Ableton Live | Drum Programming | GPP Masterclass

1. Introduction: Hi folks and welcome to the Drum Programming Masterclass point in Ross Geldart, number DJ producer based in L1 and then offer Scotland are being produced. And for almost ten years now, I've been a DJ for about 25 years maybe, and teaching about five years ago. Most of our label owner of my progress approach label, we're kick records, me Production Board such as double duty as you enroll and Lexicon often you are music. It's been supported by the likes of animal trainer James Abuja, john pigweed, donate, and Aguiar Sasha, Nick Warren, arthropoda, Steve party, just to name a few. So as your instructor for the course, my goal is to equip you with essential tools and techniques that will not only elevate your music production skills, also empower you to express your unique musical version. The course is split up into various sections. Restore or very basic bulb in the Kick, the co-op, and the heart. Just keeping it very beginner friendly. Then we'll move on to more advanced techniques and intermediate techniques like extracting grooves from percussion loops. We do some mixing techniques like EQ saturation. We also arts-based your sounds by means of using rebar, March to the BPM of your truck. As the other bonus at the end with a few more sections, the feature and over 80 min of content that I show you how to analyze pool tracks and create a Map and also your own version of the idea using your own sounds and marching Levels With Voxengo Span. And finally with, with the creative drum block section. Share with you tipsy techniques. Just a creative way. Take drum racks on, find sounds like processed them and build your own Sample Library within Ableton Live. So the course is very beginner friendly. You can start off at the very bottom if you're a beginner, Marcia, the techniques are not flush three videos and then just walk your way up. The more intermediate techniques and the advanced techniques also going to advance producer. And you want a large sum war. What full Hawks for your own workflow. Then there's plane in here. Pat Crowe, by the end of the course, will have a solid understanding of how adult Grooves Process Grooves mark Levels of your grooves today, professional tracks, I get your overall goose and the more and more like professional tracks as you progress through the course. So I hope you take something from it. What was enhance, help fire me a message. If you've got any questions, I'll be my best to help you engage in the right direction. You can either view. It'd be much appreciate books that can help me grow in the platform. Okay, Take care. And I'll see you in a video. 2. The Kick : Hi folks, Welcome with the drums master class. And in this tutorial, we're just going to start off keeping it simple. We're going to start off with the Keck. You'll have your sharp ballpark available. Check here. So if you haven't already, if you insert a midi track, let's right-click and insert midi track. You'll get MOD truck up and we'll just rename it Command R to kick. Color it black. You throw up on just click and drag drop of oil or you can double-click it and automatically rolled up into the muddy truck. So we're going to keep it simple. Start with just do a nice easy for the floor kick pattern. So all ungrouped. I was just my default sampler here. It loads up, so you've just got your sharper here on its own. You could talk decay, sustain, release. If you listen to the sound. You can hear about like high-end. At the end of the Keq, should we just dial back on there, Elise? Just tweak the taste. Keep a sustainable Asian decay. Easy for the full part. Doesn't have to be the fourth floor. You might be doing something completely different. You might have something like a torte with different partners. So it was worth experiment and we're at or whatever sound that you, that you don't need to just play around with the Kecks. Just a basic form, the floor KEQ. If we double-click and it will duplicate it out. And we'll just do a couple of variations here. So I like that or like a ghost. Ghost note, if you double-click on the note Buddha and divorce it pulled the velocity right down. You can always mess around with that. We all over the notes. Try that as well. Cool, nice little groove. But what we can do for the gospel rows of V, right-click, duplicate it. I recommend this one. Just delete the goals, kicks the original Keck, this one, and then delete the original kicks this lever and the gauche notes. And we'll just rename ghost. Higher weight than both Command G to group them. We'll just reshape their Kayexalate where we take the half dark, just rolls off. So what thrown at the start? This gives us our corn thrashed between the two. Because just your basic EQ, just like a pulsing, pulsing can a compliment to groove. So we don't really have that. You don't have to use an EQ. You can always use this. The frequency here should review current and controls the frequency. Here. We're going to use for the purpose of this one, we're just going to keep our open and we're going to use the EQ. Just avoid some of that frequencies and the lower Shelby part here. Lots of basic kicked down, easy stuff. We'll just focus on getting the patterns down and getting the same zone for now. And then we'll focus on the process and later on the tutorial. So what we'll see in the next lesson folks about will be the clubs 3. The Claps : Hi folks, Welcome box or nested Turiel, we're going to focus on the Claps. The first thing you're going to do is grab our midi track. Right-click, insert midi track. And then it'll be just command, rename the co-op and just make it a color, whatever color you like. You still Claps and the sharp ballpark. So we grab our drum rack dropper on and get one to highlight them both for them, the Shift key, Rococo one. Although the Shift key click in the other, or high weights on both, just throw up Amen. So question RP, clop, clop to name of gridlock our body. So rename, body will rename to snap. So we just throw in a midi clip, give you just double-click in the box here, I'll brings up my midi clip. And it'd be committed midi clip here you can see we've got the to the few stones on the drum rack. So we just double-click on every second here, on one point, 2.1 point for playing the co-op. Nice. So then next, higher weight than both. Hold down the Option key and then just pull up the Power. Rule, the volume down a few dB. Nice, sure, awake there, how it's shown. Overall, if we click on the white button here on board, EB just hit the zero button or deactivates it to clip. So let's heat up without the board, the Claps sounds okay, but without extra, extra co-op in top of it. Just showing zwar fruher. Sounds great week with just the body co-op. There's not much high-energy. And it saw with the high-energy on that startup co-op, I wouldn't have just move it slightly in order, but a variation here, so I just want to move it slightly off the grid. So it just comes before the before the Kick on the air, the body Claps review washing tuples, turnip, bark on snot, Bach on the goat first. And then if you just our joy, pool across, so long as you get the ball from highway, you don't move them both with receiving both move on. So we just hit play just slightly off grid. So then the next one, we put that across and we'll maybe take the body and move it over straightway. Just gives us a variation. You could just listen to how it's shown, just how it changes with each hat. So when have you duplicate it again? Then we're coming to these ones. Make slight changes. People Up bought, maybe have the snap on their board, the own. Snap. It will take up about slate with Ghoul. I'm happy with it. So if we duplicate it out one more time, now we've got to take over for sure it one more time. And I know we've got it out over a, but let's make an odd number. Let's loop it over 7 bar. Then that way it's not gonna be buying on the grid every time it resets 8 bar, like more sounds or reset a date bars are 16 bar or whatever. View a have it looping over an odd amount. An odd number will happen. Zeta is the variation on the clock will change all the way through. It will just show a little bit more humanized with a, with a different Hetch on the different settings here through just a little tap there for you. There are the variation. It's fairly old, but it's, it's there. And I can really alter your groove when you start throwing in the other elements. So one more thing I'll do is we take the snap clap. If we hold down the Option key to raga across on a D1 and then rename it here, rename. And if you right-click on the Simpler is his Simpler assault bar, change it the sharper, the reverse button. Now, we're just going to put in and mess around with a start marker here is C. What can I sounds are best. It gives off the best effect of a local co-op or hover on the, this one. Go for just at the end of the second, the second bar so it can hear it because two quick pull it back out there. So we just take and duplicate it out. Then I was because it's an odd an odd number is going to reset on a different position, but we'll make it more violation effect, which you Sound group CEO is strange with it. We might not keep it there. We might do something with the reverse co-op like extract that from the rock and we'll just about looping over there the 2 bar, but we'll see you. It sounds when we get the other elements and the hearts and their percussion and in Groove, etcetera. So folks, that's a clap, super simple. Our next we'll go into the hearts. So I'll see you in the next lesson. 4. The Hats : Welcome back folks. Short, initially tutorial. We're going to take a look at the hatch now. The offbeat hearts, the odd. So may I just add two more energy there, the loop. So let's insert a midi track and rename the heart command R, then renamed Hot color, whichever color you like. Shorthand here. I've got a gray. I think we'll use that one for the offbeat rename. We'd just throw on basic of Bihar power. Grab the heart. I'll just ungroup bar. So remember the last and the club. So I had them in a drum rack and this one just straight on ER, straightened it like an instrument. Rocks are simpler, shorter. And then note here, remember S3 is your root note for all the instruments. So make sure to turn the C3 naught. I just hit play. We just assume it. As you can see here, slightly off, make sure the start marker zone. We will keep him beat mode. Switch pelvis is staying right down. And then the k button here we saw the heart, the heart sustained way up. You can see that the k does it do nothing. This is deans right up. So we just write down, just gives you control over the tightness of the heart. Some people like to work in one shot more than usually where the feed and feed out by prefer. This here just gives you a bit more control over the classic model. It gives you more control over the shapes are the recent, about 1.83, the K, 762 milliseconds only the k. We'll just do our little change up the velocity here. I think you can randomize at the pool at write down. It's just going to do like so if you take it down as C2, you hit randomize, it just makes a little subtle changes. Again. She is not drastic changes, they are. So we put it up to like eight. If you put it right up to 127, hit randomize. You can see it makes a really big changes, big leaps and a velocity of which we don't want for our hearts just shuttle. Subtle changes is ideal. What the reset. Let's drag them all. And he said, bark the A6, they are. And then just hit randomize. And it's just going to do like a very subtle change should be duplicated. Now quick, I'll do for now. Just putting in more to do with when it comes to revive an odd and space, et cetera. But that'll do for now. And next one, if you right-click or midi track, and we'll just rename this degree for our double-click. The sharp border with the short hot here. Here we'll just experiment and come up with for du over 2 bar one. We want here and just pull the water it going. Copy about one. They are there. They're obsolete. In week nine. We get that torque on it away. It's quite a sharp transient. So 4.99 to 7.31. We go up this pubic decay down and be harsh, right? We just know it 300 million more seconds. Here we go. I'll show it in a bit of a more groove to the overall loop through multiple of b in our group. And that's pretty much the main core, a core elements to your drum. Your drums. The next part is all about, are the more groove. Like taking look percussion, et cetera. So I'll see you in the next lesson, folks 5. Stealing A Groove : Hi folks, welcome back. In this tutorial, I want to demonstrate how you can extract a Groove from outlooks are percussion loop. I'll call this percussion loop here. Doesn't have to be this loop. If you're using your own loops, you can use the same technique. And they just come up your own different, different air groove patterns that you can use in your tracks or just keep in mind and just experiment with it and how farmer that and try and come up with your own, your own unique color groove patterns to implement. So I'll just grab this park loop proper Own here. So if you right-click and you've got the extract grew function, it would just hit extract groove. You can see the groove file comes up over here, percussion loop and a Groove file. So what we do that as you drag it over here, hold that down, drag it and throw up our ownership, come up with a midi track. And then now you've got your whole your groove pattern here. If you just scroll up, we get the velocity up, you'll see is called the velocity changes as well. And say the Claps. So if you hit the legato button and I'll just extends their than all the week come up to S3 over the C3 root note for when it comes to their use and legs are different sounds, etcetera. So if you just drag it onto the groove part for now, the goal, you've got your own little Groove. To experiment with an ultrasound. On the Claps. Put it down. He goes out at are really handy tool inside of Ableton. I mean, it'd be good. Even on the clock, there will be good for lakes near rules and stuff if you want la keep, you've got like a snail rule. Sound for example, you don't like the sound, but your white coat, the part or the groove of the velocity, etcetera. Just their drug on extract the groove and use your own scenario sound on it. And then you've got your own little snail row. And it seems you're going through all the settings of getting the velocity is right, or getting an old tray, etcetera. So it's just a harder to Harvard just followed quickly, show you how you can experiment with your own loops on what we're gonna do. The next lesson is usually grew firewall. Show you how to use it. Use a different notes to just play around a mess around with different sounds that LTR, your groove that you have. Okay folks, I'll see you in the next lesson. 6. Percussion Part 1: Hey folks. So if you remember, the last day in the last tutorial, we went through how to convert, extract a Groove from percussion loops or just went through a couple, a couple of loops here, which we're going to work on over the next couple of videos. We're going to take the groove and we're just going a, we're going to use some of the percussive element, elements that we've got an apartment, of course, you can use your own. I hope you've canal went through and find some percussion loops yourself that you can, but you can progress from here. So let's just get stuck in these two loops. You wish drag them across one another audio track. This one here. I quite like this first part here. So if we right-click on Tom before extract the groove. So always good going through. Like I said before, if when you put, I showed you that in the last video, It's always good. Spend in like a good 30 min or Shogun three are sharper Library and finding loops. You just play a loop. And all I did was just my sample parks and went through all the percussion and just played them in the side here as a loop is playing, deceiver can hear anything that can have worked with there. What are harder, which can add sounded good. So I'm honestly grab these two here. So let's take a group of just extracted. We're going to throw up our own new midi track. And what we'll do is with Dragan out. One thing I'd like to do is I like the lineup. The first and the third. Always lighten them up. Just the March to the grid. Fine. Fine. They are just March March name up the rest. Just keep them off and settings at their own just so we can just mess around with it. When we get the other shown zone. Pop up the C3 sample park. I've got these awful Drums. So when a command here, we're going to get drum rack, drop it, drum rack on here. Then the commitment, the sharp ballpark it off with Drums. We're just going to copy lot. When I cross hold down the Option key dropper N, I will just rename one to one, or solely the second one. In classic mode, which makes your snaps on, then it's Snopes and the grid. There's that little part before it. You might like it, but I'm not keen to click. Keep out there. Now affect the power one, classic mode. Who thrown gene? Pool, the end marker, and two there. So let's go to the drum rack and lets you can do with this pattern here. So we just hit Play the volume diode. Let's prove them all down. Straight away are awake, they're agree with that. But I wanted to do is measured over the different Hetch or it's blew up in a bit. Up maybe for wash it up. Take it down again, this one up. We were in a bit. We're just going to delete or shake impart. And how about looping over a bar, duplicate it out. Command D, high weight them all, intersect command D. Make sure the whole bar sections highlighted. And hotkey command D and G sub two bar loop. Let's try changing one at ashamed that the shown a bit to swung there. Maybe let's try bringing it in a bit over and have to be the exact same. One. Maybe take hold down the Shift key. And the ones that are on the kicker there be who the wall shut it down are quite wide. Perfect. I'm happy with that. She watched the first percussion. Let's rename it. One bongo effect. I'm happy with Archaean. The next tutorial we'll get through the other part, percussion, a Groove, all extract dot and then go through some higher can have percussive elements. The next question, folks 7. Percussion Part 2: Hi folks, welcome back. In this tutorial we're going to take a look at just extract a Groove from another park, park loop I have here. And we're going to ultimately higher percussion. Say, in the groove that we already have shown. Let's drag this across here. Just keep that share button and we'll focus on this. I've got this shown here. I like the first part, the other one, but the second part or this one. So let's listen to it. The with the Groove enamel extract that. So let's right-click, extract the groove. Now let's drag it on a new midi track and see him again. We'll just open it up. Let's just poor and they're very, very well Schwann, but let's just pull them out slightly. Just flashed are important. I can just tweak it as we go. Let's move up. Pull out one and I bet not one. Let's bump it up. S3. Let's grab. Let's start off with Kobe. Let's take a drum rack report on. We'll get the sample collaborate on their classic pool that start marker on. The second part sounds like the right. So let's just take the pond slightly left. You much. Sustain down the key up. Just drop it in. Just the Hats and super the son. Great Wake. Not part here the hall. So we CVD L Bupa. Let's see, these velocity is telling them up. Let's try to stack. Let's families all for now. Classic One percussion sound, I'm happy with that. So to really throw a ball, tribal kinda groove, we've got going on progress one over here. We'll just rename. Don't need them, switch them off. One final thing we'll do just a quick clean-up, quick EQ row or for any unwanted frequencies, and we can just label this low-end information here. So you see brother hectare that you pull it right up. Just a basic EQ for now, we're gonna do some war and the mixing stage of B. So you've got information, don't hear it, but don't need to get rid a lot. Around 1.3. Woke up. The Groove. Again, you get this information here. It's just going to muddy up there the whole way until ruler or a friend of it, the same. Ango. Around 75, we require hard cap. 62. Discussion lists. You can see all that information here that takes distortion. They are hear a lot sounds now. We go so nice. They solve a Groove progressional got a lot of work to do yet with processed and EQ and saturation and stuff like that and cleaning up some more. Sure. We'll do that now, wait a point and they're in the course. But next up we're going to pick this blueprint arrangement and then we're gonna go through some arrangement techniques for when it comes to managing your tracks. I'll see you in the next lesson. Folk secure 8. Turnarounds : Welcome back folks. So in this tutorial, we're going to just take a look at some arrangement techniques. We'll just drag and arrangement view and just start going through some techniques that are then thrash them. You can evolve a certain loop progress over time, just to give you some ideas about first a warrant you, I'm going to keep, Let's shown here. Keep that in the loop are quite white. Get will delete this one. Keep this one up, PR rename Part torn. Give it a green car. And this is the, the shaker loop. Rename shaker across will take these two here, drag these over here. I just like they keep them in order. Just this far to the second part, you're awake, but our heads, we get recommended per gotten mixture are quite good. Again, a B button. And then just delete. Let me just make like an envelope. White cow, like, like the tail of it as well. So we might have to do a bit of EQ and we are all but for now. So let's garb arrangement. You just hold. So we'll come back and they are just so you know, I was doing there. So we click over here on the scene. We click on there and just click down and hold that and then just Dragan arrangement. You'll get all the all the sounds from there, from the actual scene itself and then just throw up around 8 bar. Yeah. Kick. Let's 8 bar. Now if you hit this little red button here, basically activates the loop. You wish to play here. Seen. Stop. Over here. Nothing's playing, but if you hit this button here, I'll just basic way activate just like arrangement, the clips and arrangement view. So let's go through a couple of tracks. I think in the first video here we'll start turnarounds. So what I mean by turnarounds amine, the end of every like every 8 bar or sometimes in every for 4 bar, you've got a little change up there. The elements of the Groove are cubital AVR using below the Kelvins, it could be melodic elements, but obviously for this tutorial we're doing the groove. So we're gonna do a few subtle changes at the end to take an, another section. And we'll just show you a couple of techniques for our handy for transition walk exert or so. I think if we duplicate this out highway at all, hit Command D. Then E is open up the sounds be anything will take us shaken off here because it seems to works well when you've got a sound out, then you do a transition effect like a turnaround. And I definitely, another element comes in. Lots of the air, that's your effects. Or without being said, we could always try taking this back loop highway. Like half a bar. Hold down the Option key, drag across Command J, R console with the insert. And then if you hit that are but unharmed of vouchers, snow will get less We come up to the Keq. A couple of kilowatts sounds. Yeah. So we can always try if you take all across here, only be committed to this button here at the time, stew by zero axons. Shake it again, bark and equip. Change it the complex mode. But this use half of it from the Kick comes out. Girl. And also it could maybe do a lot, will change up this part here, Command E. We've got this little part here, Command J. I'll just console data again, 16th notes. And let's try changing the note here, which they've up maybe just plays out double-click. We sounds like the ban was out. You go just a little parallel lines across the age, sometimes shadow. So remember we've got this reverse co-op uterus. Well, she can always do something like this. We've got that sound there. Let's insert, insert a new audio track. Take that. Copy. Copy it down. Command J, or just reverse. It's up. Sounds layered up. One of the reverse. Our button saw the reverse part. The co-op, played just at the end of 4 bar. You can always do something like just a subtle change your work and maybe invert these. Play opposite newborn girls as well. Let's try. They'll do their one Z. Sorry, whenever we Command D, you just click undergrad they are highway. That's like half or two 16th notes. So just highlight that for you, right quick, 16th highway to 16th notes. You should up a command J. They're not just console there too, so you don't affect the rest of the Claps. I'm just flips it. Assuming that Bongo is, let's take these two Command J, right? Quick 16th notes to 16th notes, and we'll just punch them up. Maybe take the velocity up and this one velocity down a little bit up, shop in different block the normal. Remember take what Barker. You go just while also changes like that can make a difference. If we take out a Welsh there as well, command Option key and just copy across reverb. Such as turnarounds, such kinda like how they are TO turnarounds work just at the end of maybe a bit too much in this part here. And, but you get the idea, just make subtle changes to the Drums, the endeavor. Every part doesn't have to be there when it's not artist, not a real. Terminal organs are usually happening at the end of the eighth bar, where like another element comes in or another, like another drum elements or just experiment with that. This change up the midi clips you've all looked. You can always look, it's right here. Right? So we take all these out. I think about the goals Kick can maybe take a lot tonal thing again, right at the end part and come in here, Command E. And we'll just line these crops up there and just duplicate, duplicate, duplicate. About sounds. We put. You get the idea of things that go up the Claps, you can mess around with the velocities. But that's the Nazi idea of turnarounds. So experiment folks will be kicks up. And from that, I'm just, like I said, experiment with it and just try different partners, different techniques. You can invert things, you could reverse things, you could do so much, you can do with that. So it's just worth mentioning alone for a good session or two. Just so we get the hang of it and get there, get a feel for it and see what sounds, what best. Okay, I'll see you in the next lesson. 9. Percussive FX: Hi folks, welcome back. In this tutorial, we're going to take a look at like using a percussion to create like percussive effect just for more like ear candy and just add like maybe tension in some areas, maybe some embark touch as well. Just to can I use with your half-year on the truck? So let's start by let's take the co-op, Let's duplicate the co-op. And we'll just call it Co-op effects. Let's highway it blue. Just delete that. Delete. But let's just delete them all. We'll just start the story here. Try something. We use the snap Turnitin authority to use something like, Let's try dividing it by two again. Then take about three and duplicate it out. Let's try divided by two once war and then duplicate it. And we'll get one more. Throughout, will get an audio track. We'll just say it, re-sample the co-op, an arm, the truck. This one exceeds receiving the audio, will just hit record. Do us switch off for now? I've got this one here. We can just mess around with us and play it in different areas of the truck. So I was thinking, let's take the Claps. Create this almost like an integral part. Let's take we have like maybe keep it as well. And we'll just treat it like almost like an integral part of the rock. Know we've got this processor about, Let's get rebar the K up. Some the way. We get the echo. Feedback up 498, ball with dry, where don't duplicate it across. On the second, the fourth borrowers, this one, which it down to 12. What sounds? With too much narrower to Puritan minus 57. Keep it 12 times it by two. We can maybe have bought one at the start. And then it just right. Aggressors So we take this whole section. And if you double-click in the brace at the top nine, your right-click. Double-click the British right-click and duplicate time. We've got two parts. Then, this one, this one here, times, this times that again. This one, the first one places much. Not one will be less than this one more time is way too as well. So let's start start off slow and I get shorter. The second part, one more thing I think we'll do is take the Bihar. Duplicate that down. Let's commit to the square root. We drag it across. Who can copy it out? Let's take this off Bihar off here. Groove artist was alone with us off Bihar has gone up over 8 bar. So let's make it 8 bar. I want to do healers. Duplicate, duplicate it out. Here. This one, we're going to make it more. And then in this part, if you divide by two and press Command B, just goes like it's almost like a bell, like a snail row, except we've got the heart. So now this part, this part here, which complex mode times that we're two. And again, a Fourier. Certainly longer. Let's take this here, frequency and let's open up. So let's just slow heartbeat arrangement techniques just for taking the percussion stuff that you have and just kinda thinking, looking yourself right walk and I do with us, use what I have here and just create like what will affect all kind of ear condi me, that's perfect for an intro. So then you cannot comes in here. Cool. So there you go, folks have FUN with that. Experiment with different zones. Re-sample other sounds as well, whether percussion hits and just awesome your candy or trucks, or seen an acceleration folks 10. Adding Energy: Welcome back folks. In this tutorial, I want to talk about energy or the energy your Drums. You're probably thinking, what way can you add energy your Drums. I want you to think about it in terms of Dell versus bright blue versus loud. Also in terms of pet, she could have lower octave, higher octave, up and down as well. So I think just getting your head around the difference between low and high energy and how it affects the listener, how that affects a truck can make a huge difference. Arrangements and controlling the Drums and your arrangements and how your throat flows over time. I'll go through a couple of demonstrations of other, a couple of things in here in a way to do so I can show you what I mean by air, by all that energy. So let's pull up bark. The first part I want to show you here, the shakeout. So if you wish and a shaker and look more, switch it off, then wasn't how it affects overall energy of the truck as progressives or play from here. You've got that little transition there. I quite like an octet, but if you are then the shaker there just wasn't feel how it changes the energy. Now of two things are committed player there with the shaker, It's the brightness orbit, the absolute energy, plus it's the actual pattern. It's the note addition to the part. And over time, It's like the same pattern looping over half a bar. So that makes it more like rushed, it makes it more energetic. So also Claps the crowd more energy by just an introducing them in our section as well. So we've got the pia, remember we've got the Schnupp in the body now the body's a bit more dollar and then the CHNOPS I can write earlier. So we'll switch to shake it off or switch these hearts off. Perk. Just listen. And then how it changes in this part here. This is where the layer comes in. The back. So we're o'clock just gives out a bit more excitement, gives it a bit more where it gives you a bit more energy. There's a lot of times who you probably got a loop in your thinking over here and you'll be thinking in terms of another part on another shown if you in the gaps but, and if you think about it, when it comes to arrange and you can actually layer up sounds over the same pattern. I mean, you can have a club for 16 bar than other, another club in the next 2 bar. Like something a bit brighter. And I'll up for Energy. And it will just keep it going again over time, over another 16 bar or show. So it's always worth remembering as well. Your offbeat hearts there somewhere at the Shakers, they also other bit of energy as they, when they come in. There, we'll distribute this part here. Turn their hearts are going to clap off. And just wasn't the Hats. Again, bright or heart upset energy, then you could actually mean you could go ahead and way or another of Bihar and top or is it progressive like an open heart or something a little bit more, a more brighter or with a longer tail. And again, not go something different. And again, it's just all the more energy at the truck. So that's where the offbeats shake, the offbeat the Shakers. You get the Claps. Also, I'd like to talk about this. I've got a percussion bongo here. So again, you can have your truck maybe you think is missing something. Quite possibly it's something like a percussive element is going to drive drive the truck on a bit more. It's always good, just professional tracks. If he Dragan and analyze approved rock and just take note of what they're doing, what they're wearing. What are they? The truck to make it for? Also Lake Washington, the patterns, how long and the patterns playing over time. It's always worth keeping in mind as well. If you've got something running apart and running over half a bar, then it's gonna be more energetic if you've got apart and run it over a bar. Or 2 bar is going to be a bit more laid back. So it's always good to keep in mind. Shaw, show you what I mean with a percussive bongo here. Bongo. First thing I think we'll do is we'll take out that second. We Part flushed will loop over a bomb or take out that shaking them, lots second freezer. Again, it's an energy, it's odd and something else. You wanted to mix it up even more. We'll switch this one off. I'm just command. Command been split this one and commend their section here, and just Aardvark section. And I'll give it another, another set of legs for another 8 bar over here and listen to how the energy up. It's just given up a little bit more Energy, absolute energy because the patterns now we've been over a shorter period of time. So again, naught placement is a big thing. Sometimes you'll have you'll have a Groove gone and then you'll be Washington or something not quite right. Try shift in the notes because if you take these ban was right, What's ship them back? Here, it's shown zero when it comes in as opposed to less. All right. They're showing good at all, doesn't it? Just starting off with just getting your note placements right? Right in here as well with higher weight them all which shifted over their work. You go folks, I just wanted to get through that with your Energy. Keep in mind. Just keep in mind when you're writing drum grooves. Like I said, the length of time apart and is playing. Think about in terms of Lovasz is bright. Wo versus high, fast versus slow. Just think about that when you're writing your thorax, especially with the percussion percussive elements that can play a big part and getting your grooves rate and get your energy or energy levels, right? But it comes to arranging and just add them. That extra layer on top of patterns are already there. That's another big thing, just layering up different Sounds like bright or sounds in top Adela sounds, a big impact as well when it comes to arrange your throat. So we took something from it as always, folks aren't all see in the next lesson. Cheers 11. The Power Of Filters: Welcome back folks. In this tutorial, we're going to talk about the power of using autofill in your tracks along the same lines as the previous, the previous lesson about energy and how you can automate their felt are open and certain sounds open and close. Which again both tension builds energy. It can really stretch a section of our throat. So when you're building your drums and you're building something up and Kroc. Hey, you can use the autofill or to blend sounds and over time, etc. So we'll go through a few demonstrations of how I like to use autofill on **** percussive elements. So what I've done is I've just grouped. I've got the kit group. I've got that percussion of grouped all the percussion in one group. And I've grouped all the highs. So we can just show you how it affects the sound. So the first thing I think will do as if we hit play farce. Let's see what we've got. Okay, here, which if you grab another color and just drop on in the actual group itself, so affects all the sounds and the group. Then if you click on the frequency, and then you could just stick a node and the start here, pull it down, pull it down around, say one k. Then what we're gonna do is we're just going to put another node here. Then just open it up to command after the transition here. But if you hold down the Option key and what we want to do, we don't want it to open up soon. So quick. So if you hold down the option key, you get the whole curve. Just click on it and drag it down to IGA curve on the show and they will do you go, That's it fully opened up after the 8 bar. So again, not just bold, bold attention. You can always do Vout over 16 bar and have it open like a way over here. But just for the, just for showing you the example we'll just do over the eight. So another thing I like to do all my percussion, especially the Kecks, as same again, if you get an auto fuller, throw up her own, will just delete that one, will throw up on the grip. This time, use a high-pass. So if you just click this button here and pull it back and listen to the kick. Short view will just close it. 183. So we just hold it there just for the opening part. And if you hit the power button, makes sure that first part is set to on, and then it's off for this part here. This whole first section, the first 8 bar, are gonna be all in the Keq. So the whole point behind this is, again, think about in terms of the people on the dance floor that they want not lowering the energy. This is a good way of building. Tension with the cake. Builds over time. The drop here, just washing them, parked. Cars were not lowering is reintroduced. Super lush interior. I should play them all. See, it's quite a cool trick to using your enrolls, et cetera, just Farsi, eight, 16 bar sometimes more. Another section that works well, and if you've got k with 2k out the cakes, they are taught about attention. But if you see this Keq here, then we've just got that little pull that up without little off-beat heartbeat. So for that two sections there, if you highway it, then off, just push it up. That means that will come on for this part here. So wasn't how that sounds, we'll just start from bark here To see the effect that gives off just odd about attention, kicks out and then buying it comes back and then you reintroduce your, your other percussion. So again, that's just giving it more legs. Will do the same at this part here. What will make that one a bit longer? Let's do over 2 bar, so lift it up. Girl, swatch. Another technique, I wait one more, I think are sure yet we'll do it in the highs. That heroes, I've just created a new section to go all the highs. We've kept in the likes of the park. Maybe keep the co-op in there. Maybe take one. All right. Take note when it's muted for now, shear is showing. But the high group, again just go, oh, I know you're gonna do as robot. We do another own and the Kecks, we've got that kick with the edible when tuk, tuk. And so not whole section there with the cake comes out. Just create like a drop. Prove bark on the autofill for the hatch, getting taken away. Before the next section comes in. Let's hear that. Cool. I'm gonna throw something in here. Let's grab this. You get down here. It needs some kind of some kinda transition. They are a bit more transition weren't needed to have that effect on also. You can add some, but we'll throw a lot now. We'll just add a little bit of reverb. Just want the TLA into their hearts. They are, by the way, just all about space. See a lot. So you go just the opposite effect of this effect here you're opening up this one. You're just taking out the height. Experiment on different effects with the highest would be slower. Let's go right up there. Way more feedback. This page, I get the idea. It's just brushed, move the note sounds, then you can always reintroduce them over time. We wish to take that formula again, comes down and then we can always open it back up. For this section, we will introduce new sounds. So let's try something here we are with that. Then duplicate it. I hear you suspects will take what? I want to keep this groove here, storyboard. We'll open it up. You go, It's just another way. Control energy and your truck. Another way to stretch your drums out in your truck, you can you can mess around there before are shared, are taking stones in and out. Over time, you'd be surprised how far you can push your throat by just using this shear from like an intro starting point here. And just see how far you can push it up to 65 without having enable all the Kelvins at all. Maybe just the old blush from melodic. You can really stretch it out. So I hope that makes sense. Folks have fun with that. As always. I'll see you in the next lesson. Okay, Cheers. 12. The Clean Up Process Part 1: Welcome back folks. So we're going to move on. Elixir, the mixin and mixin stage of a hair-like the Process, my Drums. And we'll do some EQ and in this tutorial and I'll try and explain like not just how I do it, but why, why I like to do it. So the first thing we'll do just so far for AB reference, for down the line for one once we've done all the process and they can listen to their two different versions that unprocessed and the process will just group this whole section. So we would just highway taught one the Kick hold down the Shift key. And then all of them are high Wade and just hit Command G or groups, or maybe click on a group and duplicate it. We've now got two versions. This one or just rename, unprocessed, will close the switch off and this one will rename processed. So for the EQ part, it's about, it's gets a bit repetitive. So I'll just show you, I'll give you a demonstration of what they do with the EQ on the different sounds that already grouped in a likes the Kick. And then you'll be percussive elements that you'll get a higher elements so that all radian, like in terms of spectrum regions. You've got your other effects here, they would come under four, we'll just drop them in the PRC. Not three separate separate parts. So I'll do the cat could be one of the parks and I'll do the highest just to give you an idea of what they do, then you can go on and do they the same technique to all your sounds in the project. Rather than spend like a six-minute video explaining like going through every sound. Just so you get the idea. So let's just show the Keq. We're going to weep a section of the truck where all the drums are playing, which is here, Command L. Let's just have play. So if you grab an EQ, short punchy kick before you're looking for in the Kick frequencies. But you don't like frequent resonant frequencies that are, once it comes down to the mastering stage from the labels are pushed, you might get these nasty frequencies coming through. So you want a cut them out. The best way to go about this, as if you sue a selected number two view, select a bell, bell curve. And then if you just sweep through the frequency ranges to listen to the sounds. Now, remember, this doesn't have to be perfect. I just tried to limit myself. You can have many EQs and here going through every single little peak and every, every detail, don't worry about that just now, if you're a beginner intermediate or you don't have much experience in EQ, just limit yourself to what you have here and this one AQ. And you'll be able hear the difference makes to the sound. So let's hit play and the Kick and we'll just sweep through. She, you're hearing these kind of nasty frequencies coming through. Training your ear distortion of the frequencies that you don't like. The taste at the end of the day. Random read the 252 for MR. culture with your boxy region here. So 2481. Have you committed the EQ it, and you press this button here, the headphone mode. So if you hold down and here is just going to play it off frequency circuit where threatening your ear on the EQ for you could just hold that down by clicking on it. You'll just get out frequencies through. So then when you Raisa, you're here at coming through the Kick, you pull the gain down. She can hear it coming through there. Because you've had about shoreward. Then if you just do it down three dB and just wait in the Q over C, my game, just keep going through Right there, right there. So you get the idea. Just go through and motion. Motion is a science. I was just sweep through it and listen for any nasty frequencies that can throw your pop out you think I don't wait and if you don't like it, just don't be afraid to pull it back. And then what you do that as abs. Now to my ear, I can hear the difference here. I can hear the stupid box. And so we just starting to a bit more like a scarf, but more crispy in a bit more a bit more punchy me. Without yeah. So that's pretty much what you do with the EQ or char. I like to do it or want the park. Let's go on to and let's get there. Let's get the mean Solo button here. Get it up again. Obviously, if you've got an EQ in here and you see all this information here, you don't need that and aware and you're always roll off. And same again, just sweep through again down 13. The Clean Up Process (Continued): Again down. You out when they're in down. Well, it down. 527. Sounds great. Nasty. Who bought? Hear about when they're when they're 33 dB. What NICU? Same again, I should do it a bit. Hear her cleaner the shoulders, the Kick. Take their procession of the hear how much better at shifts in New Mexico you've got there. The EQ on it should be listened to it without and with. So let's move on to be the heart, which saw there. Let's do the shaker, which is quite busy. Command Z. This all the sugar. A lot going on in this loop. Again, open it up. Gonna be some nasty, a lot of distortion unless if you pull it right, open. All this information here. Lots duty distortion. Usually. Let's get all these opened up. The first thing I'd like to do as well on the highs, if you go to the 5k5k, we get the Q right up. And then if we hit 5,005 K and then just pull out right box. This is a real tenacity, tenacity region for your high school up what? You got five K and then just pull the gain write down. Just cut that whole section. I would just cleans up the high section Concerned about when he got one more idea. You can hear about war and when you have an EQ or try out with their bongo, the Kick, all the protests and all this Bongo. And the Kick. Fact. Let's midi map it. So Command M, midi map, sorry, chemo Up key, the key button up here. Click on this button here. We'll just make that. We'll do the way our or for off and come down. Click on it or shaker, click on it. Then I'm going to hit the, hit the button. Should come on. Maybe. Make sure the piano rolls and all of their bongo, or just handy for AB and when it comes to AB and you're doing this kind. So without go, That's not the basics of EQ. I mean, roll-off any unwanted frequencies in sound that you've got. Example, just an awkward example. This one here. See all this information here. You don't need that to just roll off. It just cleans up queens up your low end that you'll hear the difference when we A-B it between the two. Don't know why embed it just cleans up the low end and leaves off Space. And therefore, obviously when you come out base exact also, just hang the enroll off everything you don't need always push the sound is far too much. What was good too much and they just fail bark. Their display all bark and Korea, you feel that the sound sounds exactly like you want it too much and you're just going to lose too much this way. Now you're gonna get all that information. You don't need to just need to find the sweet spot. Like so. So a whole part, make sense folks go through your own projects, go through every sound and just repeat that process. And what you'll find is the more you do this at the end of every truck where you just want to clean things up, just pluck this practice and then your ear, your ear accustomed to what works and what doesn't work. So what sounds you like? What sounds you don't like? Doing. The mistake I used to make was Our, he's, he's cutting the sound here. Say two hearts are a must do that and this sound or I must do that. Don't show much out there telling you that you have to do that. So you have to do that. Don't get caught in the throat where you have to go by what they say. I'm just giving you the technique over the peaks and just dial it back a few dB. And then just a bit, Like I said, with the on-off button in the EQ and just say right, how does Art so now and over time your ear, you got accustomed to it. I was always as well get feedback, get feedback from other people. We've got discord channel jumping the discord and just say right, I've got this truck here. I'm doing some EQ practice in can you listen to these sounds and a B and then get everyone else to jump on and say right, okay, I feel like it's lost power or I feel like, yeah, it's good or I feel like you've been through it too much UV, too much offer, etcetera. So it's always good to get feedback from someone else. So, folks, I'll see you in the next lesson. 14. Adding Bite : Hi folks or welcome back. In this tutorial, we're going to focus on using saturation on our sound. So what saturation? Well, basically saturation, algae, warmth and recognition conduct archaea sound. When you push this archery or basically all the overtones and harmonics to the original sound. And it basically it just makes a sound, sound a lot more fuller. Just Artist depth and intensity to the sound. And it gives off like a more analog type feel to the sound, which can be a much more pleasant experience for the washing up when they've been listening to your tracks. So we're gonna be using this saturation knob here. It's a three. A three VSD is by soft tube. I'll leave a link in the description for you to pick it up. It's a super, super handy saturation tool. Just start off with the users are Beginner. I find it's really, really straightforward to use. So we'll open it up. I'll just start oldish. Give you a brief demonstration on a couple of sounds or what you're, what you're aiming to achieve. The week Robin AQA as well. After as well. I'll tell you what will get a spectrum just to show you what their sorcery or does to the shown up on their open that up spectrum and its own this Bongo here. So we switch it off. So we switch to saturate or on the shelf tube, you've got less severe that drive. You can boost that up. If saturation types, you've got high neutral, keep losses for saturation. Obviously it's via higher IR sound, med sounds and then your lower sounds. It's always good. Just use, using the different prompt, the different settings to see what can I character you get on your shown, but can I call it gives off so we'll keep it neutral for now. If you just watched it the shown them your crank up the drive. Now if you look, if you look at this EQ here, you could probably get a better view. And then the spectrum, we become the look at the EQ and look at the harmonics are odds that they're just, they're just look at the shape of the waveform and how it changes. So pull it down again. See how all these harmonics and overtones have been ordered to the sound. So obviously you don't want a cracker up that far, but there's little red button here. But it basically tells you that it starting a clip. So booster, Just until the read bytes wash and then just Dale apart slightly effect. So I'm happy with that. Then. Supersaturation. Obviously you've got the set, you've got to do the gain difference. You've got the reset wherever much. Volumes are the to the sound. You've got hit Reset button and set the levels so that it brings it back down to the same, to the same label. So that's the beauty of their, say, the saturation to here. You've got the gain difference and all you do, Pradesh, it's just hit the Share button, takes it back down and do the reduction for you. So let's quickly jump over assertion veto. Show you something else in terms of loudness. So this obviously will just double-click and not, and if you wish that the bongo vertical saturation of picking a -4.7. We switched his archery around. Almost three dB. Quieter. Yeah. If you switch your own and off you can hear it still sounds the same in terms of volume. So it's giving you more headroom for when it comes to mixed one your truck off on beriberi. Little different savings sound. But is it tells me they meet LME or doesn't lie. You've got like an extra three, 3M. You can extra three dB of headroom on the sound. So obviously as well, you all saturation. You've got more EQN to do because of ARDS or not other harmonics. So you just drag by N perfect square. That's all I do if in terms of saturation, when it comes to structure it in your sounds. And same again, go with this one here. The plugin solitary around. Try the different types. Why can you know? And again, just set the share button and grab your EQ. She's other guests harmonics. And here, again, I'm just going to cause issues when it comes to mixing Daniela. Obviously the wind, etcetera. Difference in the Clark gives a bit more bite in a dispute. Just punches through their punches through the Maxwell lot better when yard your saturation to promote saturation on the percussion here, the main percussion. So there you go. That's really easy to connotes. A good starting point for our, for someone who's just beginning, beginning saturation. So really good starting point just by using this tool here. You just set that drive, make sure it's not clip and just take Up until you just see the clipping and Dialog Box Gateway cloud the different sounds here and give off different tones. And once you're happy with the sound, just hit Reset button, reset it, and then you just add an EQ after it till roll-off. Any unwanted frequencies be in the high or low story or even in the high. We'd just get through your sounds. Folks do that and then we'll see in the next lesson. Okay, Cheers 15. Pink Noise Levelling: Hi folks and welcome box or this tutorial we're going to talk about level and our sounds using pink noise and pink noise techniques. Or you haven't heard of the pink noise technique, then I'll just give you just a quick, quick rundown. I don't want to complicate things too much. I think the best way is just to kinda give you a visual on how the pink noise will affect the levels or your sound and how you use it to balance out your max. So the first thing we'll do is just take a look at the pink noise. It's not very pleasing to the ear, but what I want you to do is just take a look at EQ Eight and look at the shape of all the labels of the pink noise. You see how it comes down. As you go higher up the spectrum, it gets, it gets worse. So the way you think about it, those of you listening, like I mastered this is just a rough Marston about croc. I've got here. But you'll understand what I mean when I show you the labels are shown in a spectrum here. So pursue the stroke here. You see the levels come down as you go farther up the spectrum. So basically all you're doing is web on each sound coming, starting from the laws, coming all the way up to the highest using the pink noise. So now you're probably thinking, Okay, how do I use the pink noise? So use the pink noise. Let's just go through what we're gonna do first. The first thing you have to do as we drop it down minus ten dB. Lots of pink noise set. So that's a level set for the pink noise. Now, if we come into the kicks and the ghost town, I'm right down to zero. The percussion. Now. The percussion higher weight them all, open them up and pull them right down to zero as well and makes sure that all turned down infinity. Same with the highs. Click and hold down, Shift, open them up, and then just pull them all down to zero. So now when we play the pink noise, just perfect. So we've got our noise said minus ten dB on what you have to do as well. Start with a keck. You've just got a washing for the poking through. Noisy graduate, open up the show and then just open up to heat it. Just slightly coming through. You can just heat it and top of the noise, power and not sound. So let's start with a keck. I can just hear it coming through there. Now remember the pink noise at minus ten, which you can DB offer to them what you want to do. All ten dB on the Keck, sorts of -12.1minus 21. And same with the course kick kick off. She would keep the Ghost Kit. Xerox is not coming through much. You can adjust that later. When it comes down. Once you've got everything labeled, it just wasn't the Gorski. You can just adjust thought the ear. So we'll just come on to the next one. Affects seem again. Let's turn off the kicks. Turn them off. Which take this park effects here. Let's just boost the levels. To keep that at time 0.3, awake, sepia effects and stuff you can, you can adjust thought the ear. What you really want to focus on is like the main elements of the truck. So we'll keep this one as well. Then we can adjust them later on. So switch them off for school. Just hear about coming there or spirit to minus five, just taking the ten dB or show off your phone, go here. -6.5. And then this part here, this little part? Minus points -7.5 to two, or this one is another effect. So let's just keep it at -10 ". Now you cannot just, by washing over the croc, switch off the percussion part. Me you can just hear about coming through. So we just set that to zero because it's under the ten dB, so just set it to zero. And again, you can adjust that when it comes to when it comes to Washington -3.5. And let's go to the high school minus seven. So it's -13.8, -3.5. It doesn't have to be boring old. It's rowing a boat. It's just giving you a ballpark to play with when it comes to washing broccoli. The show has called for the last one to minus two. This one was quite heavily processes, as you can tell that the volume levels are quite high in the file already. So -2.5, makeup -12. You just switch pink noise off. Let's turn off his own. Highlight them all. Done them on, kick, kick all. See how that sounds. Motion through it. Without repercussions. A bit too white for me, so I'm just pulling it down. Co-op, I've just pulled up dying. I bet. Why it's assumed the loop where we'll go to the unprocessed show the, and then we'll show the process and let's just watching how it sounds. The difference, washing away this percussion here, the Bongo, has swung lesson one on the Keck in the unprocessed, a bit to load and then you can hear it. You can just see that balance out just when you switch between the two. So the unprocessed and machinery, They, like I said, the cake and the bongo. And also wasn't at the higher, the higher bond or this bond goes away. The energy boat out as one motion that as well on how that pokes through the kidney. The percussion here pounds. So let's do it again. For me. The process shown to just send a lot more glued together note with a short duration the EQ done. And they're just bouncing things or using the pink noise, pink noise technique. The pink noise is just a great handy, handy technique. Can I get your, get your head around and just use it as our starting point to balance things out. And then just play through the loop and then just adjust the levels to taste. I mean, at the end the day elsewhere It's all about, It's all about the taste. All about how you, how you like the sounds to kinda set in the mix. So like I said, keep repeating this then over time, you'll get you'll get to understand the levels of each shoulder where they sit in the set and the spectrum. So hope that makes sense. Folks could three-year shows, volunteer out the best she can. And like I said, a B and just say right, does it sound better or does it not? Then just go back and adjust. It may have to do a bit more EQ and, or you might have a bit more saturation helps Sounds going to poke through the Mexico will part make sense folks. And I'll see you in the next lesson. 16. Midi Edits/M4L Distance: Welcome back folks. So now I want to focus on just getting the overall feel of the groove sound and write it may be awesome, grew from the Groove file. And we're gonna do some midi editing, can maybe take out a couple of notes and just see how things are working together or the agreement together. We're going to use the marks are Live device called Distance, which is basically it's a coupon and tool, which is quite handy little tool we can push things back and you've got a nice little control system where you can control where the shown sets by patient embark on left or right above Ashoka through that as well. First up, let's, let's turn the highs off. I mean the highs are fine. In terms of note placement, etc. up towns a Groove from hobby with them the Claps is well, let's delete this and Claps are fine. It's more apart. Thorns fine. May have to move it, but it's more or less. And the Bongo, the willpower, as well as bring this one up. Let's take a look at this. Let's couldn't 16th notes. See these two heterozygous ones? Well swan, Let's command to, they're pretty much the same. It's just this note here. I think this is thrown or so of course Rabbet. We pull over N. It's much better athletes here at before. Keep it there. This one, Let's bring this one N. That's in the offbeat. Let's bring it right. Yeah. Swan, bring up my own. Let's bring the Kick. This one as well. Owns in the offbeat. Much better. Happier with that command here. Which bongo? We all don't bongo. Hold down the Shift key and click wish one. Not just adjust these two here. Now let's shift these off-grid. They can see how it affects are rhythm. You much. Now affect sure. Seemed divorce. It was pulled the velocity down and then now for it to slightly, slight change in velocity, 73. Copied out when I cross, now that we've got adjusted copula, we bars. They are this one here and this one. Perfect. This one over there. I'm also adjusted. These are strong, right? You see with us this shown here. Hi. I'm showing you a bit more Let more locked in there. That was just a couple of hits that were bothering. Maybe they're like I said, but the bone go in there. Sorry, the width Park and the main the main percussion that was just a couple of hedge there. It was just slightly off. It just caught my ear buds. Effect. I'm happy with that. So wet scoring, their marks are alive. They would take all these down. We'll start with these two here. We'll start without, will start with a bongo MOF that. So let's get marks for life Distance. Here. It goes. Just throw up on the Bongo. Sure that Bongo, who's each follow. So this is the boxer is destined to Version at the sound. I'm over here. Here. Let's copy it. And Piero on the PRC, let's take over the other side. For the percussion sounds, right? To keep it down, ponder about sex. Vertebrate for sex, sometimes a bit more just depends. It's all bone a taste again. We just wasn't a sounds in just Lesson how please in it feels, think, how does it sound? I mean, you have to ask ourselves these questions, find out the overthink it, thinking it has to set a certain point of view. If you just sit back, close your eyes and listen to the groove and just listen how it sets in the mix and sets in there the frequency spec spectrum. You've got your own taste. You understand your own taste. Mean obviously you're not going to have it away over here because we're not that stupid, but we just listened to it and just get comfortable trusting your own intuition where the sounds actually set. Probably not to overthink. Try not to overthink the process. Midi out Sounds, sounds really nice, just where they're sitting there to six right on the stacks and a bongo SX squared distance to a five per cent buck boost, which slate way? Db is a 25% there. So I like or sets. Try bringing them forward slightly better. In the next, declare forward 15% of Australia's Pangu here. Let's copy this one, the parent Bango. Now, you think about in terms of frequency ranges. Hi, up the spectrum that you go, the wider you can put like. So you just think about in terms of our pyramid versus the upside down pyramid. This is the center. This is where you have your cake. You can have your hearts, adenosine or two. But some people like Japan, like so shakers and other high, like high elements. So it's just, again, I can't stress this enough. It's all don't taste and er, when you mess around with their ****, you get accustomed to it, you get used to it Sound me, we're thinking about Israel, your peer shows up. So you put one life one to the left slightly wanted the right. We'd parking there. We'll work on the right and then maybe this one on the left. So this one on the left must be this one on the right. Just evens things out. On the part tone. Let's go over the right. One. Marshmallow gay is Jim. I'm going to say it to the Kick actual caricature. One final thing I'm gonna do here is I'm just going, we're just going to hire away all the sounds. Maybe coming down here. Corner. Groove. Be spiffy for what she robots orange. It's my hope is just the global amount portrayed. The global amount and the groove. So I'm happy with that part makes change books are, and I'll see you in the next lesson. Two 17. Parallel Compression: Fork. So now we're going to take a look at parallel Compression. We're just going Igloo are who we are drum sounds together, getting, sounding a bit more tight. I've just put everything in there, one percussion group, and we're just going to do a return track. If you right-click, insert return truck, more Grob. If you go able ends, Audio Effects and get the fuel Part oil drum. Now it's a good starting point. Let's put the dry weight 100%. Now let's quickly go through the settings and how they'll affect the shown to flush. We've got and I talk key that's shared three, it's a slower shutter dark, so I'm not sure preserve the crowd gene. So the sounds coming through like the Keck and especially the Kick and the co-op will preserve withdrawal genes and they don't get squashed and we have it down or quickly here how it's sound. And then we'll put the Compression on our end of the Shui. What I mean by that dark under pressure up over here, sorry. But they are your holiday. The carpenter kick, start to get squashed with a fast attack. So we just pay all up bark, right? You don't want more than five dB gain reduction should always aim for 3-5. The release determines how long it'll take for the compressor is shut off shore. Faster East means are open and close. Quite sharp. Longer effect. The longer the longer sounds. So you wish you there the bone goes. I'm not a shorter release, just keeps a bong was nice and tight. It takes away all get used there to here and the differences. But it's always good practice national road with the settings and the compliance or just to get an understanding of what the chair each section is actually due to. A one-to-one ratio will keep the ratio of one. Let's keep the threshold where the edge, Let's turn it off. We're going to fear, but a makeup there is pure with down. Sounds a lot more tighter. So look, Compression. You could go on and on about how you can use it, what you can do with it. People tend to over-complicate. I over-complicate it for so long, but for now it comes to lakes are drum Compression, parallel Compression. What you're basically doing is you're mixing the dry signal with a wet signal. And all you really need to worry about is the attack. Think about that. Talk. If you've got fast, it's squashing. It. Kick an inch straight away. So it's Koch and loose threads into the Kick in the co-op. And just listen how it affects the sound over time. So we saw the Kick. It's quite a short calculus one, so we might not hear much difference. Just loses some of that presents. So Let's keep it at three. But they are taught button. So just think about it in terms of how fast that comes in, how fast it kicks them, then you release. That's how long it's going to wash over the sound. Shorter Elis being shot or punchier, punchy are tight, tight, shown state or Grooves. Longer release, we are more laid back or keep the sounds through law for a longer. Makes sense. It's quite hard concept to get round. I mean, I'm still getting my head around Compression, but this is a good starting point for our Lord and the Compression controls and just listen to what it does to the sounds, especially in Drums and how it glues Drums together. And obviously you get your threshold procedure. I do want to get more than too much. If you go too high. Just lose the character of a sound. Excuse me, the bark at 13.3, your makeup when you switch it on and off a week or over factor, we got the master. Be quick. They are clapping. So let's just pull the process down a bit. Vdb 1.311, 0.31 to be committed to the compressor. On the screen, 1.516, 0.20. Peek in there somewhere. Further, 1.16. So it's close enough. Doesn't have to be perfect. This pale Bok, Choy Norwalk pay our nice groove. What we're gonna do now if finish things off is we're going to add reverb or the bash space to the whole loop. Maybe do some automation tracks just to finish things off. And then we'll do a final ab between the two just to heat at all. But it's all been processed as opposed to unprocessed part make sense folks just keep it simple. Drum feel Part oil, get there the presets I starting point mess around with their talk and release and just keep it simple. The sounds listening, your kick the habit, the heavy transients and how and how that talk facts then plus the release affects certain Hats, solo certain Hats and just listen to how that affects it. And they shouldn't get trained. And they understand what each parameter is due to the sound. So I'll see you in the next lesson, folks 18. Adding Space: Folks, welcome to the final lesson in this section, the course. We're going to awesome re-bar. What about a space to the sounds? Fresh then we're gonna do is just insert a return track. And we're going to duplicate it out three times. Plus one will rename short. Second one, medium. The third one, rename long. The short medium. Let's call it the medium fast. I think the medium, that's going to be the one more. We're going to use the most your shot if you grab rubber reverb dropper on the medium, 100 per cent, we've got a decay time here. So the tracks and one-twenty BPM Own up the BPM. Actually, I want to go up the 121, 2,121 BPM. And we've got this mixin sheet here. We double-click on the mixin sheet. And tempo 121. You've got a starting point for your 16th notes, 1242, 48c doubles every time, so 1,624 and eighth note doubles the one to 42248, quarter-note doubles 248249 section. So all you can just keep going up and up. So let's start off. We'll start off at an eighth note, hundred and 21 BPM at 248 s decay time 204 as our starting point. The company medium, the K for a. Let's start on the Claps squashed. D medium, a, B, C, D, medium. Tone it right up for now. Let's show the way. We bet. Without much double-back, 2482496. Doublet a game score, do 800, 900 and it to do for the co-op, probably about the weird part. How is it Sound in the boot Burke, which switch everything else off so we can hear what we're doing. Let's go for the Park Pool. Same again video. We'll do a longer one and nurses try a longer one. Club or rhubarb dropper or what was 99 to school to 18 189,848,100.19 841498. We want the other ones. Bongo medium on. Let's go the Bongo here. I just want Don't like the height, the higher frequencies, not Wheatstone's have just dropped the EQ donor, but it's gotten the heart. We're gonna do a short one for these sorts, Harper. Let's go with the medium. 9924496. Sure. We were born 496. Here we go. Hearts crank up. Groove. Or nine as perfect kick off beat down a bit five. So one final thing is we'll just get a lemma. Arthropod. They're going to Process Drums and we'll just crank it up. Maybe go for that, and then we'll just listen to them, the process and the unprocessed or switch between the two, then you can really hear the difference between the two them as your ab. So we'll just start off with the processed, unprocessed. You go folks, you can really hear the difference whatsoever. Processing is done on the Drums. I mean, by a times I've went through your drum groove and I thought I starting to Sounds pretty good. But then even then offered in the process and live in your IBI, the two of them you think, My God, what was I think and just shown absolute rubbish. Know if when you listen to it, you can hear the processing has worked well and gel and the sounds together. And just giving it a bit more, a bit more Bite, but more glue. And I have just a bit more. It just feels a lot payer. So hope you learned something from folks. I've enjoyed this part of the course, just Pokemon us up from scratch, just to give you an idea on how the different processing, processing techniques, as always, I hope it kick something from it and I hope it's helped your air your own work for in terms of processing for your Drums. We'll move on to the next part. The next part is all about reference improved tracks. I'm going to show you a few techniques like steal and understand how pro tracks work, how they're working, groove, how different elements are used. And I'll just show you a few techniques and how you can steal ideas from a proof, tracks, etcetera. I'll see you then folks are seeing lots section any questions on this and this part of the course and just do not hesitate to get in touch, let me know and I'll do my best to help you out, okay? Alright, Cheers. 19. Intro/Creating A Map: Hi folks and welcome hope the analyze professional tracks. I'm going to show you some a, some pretty cool techniques for just forgetting to understand how professional tracks Tech. And I'm going to show you a few demonstrations on how to gather ideas, how it start your own tracks based on what you're here and up professional truck on there, we're can build something out, something up from there. So the first bite I want assure you is I want to make like a Map using this whole this whole truck. And then we're going to gather out, we're going to do some critical that ear listening and listening, the different elements it's used, how often they're used over time, etc. and we'll just pull a quick eight to 16 bar Part loop with the different elements that we can hear them or can guanine like Boulder Own trucks or marshalling you're going to do is you're gonna get the BPM of the truck because you want it to line up in a grid. Now if we zoom in and what you need to do is what I do is I'll look at the Kick. Can see it's running off. Each. Just come up the BPM. Pressure Up, up again. Now you can see the kicks locked in the first beat. Right through. Come up here. You see in the breakdown there at large vein. And then if you come into this part here, you can see it's lined up in a grid. That's perfect. So you're just going to watch the name and we're going to listen with the sounds. We're just going to scan through it and listening to sounds that come on. So kick. Like a shake heart. You've got an offbeat harbors got shuffled through. It's almost like a shake, shake or for the first part, your right-click up here, I'll tell you get your locate an inch or odd locate or not, how you do. So then what I'll do here is I'll just go each Like every 8 bar and just see what's an reduced. So you got kicking your shape cartilage called a bar name. Large collection of out there. You've got a much more sharper brighter off Bihar. So let's just put off beware of the heart layer. You've caught like percussion. Part two, A5. Almost like a park effects. Just come in here. So we'll just have OKR affects. You've got an open heart and a co-op. Come in here. Open heart. Rename open heart. We're watching closely. You'll hear there's like a tome right under era's sit and write bark and MX. Just Washington the low end you hear like a one-shot. They are right there as part here. Right in here. We'll rename open heart. Comma. Comma will form some energy. There are bouquet, we've got like a shaker or 16. Pretty much it for the Drums. So we've got a kick or cigar-shaped car, another of p-hat and top of that, like a sharp like a really sharp closed heart will be some perk affects almost like congas or to a Congress with the way open heart. And we've got a clap and a little tome and then have 16 shake. I've shown not sure Groove elements right there. So of course we can go in and mop it. Oh wait, we could just say here at the break, our bouquet. Let's see. All your Drums are out there. So Drums out and then put it pretty much does is here as your clock or you oh, elements apart from Shaker, command shot, so that come in there and then it builds and then you'll have your shakeout and bell so you can go in and mark that as well. But there you go on me, nuts, you go up. Basically, I'm up for all your drum elements. So what we're going to do is we're going to come at this part here. We're going to loop back. And then we're gonna odd. So we'll get Kick Shaker, it's 1234567. We're going to put 88 midi tracks, 12345678. And then just rename, Kick, rename Kick, shake. Park effects. And open-hearted. Then our shaker. You go, then you just cover it. I like the cola, black or yellow? Yellow color, ACLU star, brighter yellow, parallel effects and the greens, open-hearted open, a little bright yellow club, peach dorm. They are shaker and I can a yellow color. There are peer effects. Club never go higher elements down here should be. You're not sure Map, basically mapped out. In the next video, we're gonna do is we're going to go through all the sounds and we're just going to wash them and we're going to describe what they're doing, the tone of them and their purpose white, wider. They are in the Terracotta compliment into the groove. How long the loop over a certain amount apart and etcetera. And I will just find, start finding, finding our own son so that saucy you the next lesson, folks 20. Steal Like An Artist: Welcome back folks. So now we're going to move on and start mapping out, listen at the sounds and just kinda figured them with type of sounds that we're gonna be gathering. What effects are used on them, what we're thanks on them. Basically the purpose of them, the groove, you're probably thinking, you might be thinking as well, steal like an artist, what? Steal like an artist. I'll leave it like in the description of a big fan of a book called steal Like An Artist Share. If you haven't read it already, go check out. Also, there's a few, a few videos. Click on a boat and YouTube about the history of resorb bone and how we like our S of 2k like wax from the past and implemented their own thyroxin. It's quite an eye-opener for your watch it especially the way of Zeplin one. I was quite shocked when I watch that part. And then today folks were all just a byproduct of the past. And we're all just putting their own spin on things. So that's the way I can think about it. Before when I used to do their skin out you stay. I used to procrastinate and think on us. I'm still and I can't do that. We're not stealing or stealing their shown were actually stealing the idea and putting our own spin on it, just like everyone else has been doing this. I mean, you're basically doing it already anyway. But this is just getting more analytical with it and more like getting a more learning mindset and just figuring out how things tech and how things work. So Let's just glaucoma that. And we're just going to start off with the CAC. And the first thing you're gonna do is just throw on a midi clip, hold down Shift, Command Shift and M. And we're just going to scroll one. We're gonna find a partner crop for the kicks quite quiet. And just Command L. So nice short, Shortcake could be warp and then just the distance. Here. You're talking. When as 184 milliseconds and Shortcake, short punchy kick. It's not that much about Taiwan. So why we'd write in here those are short. Punchy. Kick on. We come in at the end again. Let's zoom in. What's going to have an EQ, Audio Effects. Aqa, throw up our own, will, just figure it out. We have about certain C1, C1 Keck. Look at the EQ again. Drone base and like D-sharp but the key the truck. I think the kicks may be in B. It's quick withdrawn. I'm ill-equipped. Pretty sure. Command Shift. The scale. Got a D sharp, E sharp minor scale. You get the BC 12345. You could be here, B's and the scale of D-sharp minor, D-sharp major, D-sharp minor, the tracks and the CAC. So B is basically the key of the scale. So understand how that's how that works. So we'll just say short punchy CAC. Just put in a key B. Now let's come back over here, watching it, the term goes there. Let's get the volume down. Just see which okay, So your tom, toms get the B in it as well as got the cost sharp. It's almost like a shrub layer. You've got this information here Medlock distorted area maybe so let's just say Sabi, Sabi Tom sub layer with distortion. Another midi track and Command Shift M rename sub layer p1 distortion. And there as well. Let's go the park effects. So let's see, the park effects are still playing here. Let's come back over here, frankly, paragraph excrement here. This part here goes, great deal. C-sharp four. And it's almost like a conga paper effects. So again, here, midi clip, C-sharp for command and rename C-sharp Oct4. Maybe pick conga, got some kinda delay on it with some felt. So maybe the way we could throw some green the way as well. And so come on back in here. Spark, club, short snappy co-op, maybe two layers. Shape cart. So we're just going to sneak it much. Our throats are shaker anyway. So midi clip, shuffle, slow attack, shaker, sound, a closed heart comes in here. Just get more of a gene on it. So I'll do them caused a sharp around Zn distortion. And then the open heart comes in. It's almost like an eight or nine niche with a short tail, can hear the openness on it, but you'd be a gate on it. Mildly name open heart, niche. Shaker 16. Shaker heart comes in. Here. Is just a 16th. Short heart won't rename 60. Short heart. Pound, slightly left. Yeah. There you go. I've just got pretty much it. So it's like it's a guide for you. I mean, it's basically boundaries. We've put in place to start a truck instead of going right, what can I add next walk in the Ardennes? And this is all we're going to add in terms of drum elements. Do not need to add anything else. Do it. Because in this truck it works basically. So it's always good to have boundaries in your session. So this is set up. What we're gonna do now is I'm going to go and look for sounds, and then we're just going to drop them in becoming a CAC. Now, you're just call you're gonna do is get Simpler up in the Simpler. Then we're going to go through our shames. Sounds fine designs were like and then just drop it in, the drop in Simpler. So if you do not know, and then the next lesson, we'll go about bulb not on track and we'll just question how he's placed the notes, but then we'll maybe do some shuffling, shuffle about a bit and just kinda come up with their own groove with a sounds at work, work well together here. So I might even know that base groove as well just there, just to fill it up a bit and show you how you can come about, how you can take an idea from approved truck and just totally make it your own. So I'll see you in the next lesson, folks 21. Creating Our Own Version: Welcome back folks, short, but have covered our Sounds oven three peptide, all the sounds that I'd like to use. Start building the groove. We'll just go through each one and we'll just start getting creative with it thrown apart or an awesome effects on them. We can just EB between you and stroke and there are truck at the end. Let's start off with the Keck, basic Keck S3. Bucket it out. Nice short, punchy kick us. We've got here on the description sub layer, it was like a tall. I've got this shown here. So we're just quick withdrawn apart and it was like a one a couple of bars. But let's see. I might go for double acquit wave or go for that percussion. S3. It was more in a second, but let's try. Let's get some delay in here. We're scared. Let's get the green delayers toilet flushed away. Throw up on throwaway. Want to put the patch to -12. When you hear that the way come on, it's shown shows different from the original hurt. Now let's try overdrive. Wish to push those frequencies. There's Pluto in here. Are three. Scared, Rouge and white noise. A co-op duplicate school. They are Haraway and bore for cooler velocity down a shaker. Which tribe or for this one, Let's try some delay on it. Let's go all the affects. The way dropper all alone. We park. Now for the course, start. Aqa. As always, roll-off. One appointment there. Straightforward, open, heartless derogate down. Copy that on there Then the shaker. It's just straightforward. Let's do like a ramp-up and the velocity. Bring it down. They are duplicate. You who know what's good? Compression. No pressure drop on the Kick. Parnas pathway. We go, we've got a Groove, Groove going straight away. I'm going to stick with that. I'm not album Elephant else. The idea, wish Tacoma. What groove. Quick way Version. A UN was part here. Maybe. It's just a totally different you don't recognize. So then obviously from there you could build on that like about chablis.com. You can get like a med base and it could compliment compliment the term. It could bounce off of the storm, hit hear what was shot with, add something more at the groove. Maybe do that, and then I'll do that in-between, In-between the next lesson. So I'll just take too long. I'll get, I'll show you are done like in the next lesson with a base, just the RTD groove. Now you can see how it with an idea from huge truck and just turned it in our own idea. So then forbear, I would take the Kick bark of Bihar. They are okay. Effects. They are co-op. And shake cars, bucket store, open heart, we come in there and the shaker store. Now you just do we owe them Drums, Drums out here. It looks like we've got there. The cacao kick out there as well. As well. Here. That's it. And then there you go up your Map. Might be a Drums out are that are midi tracks and just start on the Sounds underneath this belt on it from the Auschwitz. A good starting point for you. You've got an ice cube Groove going. You've got them up in order to school and you've got the breakdown section even started working in the breakdown fascia. Just an idea for you folks. So I hope that helps. And the next lesson I'll show you how to match up labels like for maximum, using our up a free plug-in called Voxengo Span. That's a handy tool, so I'll see you in the next lesson, folks. Okay, Cheers. 22. Analysing Levels With Voxengo Span: Folks. So here's a way to reference your own thruks and get your own level sound and right against professional trucks using 23 plug ins called the Ulan loudness meter and the Vixengle spar. I'll leave a link in the description for you to pick them up. So it's good practice to reference your own trucks against professional thrucks, professional ready trucks made by bigger artists, made by artists who've got a lot of music out there and who are killing it on the scene. These guys make trucks at work, so there's no better way to train your ear. And over time you'll pick up where your heart should be sitting, where your kicks should be sitting, et cetera. So we'll just get straight into it. Let's just say you've got your idea and you want to reference the levels. You want to march them up to the pro thruck. The first thing we're going to do is just as an AB reference, we're going to group all the sounds and we're just going to rename Original Idea. We'll just duplicate it out. We'll reference Idea, we're going to switch the original offer. Now a stick it up the top. We'll just work with this here and the reference truck. Now it's a Thr by Demetri Malos Potter Flies Analog Jugs remix. It sounds like this really tight sounding drums and then I've got my own idea. You can hear it sounds quite loose. It doesn't sound tight. The levels are off. I want to level up the same levels as the Analog Junks remix here, We'll close this for now. I've got this rock here, I've made up referencing rock and I've got the utility, the ling loudness set and Xanglespan. The first thing you want to do in the reference, if you come here, it says Master. We don't want the sound of the reference truck running through the master because we're going to have another rock on the master, referencing our own idea against the reference truck. We come in to master and go to extension out that way it's not running through the master. The first thing you want to do is if you come in, if we go to our idea, we go to the master. What you want to do first is if you go to ingle span, you click side chain and you want to side chain the reference truck. This one here. Then if we open up spar, what you're seeing here is our own idea. Well, we want to see also the reference truck inside Sp. How do we do that? We just come up here at underlay. Click on it. You're going to pick one of these three here, 23 or four. Just anyone, it doesn't matter. Just whatever color you like. Let's go for the red. If you come up the routing and in input three, you click in there to number three. Put in number three there. Then you've got two here which is the red which we've picked there. Keep that set to two. Or it might be G, Three Harbor Four. If you click on it, you can change it to three or four, but keep it a two, close up. Now what you'll see is you'll see in red the reference truck coming through in span. See, our levels are well off, especially in the kick, the reference truck is slightly louder in the hearts. What we want to do now is get the overall loudness of the loop using the uline loudness meter. So if we come to the reference truck, just solo it and then put on the loudness meter. Now what we want is the average average lops, which is this minus ten LUFS. Now we want to match that to what we have in our own idea. We come in our own idea. Let's solo it. Let's open up the loudest meter on the Master. It's reset. Hit play, it's at -16.4 We want to get the reference track to -16.4 Now to do that, I've got a utility on the rock. We want to turn it down at minus ten. So we want to turn it down 6.4 -6.4 in that way should now level up to the same level as our own idea. Now it doesn't have to be bar on, Remember you can have a 0.1 or two away from it. It doesn't really matter too much, but the idea is just to get as close to the reference truck as you can, then you can just level things out and just sculpt the sound Sound a lot more like the reference truck. We've now balanced the levels out, if we come into the master then look at the spar on the master now. A big difference in the kick. The weapon strikes, hitting us just over. -42 Just over -48 Let's add 60 on. Let's go to minus six kicks. Marching up much better. Now let's go to the hearts. Now let's group them all. Group all the hearts. Let's pull it down. Say minus three. Minus three db. Ours are still slightly lower. Let's go down minus six. Collapse about right? You can see the cap here. Just 1-2 k can maybe come down slightly. Let's pull it down minus minus two, then if we've got this sustained sound in here as well, let's go the reference struck here. There's a sound in here, gets louder. What we could actually do here, we come out of the sound, let's pull it down. Let's go to -12 So come down a bit more, but let's use our utility for that. Let's get utility, proper utility on it's time. Let me just a couple of DB. Now, with this one, we can actually automate the gain to come up like it does on the reference truck -0.33 Let's go up to zero. I'll just rise. I listen to the sounds, I listen to our one, the cops sound a lot tighter, is coming out in the cops. Sustaining down. What more tighter? Let's listen to the click. It's almost like a click. Noise I've got a click cart here. If I listen to the open heart again, hours as much flu sir much. We'll just tighten that up for the decay. No, wasn't, wasn't the original idea here. How much more tighter and balanced it sounds? That's leveling things up. Go span. Like I said, it's a great tool for just getting your ear to understand more about where things sit in the mix. The levels are certain sounds when it comes to doing your drum grooves, your drum beats. And when you're writing tracks, it's always good to des, grab a reference tracks similar to the style that you've created. In your own creations, just level things out as a starting point. And of course, from there you can go on to shape the sounds by tightening things up, et cetera, using the ADSR functions. Okay, folks, hope that makes sense to you, and I'll see in the next one. 23. Random Grooves: Folks, welcome at the final section of the course, which has all by drum racks and using them and I creative way at the come up with ideas and also to like bold your own, devote their own Sample Library for when we're going to inspiration strikes. You need that go-to sounds. So I've got this drum groove here I've just drawn are apart and here use an eight-week CAK, which startup cap, which just hit play. Just a basic beat, basic groove. So why like to do is just duplicate it out, come up with drum groove and we're going to show the Kick and this one in this pattern here, we're going to mute the Kick. Don't get any tax from another ketchup we're going to throw on and we're just going to grab random. Just random sound. Let's get something, Let's go and get up. Indian drum beat box. Sounds like play shown here. So keep that much. Duplicate it again. Show off, then get another one. Let's grab this one. Caravel quite like that one. See him again, duplicate it out here. And so what we're gonna, you know, nine, Let's keep the heart. Let's get back. Unless we Version up the clothes. Bought one out. Like the symbols and that one, Let's duplicate it again. Let's do it. Lost one. This one. Which saw the open heart along with the closed up you hold down the Command key. And I increment the last one. We're just going to grab random one proper on quite like that. Let's duplicate it. Again. We won't show NFA more, keep everything and not one will just drop somewhere else on one. Promise. There you go. Straight away. We've got all these different shown here, all these different cats as criminally show the it rename Kick. Then this one Kick where almost like a connectome type work very well. Nobel. And this one, I thought with this one, percussive loop as one top loop. Percussive loop. So what we'll do, so we've now got these ideas here. What do you know those of you just go through. I got done. They are set up your drum block, create your groove, and then just pick out different racks throughout the main ones I've shown clicks in your white, get duplicate it. Would you like three Pitot sex I've got here CBD like four or five. This is much as you want really. And then the next video, and I'll show you how to extract the different sounds out in their own rocks. So I'll see you in the next lesson, folks 24. Extract Chains: Ok, so now you've got your sounds like you've dropped them, some random rocks and Pacto Sounds like you saw them in the Rocky Mountain or just be one, it could be two, but get us are important for you think, Okay, right, of this sounds here. You've got this whole rocky. Don't want the whole rock to be there. You just commend the rock itself. Kick here. If you want the Keck, you just right-click, extract the chain. Just rename it. Kick Macondo either up but don't leave it. This is like the term man. Here, right-click Extract Jane. We name. We can do it that way. The cowbell. This one extract Jane, rename Cabell. And we can do eat that. And the top loop. We've got the top because we've called more than one sound in there that were like, we are going and keep them as they are. Not whole three, so we'll get the single ones here. What happens when you extract the changes? You can see here, just extract a single kick itself. So now you've now got all these sounds to worry about. You can just process the ones sound that makes it much easier when it comes to Process and down here as well. So that's basically Up for extracting the change super easy technique. Just go through all your sounds when you might want extract all these separate as well. If you do, just go ahead and do it. But we'll do it for the heart. The clothes top, right-click, Stroke Chain. Closed or open heart. Here. Spark Jane, command, rename, open-hearted. Go. Not so we can get rid of that one. So we've got percussion loop or just recolor these. I like to keep them top loop, but there's more of the car symbol. We Claps, Kick Tom. Purple bell. Cool star here we'll yellow. Yellow. Yellow. Play up here. Now affection, I ever thumbs up nicely for us to go ahead and start processing Sounds. There we go. Perfect. So I'll turn it folks, just extract, change the code as much as you awake. Hope that makes sense. And I'll see you in the next video. 25. ADSR: Welcome back folks. In this tutorial, we're going to take a look at the ADSR, shaping the sounds with your attack, decay, sustain, release, ADSR. So I think mainly it will be on the percussion loops, top loop just to tighten up the sounds. So what we're through each sound, especially for beginners, I'm just going to go through each one and just let you hear how it affects the sound. So be commended the Kick. Let's start playing with the sections here. Shreve will talk nervously that talk rolls off the start or the sound. Let's jump to our sustain. The pool at bark. Sustained. Does as it controls the volume of the shown over Title VII title at bark. All your wife with K of the sound, which is how long it stays on before it tails off. So what I'll put whether I mean, if you pull it right bark. Just wait for that clicking noise because the sound hits it, the K and it ought mark with shuts off. Up should decay up. Because you can hear, oh please, the fuel showed sustain up. What's keeping sustain up and the decay where the edge know that Elise. So pay the table the shown lot, boomy, boomy, eat away. Shown. So this is all bone. It tastes like macaques to be short and punchy. We'll go without now we've got the term plate with a let's play the closed or open her. Again, it's just all don't details just go by what you hear. What you think sounds right? Right. Like it there. Swatches, Drums, pretty much. I'm happy with how they are. They are shaped. So we currently this top group over the snare sugars come onto the snare first. Now you've got your parameters here for their, for the snail, look up the front or the tone of time, the comp. Let's mess around with the issue. We can add different syringe. Saw the snare flushed. I'm happy with that. Hold down the Command key, and go to the high cost, high heart, open heart. Some random sounds, healers washing the brush one I grew up as cool for zip one. Groove. Let's pick all so we don't need, delete these ones. We don't need. We believe that cool. Now they call the show was off much. I'm ready for a procession and the next video is called the last Part group. It's coming into the snare. Very narrow. Girl, missionary. Tom's, Tom. Decay down. So that's where ADSR, attack, decay, sustain release, just mess around with it, the shape, your show, and then also in the rocks when you get the fuel racks here, mess around with the different parameters and say that he or just get off different tones, just fine sound alike or take a step farther. In the next lesson, we're going to Process a certain sum or maybe autism affects, maybe are two more saturation. There may be some effects agree. Barbecue at ASU will see you there in folks. Okay. Cheers. 26. Processing Sounds: I've OK, so now we're going to take a look at Process and some sounds. So rather than going through all the different of a single sounds, hear what you're open heart caused, Kick, etcetera. It just got a bit repetitive. So what will pick out this top loop here? And we'll just do some processing on this one just to show you what you can do with then the drama rock itself. So what's solo it? So what you can do here as you can click on each individual drum rack. If you look at the bottom here. As opposed to this view is to throw effect on this part here that would affect the whole rock. But you can pick them out single way, like but start with the snare. What we'll do is we're going to the Audio Effects, reverb, reverb, special, room, Drums Room, dropper on Biola bar, 25%, 7%. Almost got an EQ. Always inflammation here, you don't need to roll off. What's going to copy that? Let's go raise our freezer. Fonda. Saw the heart itself. Nice facade, some subtle movement on the heart. Again, as usual EQ, it was nothing there but always just scoot to be safe. What's called an open heart. The keydown and the snare off 97517, right back in the open heart. Now let's get our soft to plug-in. Will turn up the high. Again. Audio Effects EQ, it will get a rhubarb. Let's get the hybrid zap. Wrong one on here. Let's change it to shimmer. Nice. The k973, a bit more on the Blend patch -12. Now let's go there. Random soluble gotten those up again, disappeared again. Okay, That's according to their random gradient or felt or delay. Let's try one of the presets. Complex. I was talking about one girl. Subtle movement to the sound, scary and EQ Rabban around. Eq on zip one. Nice, thick random brown rocks aren't managed. Record apart here from the top we just mashed around with a different site and drum racks etc. and came up with like Our Own Version. Now we're ready to record. We're going to record the syringe. I'll show you how to set up audio tracks, the audit, the rocks, the audio and recording audio on their create our own loop. So I'll show out in the next lesson, folks, that gap 27. Recording Sounds To Audio: Welcome back folks. We're going to record all the midi tracks to a separate audio tracks. So we can start building our Sample Library. Gets 677 midi tracks here. So we're going to right-click, Insert Audio Track and duplicate it. 1234567. The first one, we're going to do Audio from kick. And all you from Tom. Audio from cowbell. Audio from audio from open-hearted, Audio from top lip, and then Audio from paperclip. There we go over, can rename that the seamless one, rename the name, open. Closed, rename, rename. Last one, command R, Kick. Know that all set up, they're all named, they're all getting Audio From. Should we click on the Kick holding the Shift key, click and then switch them all highlighted and then just hit this button here. Now, arms all the throat. Then what happens if you switch them off? You've got a square button here for stopping by Highway them all. An arm, the thorax, you've now got the charcoal for recording loops. So let's start off with the Keck just to show you how it works. All you do as kicks, arm to play, kicks, ready to play. Everything else has stopped your snow. And then we'll just hit record this, press this button here. There we go. Let's pull up backend and just make it 1 bar, like click Crop. We've got that same the term. Stop, the Keq will hit record. We go keep a two-bar loop. Cowbell, he stopped and the term cowbell. Press Play Store, I don't know, off the snow record. Go. That should be here. And hit Crop. So for the next four, we hit play it and hit Stop, Stop, Stop, Stop, Stop. Now we've got that for plain seam with here we hit Record, Stop, Record, Stop, Record, Stop, record, stop. Soon open. We hit play. All these four here are going to record the shown here. Just hit play. We've got 4 bar or bars while loop. We've got a four-bar loop there as well. So let's get rid of these midi tracks. We harvest the week them. We've got these here for hit play. Now we've got everything and Audio. Ready. The board are sharper Library. So we go ahead and do that, folks just record but you're like even on the drum racks if you want a recorded, Like for example, I've recorded this one's here. I want to keep that as like our percussive loop. I could have easily extracted the change or Sherwood them and recorded the make sure you eat alike there, but you know how to set them up. Just make sure you've got Audio from Kick, Audio from Tom, Audio from cowbell. And you just armed with rocks and hit record. So if you go ahead and record your sounds folks, and I'll see you in the next lesson where I'll show you how to save your samples and start building your own Sample Library. 28. Building Your Sample Library: Hi folks and welcome back. Then the final video in the course. This video we're going to take all are sounds that were recorded and just create aroma or Sample Library over here in the folder section. And the idea, the reason we do there says because it's always good practice to record sounds. When you're creating tracks in the future. You think all need a high heart or need. I'm looking for a top looper percussion loop. You can just jump in your own shop ballparks in over they are sitting there ready. You can just drag them in per-click inspiration. So we'll just jump into the Kick first. It's really easy how you go about this. So we're set at is cropped on all you do as if you click on this, but this bit here and equip should be double-clicking the loop. Come to this part here, clicking that and that shows it in the side here. She just rename, will just rename it, kick it away. Just hit enter and become down here, we'll say Add folder. Wherever you want, all your folder Desktop. We might have a hard drive, just say New Folder. And we'll just say Our, just say my Sample Library. You to open. Then now it will come up PMI Sample Library. So we click on that and then you'd right-click in here. New folder. Let's just say Kick butt, come back and a current project we've got to check here and all we do is drag it across. Sample Library. Kicks. You hover, effect, your tom, see him again. Same process. Commodity name, poem one, dog across my Sample Library. And here right-click new folder. Percussion. Slope on the percussion loop. Nobel. Be on the Sample Library and the percussion. Who start. Remember you can name these anyway you want oh sure, Yeah. I've got shot. We've got like our Sample Library on Bolden to hold our hearts. And open heart. Open heart. On top loop, percussion loop. The car and percussion photoperiod, more than one. We came up here, drum loops, groups. This one. You go down, you've got your own your own parks. You started your own SOPA Library. Sounds that you like. You're just ready. Ready for inspiration strikes and you need, you need to jump on your lip style of color or should we might Park here. Base loops. Moods are different Sounds. Good drum loop, Sqoop, hot, tech, clubs, hearts, eclipse, groups. One short of it, Claps, kicks, percussion and FX. Else, if I go pods, these different sounds will have just recorded. But I've been re-sampling because for example, I've got all these sounds here. No a record these resample Audio and or command record that. So we'll just loop bisection. Get some sense sound yet I could record them, I would duplicate it out, duplicate it, right-click, crop it, and maybe get your Simpson. And I would say 1.1 here, they are. Just crop it again. So you can even take a step further. You could record a pitch it down 12, which they're getting complex. You've got other songs. You could throw the different algorithms, you can add effects, do it, then record the effects. So that's how I built my own sample libraries. So hope that made sense, folks. It's easy enough to say up. It's always good to create your own samples, but I finish a project. What we'll do is old, more step the project. I'll just keep the best bets. Record a console with everything in like four to eight bar loops and then just drop them in a different sample, sample libraries. These are all sounds that have 2k from a previous projects are released just for you, but I'll keep them because you can do something else with them. I might also be released in the short ballpark anyway as well. So over time or just keep building it up. So thanks again folks for taking part in the course if you've made it this far. Well been there. Thanks for sticking by the content. Take care folks, and I'll see you soon.