitement. And really it's like that is what people mostly remember from a track, you know, if they always can't wait for that course to come back in. Um, that's really you know what a song is known for most of the time. So hopefully that gives you some inspiration with your chorus. You know, again, my structure, as you have seen in recent videos so far, is like, you know, what kind of teasing with my course. And then I hit him hard with, like, a full course, a 16 bar course. Um, you guys can approach it however you want. Sometimes, like a chorus can be like at the Outro, and you can kind of keep playing it and then you use like a master volume fade again. You could just, like, highlight this right click like the Master volume fader, and you can just kind of faded like I'm saying with arrangement, the sky is the limit In a sense of How do you want the song to sound? And you as the producer, the mixer, The arranger. You're in control. 10. 2-7 - Making Your Outro Count: okay. And the last video about our sections is Theo tro. Right? So the outro really has an emotional effect on the song. So there's lots of different approaches you can take to your Outro like I already mentioned in the previous video. You know, if this is like the chorus, you can kind of just keep repeating the chorus, you know, highlight it. Um, with the master Fader, you create automation clip, and then you can just kind of faded out as the chorus kind of keeps fading until silence. For myself, I typically always like to kind of combine a bunch of different elements and really just kind of build an interesting outro. A lot of times, you know, I might play like one single drum hit near the end or might have, like, a clap with, like, a lot of reverb on it, like the tail of that reverb just kind of go to the end. Um, or sometimes I kind of like play around with, like, my my high hats and percussion elements, and I kind of chop them up and I'll play them only at certain times. And this is only a lengthy otra I just kind of totally mixed it up. So in the case of this Outro, there really wasn't anything special that happened. Um, I'll let you hear it though. Okay. So, you know, in the case of this song will play just from, you know, the last two bars of the chorus will hit play here. You can also see that I used this reverse symbol and this actually had a big part of the Outro. You just really let the listener No, it's like a now the song is done. So here we go. And they used this filter to help with the emotion. Remove the kick. Okay, so really, there was a couple things that really helped push that to be like the end of the track. The filter helped with it. However, as you notice back here, it's a I used the filter earlier on, and I use that to let the listener No, it's like OK, well, now the track is actually building, So from a listener standpoint, you know, it can kind of be confusing, cause, like, you know, as they're listening, they could be like Well, is the song gonna continues? Is it going to keep building hit like another course or something. Or is it going to end here? You know, because you kind of see it's like, you know, I used the same filter it here, but the biggest element was I removed the drum, and then I stopped playing the rest of the piano notes on. And then this reverse crash was probably, you know, really, the the big indicator that, you know, the reverse crash came in, everything kind of stopped, and I allowed the tails to finish. Okay, so I've gone back to my track showers of love here, where I showed you about the distortion, uh, with the lead. You know, when the chorus hit, the distortion came in, made this lead taps, you know, the most important instrument in the chorus, and we'll go to the Outro here. And so what I did was, you know, I removed the drums. Um, I started to kind of play around a little bit with this. So typically, what I was trying to say before is a lot of times like, I would make it kind of like this and, um, you know, maybe chop it up, and so what? I'm doing is, I just kind of brought it down. I extend it back to where originally was, And I can kind of, like, play around with it like this. And the reason why I'm doing that is because this is actually where the pattern would play . Originally, I've just kind of chopped it up. Maybe we want a little bit of space in there. So that's kind of how I would approach it if I were to kind of, like, play around and stuff like that. And then if you look down here so I play this little outro sound here, and I don't play this outro anywhere else in the track, okay? And then, um, to finish it off, I just play one of these lead taps just to kind of solidify the ending. Okay, so let's just listen to the Ultra here, Okay? So this outre really had a big part of that. And what I did for that it was just an instrument. That's all I did. And I just played like this and, you know, just load it on the effects within the mixer, okay? And I just want to show you one more example Just for an outro, you know, just to maybe you give you some inspiration. So really are outro. It's like I always try and find, too in this to make it suit the track. You know, that's the biggest thing. You know, you don't want to sound rushed. I typically always like to have kind of a little creative ending, but in this case, so what I did was, uh I was part of the course like this. I'll play it from here. And then I played this kind of cool outro again, Really similar to like the last track I played receive their sound like this. Okay, So really, really affected on. And then I just kind of chopped up the drum loop. It only played at certain times. This open hat had a really, really big part of Theo Troll. So let's just play it from the end of the course right here. Okay, so it sounds like this. Okay, so that was kind like the otra was just kind of, you know, even though there was, like, a lot of silence and stuff in there all of a sudden, I kind of came back with random sounds and Then I added this little kind of weird outro. Another thing you'll notice there is. I really applied a lot of reverb near the ending, and that really gave the sound of, like, you know, it was just really, really, um, you know, the ambience and atmosphere of the reverb kind of took over. So again, we listen to that closely again. Okay, so, you know, again, that reverb just really helped to push it as a you know, a lot of excitement, and then a kind of dissolves in stopped and then I just kind of played some random notes just to kind of, ah, you know, make a little gonna random patrol. So that's just kind of my approach to a no troll. I always try and find tune it to the track, And I always like to kind of fine tuning in a sense of play around with, like, my different instruments, and a lot of times will chop up sounds, and I'm just gonna find tune it to create the Outro 11. 3-1 - Arrangement Bones Section Breakdown [OVERVIEW]: Okay, so in this section of videos, I'm gonna actually break down arrangement with you. I'm actually gonna delete all of this that you see here. We're going to remove all of it, and we're going to start from scratch like I was talking before. What you want to do is you want to lay down like the bones were gonna create, like, a little intro. We're going to create a Korea's. We're gonna create the verse, maybe like a pre course, maybe a bridge, you know, just a general idea. And then typically, after that, I would mix the track. But in this case, like this track is done, that this is like the actual official project of this illness out there are like, Spotify. So it's already mixed, and it's also been mastered. What I'm gonna do is I'm just literally gonna press control a and we're gonna delete it. Okay, so the fastest way to add all your sounds back in with FL Studio is on your number pad. You know, I would press one and then what I'm gonna do is typically I I always have my instruments at , like, the top, and then I put my percussion elements stuff down below. So again, I'm pressing one of my number Pad. Here's the drum, but it's gonna come down here just for now. I'll probably just put put it into the four bars here, too. This is a pad. I'll put the pad up here. Three. Put the piano in here. Four is a baseline. Five, six and seven. Sit over into some symbols, so I'm just gonna put these down here. Eight. Most of that's and plucks. Okay, so do that. Go nine his high hats. So I just do this and I'll drive this over and the reason why I do that is because sometimes it's tricky to click in that 1st 1 and then now, ever since I'm out of numbers on the number pad night from nine for my 10 11 stuff like that, I just hit the plus or minus and that allows you to go forward and back. So I was on the hi hats here, so I'm gonna go hit the plus so white noise. So that's probably at, like, the intro of the song. So what I'm gonna do, actually, for that is let's just highlight this and employed on control Shift in the left Clicking now with those highlighted, I'm gonna press control and B B is, um, Bob Okay, and it's gonna see it puts it there. Or I could have went control and see and in control and V and then I just would have lined it up. But as you can see, you know, efforts to you sometimes goes a little bit weird in certain areas, as you can see is like now it's no on its snap. So now we would we would have to Kwan ties this and the shortcut for that is shifting que okay. Or you could come up here to file and you can go tools and Ingle quick quant ties. That's all. Used a shift in Q again, knowing the shortcuts really speed you up. Like whatever Daw you're working in control and be was probably the fastest way to do that . I just want to show you both ways, and then this white noise I'm gonna put it here. The reason I'm doing that is so that I don't forget about this white noise later on. So we go to the next sound here. So there's a sound effect. Riser, Understand? Click it in here. Next. Sounds the Tom feel kind of like a transition I used as well. Ah, stairwell again, Another transition. Okay, so let's find, too in this a little bit. Let's bring this up. And I might put, like, maybe a space in between there, whatever. Sometimes I do that to leave space for automation clip. And then this will allow us to make our FL studio screen bigger. Now here's a cool trick when you're arranging NFL studio. So right now I think I am on 1/2 a step or half a beat. And when you're zoomed out, that's sometimes makes it tricky because you really don't know if you're on beating stuff like that, especially when you think you're really far. Oh, it's like sometimes it's hard to see, especially once you start getting down into like, the really fine stuff. So when I'm arranging a song, I typically either leave on beat or bar and again that this allows you just a lock in the sound, and you don't have to worry about, you know wherever it's going, it's like if you want it there, it's there. It just kind of takes out the finicky stuff. So currently I have it on bar. I'll leave it there later on. If I start chopping up, let's like my drum loop or something to kind of give a different sound or whatever. I would then maybe switch to beat or half a B, and I would actually zoom in to find Tune that. Okay, so we have all our instruments here again. I color code, everything. And if you guys don't know how to color code, you guys can check out my course that efforts to your mixer workflow. I show you how to do all that stuff, but I will show you just here quickly. So, um, the shortcut is he pushing the middle scroll wheel and it pops up. You can give it a color. And then the trick with FL Studio is you want to make sure that your coloring the sound before anything Okay, so you want first label it and then give it a color. And then now, when you bring it into the mixer, that color and the label will follow. Ah, for the individual sounds, I don't bother re labeling them, but for my instruments I typically do. And the reason for that is because, you know, you can see it here and it looks nice and visual. Um, I don't worry about let's say, like, you know, for the pad being track one or whatever like that. I don't really worry about going like the auto name. That's just a personal preference. I just make sure that I cover this stuff and then that these colors correlate with the mixer as well as the correlate with the same color of the pattern and you'll see is the song progresses as the song starts getting bigger. Just being able to see the colors allows you to mix a lot faster. You know, on the mixer here, you're able to kind of scroll over, and you're like, OK, so I'm working with drums. Okay, so here's my kicks right here. You know, I can see right right away. OK, so in her next video, Iraq's you're gonna start breaking this apart and, you know, building just some bones for our arrangement. 12. 3-2 - Building Our Arrangement Bones: Okay, so here we go. So I'm gonna go to the playlist. I'm gonna hit, enter on my number pad makes it full screen. I'm gonna hit control and right click Make it full screen. As you can see, it looks like a big now I'm gonna highlight this holding on control and left clicking And then we go to press control and be as in Bob just a couple of times. And the reason why I'm doing this is because it's a lot easier to remove sounds then to you know, ads. Sounds back in. In addition, with the playlist being open, if you want to access your patterns and stuff like that, you can simply click any of these two. So you just click the drop down here. Um, you can also click, you know from here and select one and do it that way. Um, but this works this way. In addition, if you're working with, like an audio, a sample or automation clips, you can also access it through there to for myself. I do work with multiple monitors. Like what? I'm not recording. But I do highly suggest if you want to pursue music toe have at least two monitors. You know, Bill, a game changer for you. We're gonna work off of an intro here. These sounds, they're kind of bothering me. I'm gonna bring them over here. Okay? You know, again, I'm just leaving on the playlist. I don't forget about them. Let's bring this all the way to the intro. So first of all, I kind of have to think It's like, Well, what do I want the intro to even sound like, Do I want it just to hit the course? Let's just listen to what we have right now. Obviously, this is like the chorus case. Let's just hit play. Okay? So right off the bat, I have my plucks in the wrong spot, so I'm gonna nudge that over, and now you'll hear it. Sounds like this. Okay, so that's that's better. That's what it's supposed to be. So, again, that's the course. I don't want to start out with the course, so let's maybe take out the baseline. Let's take the plucks and let's just listen to this, okay? Actually, that's not too bad. That's not to better evidence. Maybe we will remove the hats, just symbols. Fastow's back it. So let's kind of keep removing some sounds here. So let's remove the lead. Can take all the fast hats, Take all this piano so you can hear Great. They're like, That's what I'm talking about. So we have her intro. We have the baseline and it all sending drops right into this course, and it's just like that Didn't have any impact. It was just kind of like, Oh, cool. You just added more instruments, but there is no emotion. Their case are like the path Let's remove the drums. Okay, so I was gonna leave this intra for now. We will build us up a little bit more later on. OK, so let's just say it does hit into the course. And in this case, I will play it for eight bars because that is just, you know, one of my courses. The lead is actually an eight bar loop, so I will just leave the course for eight bars, and then now we're actually gonna hop into the verse here. Okay, so I'm just going to remove the lead because it's like, Well, I know that lead is for the course. For the most part, maybe I can add it in later. So let's play it from 15 and this. Listen to what we got. Okay, so I'm going to remove thes plucks because that's again kind of a part of the course. I'm also gonna remove these fast hats Now I'll talk about hats for a second. So when you're dealing with high hats, you gotta be careful with them because they're actually so powerful in your track, especially when you're playing fast high hats. So when you have a fast high hat, it's actually very, very hard to remove that high hat without kind of making your track now sound empty. So when it's done with the chorus, that's actually a really good spot to kind of cut off this fast high hat. And now we can get into the verse because again, like I was telling you in the sections about, you know, the verse and stuff like that, it's like the first is where the message is really trying to be told, so we don't want it to be super busy. Therefore, you know we don't need that. Hi, Hat that fast, high hat right away. We can bring it in And the thing is, you know, like I'm saying so with your verse, it's progressing. So as this verse is happening and well, we will actually remove this will actually make it a 16 bar verse. As the actual verse progressives weaken. Add in these high hats later on, which helps build up that energy. Prepare the listener for, you know, the big course. But for now, we're gonna take over these fast high hats. So rule. Listen to this again. Okay? I'll take all these piano taps. Now, I think this is what I originally had for my 1st 1 so Well, listen to this again. Okay, so it's nice, right? Thes symbols, pump. You know, it's very, very smooth and that we could do something right here. Okay, So, as you can see, when I just remove that silence was so powerful, like just removing the drum loop there. So again, I'm just gonna press control and easy to undo. We're gonna come up here to the snap. I'm going to go to beat now. Now I can get more fine tuned. So instead of just fully removing it, I might remove it half way. We'll try that so Okay, so I don't want thes fast high hats in here. I think I want to leave those more for the chorus because that gonna help push that course to more excitement. If we add these fast high hats in too soon again, once it goes to the chorus, we're not leaving any instruments in any excitement for the course because it's kind of like we we already gave them all we got. One other thing that I didn't yet do was I didn't add in my sounds. So I'm just gonna click in a crash here. We'll go to our next sound here, and I'm refusing my scroll wheel on there so I don't have to look left, click and then select it. If I use my scroll wheel, it will select the next sound for me if I can actually most on their case. So here's like the next symbol. So as you can see, I have a reverse symbol. I have a Ford symbol. Ah, we'll get our next sound here, have a clap and I probably have a reverse clap too. So is you can see clap 47 clap 47. So this was number two, so I just literally cloned it. So, for example, if I hold down, shift and click and duplicated, I literally went, like, right click, make unique And then on the make unique, which is this one. Now all you do is just go reverse, okay? And so now that's just a super powerful way for a transition. You know, you have, like, that reverse clap. And then all of a sudden, then, like the big clap and how it processed this clap was that had a lot of reverb on it so that it adds a lot of impact. I also compressed it very hard to I'll show you with a compressor. What I'm gonna do is I'm going to click on this sound. And now I'm able to press Q on my keyboard, and I can play that sound. I'm gonna go press f nine now the mixer comes up and I'm gonna play that sound again so I can try and find it on the mixer. OK, so here it is, we hear 29. So how I compress this is, as you can see, I have a little bit of a longer attack. So which means that I'm allowing, like the initial transient to hit through. So I'm compressing very, very hard as you can see that my thresholds very low. My ratio is very, very high. And but my attack is a little bit longer. So what that's doing is it's allowing the initial hit to kind of hit you hard. And then I have the reverb to help the tail. And again that kind of gives you like a heart clap theories I want to bring up the audio sounds is first of all what? We're gonna need them later. But I wanted to reverse symbol right here. I want to line up this crash to be rate, you know, right on, like the one pretty much OK of like this next bar. But as you can see, because I am on this Stapp of beat and if I literally just left, click and hold and try and drag you as you could see, I can't get it. So you confined to knit by holding down the ult button on your keyboard and you confined to knit, and that's all. I'm gonna do it. Just put it right there. Assuming a little bit more on that. And maybe I'll do something is probably good enough. I was going to say I was gonna be like that and put it in there. Okay. So again, let's listen back just a little bit. Maybe about here. And then now you're going to hear, you know, this is a transition, is bringing in the next instruments and is preparing our listener. It's like, Okay, a change is happening. We got to get ready for this. Okay, so here we go. Maybe, let's add in the symbol, you know, to see how that sounds. So I'm gonna go a little bit closer to it. That's gonna be our reverse one. Now we're gonna add in a chorus here. Okay? So I'm gonna highlight this, and we're gonna bring it over. How I typically would like to do is you know, I put my chorus in who played the verse One would put the course and again. And now again, this is kind of teasing them, because later on in the track, I'm gonna want to play this chorus twice, OK, we're gonna take our 1st 1 that we just had I'm gonna highlight it. Gonna hold on shift and click. Now I can duplicate it and has put it up here. Okay. So, again, knowing the shortcuts to speed to up So from the chorus, let's see where we're at here. Okay, I guess that's kind of keep going. Kind of sounds a little bit rushed, so I'm going to maybe take this out. We'll listen again. So I really like this piano taps. It kind of prepares the listener that, like, the chorus, is coming. That is almost kind of like a pre course. We can start adding in, like, a snare role here. I believe it is. Put it in here just to kind of show you, um, you know, kind of like this. Then I think what I did earlier on because I only wanted to play like that and like the track before, like the actual big chorus. So I kind of cut it in half. And that way I'm still kind of getting like this natural transition, but it's just not it's not building up as big so again. Well, listen to this. Okay? So that is where we could have a drop in our track when we're talking about like a bridge or something like that in here is where we can totally mix up the track. So let's be put like the baseline in there. And maybe this is Put all these instruments in Let's take the drums. Oh, I didn't mean to bring that over. So again, let's go a little bit closer to the snare role. Take out the piano can and boom. We can put this to this piano taps and again because that's really, really emotional. So listen that again. Maybe we'll add these drums in here less sounds. There's a lot of this piano back into and actually sorry. Right here. I don't have lead kids. That's a big part of that Is part of the course I don't. So I also have the plucks here. Okay, so let's continue on. Can you just put these symbols in here? Okay, so right now, in the track, where about two minutes in now. Typically, I usually aim for about three minutes and 30 seconds. That's about, you know, with the industry standard, and then depending on where the track is going as it progresses, you know, a mother going to go a little bit shorter than that were maybe a little bit longer than that. I typically don't make my tracks like five minutes long. Songs on the radio are anywhere from, like, you know, two minutes, 45 seconds to, like, three minutes, 30 seconds. I think that's kind of like the industry standard. So that's kind of where I kind of aim my tracks to be. Okay. So I'm also just gonna bring this course over into here, and I'm gonna play it twice, because this is gonna be like a big course. Someone's gonna press control and be to duplicate that. Um, I'm also seeing in this course right here. I don't have these high hats, so I'm just gonna get bring those over and fine tuned again when your Ah, not on beer bar. That's what I'm saying. That he kind of zoom in and stuff like that. But if it was on bar, it's super simple just to arrange without having to worry about, is it on the grid? Okay, so let's see where we're at for the time here. So right now we're at two minutes and 11 seconds and NFL studio, if you click up here, it changes um from, like, we're what bar, Your honor. Stuff like that. I always just keep it on the time. That's just a better indicator for me. Um, so near the end of the song, What? We're at two minutes and 43 seconds, so I still want to work a little bit if we put our cursor over here. Um, we're three minutes, so I still want to add a little bit more into here. So this white noise is 16 bars. I'm just counting 1234 So you can see that we're like, the colors change in the great here. So I'm counting just 48 12 and 16. Um, so that's going to make our intro a little bit longer, cause that's what I had in the beginning. That's where I used the white noise. So what I'm gonna do is the home gonna hold on control in a highlight, the whole playlist. And I'm going to nudge this over a bit so both there and I'm gonna take this white noise and bring this although to the beginning let's take the pad and the piano here and we'll do this. And I'm just gonna bring these drums over press control and be again. I'm just gonna finish a little outro with you guys here because this video is just gonna talk about the bones for myself. A cool trick to help me finish songs is a lot of times I'll actually get up under my chair and I walk around like my room and I'll actually just listen to the track in a sense of like a wall. What does it need right there? Or like, I'll be listening? And also, as soon as they hear something wrong in in the sense of, like the arrangement, or even like the mix and stuff like that, that will come back and I'll make a quick adjustment. This is especially when, in my arrangement stage, as well as when I'm in the fine tuning stage. So the arrangement stage would be like case. So I'm listening to that track and it just kind of like I don't know where to go next. You know, I might just listen to that track over and over and over and be like, OK, well, maybe I'm going to try this now and again, since I have all of my different instruments. I could just try different combinations of them and then to touch on the mixing things. So now when my track is pretty much done, you know, even after it's kind of been mastered everything, Um and typically I do mix and master in the same project. I just find it easier to export and stuff like that. So once my overall leveled and my compression and everything has been applied on my master track, I still might come into my actual mixer insert and you'll make a fine tune adjustments like , let's say that the kick drum is too loud or ever, And that's why. Did you like my walk around like the broom? Whatever. Like I don't always have to sit at my desk to mix the track. I might even just go like, lay on the floor and, like, go like like my dog or whatever and all senators like a I hear something. I stand up, come back and I'll tweak. Okay, so let's just finish the ultra here again. This does not mean that it's going to stay like this, but it's just gonna be a nice kind of starting point. So let's just add in the pad here. This has been a nice kind of emotion throughout the whole song. Let's maybe add this piano taps. This is a nice emotion too. So after the track. Okay, so it's sunny. Not bad. Bring these over. Que me gusta Lisa Mathis. Now, what I was trying to say earlier was, you know, with, like, my drums and stuff like that, Like sometimes. Um So on this snap here, I'm gonna go to, like, a beat. And this brings some of these drums over. So I might maybe chronicle like this or something like that. Play on like, every single beat. And this is just kind of being creative, you know? I don't know how it's gonna sound, but there's just a little starting point Kasam Mevius Too aggressive. Maybe I can play on every second beat or something. Then maybe here I can maybe play like the clap. Whatever. So what I would do for that is that bring it out to here because my clap is playing on the two. So again, this is one, 234 I'm just counting the grid here, and maybe I'll just do this or something that like that. So Okay, again, This is just kind of a little rough otra Okay, so that sounds a little bit weird there. Um, but again, maybe I can use this reverse symbol. So you like the reverse symbol, and then I have a Ford symbol. So maybe we'll just use this for the patrol, so I would prefer it there, and I'll put this right here. So it's not like this, and you don't need the actual crash there. That's that's not bad. Okay, so that's just a rough, I guess. The bones of our arrangement again, things can change from here, but by setting yourself up like this, you were then able to now apply this audio painting, which I'll be showing you in future videos, okay? 13. 4-1 - Revealing Audio Painting [OVERVIEW]: Okay, so now it's time to do audio painting. Okay, so, again, audio painting. I have written a book on this. It's on Amazon, and the book is called Audio Painting. Communicating with your listener and preparing them for what's next in your track. And that's the whole idea behind what I call audio painting. It's using things such as, like river symbols or forward symbols, or a clap with lots of reverb on a or a riser or sneer role. Tom's all these types of transitions to let your listener know that something's changing in the track. And if you can communicate with them, you will really be able to build that emotion that you're trying to get across to them. And so something I talk about in the book is like You're literally putting your listener on like an emotional roller coaster ride. You know, they put their headphones on, and now they're listening to your track and really, you're in full control of their emotions as there. Listening to that song and how you do this is, you know, first of all, your actual arrangement. You know your intro, your chorus, you know, your actual melodies and how all your song and sounds go together, right? But then weaken further push these emotions by the song structure and like I mentioned earlier, So trance music dance music in general is so good at these emotions. Okay, you know, like they're really good at just building up the track. The Nelson boom. They have, like, that kick drum with tons of reverb on it. And that tale from the river just kind of overlaps. And it might go into, like, a breakdown And what you'll find like, in my opinion, what is kind like the difference between an amateur producer toe a professional producer is , you know, yes, the actual melodies and stuff that they create, But it really comes down to their arrangement. That is the difference. The fine details that really as an average listener, you don't even realize you're listening to it. But because these professional producers are so good at what they do, it's like it just makes you enjoy it. And you have no idea all, like, these fine, intricate details that they've added in, you know, such as, like, these reverse symbols thes snare Rolls Tom's, you know, you just get to enjoy the music. But you have no idea how how how many times they have, like, repeated over and over, like the loop, you know, trying to perfect the volume, trying to perfect like the e que you know, they've compressed it super hard the slap, distortion, reverb, all that stuff, like, you know, they're trying to find to over and over and over, and then you come, you know, as a listener, and you just listen to their music and you're just like, Oh, yeah, that's a really well composed great song, but it's like, you know, that person spent, like, three hours on, like, that one kind of arrangement section. So that's what we're gonna be talking about in our future videos. Okay, We're gonna be talking about audio painting and always preparing our listener for what's next in the track. 14. 4-2 - Audio Painting Example #1 - Desires of My Heart: Okay, So I decided to go back to the original arrangement. That way I can focus on this audio painting and really explain it to you rather than try to arrange the song and do this audio painting at the same time as I'm trying to explain it. Okay. So again, audio painting just allows us as the producer, to communicate with our listener. And how we do that is through, like, transitions, reverse Cymbals, snare rolls, Tom's affect risers and stuff like that again, Word is preparing our listener for what's next in our track. And then, you know, that listener is actually able to be prepared for that change. So I want to start for the very, very intro and work our way through this track. Okay, so I first started with a filter on the intro and you'll see as it plays the actual filter decreases. Now, I just want to pass on Ah, cool pro tip for you. Okay, so when you're creating an automation clip with in this case, like a high cut filter, I would actually hit my space bar. And then I would actually use my mouse to fine tune it and then Once I find Tune, it's like, you know, it's like So in this case, if I cut out too many highs, what's gonna happen is it's actually going to remove too much of the piano and that I'm not even gonna be able to hear the piano. So as I'm fine tuning it, you don't all kind of dial it and be like a That's probably the lowest. I want to go with this filter so I can still get the emotion under the piano, even with this filter on. So once it's here, you can simply just right click. You copy that value, and then when you come here to the automation clip, all you have to do is right. Click and then paste that value in. And now it's like this filter right here would be this point. OK, you have now told the filter that you don't want it to go any lower than this point, and then you can be more creative and you can kind of click points around or whatever, and you kind of like a just in between here. Like, for example, if I go like the single curve, you could be more aggressive and stuff with it. Okay, so I'm gonna go back to history and go last reset. So let's actually listen to this, and we're just gonna watch the filter here, Okay? So here we owe you. Could still hear the piano, right? And that's the lowest I've allowed that filter to go. And as you can see, this red right here, this'd the filter. As you can see, it's gonna start increasing and its slowly opening up. We're gonna open up fully so that our course can have the full excitement. Okay. So as you can hear, we used a filter there to really help enhance and push that emotion toe our listener. We filtered it out, kind of pulling it back, kind of building like attention. Then I start to kind of open up this filter, right? And then also boom, it hits the chorus and it hits hard. Okay, now, to really push that even further, it's not just the filter, as you can see, you know, I've used, like, this riser sound here, and it just sounds like this. So let's actually open up the midi notes here. And so a cool trick with NFL studio and within any doll. Actually, there's actually two ways to get a riser sound. So what I've done is I've just played a note here, and it's just, you know, see for the full four bars here. And if I increase the height of this, you can see that in FL Studio you have the option for the slide notes so you can see that C four is not a slide note. But then all these other notes are slide notes. So what that's doing is C four is actually playing for the whole time. But since we're using a slide note, we're sliding the pitch up. And that's one way how to do it another way. How you can do it is if you actually go to the V S t itself, you can enable port aumento. And so what that does is it slides the notes as well. I know. With FL Studio, I don't think third party plug ins allow you to take advantage of the slide note feature so you could be using port aumento and doing the exact same thing here. And if you listen to how it sounds, uh, okay, so now, like, I'm saying I actually cut this. So instead of this being like the full thing which goes back to here, OK, I actually only cut just the very, very last bar of it. And that really helped just kind of quick tension. Boom. Then also in this clap happens if it is, play it. Okay, so that's how the clap sounds again. If we go to the mixer here, how I've done that, I've compressed it extremely hard. And my attack I've opened up a little bit. And what that's doing is allowing the clap to kind of hit me in the chest a little bit, and then it clamps down really hard. And then the reverb is the, you know, the tail of that and the tail helps kind of transition into the next part of the song. So it came to play one more time. Okay, so the clap kind of gives you the impact. The tail is kind of also the transition which goes into the next part off this song, which would be the course. And then, in this case, um, let's hit F six here. We're gonna open up our sounds. As you can see, both the reverse clap and the four clap far routed to insert 29 which is under mixer and 29 . So you know, they're both being compressed really hard, and they're both have all the same effects on. But as you can hear, this clap is very, very important. Part of this intro into the chorus case, we listen to one more time, Okay, So as you can hear, I used a lot of transitions there to really help push that chorus even further. Now let's talk about the symbols here. So really popular thing to do is to use a reverse symbol and then a forward symbol. It's kind of like you've built the tension and then you want to release that tension, and that's what I've done there. I'm especially once it hits the chorus. This symbol right here, this one curious if you listen. Okay, so it's kind of just like, boom that that simple hits Let's get going, Okay. And the biggest thing once it hits the chorus is you actually just want to let your course ride out, and that's all I have done. You know, I haven't done anything in a sense of you know, Try to chop up like the drum loop for anything. I really liked how this course sounded and I wanted to let my lesson nerves enjoy that. Okay. And then what I did was I used a reverse symbol to kind of let my listener know that. OK, now we're going into the verse. Okay? So have played from here. You're going to hear the reverse symbol I'll play with and without it. Okay, Now we're to the verse, but without that, Okay, so in this case, it works. Either way, I find that with the reverse symbol, it just as is just that little extra. So if we listen warmer time. Okay. So now we're into the verse again. Just not as full as anything else on. We're just letting the beat ride, okay? The piano comes in now. Typically, I might add a transition in here, but I kind of like how it sounded without it. You can see here's my transitions. Okay. So again, you know, these transitions are not super complex. There's not tons going on with them. I've just let my lesson or no, it's like a the reverse symbol is a really, really powerful tool. Um, in all honesty, you could almost never overuse it. One thing to mention a book symbols is typically like they are very, very loud. So don't be afraid to kind of duck them back a little bit. And then if you feel that they just aren't loud enough, then you can kind of push him up a little bit because especially when it comes to your mix , you know, symbols are very, very high frequency, and they could hurt your listeners ears. So you always want to take that into account. This is kind of interesting. I actually didn't use a reverse symbol here. Typically, I always kind of rinse and repeat. You know what I've done before? So, you know, I probably should have had when There, But like, I like, I was saying over here, it's like you really didn't need it. It just kind of maybe helped enhance it. But looking further into the verse to here, I can also notice that I have these symbols playing here. So maybe as I was, you know, arranging the track. Maybe I thought that maybe was too much. Or maybe I thought maybe it didn't just in need it. Ah, because as we listen, you're going to hear. Now it gets into these symbols. Okay, I'm gonna play just the drum loop. Okay? So I want to share with you one thing I've done here. This is kind of a cool technique that I typically do quite a lot. I actually side chain my symbols and it makes it a really cool pumping sound. So how side chaining works is So right now, I've clicked on my kick, and then I'm gonna right click, and I'm gonna go side chain to this track. And so what that's doing is we're allowing the symbol to see the kick drums audio signal. But we're not hearing it's audio signal because we don't want to hear it. We just won't allow the kick drum toe affect the volume of the symbol with FL Studio. If you were to go wrote to this tracker side chain to this track, the only difference is as soon as you start increasing this now you're able to hear the kick drum. And what you're essentially doing is you're just duplicating the volume because if you follow the cables, what's happening is the kick drum is going into, you know the symbol. And if we click on the symbol, you can see that this is going into the master, which is right here. Okay. So again, I don't want any of this kick drum of the actual audible audio to go into the symbols. I just want to be able to see it as an audio signal so that we can use it as a trigger to reduce the volume. Okay, so now if you go to the symbols and now we click on the compressor here and the itis label that side chain again, you can push in your middle scroll wheel and this pops up, and then you can also give it a color, and this just helps indicate for mixing purposes. So I open this up and they now have it as an external. And then I clicked the gear up here and I went processing. And if I right click, you can see the kick drum. Okay. So instead of the symbol compressing against itself whenever the symbol would go over the threshold, we're actually using the kick drum. So whenever the kick drum goes over, the threshold were actually turning down the volume off this symbol. So if that went over your head, you guys can check out my course fl studio mixer workflow. And I break down how the mixer works, you know, taking advantage of side chaining and stuff like that. But I just want to show you if we play the kick drum and the symbols with and without the side chain compression, you're gonna hear the difference. Okay, so without the side Jean compression. Okay, so symbols are pretty loud with it. Okay, So with the sightseeing compression, it gives, like this pump, and now, in context of the whole song again, I'll turn off and on. Okay, so we know it's on. We're hearing the pump, So without it, Okay, it was kind of aggressive. Okay. So kind of a cool trick. I I just want to show you that. Okay, So let's carry on. So, um again, like I said, I didn't have the reverse symbol here for whatever reason, you know, it might have been that had these symbols. And then what I did was I used this reverse symbol toe help bring in this piano taps, and then I also removed these symbols. Okay, so let's just listen from here. We're gonna keep pushing through, okay? And then we have a big drop into what I would call it the bridge of this track. So let me show you how I did that. Okay, so this snare all right, here, we open it up. It's actually longer than than what I've done there. Okay? So again, the sterols, actually this long. The reason why I've done that is because I want to leave the long snare role before the big chorus. And that was just kind of a cool approach there. So this is what it looks like. Okay. And so a cool trick when you're working with, like, snare rolls and stuff like that is I just use different notes, and it kind of gives you a different sound. So if I just play just the pattern here, okay? And then so it looks a little bit complicated, but so if I just removed these notes, this is all I did. Okay, so I just kind of, you know, kind of clicked the different notes in here, and I was like, Ok, that sounds cool. And then all I did was hold on control and clicking Highlight those and then held them shift and clicked. Brought it over shifting. Clinton brought it over. And then it gave me that kind like this. Cool sound. Now, in addition, NFL studio in the piano roll. What you could do is you can right click and you can select different parameters to effect . And I actually affected pitch. So if we select the note find pitch here, you could see what I did was if you right click and hold Okay, I'm just gonna right click and hold here And now you can kind of select these different notes and, you know, right now it would actually pitched down. So if I play this this is what what it would sound like Let's play it from here. Okay, lets on. Super weird. But how I approached it was actually put it upwards. And if we listen from the beginning, OK, so this is this narrow pattern, kids, you could hear the pitch and then in addition, on the velocity, um, you know, on the main hit on C five, you know, I've made it maximum loudness. And then on the lower note, I just lowered the velocity a little bit and that was that. OK, that's the snare roll. And then again, I played the full stare role before the big chorus. And then at this drop, I only play just a little bit of it. And then we already covered the reverse clap in the foreword Clap Now the Tom we did not cover yet. Toms are amazingly powerful Sound just in general. Ah, there really, really big, full of emotion. So if I just play some of the sounds by himself, Okay, so if we click on the mixer insert here, you can see that I have always effects on it. So let's turn off the effects and let's just hear how they sound. Okay? So as you can hear, like just big Big Tom Sound and then with my effects, the actual transition loop would sound like this. And then I'm not sure I actually played it twice. Let's play that one more time so you can hear it. Theglobe etched up effect is actually this deep blue glitch, which is this plug in right here. I'll show you how it sounds, so let's just listen so again, it's just I used this transition to break down into this kind of bridge, kind of slowing down the track. And then the track is going to start building up into, you know, I guess, essentially like the pre chorus before we hit the big course, the one that is 16 bars long. Okay, so let's go to the mixer here. And so now, Deep blue Glitch. Like I'm saying so this is a totally free tool the guy offers to. He offers, like the paid version. It's a two point. Oh, and this is like the free version. Now, the biggest thing when you're using deep Blue glitch, you know any type of plug in like this on your master track. Like I've been telling you already, you want to be making sure that the mixed levels at zero, then you create the automation clip and then you automate it to turn on. So, for example, as the song progresses, you can watch the debug glitch mixed operate here, which is this blue automation clip, right? So as it increases, boom, now it's on now the deep blue glitch. So how it works, I'm not going to give you a full rundown on how it works. But as you can see, when I hit play here, it's gonna show a little bar at the bottom. Okay, A little bar right here. So that bar is important to wash because it lets you know where you can put, you know, one of these effects for it to affect the song when you want it to effect. Because in this case, Onley turning on deep English in a certain time. So I want to be able to use this effect at that right time. So I put it right here because, you know, put a song. You can see that the re trigger happened. For example, if I would go like the reverse er and click this and replace it. Okay, we'll try one more. Okay, so it sounds kind of weird. We use the tape stop. This is a quite a popular one. Okay, so go back to the re trigger. Don't put that in there. And then one of the trickiest things I found with this plug in. So, for example, if I just select one of these effects, you can select it up here, or you can select the effect down here. As you can see, it's selecting it up there. If I go like, the green is gonna slightly green up there now, if I select it right here, you're going to see it makes it The whole thing is like, Well, I don't want that shuffler. Let's say to be, like, the whole time so you could actually slightly the blank one, and you continue kind of cut it off or whatever. Okay, so that's just kind of a quick rundown on D Booth, which really cool plug in absolutely free and allows you to do some really powerful things in your track. So to continue on with our arrangement here right after this part of the song, it really broke it down into kind. Like the bridge. So again, Well, some warmer time in the no go into this bridge, okay? And then we're going to use the filter here again. Go to the master track. You could see it just turned on filtering it out. Okay. And then I used this riser. Now we're using the full stare role. Okay, so let's just cover this pre chorus section here, okay? So again, I just used the reverse symbol to help with that transition. Just letting the listener know that something is coming is changing in the track. I use the little riser here again. You know, just kind of cut it out a little bit. You could even be using, like, a different riser here or whatever you could be using. Multiple. Ah, sound effect risers. That's just how I approached it in this track. And then I played this symbol here. And as you can see, it's like I haven't played the instruments like this anywhere else in the song I'm playing the piano, the pad, the lead and the piano tabs. No drums. Air playing again with someone Where time. Okay, let me have the claps. So it's really these collapse right here that really initiate. It's like OK, and now it's time. It's time to build this track. And then this narrow starts happening. The riser starts happening and we start adding in the drum loop. And then I chop the drums right here. You know, to kind of make you go like 123 and by me chopping that I have essentially removed the clap that is a part of just like the regular drum loops. You know, if we just play the regular drum move. Okay, so that's that. The drum loop. But it's because here, right here, there's no clap. And then I actually used the Tom Phil here, which really even pushes this pre course to, like, the ultimate emotion that I have really given the listener in this track. So let's play this, okay? And then now it's just really the song. Just letting the listener enjoy what I've created here. Okay, Now I even push the tension a little further in the second part of the chorus by adding in this clap here. And then again, you know, has the symbol. It's nothing special that really happened on the Gautreaux. I use the reverse symbol here, and I'll let you just listen to the outro how it happened. As you can see, I just used a filter. And this is the same filter I used, like the bridge kind of the breakdown. Okay, so we'll listen so pretty much. The biggest indicator was just the reverse symbol, and the notes kind of all stopped. And that kind of let the listener no, it's like Okay, now the track is done. Okay, so that's kind of just a walk through of audio painting and how to really push your track to that next level through these tools that you have. Every song pretty much kind of follows the similar kind of pattern, like you could be using all these same tools for every single song. But the thing is, you don't have to be using the same sounds, but the same principles will apply. You always want to be using some type of transition to let the listen know that either you're adding in a new instrument, even if you're taking away an instrument or if you're changing the section of a song, for example, from a chorus to a verse or the intro to reverse or whatever, you always want to somehow communicate with your listener. If you don't have these types of tools in place, you'll really find that your song is lacking okay again. So you know, I personally feel the difference between amateur toe. A professional producer is someone who has the patients and takes the time out to make their arrangement the best it could be and, you know, spending the extra time on the sterols. These Tom fills stuff like that because that really is the difference. That's what you're gonna really get the emotion off out of your track. Okay, So I hope you guys really enjoyed this. And this really opened up your eyes again. If you guys want more information on audio painting, you guys can check out. My book on Amazon is called Audio painting Communicating with your listener and preparing them for what's text in your track. So if you guys have any questions about audio painting or arranging a track, I always feel free to reach out to me. And so let's get into the next video. 15. 4-3- Audio Painting Example #2 - Ambition: Okay, guys. So I'm gonna walk you through another one of my tracks to really help in green. This idea of audio painting. OK, so this track is called ambition is off of my beat. Takes by gratitude is Volume eight if you want to check it out. So let me just play a little bit of the track that you get an idea of what it sounds like. And then I'm going to show you some cool things. I did. You know what? The audio painting to really help push the course a little further. Just preparing our listener for what's next in her song. In this track. I don't have tons of filters and stuff going on, but let's break it down. Okay, so here we go. Casey heard in the intro. I like that reversed symbol and stuff. Some white noise I had that clapped, introduced this intro. Okay, have this reversible and clap. Okay, so this clap is a big factor to making this course Ah, lot folder as we proceed, this actual lead right here, so I'm just gonna solo it out here, So if we play it, this is what it sounds like. OK, But then what I did was I actually used a plug in called gross beat. And so if I just go to the lead right here on the mixer, you can see I have gross be here. And if I hit play, Okay, So gross b is a really, really powerful tool. Um, I think if you have the signature addition with FL Studio, think it comes with it, but this really spiced up the chorus because it kind of gave it, like, a glitch to sound and stuff like that. Okay, so let's just walk through from the beginning, and we're gonna work our way. Okay, So right at the beginning of this track, um, I had just a reverse symbol, and as you can see, I use river symbol a lot throughout the track and the next to have this white noise and what I did was actually automated. I think it's lfo, and that allows me to get kind of Ah, some movement out of it. Okay. So you can hear it is kind of like a little back and forth. And so how you do that is the white noise here, and you could see that if a hit play again, you're gonna watch the LFO. Okay, so all I did was it just automated? Ah, the amount. So I adjusted like the speed to where I wanted it to be beforehand. As you can see, that the speed is kind of static. It's not moving at all. It's just it's his constant speed. But by dialling in the amount knob, you know, this makes the actual effect audible. Okay, so one more time. Okay, So if we listen to that in context of all the instruments and stuff, Okay, so, you know, the white noise and reverse symbol that kind of overlapped going to create a little bit of the longer intro. And then it also is having a filter here on the actual guitar sound here. So as the song plays to see, like, the filter right, you just kind of gives a different emotion. And I was here started build again. You know, whenever I'm creating an automation clip, I always highlight the area Would right click here. I'd go create animation clip now, increase the automation clip just in that area. And then I find too in this, you know? So for example of a hit play here, I would actually work with the most. Like, this is me doing this right now, right? So I'd be like, OK, how load I want this to go. All right, So now we're gonna start building this up. Okay? So I kind of get an idea of, like, how low do I want this filter to go? And once I know Then again, I right click copy the value and then Aiken pace that value by just by creating a point right clicking and just pacing in that value if I copied it. And now So a big part of this intro really is this clap, like this kind of initiates to the listener like it's like, OK, game time, they let's let's let's start going, Let's get into this song. Right? So if you listen to from three here again, all right, so that clap is huge. You know, that's that's the indicator that okay, the track is starting. Let's get some energy flowing. And that's, you know, kind of just get the ball rolling in the track, and then here I really don't have any ah transitions or whatever to bring in this bridge, But I did kind of use like silence. You know, I stopped playing like the kick drum here, and I just kind of played around with the symbols a little bit. So if we have kind of listen to this, I just kind of kind of tease the listener. It was kind of a little bit of slower build up. Um, And then again, you don't have this reverse symbol to the clap And again that initiates to the listener. It's like, Okay, now it's chorus time. That was our transition. And then I actually ended up just adding in this clap on like the fourth beat kind of skip a bar And then I play on every fourth beat. So you know this cop right here And I think in here within the course like this adds so much fullness. It kind of adds, like, almost like as a listeners listen to the chorus all of a sudden, like they're waiting for this clap toe happen If vocals were involved and let's say a music video ever got created for this, that clap could be a part of, like the actual dance moves that, like, you know, dancers with night. The actual music video may actually do so again if we listen to that class. Okay. And again, you know, I just went to the mixer. Solis is find where it is, So there it is, right there. So all I did was I probably compressed it pretty hard. I have a very, very long attack again that allows the clap to hit you in the chest at the same time, I'm clamping down very, very hard with a very low threshold. Very high ratio. Um, And then, as you can see, if you follow the audio cables, um, I have applied some wide nous on it and haven't fired. Actually, two different re verbs just, you know, just to get a different sound. And that's what we have. And then again, in the course, it just really adds that fullness. And then I don't even have ah transition out of the chorus into the verse, like, you know, typically, you know, I always have, like, the reverse symbol here, whatever. But sometimes, you know, you can overdo it a little bit. Like, for example, if I had it here and then I play it again. Um you know, maybe it could be overdone. So that's maybe why I didn't do it there. So again, it goes from the chorus into the verse, Wouldn't listen to a little bit of this. And just listen to the shaker here. The shakers kind of cool. It just kind of ah, you know, spices up the drum. Really, really subtly. So here we go. So the shaker, then we have our transition, okay? And then it starts to build up, kind of into, like, a pre course here. Okay, so it kind of tease them with the kick drum because I removed the kick drum. And the hi hats here again, when you're high hats are playing is typically pretty hard to remove the hi hats once you've added them in. So, as you can see, I kind of took advantage of as soon as my transition's happened. You know, with the white noise and the reverse symbol here that it was kind of like, OK, now is an opportunity to remove them. And now it could maybe start building up into my course. Okay, So, as you can see, you know, it took out the kick drum and the high hats. And then now, instead of playing the kick drum back on every single beat, you know, instead of like this, I actually just teased the listener. It's kind of like, OK, we're going to start building up slow. And then we added, In our transitions, we have that clap again. That's the indicator to our listener that the chorus is about to happen and, you know, kind of buckle in here goes. And if you remember from the last video I showed you how I side change the kick drum to the symbol. So in other words, whenever the kick drum plays, it's turning down the volume of this symbol here and you'll hear that when the kick drum comes in and it plays just like this one kick, you know, on every single bar or whatever here, like it really has a really big impact, because that symbol plays and it kind of pulls back the volume. Okay, so let's just listen until it hits it. The chorus will isn't like 12 of these collapse here. Okay, So again, just to cover that quickly. So, you know, I had my kick drum playing it kind of pulls back the volume of the symbol and kind of created a cool sound. It made that kick drum sound like it's hitting harder than it actually is. Um And then I added in this open hat, this actually had quite a bit of emotion to it. And then in addition, I also have this muffled clap here. So he wrote, like the versus stuff like that I had taken clap that one like this. Okay, it goes into a muffled flap. Okay, So again, if we listen to the muffled clap once it breaks into here, okay, because it's kind of like a different section is starting to build up. And by adding in a different clapped there, that was kind of a cool approach, right? It's It's not like the same sounds going on all the time in the track. And then what I did was, as you can see, I have collapsed. Number two and I have collapsed. Number three. So all I did was from here I hold on shifting click and a duplicated, and then I would have went right click and wouldn't make unique. And now what that does is it literally clones this pattern into a new pattern and then rate around here, I just add It's a midi notes and, ah, it would sound like this. And this is actually kind of transition. So play from here case like that little sound right there. So again, if we listen to just these kind of notes right there and again, the open high hat adds to this bring in as well. And then in this chorus and compared to the last chorus, was now added in Gross. Be so this is G B. So there's two ways to use gross Be. You could be using automation clips, or you could be using many notes, and I typically use automation clips. I just want to try the Midi notes, you know, just to try it out because there's two ways to do it. The MIDI notes work. Not bad. I think I would personally prefer the automation clip. It's a little bit easier to find tune and stuff like that because, you know, with automation clip like I was showing you, you can just right click like a point in, and you can like, right click to save that point. And I just found it a little bit easier when it was automation clip compared to the Midi knows so if he ever end up trying out gross but whatever. So how it works is what you want to do is again I highly the area here to create automation clip. Now I go to the actual plug in. And so what you do is like, let's say we want to start with this one. So I'm gonna right click and go create animation clip, OK? And as you can see, it's created it within that area. That's reason why I like to highlight. So I'm gonna make the playlist smaller here. And so now what you can do is you could just literally right click on whatever one you want and you copy the value. So the same thing You have to make sure that your on hold Okay, this is really important because what happens with gross B is as soon as you put in this value, it's like now the value is staying the same the whole time until you've changed it. Now, as you can see, it's like you can't have this because what's gonna happen is you know, if you look on gross beat, you know it's gonna start changing the value for you. So what you want to do is I would right click here ankle hold as well as you can see now, the value is the same throughout the whole track. So it's close. Complex 11. But now let's say all the sudden we want basic six. So I'm just going to right click copy the value and you congrats. Click wherever you want it to be, and you can pace that in there. Okay, So that's how you used a gross beat with the automation clips. Really, really powerful stuff. In addition, there's also the volume. So there's this effects volume this manipulates like time, and you can get, like slides and stuff like that. Okay, so again, the difference between this chorus to this chorus was I start to add in some grow speed. As you can see, I have two things that I'm affecting here. So I affected, like the volume one, which is the volume down here and the maroon kind of red one here. Is that this time One okay. And I just kind of click stuff in until I kind of liked it. Okay, so let's check out this course again. This one is being affected by grow speed just to kind of give it a different sound to this course. And then now it's just gonna break out of the course. Okay. Kind of perceived. I started added Mawr Instruments. Ah, and then I break it down into kind of a little bridge here. OK, so use this white noise again because this white noise has, ah little bit of length on it. It kind of transfers over into, like, the bridge and again right now, it's like that. I want to make sure that the automation clip is enabled with it. Okay, so we're gonna go from here, and as you can see, I added kicks like this equals range the course. Okay. So, you know, I used the kick drums to build it up. I used the reverse symbol. Like I'm saying, this track really isn't tons going on when it comes to the audio painting. However, you know, the reverse symbol and stuff like that this clap just really indicate to the lesson. Er it's like, Okay, now it's chorus time now, a really big part of this song is the breakdown here. So I actually played this lead with gross beat. Going on okay, again is is like the time effects. This is that the volume. And as you can hear, it's like it's really broken down the track and allows me to build up into another chorus and then is eventually gets to the outro. So you listen to the breakdown here. Okay, here's my transition, you know, again, the reverse symbol and the clap here just kind of initiated the drill moves coming in right for this. Is that one more time? Now? This is something I haven't done in anywhere else in the song yet. So this is the same clapper's you're hearing right here. Except what I did was I literally just took it and played it three times. Okay, so if you listen from here, he'll hear it goes clap, clap, clap. And you can also see you have a kick drums here, too. Again, this is just letting the list of No, it's like they were building up and then we hit it with the course again. This is like the final chorus. Okay, Okay. And then we'll work our way into the troll. So again, I actually used the transitions again, just to kind of, you know, bring us to the Outro. And with this patrol, all I did was I just use a filter to kind of filter it out. It looks like I also used gross be here again. And there you go. That was the track. So the biggest thing when you're building the track again is just to kind of layout. Ah, little foundation for yourself. And then you're going to start getting into the audio painting, which is really gonna help push the track even further for your listeners emotions again. You know, reverse symbols narrows Tom's. Those are the tools that we producers have to help the emotion of her listener again. It doesn't just have to be those types of sounds of those air, just kind of the more common ones you guys can literally be using any sound like, you know, you guys could be taking a clap in Reverse it. I'm gonna actually break you down, step by step, how to do some of these effects, such as like the reverse symbol and kind of best practices that I've found over the years to get them to work. Okay, 16. 4-4 - In-Depth Audio Painting Transitions: Okay, So in this video, I'm gonna walk you through some types of transitions buildups that you can create to kind of get you going and kind of best practices with them and how I approach them. By no means is this all the ones you have available, you know, the sky is really the limit when it comes to your transitions and like the sound you want to use, don't think that you just have to use a clap like you guys could be using random sounds and just reversed them or whatever for these transitions. But as long as you just put some type of transition before that chorus or before that verse , before you start adding in a new instrument, that will be the difference in your track. You'll really start to see that your songs really start to improve tremendously as you start adding in these transitions, and you know what I call it as audio painting. Okay, so let's just working like a clap here, So you kind of want a clap. That kind of hits you more in the chest. So, for example, if you click through a couple of these will listen, so that sounds pretty weak. That would be good for, like, a layer onto a clap that's already being played. You know that one might be a little bit too long of a tale in FL Studio. What you can do for that is I'm just gonna click on this. You have, like, you're in and out knobs. So what I would do is I put my trim up full and use like the out and out we listen. They see that that sound a little better. Now that's more workable with, um and we'll keep going. Okay, so I like this Never here. This would be a good one. Okay, So, uh, typically, you know, I usually work with FL Studio beat like, with it like this. If you do want to expand it, you can, you know, you can make it bigger. And you could work that way. Um, I kind of like my windows, just as they are. And then if I need them, bigger will enter. It's kind of like a work full thing, Especially when I'm only on one monitor here. Um but so in this case, I'm just gonna put this to the piano rule. so you can right click and go fill each four steps. This is kind. A little shortcut. Then you can right click go piano roll. Okay, now what I'm gonna do is I'm gonna highlight thes and let's just make it. I usually like it being filled in that area there. And I'm just gonna hold on shift and click and bring these over soup like this. So now if we were to have this snare roll Okay, so we'll play from here, So this is kind of boring that nothing's happening, but at the initial, you can just play it like this, you know, bone full boom, boom. And then right here, we're going to start making it go a little bit faster. So I'm just gonna grab all of these. I'm gonna hold on shift and click, risking a nudge him over. Okay, so again, we'll listen. OK, so now what you can do is with it's still being highlighted. So, for example, if I click away, you can actually press control and Z and it's gonna bring back what you highlighted, which is a really cool thing. Now you could hold on Ault and the scroll wheel and I was gonna scroll down, and sometimes you can do this. Okay, That's kind of sounding cool. Ready? Um, so we're gonna leave it right there Now, in the next bar, this kind of take these and I'm gonna hold on, shift again and click and bring it over. And maybe let's just kind of try going up a bit. So I'm gonna hold on shift and up on the arrow key laws into up and down. If you hold on control, it allows you to go up a full octave. Okay, So I'm just gonna go up just a little bit and let's just hear how this sounds. Maybe we will also turn down the volume of this as well. Make it like this. So here we go. So let's maybe sound a little bit weird. Let's go a little bit lower and even sure it down a little bit more. Okay, so and then Ah, here. I'm actually just gonna bring this over for all of this. And then let's just even make it faster like this. Care. So we're going to kind of just do like this. Um, we will bring it up in, up in a note or something, and I'm just going to turn on the volume of those as well. So would be like this. So this know down here is kind of getting pretty quiet, but we'll listen. So now the cool thing, what you can do is you could right click here and you can go, you know, note, find pitch. And again if you right click and hold This allows you to get like, a riser Sounds so this might sound cool. So, you know, maybe that's what you want. And then now let's put this to our you know, just to a mixture insert Gonna go control in l. And then now maybe, you know, you can compress it really hard, So I'm gonna take a compressor. You know, im leave the attack about here a faster release. Because since these snares airplanes so fast, we probably want that compressor to release before the next hit. Um, you know, it's kind of clampdown on it pretty hard and just see, hear how it sounds. So here we go. It sounds like this. So the chance of value, So without it and then with it, So without, you can hear the compressor really helped build. Bring us some energy in that. And then, you know, if you want, you can add like reverb. So I already have these sends set up. If you want more information on, how did it set up? Stands this stuff again. Just check out. My FL studio makes the workflow course that will break all this kind of stuff down. So So there it's like you can hear how much energy is going on. Just imagine some kick drums are happening there. Let's maybe just make, like, a a quick little kick drum. And then for the next one, I will going to do a riser sound with you. So we have a kick drum here. So it's just like play. There's some like every you know, be here and we'll play the drums down here. I was labelled drums. Give that a color. So imagine it's like just desolate the tracks plane. Okay, so in this case, the drum maybe want that faster. So how I would approach that is this Zoom in here, gonna click the grid and gonna go half beat and I'm going to start playing this a little bit faster so maybe I'll play it like this and I won't play right there. So, like this maybe and then as this narrow place faster, Let's make this play faster. So again, we're gonna have to go into a little bit of a smaller snap again. So do this. Hold on, shift and click and little Listen again. So Okay, so that's kind of building up already. Now let's go and open up. Ah, vsc like Harmer, for example. So I'm gonna instruments Harmer. And you could do this with any VSD. I'm just gonna select Harmer. Um, just for this example. So what I'm gonna do is right now, harm is gonna be loud. Caso, let's just turn on the volume of it just right here. Just for now, just just so it's just not so aggressive on our ears. I'm gonna right click go piano rule and licious make the no at C five. And first of all, we have to make sure we turn up that velocity. Let's do this. And I just want to extend this, you know, this is what it sounds like you now. So what we can do is I'm gonna pace the no into here, and I'm going to push f two in, and I'm gonna go Harmer, Okay? And so there's this now, and so what I'm gonna do is I'm gonna hold on control and highlight this, okay? And what I'm gonna do is I'm gonna right click on the pitch. I'm gonna create innovation clip. And so now I can increase it like this. So it like this. Okay, so, first of all, we haven't affected anything on Harmer except for the pitch. Okay. So as we start to progress, you'll hear that we can actually even push this further. Now, I also like Teoh adjust the picture here, so I'm going to, right? Click this as well, and we're going to get some more pitch out of it. So it be like this. So right now we wait. But with this. Okay, so that's the reason why I have the two there. So and you don't have to have a go straight up. You can kind of, like, you know, bend them a little bit. And so now let's just kind of affection here a little bit. So the harmonizer who's just crank this up? Um, this course and hear this? As for the quietness? Ah, in some effects, we could use a distortion. Just kind of crank this up. Okay, Are just gonna let us play over and over again? So it's add some some phaser in here, maybe some librato. Okay. And so not take that even further again. Like I was saying before is like so the porta mental here, If you are using 1/3 party fiesty with fo studio, how you're going to do is you're gonna click Port aumento, and now you can get your bend going on. Okay, so But since I'm using ah, native FL studio plug in, all they have to do is I can click the slide here, And Aiken just kind of create notes like this. So this is going to get some mawr pitch Ben going on. But this gives me way more control on what I want to do. So I don't really care about if these notes are even Ah, within, like, the scale or anything. Um, I This is just a riser sound. Okay, so I'm gonna bring, keep bringing this up and maybe a little highlight these just bring it up like that so listless interest and maybe ah, here we can just start going a little bit faster with it. So, like, here, hear how it sounds over global one. We're just so that those notes aren't in the same. So okay, so now the biggest thing with Harmer and stuff like that would be taking the effects, adding on maybe even more chorus here, but adding on lots of like effects like delay and reverb. So So Stephen Gombe or and this compresses. So let's add this to a mixer insert, and I think I'm just gonna remove some of the low end there. I kind of hear some noise going on. So if we look at the frequencies is here. So you take this low end, I can kind of hear that headset. So I'm gonna do this and then the this is like a bit aggressive up here. So and then again, whenever you're using effects, you kind of want to compare the volume. So with it often on, So let's just say something like that Now. I also have, like, descends like for y distance, stuff like that, so I can also apply it to their you turned down a little bit. Okay, so this is what we have so far cast. So now let's work with a reverse symbol. So this is how I approach reverse symbol. So typically, um, I will usually work with the same symbol for that the reverse and then the forward, Because again, the reverse is kind of like, here's the build up, and then the forward is kind of like the release is kind of like now it's happening. So? So I'm not gonna choose that one. That one has weird volume. That was not bad. I think I like that one. That one has a nice hit. So let's just put it here, OK? And then what I'm gonna do is I'm gonna hold on shift and click. Now I have a duplicate copy. I'm gonna right click and go make unique. So now I actually have two versions off that same sound. And as you can see, this is number two. So I'm gonna click on it. We're gonna go reverse now it's fine. Tune it. And to do that, you hold on, Ault, and you can put it matches rate up there. So it's this kind of zoom in there. So there you go. So again, like I'm saying, the biggest thing with symbols is you want to make sure that they're not too loud. So I'm gonna do this, copy the value, and I'm gonna pace the value. Okay, So I'm gonna take off the loop there, and let's just go a little further on into this, okay? And then, like the track, we would start happening. Let's get into some Tom sounds. So exclusive audio has some, um they have it within symbols. And Tom's Tom's here. You know, these air just so emotional the sounds There's so big, you know? You know, honestly, I think apart like Phil Collins or something like that. Okay, so give me that sound. Slutty. Cool sound. Okay, so I usually kind of get, you know, a couple sounds like this. So, like, boom, boom. And again, you know, our temple is pretty fast here. You'll assuring down it's a little bit. Um, and now I'm gonna have to every adjust this so again, resulting holding on all to just to find to net there. You Okay, So let's go back to our Tom's here. So So far, So again, too fast. So, again, I'm just kind of clicking stuff in here case, I'm gonna put that right here, and we'll hear how that sounds with our build up. So, like this Go boom, boom. Okay, so now the biggest thing with Tom's, like, you know, for our intro here is you want to be making sure that, you know, it's actually super super audible. So what I'll do is I'll take the compressor that I had here. I'm gonna save the preset. I'm just gonna drag it onto here. Um, let's give these a color so color selected will go green or something. And then here, um, I'm just gonna press control in l and voters alike. Tom's okay. I usually write in capitals. Looks cleaner. Okay, so so far we have this. We're also gonna add some distortion on there That's usually huge to help these types of sound stand out. You know, when the track is getting so big. Also some parallel compression for some thickness. We can even add some wide nous to, As you can see, when you have sends, it just adds so much variety to your sound. So Okay, so now we need to add some reverb on because we need them to sell big. Okay. And if you want to go as far to add, like, delay, you can. But okay. And maybe what we can also now do is just kind of created a super random kind of transition . So you get some percussion sounds here, we'll get some different types of sounds. Well, maybe get like, a clap as a clap. OK, so, you know, maybe we'll just add just a bunch of kind of random sounds here and again. This is just this kind of like what I would do for a little weird kind of intro here. So this sounds like this, So that might be too aggressive. So maybe we're gonna remove these bond goes because they kind of conflict with the Tom. So I'm gonna hold on, Alton, Delete. And I would leave this one to this one. Sounds a little bit higher. Pitched a deal to get away with it. So I really do this. Ah, this club here, let's reverse it may be, and I'm just gonna remove the trim. Okay? Now we have this so they will do something like this. Kayla's put these to its own mixture track, too. And we'll just say, like, clap um bungles And again, you know, I'm just I'm just doing super super random stuff. You're just to kind of show you like what? You can do it as long as you could. You're creating some type of transition. It's really gonna improve your productions. Okay, so let's clamp down on this super super hard. Maybe get a different style of compressor can distort super hard. Let's turn up this distortion here will make the distortion more aggressive. Nice. Minus so well, the lightness. Okay, so let's just listen, okay? You know, And then then it would get into the chorus. And as you can see, you know, I just kind of clicked random things in there. Obviously, you know, over your years, you'll get a little bit better. Hopefully, that is kind of inspiring you a little bit and showing you that what you can do to help build up their track to get it to where you want to get again. This is all about emotion, trying to push it even further for our listener and as a producer, these are the tools that we have you know, the reverse symbol. Even that these fast drums, this weird kind of, ah, clap transition I have here the Tom's Ah, the snare role. You can use the risers and stuff like that. Um, in addition, you can also be using white noise. White noise is probably one of the most powerful tools that you have as a producer. You can add so much emotion into your track again. If you listen to trance music to dance music, it's just it's unreal The amount of a motion that white noise ads and so with white noise NFL studio. Anyway, So if you right click And if you go to instruments and three times oscillator. So what you want to do is you know, you have three oscillators. We're going to turn on the volume of the other two. We don't need them. Um, right now, just like this, I think it's the random one. Okay, so now we have white noise. Okay, So what you want to do is let's just go to new pattern, and I'm just gonna do what I'll do. Actually, I was gonna copy the Harmer here, but since I have all these notes. I don't want that actually know. What I can do is I'm going to go to Harmer, okay? And I'm going to take this note just so I don't have to click in a full note like that and going to copy it, and we're going to go to a new pattern, and we're gonna put it in here. So I have to go to piano for that and paste it in. And I don't push my middle stroll Bill in. I'm just gonna type white noise. Okay? We're gonna put the white noise in here now. You don't have to have the white noise that the full thing. Like maybe, actually, um, we can maybe make it only one bar. So I do like this. I will just put like, the white noise over here. Okay, So white noise at three. Okay, so, you know, from here, what you can do is you can highlight it, and I'm going to put the white noise to a mixture insert So control l all yet the Jewish just create a filter on it. So with FL Studio, you know, you could use that the fruity filter and stuff like that I actually prefer to use 1/3 party EQ. You like this one? Pro? Que just The workflow is just so smooth. And I'm just I like to be able to say the visuals and everything with it. Um, but if not, you can use the fruity Parametric eq key to this is a great week. You when you're learning and starting up OK, so let's take out the pro que here. So in this case, maybe let's ah, cut the low end on it. So what I'll do is again I'm gonna keep it fully open, got a right click, create automation clip. And so now, um, I didn't highlight the whole area, so I'll just drag this to make it there. And so let's just kind of listen to the white noise by itself will go back a little bit. Okay, So the white noise just super super loud, uh, turned down And let's just so Lewis with the EQ you just so you can hear a little a little bit better if you're not yet aware of white noise and what it can do for your tracks. So here it is. It's gonna play pretty quick. Okay, so I gotta be fast with the filter here. Okay, You can do stuff like that, or you can do it the other way. So instead of, ah, low cut filter, you can use a high cut filter. Okay, so, as you can hear is just really, really powerful. And again when you add, like reverb and delay and stuff onto it, it really adds again, like that big, big sound. So in this case, let's affect the low cut filter cause that's what the automation clip I created for you can create automation clip for both, and you can, like, effect both again. The reason why I like to use something like pros. Q. Here's you know you can highlight both of these, and you could, like, move them bolted like the same time. So it's just, you know, from a producer's standpoint, there's just more flexibility and creativity behind it. Um, so let's listen one more time case, let's say around there. So I'm going to copy the value and paste the value. And let's just load on the effects against, like reverb and delay and some wide nous and will be probably like that will turn this down , okay? And in addition, let's also highlight this and the white noise like I was showing you in a previous video. You have, like, an LFO tool. So if you click the low gear cog up here, you go to the envelope section. You can you have the LFO. So if I increase the amount, this is what it sounds like. So it's slow. Okay, let's speed it up. Okay. So a cool trick you can do is if you right, click and go set. You can put this to, like, one step, you know, So this actually stays in sync with your track, which is really, really cool. Okay, so let's even make it faster. That looks like Yeah, the one step looks like the fastest I could make it. So we're just gonna manually click this stuff in. So again, since I'm highlighted, I'm going to right click here angle, create our mission clip, and then maybe what I'll do is I'll maybe just slow down a little bit. Maybe it will stay around their copy the value. And what I'll do is, you know, maybe halfway through or 3/4 way through all paste it to there and then I'll bring it back . So, so far, it would sound like this. And maybe not. No moon. I'll bring it back down so fast. So you more like this. Okay, so let's just hear what it sounds like. You know, imagine this is be your song was playing, and then all of a sudden, now we're trying to build it up into a course, or even like a breakdown or something. So here's what we got. Okay, so hopefully that kind of gives you some inspiration, Some kind of insight to what audio painting is again. This was just kind of rushed as well as really, General, you could be using any sound for a transition. But as long as you have some type of transition to communicate with your listener again, you guys can check out my book Audio painting. It's on Amazon. My name is Riley Weather. If you can't find audio painting 17. Song Structure and Arrangement - [OUTRO]: are you guys? So I think that's our course on song, structure and arrangement. Now, you know, in all honesty, it's really hard to teach on because every song is different. And the thing is, it's like it's all about kind of knowing, what tools do you have? And then how can you apply them to your track? Because again, every tracks different and it really is up to you on how you want to structure your song. But I think you know, from my explanations of like, you know how I approach an intro. Of course, the prick orders averse a bridge and stuff like that that might kind of give you some more insight to, you know, when you're building your tracks to how you start flowing again. The biggest thing that I find is once I build my track and all my instruments, I will then start to kind of build a rough, you know, kind of the bones of the arrangement. And then, from there I will actually kind of start to mix the track because I usually find that you know the track might be bugging me because I might not be balanced or a certain sound would be too loud or something like that. So I kind of just fine tune it in like the mixing and stuff like that. And then, sometimes even as a mixing, then I start kind of getting into Theo audio painting. And that is where we're starting to use, like filters, symbols, you know, snare buildups, all that kind of stuff to really help push the emotion into our listener. Because again, it's all about communicating again, just like the book title audio painting, communicating with their listener and preparing them for what's next in her song. And that's the whole key when it comes to arrangement. And in all honesty, you don't want to rush your arrangement. When Sir Track is built, it's like you might have such a huge opportunity. You know, that song might have so much potential to be an amazing song. But if you rush your arrangement like, for example, if you don't have transitions or stuff like that, it's like, you know, you're kind of cheating yourself because the song could have so much potential. But it's the next step. It's the arrangement and stuff like that. So I really do encourage you just to check out some trance music like I'm not talking recent stuff. I'm talking more like back and like maybe early two thousands, late nineties kind of stuff again that sounded. My dream is one that kind of comes to my head or even, like daft punk, You know, one more time you guys can check out that song. That song is such a classic hit. Just listen to it, you know, they have, like, that build up, and it's like one more time. I know it's just such a good song, right? So hopefully this course has really helped you really inspires you. If you guys have any questions at all, just feel free to reach. I can always create a new video or if you guys have listened to my beat tape, whatever. And if you want me to cover another beat in there in terms of like the arrangement and what I did for the transitions or my audio painting, you always feel free to reach. Oh, it's really easy just to create another video and then added into this course. Okay, so I'm gratuitous. Thanks for checking out the course, and I hope to see you in future courses of mine