We made our DEEPEST track so far! (200.000 streams within a week) - FL Studio | Mr. Belt & Wezol | Skillshare

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We made our DEEPEST track so far! (200.000 streams within a week) - FL Studio

teacher avatar Mr. Belt & Wezol, DJ/producer duo from the Netherlands

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

Watch this class and thousands more

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

Lessons in This Class

5 Lessons (21m)
    • 1. Introduction

      2:04
    • 2. The vocal

      6:52
    • 3. The arrangement

      3:46
    • 4. Melodics

      6:41
    • 5. The drums

      1:12
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About This Class

We just released our track 'Broken Moonlight' on Ti√ęsto's label 'Musical Freedom' and it's a bit different than you're used to from us! In this tutorial Sam explains how he found the vocal, arranged it and how he did the melodics. We hope you enjoy!¬†

In this class we'll talk about:

  • The vocal
  • The arrangement¬†
  • The melodics¬†
  • The drums¬†

More info about Mr. Belt & Wezol:

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Kingsday were celebrated with four appearances throughout all corners of the Netherlands. But if you really want to see the guys in their element, you should visit their "The Cuckoo’s Nest" hostings and clubshows. Here they play long solo sets or invite all of their DJ friends for a huge back2back frenzy. The ADE editions are traditionally sold out and new editions will be announced all year round.


Youtube: www.youtube.com/mrbeltandwezoltv
Twitter: twitter.com/mrbeltandwezol
Instagram: instagram.com/mrbeltandwezol

Meet Your Teacher

Teacher Profile Image

Mr. Belt & Wezol

DJ/producer duo from the Netherlands

Teacher

Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Ki... See full profile

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Transcripts

1. Introduction: Hi, welcome to another industrial video. Today I'm going to explain broken moonlights, our latest release on musical freedom. It came out November 12th. And it's kind of unconventional trek for a miscibility weasel trek for yourself. If you haven't heard the track is this is what it sounds like. So the process on how to strike was maids is pretty unconventional for my usual tricks. But I got the top-line in from a topline company. The top line is written and sung by Jasmine Jane. She's a vocalist, a singer from Great Britain, UK. And I really, really liked the sublime, but I also liked some of the instrumental elements that were underneath that top line. And usually with songwriters, the songwriters use some kind of basic core progression. You know, just some basic guitar melody or some basic piano courts. Just so they have something to write on top of that, you know, of that's basic instrumental bits. But in this case, the instrumental was a little bit more developed and there were some elements in it that I really liked. So I, I wrote an email to the topline company and I asked them, Hey, I really loved this top line. Can I use it? It's kinda try something with it, but it can also have some elements of the instrumental that were lying underneath it. And it was a bit hearts. We had to throw emails at each other for a while. But I got the stems in. And yeah, I started working on the project which I have in front of me right now. So I've done quite a few versions of this trek and Indians, this is the final projects. It's a bit of a mess, but I hope we can work with it. 2. The vocal: But let's start with the beginning. Let's start with the vocal, which is the one of the biggest elements of this track. So Jasmine Jane sung a lot of lines. There's the, of course the lyrics that are now hearable and the track. But there were also a lot of our lines in there which I skipped in the ends because I really wanted this track to be a dense track and yens and the way it was written in the first version, the first draft was very almost like a song. And I wanted it to remain a dance drag and EDM track. So I cut up vocal in the parts that I wanted and I didn't want. So if we listen to the acapella right here, is that it's not there. Nothing you can't use the galactic plane. And the sole reason for that was that if I implemented debt part of the vocal as well, in addition to all the other parts I was already using, it will just become too much of a vocal song. And yeah, that's something I didn't want. So still, with those lines taken out of the trek, there were too many lines. I think it was really hearts in this track to give all those lines, all those forces, its proper place. And what I did to kind of solve that is to take some parts of the vocal ants, make them less significance by repeating them. So in the intro, for example, we have a part of the vocal which is solely there to introduce the listener to the focal by Jasmine Jane. And that's just repeating what a lot of effects on it's just to give it some areas. And nutmeg, it's as substantial as the vocal normally is. And a fun thing here or fun thing, it's not that interesting, but there's two instances of the vocal right here. And the top line is one. It's just the exact same tick but used for effects. So this one is reversed, 100% wet, delayed, 100% wet. And this way you can really control and your delay without altering the original signal too much. And that's what I achieved with this, is just the pure dry vocal. So that really adds to that arenas I was talking about. Another thing I did sort of vocal to make it less substantial. I hope you get what I mean with that is in the first drop, some pretty a drop I think, but we'll get into that later. Is this backing vocal, which it actually is, which I kinda turned into a lead vocal. But it's this steak right here. So that's a backing vocal originally. And I true a lot of reverb on there and that's a lot of gave it a lot of side chain also to remain that arenas again. And just those two things, you know, they are being used throughout the track, especially this tag is being used routes every drop. Makes a track vocal like but nuts, centered around the vocal in my opinion. So that's a way to solve that vocal problem. I had there. Some other tricks I did with the vocal, is this right here, for example. I often find it's pretty hard to make a delay. Sounds exactly like I wanted to. So what I usually do is I literally take the parts of the vocal which I wanted delayed. So this one right here. I copy that over and I just throw a 100% wets the lay on there. So that way you can manually shift this over a little bit if you want, wanted in a certain way. And you don't have to mess around with automation clips and switch around with the original vocal. So that's what I did right here. And another trick I did with the vocal is this right here. I've set this earlier. We set up the way I said this earlier. I take the break right here is really dreamy. And other strings, there's, you know, it's, it's the most greenie part of the track. And to add to the creaminess, I took the vocal which is playing right here. Our render dead outs. I reversed it and gave it a lot of reverb, which is this file really adds to that dreamy 5 that's going on there in that second break. So I think that's about everything I can sell about the focal. As I said, it's gave me some problems in terms of how do I kinda distributes the vocal throughout the track without it being too, too much, without it taking, taking too much attention throughout the whole trick. I solve that sum was, I think, but not entirely. So next up, let's talk about the arrangements. 3. The arrangement : So next to the vocal, we also have a couple of other very important elements in this trek. Of course, we have the baseline, we have the melody, ends, we have the vocal, which all are very important for the track, like maybe even equally important. So how do you solve that? Well, you don't really, I kinda did not solve it. I kind of add another drop to the track in the original mix. We're now looking at the project file for the extended makes our original mix, um, and it's in his first break. We have, of course the sense and the baseline in the drop. And I couldn't introduce both. The base, the melody ends the vocal at the same time in the first break, that would just be too much, you know, if I if I if we listened to it the first break right now, I would add the metadata that as well. I think that's too much. You know, there's, there's a verse being introduced, which is important. People should focus on that and on that first because it's a good part of the song. And if you then also introduce the melody, It's just too much I think so. I post phones that whole, I postpones that whole parts where to melody gets introduced and created some kind of where the first drop, which is this drop right here, which is that solves this drop. Ever dropped. Attention on the internalizing. And it was really necessary to get the melody when it's introduced properly and the second break, its proper place. Channelled melody is important as well, not just the vocal, it's not just a day's lines. All three elements that are important. So if you're listening to this song on Spotify or on the radio or on any other streaming service. The actual song starts here, That's the first drop. So the advantage of having a drought that's really soft, you know, there's not many elements there. It's not really energetic, is that I could use this soft drop as an intro for the radio edits. The only things I changed in radio edit is I, I have a cake hearing full effects that I gave that kick a high pass, which are these files right here. I gave the debt kicker a high pass effect. So that's this part sounded more like an intro. And I also high-pass some of the bass sounds. And then this part right here is actually the first verse of the radial edits. And I think that worked out pretty nice. It took out almost an entire minute of the song. Which is always nice. You know, you want your radio edits or streaming edits to be a lot shorter than extended mix. And of course, your extended makes should have a proper DJ intro, which is this part right here. So I think that's everything I have to say about the arrangements. Let's now move on to the melodic. 4. Melodics: So next to the vocal melody lines that are most important part of this trick. And I use a stem in this final projects, but I still have the melody lines right here. I imported them from an earlier project. So funnily enough, if you listen to the melody line on its own, it sounds really dull. The baseline. On their own, they both sounds boring. But if you add them together, that's when they start harmonizing. And, you know, it's kinda makes sense of course, because if you have the melody line, which is just following a couple of notes, you know, the melody lines are boring and OD repeats a lot. You know, there's a lot of the same notes. But as soon as you adds a counter melody, they start harmonizing with each other in kind of battling with each other. And that's what's gifts. This melody. A nice sound. The lead line and the baseline working together. And again, the line is, like I said, it's a lot of nodes being repeated and it's just following some basic notes. So debts on itself is pretty boring. So to give it some liveliness, there's cutoff, automation edits. And if we open up the sins right here, and this is the legends, it's supposed to be in analog sounding plugin, which kind of works, I think. So we can see right here if we play it at the cutoff parameter is being automated. And that cutoff is being linked to this keyboard controller right here. And you can mess with of the, each individual notes to exactly creates the kind of cutoff movements you want in the main leads. And this is what gives that though melody. It's interesting movements. And you know, you can do this in a lot of different ways. Right now. It's being low pass, lowpass filters. You can also go for the bandpass for example. The fun thing is with this keyboard controller, you can change. It's precisely how you wanted to. You know, if you want something to be sunning, slightly difference, you can just easily change that's per notes. And that's a really nice way if you are working with automation clips, it's just going to be a mess. And you can get so creative with this. You can go for the double notes, for example, and, you know, completely change how you want the timbre of the sound to be in the ends. It doesn't sound good right now, but you know, you can see what the possibilities are. And you can also do the same with the resonance. Creates another keyboard controller linked to resonance to this keyboard controller, or the velocity of this keyboard controller and change that around. Thank You know, you can get really creative with a really basic melody. I think that's my points. And of course you can do this exact same trick with the baseline. The baseline is also the legends. You can also automate here. You can link the automation of the cutoff to the velocity of a keyboard controller. Let's play with that as well. But I think that will be a bit too much. You know, there's now one since yeah, kinda delivering all the movements. And then there's another scene on top of it as well, which is not moving as much. And those $0.02 are enough. I think. Other melodically that are in this track are, of course, the strengths which are right here. This is from Spitfire audio, which is, I think it's free actually, you can go to their websites and downloads this excellent string contexts instruments for free. As far as I know. Sounds pretty nice. This note, this note. I couldn't get the Etag rides on that note, so I exported that one manually. Drum the automation myself, just nitpicking I think. Then we also have this choir right here, which is also from Spitfire audio, which is barely noticeable in a track, but I think it's a nice sound as well. So altogether, in this dreamy break, it really works well. I think. So we have dance, we also have in the last drops there. It's, it's the, the big, big drought, the big climax. And we also have an arpeggiator to, you know, kinda make a difference and more energetic than the first two drops. So ready, separate that out as well. And it's altogether the big climax sounds like this. So that's all the melodic suffering. Let's now continue on to that trumps. 5. The drums: Lastly, we have the drums. They are not that interesting. This is it. So not really interesting. What is kinda interesting is that there's no clap in this project. If you add a clap, it completely takes out the entire five of the track. There's no collab and its entire track except for the fills every now and then. That one. So that's kinda funny. I think if you're a Patreon supporter, you get these drum elements for free. So it's kinda nice, I think, and I think that's about everything I can tell you about this trek. Like I said, it's a bit different than our usual trick. Yeah, I hope you like it. Yeah, I think I think that's about everything. Thanks for watching and hope to see you again in another video.