Advanced Music Production Secrets [FL Studio]

1. [AMPS] - PROMO VIDEO: all right. Welcome to my newest course. Advanced music production secrets. I'm gratuitous and I'll be your host Throat this course. So for those of you who don't know me, I've worked with Grammy nominated artist. I used to run the website. Be struggles, not calm where I used to do music production tutorials, and it also used to operate the website sound. Pack flier dot com where I sold premium sound kits from popular producers. So this course is cater to the intermediate caliber producer. It's kind of like when you're at that point in your productions, where you're able to create your beats. But you feel that there's more if you look like you're missing to be able to get your tracks that commercial professional sound. So in this course I cover many tricks, which I've discovered over the years, which are essential. My workflow is like, for example, when I get stuck, I can easily turn to these techniques, and I can essentially force my tracks toe work just by trial and air with these tricks. So a couple of examples that I would cover throughout this course is how do a sound design quickly to get your drum loops sitting exactly how you'd like using swing and tempo to find the perfect emotion and groove of your tracks and how I use FL studio shortcuts to speed up my workflow to get the things in my mind, you know, out into my speakers. So this course contains about 30 videos which are jam packed with my mindset and techniques , which I'm making available to you. If this sounds interesting to you, you guys can purchase, and I'll see you in the course. And for those of you who do purchase, I hope you guys enjoy thing. 2. 1 - Intro: All right, guys, welcome to advanced music production secrets. I'm gratuitous, and I will be your host in this course. My game plan for this course is I just want to go over a bunch of advanced secret tricks that really help other speed up your workflow give you kind of a different edge than other producers in terms of you know, how to tweak your sounds and how to be original in your own productions. And then also just kind of like my set up. So I'm also gonna be building up beat here from scratch with you guys, and I'm gonna be filling you in step by step in terms of all these little advanced tricks that I like to use as I'm building my beat. So I think this will be a really, really good course for those of you who are, you know, you understand your daw, you're understanding how to, you know, make your beats you understand chords a little bit now, but you don't really know how to jump to that next level. And that's my goal. With this course is just a kind of reveal a bunch of these different things to you. things, you know, such as, like temples and swing. Eventually kind of getting into, like, arrangement and just give you more like my mindset when it comes to these topics. All right, so let's get into the course and I'll see you inside. 3. 2 - Drum Loop Creation: Okay, So before we even get into anything, I think if we start building the drum loop first, that will give us a really, really good foundation to start moving forward in our course here. So I'm gonna be using a sound kit by exclusive audio issues. Survival Drum kit. Exclusive audio is one of my favorite sound design companies. Um, they're very, very good at what they do. So I'm just gonna click through some sounds here, drag someone's in that I like, and we will go from there Pretty nice. That's pretty sound. First, when I tried, that was a bit shorter. Get me one more kick. Maybe that one too. Okay, so we got this kick this kick in this case. Okay, so I think that's kind of a good combination in terms of have a really, really nice low end one. We have a short, punchy one, our services that's gonna short, punchy one. And this one could be like a filler or something, or even like a layer. The next thing I'm gonna do is I am going to just lower the temple because I'm kind of warning this track to be more of an urban uplifting B, which we could really kind of speak our heart over, you know, give, like, a big message over. So I'll put this to be, like, you know, are anywhere from 80 to 90 beats per minute. We can kind of tweak around with that later to this is just kind of a starting point. So I would get also get a clap here. I usually find a having my kick in my clapped just kind of allows me to set, like, natural drum loop for my track. So I'm just gonna work with super super low end kick first and put it the clapping here. So so far, we got something like this. Okay, so now I'm just gonna click in my other kick drums. And this is just how I work. I used to like to work with multiple drums. It just gives my beats more variety to work with and, you know, just kind of spices up my drum loop. So let's move this one up. I'm gonna hold all turn the up arrow key, move it up. So we'll layer that one. They put it there, and ah, here and then listen to that and then from here to help me out with back for drum loop, I will also get ah, high hat. And that will just kind of fill in my drum loop a little bit because right now it sounds really, really boring. Really, really dry, you know, not much going on, so it doesn't really spark creativity. So let's choose a high hat here. Mason like this, please, on every single Be Okay. We'll go to get another high hat when that's just a little bit faster. So may open on every two. And listen to that. It'll take it off right there. Okay, So I'm liking that. So I'm gonna get warmer, high hat. I'm just going to kind of put it on like I felt like a in between here somewhere. So using with that, you see, it is a little bit of softer sound compared to this one. This is a little more aggressive more. Ah, plucky. Uh, transient. Hit it harder. This was a bit softer, so it kind of fit in a lot better without being as aggressive. If I do kind of the offer something like this. So Okay, one more sound. I'm going to get isn't just going to get an open high hat. Okay, so we got some castle do this. Maybe we'll make a little rhythm with him. So I'm gonna take, you know, maybe all all four of these. So case that one's kind of more than the open. So? So they would just kind of clicked these in here. I think this is a great starting point in our next video. I'm gonna talk to you about temple quickly and just kind of explain different mindsets that you could be using Temple for to be creative with, okay? 4. 3 - Adjusting the Proper Tempo + Mindset: Okay, So in this video, I want to talk to you about tempo. So as I'm producing my beats when I get stuck, I always like tohave different tools in my back pocket. Like, you know, they always like in the back of my mind that if I get stuck here, I can try and do this. Or I could do this. For example, if I'm dealing with my drum loop, there's a bunch of different things that I always know in the back of my mind that I can always keep trying toe to get this drum loop toe work, regardless of the sound you know, from struggling in a certain area. But since we're talking about tempo with this drum loop, once the song kind of gets more more completed. I do adjust my temple one or two beats per minute, and I do feel that that does have an effect on the song and just in general, on how it gels, like as a whole as a song that one or two beats per minute can really help your drum loop have just like, just a little bit of like that different sound. So that is just one thing that I want to pass on to you is you know, don't be afraid just to adjust your tempo just by one or two beats per minute. And it really will just kind of It's always like that one thing that you can try if things just don't sound right. The next thing I want to talk about with tempo is depending on where you place your clap. It can kind of slow down your song organ. Speed it up. So, for example, in this case, I have placed my clap on the two. And on the force would be one, 234 Okay, so on the two and on the four. But if you were to place your clap on the three, it kind of like halfs your temple. So, for example, for my 84 beats per minute, it slows it down to, like, 42 beats per minute, but only on, like the drum loop on like your clap. Um, whereas all the instruments are still playing the same, it's just like your drum loop Has Sloan has slowed down. So, for example, if I was that, like, you know, 100 beats per minute. And if we play like this, OK, but now watch. I'm gonna remove these from the two in the four and put it just on the three. Okay, back on the two in the four on three. Okay. So, depending on where you actually place your snare, it can either speed up or slow down your drum loops. That's just one thing to keep in mind when you're dealing with tempo. Now, I'm not going to tell you what tempos suit which genre and stuff like that. Because for me, I just really just adjust my temple toe where I feel that that song suits the temple like I'm not really ah, huge advocate on creating certain genres. I'm more about kind of creating that song, and it hasn't creating. It's like, Is this a dance track? Okay, well, let's speed up the temple a little bit and I will dial that tempo toe where I feel that that temple suits that particular song or going from or of urban emotional song, which is what I'm hoping for in this track with you guys. You know, I've slowed down the temple to about 84 beats per minute, but again. Depending on where you place your clap, you can either kind of speeded up or slowed down that tempo. Or you can even use that as a technique at, like a bridge or something to give your song a breakdown kind of slower sound or something . 5. 4 - Layering Sounds for Texture and Fullness: Okay, So in this video, we're gonna be talking about layering the power of it and the benefits of it. Layering allows you to achieve Ah, lot bigger sounds makes your track sound fuller. You know, layering is this so powerful? And you may think it's just a simple thing of just know, adding sounds on and it totally is is totally just, you know, layer, layer layer, you know, So instead of playing one drum together and playing two drums instead of playing one clap together and playing to collapse But I just want to kind of give you more like my mindset behind it. Okay, So how I usually work as I build a drum loop which I decently like, you know, sometimes I really, really, really liked the drum loop. And sometimes, you know, it's just a okay drum loop. But all I'm getting at is you want to just build a drum loop, which is decent, something just toe work off of something that I can now start applying my instruments to, because you can always go back and tweak this drum loop later. It's just all about getting yourself moving, so I've got a decent drum loop here. We'll listen to it again, okay? It sounds maybe just a little bit slow. Like maybe I could speed up the tempo, but again, I don't know until once I start adding instruments in. So at the moment, I'm just gonna leave this as it is, and we're going to talk about layering. So as you can see, you know, I have layer two drums here. Um, maybe this 3rd 1 maybe we can start adding adding this one in so Well, listen to this. Kayla's turn that off added back in like it sounds bigger. Okay, so right there. I really, really like the benefits of that extra drum. Another thing, when you're dealing with layering, especially with kick drums and stuff, is you want to check the reverse polarity. So what that's doing is this is flipping the phase off your sound when you have a positive and negative at the same time at the same amplitude. So in other words, the same volume, it will be zero. But if the positive is like, let's say five and the negative is three, your net outcome would be too. So you know, your positive would be plus two. All I'm getting at is with the low end. You want to hit hard, you want to be clean, you want to be tight. And if your low end is canceling each other out, it will sound quite hollow. So in every year, layering drums, you always want to test the player ity of your different drums just to make sure that you know, you're getting a nice hard hit and everything is sounding good. I'm not going to talk about Larry and like your clap, you know? So in other words, like your snare hit Okay, so let's grab another clap. So this was kind of a snare, but we'll add it in here. OK, a lot. Another clap. You add this one now Sometimes where I like to do is to give my drum loop variety. So in other words, were not listening to the same clap, same clap, same clap. I will sometimes adjust my layers. So the highlight thieves and I just kind of give him a color just so we can see it differently. We'll give it both like a purple here. Okay, so these are the collapse so far. This is like the main clap. This is a layer and this is another layer. Okay, so on this clap, you know, we have this layer on this copy of this layer, so it gives us a different sound. Now, the layer I will blend it in. I typically don't want it overpowering the main clap. I just wanted to be body or, you know, just a different texture. So I'm just gonna dial that back a little bit now. I will also layer multiple collapse like so in this case, that isn't that many. So this could like a snare here. So case, this is a little bit shorter, a little bit drier. I will apply it onto the 1st 1 and on the 2nd 1 let's make that a little bit of a longer tail. There's gonna hold the salt in the air. Okey and bring that down with the other layer and I will just make these all the same purple guess So we have regular clamp the two layers and then we have the two other layers . Now, one thing I will also talk about with layering, especially on your claps, is you can note nudge, which is a really, really powerful thing 6. 5 - Creating Organic and Loose Drum Loops by Note Nudging: Okay, So since we're on the topic still of layering, I want to talk to you about note nudging. So because this is digital, everything is perfect. Case was 1234 and it will repeat perfectly forever, so that just sounds really, really robotic. So with the benefits of layering, you can do a note nudging, and they don't do this on every track. However, it's just all about having these things in your back pocket to pull out whenever you want to add that little extra into your track. X. So with no nudging, it is going to right click here and go to piano roll. Now, since this is a layer and it's not the initial clap, I can easily make it early or I could make it late. And this will make your clap sound really, really loose, or even have a different texture to it because they're playing at different times and again . This is an awesome way to spice up your drum loop, so in this case, I'll just make it. It's a little bit late, and this is this all about just kind of tweaking and playing with it and keep listening over and over. So I only play this once. Okay, Will come to this one. And from here I will just maybe make this one early cake so that when I made late and then since players on both the two and the four, uh, let's just make this one a little early to come down here. Good piano roll. And I just Christian control and the right click. So if you're zoomed in like this, you can push control and right click. It allows you to zoom out and see the whole thing. You can also hold on control and hold on. Right click. It allows you to zoom in. Okay, So in this case, let's make this one a little bit late. Just just one. Okay? So if you look here, you know, it might look a little bit weird. You're like, Oh, well, it's playing on this step, which is early, but again, if you go to the piano roll, it's like it's only playing early by just a little bit. And our ears don't really detected as playing early. You'll hear that it's just a bit more of a layered organic sound. So play it from here. And what kind of here? What are layer? Sounds like now. So if I come here piano roll and I press controlling Q, it will Kwan ties them, put him back toward the supposed to be. And you listen now, okay, I'll bring it back again. This is just one of those things where you have to kind of keep tweaking to get where you want. If you know, if I sit here in tweak with you, just be such a long video and it kind of boring for you. I just want to relay the message on to you that this is something you can do. It's called note nudging, and this gives your clap just like a little bit of a looser sound, as well as a different sound in general. So again, one of those things you can have in your back pocket to pull out to help your drum loops and kind of spice up your track 7. 6 - Secret Sauce Sound Design with IN + OUT Knobs: Now at this moment in my drum loop is where I start to use the end and out knobs in fo studio. These are amazing knobs there, so useful to me. It's just a trick I've acquired over the years, something that I can quickly adjust and get some sound design out of a sound. So, for example, it's them playing a sound, and it's just too long of a tale or I just don't even like the sound. Sometimes this is what I'll I will do. So in the case of this sound here, 67. So it's a bit of a long tail. Let's just say this is they don't like it. So how I approach this I was I will put normalize on. I will put the trim on full, and now we can use the in and the out knobs. And the amazing thing with FL Studio 20 now is they also have a sample start and a sample length, which is really, really awesome because back before, with this out knob, if I max it out, it doesn't really affect the sound that much only a little bit. And the reason is because the way how this sound was sound designed, a tale was left. So, for example, if I'd come here and I'd edited in Edison and I would come here and I would delete this and let's just make our own now so I'm just gonna drag it in. So if I come here and go normalize trim again now the out really, really affects the sound. And before FL Studio 20 came out because this length was here, you know, I would have to manually do that, and that's just really, really annoying. But now, with FL Studio 20 they have a sample start and length. So instead of me doing the Edison thing that I just showed you, you can simply just do this length. So in other words, you're just decreasing the length of the sound as you consider it there. So it's just doing the thing in Edison, which is awesome. It's just it's one of those things that saves you tons of time, because when you have to go to Edison and do this and that, it really kind of dampens your creativity. When you're in the zone to create, when you're making your beat, you want to keep flowing. And when you have to kind of do all these little things Just go to Edison and stuff. It slows you down. So this is just a quick knob just to find two. And where do you want the sample toe start or end and then confined to knit with these in and out knobs. Now I will show you what the in and out knobs do. Okay, So if I have this clap here now, if I go the out So now it za totally different sound from here or if I used the end. So in this case, if I were to duplicate this and if I put this up here with the drums now, that could be a layer. So come back down here and we'll just put this exactly how it waas So there, you know, this is it could make a layer. So if I play it on with this with the drums here, you know, right now it's a little bit loud in volume, and maybe I need to put the end Lovett, mawr and maybe just the out. So if you listen to it, Okay, So listen to this or in the case. You know, that was an okay layer wasn't super happy with the layer, But maybe let's bring it down with the hi hats now, you know, So maybe I could every single step and play it. Now, I I think this sounds really, really cool. And in the next video, we'll talk about swing. But if I had just swing here, you're gonna hear how how it affects the sound here and remember this sound. So right now I'm just gonna go copy the value just so I can I paste it back when I want to show you again? But this was the snare, you know, with the oh, that's that This is what it waas. But with the out fully up with me pasting this in, we kind of have a cooler, high half. And if I come here to the piano roll, I can move it up or down, and this is gonna sound more like a high hat. But it's a different kind of sounding higher. And so, for example, if I were to take an instrument out here, just this guitar and if I wrote this to mixer insert and this place him like reverb and delay Make it to some nice and big. Okay, so right here If I were to play this overly the drum loop. Okay, so here we go. Like, I think that this sound right here is like, Ah, big part of that drum loop. It just really sounds really, really groovy. So the in and out knobs, these were some of the most powerful knobs that I use NFO studio As I'm doing quick sound design. It allows me just a tweak, a sound, you know, for example, that say, I have a kick drum and it's just a little bit too long in length. How I approach it is I make sure the trim knobs all the way up and in this case, this drum, I like how low end it is. I guess it's a nice, hard hitting kick, but let's just say I feel that the rumble of it kind of decays too long, so I could just use a bit of the out here, love it more. Okay, so I've kind of tightened up the kick drum. It hits hard, but it's not maybe muddying up my track or getting in the way of my base. You can easily do stuff like this. And then again, you can use, like, reverse you. Can you like the end? You can. You know, just adjust all these things and it's just a matter of you know, you have all these different sounds you have at your disposal again. I put the trim up. I usually go normalize. You know, that could even be take a layer to help. Like your low end of when you're kick drums un reverse it. So you know the kick drum is super super damped. Bring it back. That's you know that's the original kick drum case. That's the in and out knobs. I just want to give you one more little ones over just to really, really help solidify it, because again, they're super, super powerful tools that I use all the time in my drum loops. Again, if that one sound isn't fitting, or let's say I'm working with like a symbol, it's just an amazing quick knobs that I can adjust like the out knob just to kind of make this symbol. Not as long again. I just adjust the trim up full, and then I kind of tweak with the with the out in the end toe where I want it. And then now, with FL Studio 20 they have the sample start, which removes, um, the actual beginning. So you just where it starts and in the length it is just the end, which saves time from having to go to Edison. Like I showed you earlier. So really, really cool stuff. Probably one of my secret sauce tricks, which I'm passing on to you. And I really hope this one helps you out. 8. 7 - Get the Perfect Groove to your Drum Loop with Swing: So, like I've been telling you all along, it's always awesome to have all these techniques in the back, your minds. You can stretch them and play with them to see if that technique is going to suit your song . And in the case of this video, I want to talk about swing. So before FL Studio 12 Swing was only applied to the individual step notes here, but it wasn't applied to the piano roll. So, for example, like your drum loop would have swing applied to it, but your instruments wouldn't was kind of a weird sound. But now, with FL Studio 12 and Further and currently this video being recorded is on FL. Studio 20 is you can simply apply as much swing as you want, and I'll explain what swing is in a second. But on your actual instruments or any sound for that matter, you can co appear to the wrench. And here is a swing mixed knob. So, for example, if you re adjusted lots of swing and you like how it sounds except for like this one instrument, you can simply dial back the amount of swing on the actual instrument, which is amazing. It's so powerful. So what swing does is it Adjusts your second and fourth step. Okay, so right here if we're looking at these 1st 4 So I'm just going to remove these. It adjusts your second and fourth step. Okay, so maybe I'll do it this way. So swing adjusts this one, This one, This one, This one, This one, This one, This one, this one and the way Aiken describe swing is it makes your track sound really, really loose, but still on temple. Because the first and third step are still on beat in perfect timing. It just starts adjusting the second and the fourth. So if I were to play this drum loop with no swing, this is how it sounds. OK? Apply lots of swing on and let's see if you can hear the difference. No swing. So it just sounds like instead of tea. So it adds a lot of groove to your track. And I will tell you this. When I first started producing, even for a long time, I could really hear the effects of swing. I just didn't understand what it was doing. And it's just nudging some notes just to give you like that organic sound, just like how we know nudged up here on the collapse. It's no nudging some of these individual notes to make your tracks on a lot looser because , like I said in the earlier videos, I just built a drum loop, Justus, a little foundation, just something toe work off of. Like I said, I might really, really love the drum leap at the time, or I might just kind of like it, but it's just something toe work off of. And then I kind of start getting into the layering. Maybe some note nudging, adjusting temple a little bit. Or I will start to apply some swing just to give the drum loop a little bit of that groove . And once you start applying the instruments on and everything, you're not really sure how. It's all going to sound together as a whole. So you can always dial back your swing if it's a little bit too aggressive or add more. But I just wanted to bring swing to your attention because as you can hear with this sound here, it's drastically a different sound instead of it being tea. So I'll play it one more time for you guys and then even like your drums appear like, you know, I don't have tons of drums playing, but if I have certain drums like here and here and stuff, you'll actually hear the effect of, like, the kick drum. So in this case, I've adjusted swing to the max and I usually never adjusting to the max sick. I'm usually always you, maybe Justin, around here to hear, you know, kind of in this area, however, you play around with it where you feel that it suits your track and goes for the sound that you're going for. 9. 8 - Advancing Our Track by Adding in Instruments: all right, so we're at that point in or course here that it's time to start adding instruments into our track so we can kind of progress further. And I can start showing you more that secrets once it starts coming to, you know, a little bit like the mixing stage. A little bit of the kind of more sound design, things like Port aumento and stuff like that. So I'm not gonna be showing you cords and music theory and stuff like that because I have already created a course called Piano for Beat Makers. And that course teaches you how to play the piano as a beat maker, like it teaches you how to improvise. It breaks down chords, court progressions, music theory and, really, how to play the piano as a beat maker. Because we's beat makers. We play the piano quite differently than like a classical piano player like we is. Beat makers were all about repetition, creating loops, things. They're catchy, and, you know you have to practice the piano as such. So yes, this is a plug. But if you want to check out my piano courses called piano for beat makers by gratuitous you could just suits that into Google. And for the sake of this course, I'm going to be creating track out of a single guitar note. And I actually created a course on this, too. So this is another quick plug. So that course is called organic beats. And what I did was I recorded a single guitar note with you, and I created a full composition out of that single guitar note. This is actually a technique that I like to do quite a lot. A lot of my music on my beat tapes. I've done this to quite a few songs, and it just has such a special sound to it. So in this case of guitar seven, I don't really like, just like the sound of it. So I'm gonna use Guitar Three instead. And what you want to be looking for is is like I said in that course in organic beats is you just want to make sure that the guitar that the single no has a nice base response. So, you know, So this this one's a little bit, um well lit bright for me. However, with some e que and stuff like that I'm sure we can get a decent baseline toe work with if we do decide to even at a baseline into our instruments. So for the actual court progression, I'm kind of thinking something like this. Something like that. Okay, so if we play over like, the drum loop is sound like this, Wait the right hand. You can kind of go like so, you know, I think that it's not really cool. I do feel the temple might be a little bit slow, so I might adjust it after a record. So from this point, what I'm gonna do is I'm just going to add in my drum loop up here, and then I'm going to go to a new pattern and I will hit record. And then I will record the left hand. And then, um you know, maybe I could record them both together, and then I'll break them apart later. That will allow for more flexibility. Come mixed time, you know, So if I want to just the right hand with, like, more reverb or compresses or distorted or do stuff like that, I have the flexibility to do that. And the reason why my drum loop in and they went to a new pattern is if I were to record here. This drum loop is only four beats, but my chord progression is like eight beats, so it would get cut off. So I'm just going to a new pattern. And this way I can record for however long I want. In case, you know, I get inspired and I am to keep playing. But this will be good from from here. Okay, so I have my drum loop in the playlist. I'm in a second pattern, like a new pattern and a hit record. So play and we will record that. And then, ah, in the next video, I will just show you some tricks with editing. Okay, so we'll play. So you just witnessed of Ricky Mistake? So you want to be on song mode. So to switch to solve motor pattern mode is just simply appear so pattern on Lee plays in the pattern songs actually playing. When your playlist, you can also click this one to go to pattern or you click this one to go to Psalm mode. But in this case, I wanna be saw mode or on record with play. And now we're actually gonna record Castle just like this. And these, like the notes. And as you can see, they're all kind of out of sync and not on like the grid. They're all kind off. So in the next video, I'm gonna show you how to edit your notes, okay? 10. 9 - Piano Roll Secrets for a Super Fast and Efficient Workflow: All right, So now that I've recorded those notes how to get into the piano rolls, you can click here. Are you gonna escape to close the window Or you can right click and gold piano roll. Now, when I recorded something like that that wasn't too intricate, it was pretty simple. So up here you have a magnet and it's called, like you, your grid Or did your snap and I would typically edit on step. And the reason is because it's a lot easier, is not so overwhelming, and especially when you're kind of newer when it comes to timing and you know, 1234 this is a lot more simple toe. Get something toe work for you. However, if I was doing something a little more intricate, I might be working on half step and very, very rarely down to like 1/4 step. So if we zoom in here, you'll see that there's way more detail. When you go like 1/2 step, you know, it starts kind of splitting it up, and then 1/4 even splits those up. So this is quite overwhelming because it's like, you know, you have your one and then, you know, it's like well, was halfway in between. So, like I said that I'd be for very, very intricate stuff. Um, often, I do go at half step, depending on how busy my piano playing was as I recorded. Sometimes you can get some cool sounds by doing that, but for the most part I go step and for myself I do. Quantum is quite a lot. That's just me. Personally, I usually find by quanta izing it allows no editing a lot easier, and then you can always humanize afterwards, in my opinion. But with that said, sometimes you might record like a flam or something like that. And a Flamme is just like when you play a bunch of notes really quick, altogether kind, like this kind of role. Okay, so imagine, You know, I recorded my midi keyboard notes and there was it that flam, but I press control cute quant ties and to know Quantas e computer, the arrow and you go tools and you can just see quick Kwan ties so that that's all I'm doing There is control que But now that I quanta ized my whole recording, this flam would no longer be how I played it. So, you know, you might come in here and you might hold on shift and you might try and get, like, the flam toward kind like this. But in my experience, I'm never usually able to get it to be how I actually recorded it. So with that, I'm just gonna come here and go back to how it was before it quantifies it. Now imagine this is like the flam, So if I want everything Kwan ties but my flam you could hold on control and click. You could highlight all your notes. Now, if you pressed control and shift, you could highlight more notes. So if I were now press control in Q which was in the quantities tools up there, everything gets quantities except that flam. Now you can go wherever you want. You can duplicate it just like I did and all I did there was at his press control and click and hold and I just hold on shift and click, and it just kind of duplicates it. You know, now you have that flam wherever you want to be, and you can easily change notes, but it's still in the same timing. But if I were depressed, control que when nothing's highlighted, you know, kwon ties is your whole recording. One of the things I'll pass on to you one editing your notes in the piano roll is if you want to highlight all the notes on that same row, you can hold on control and click on the note. And as you could see it, how it's the whole area and you can go up or you can go down from there. So in that case, I could have done that and then this and you can quantities it. So just want to show you that now I just want to pass a few more things on to you with the piano roll here. So, as you already saw, you could hold on shift and the most wheel. And that will like to note nudge, which is really, really powerful. Sometimes, you know, to get a human sound. Another thing you could do is hold on Ault on the scroll wheel and it will allow you to move a no up and down in volume. So as you wash right here, you know, if you highlight multiple sounds. You can do it just to those. And this is really, really powerful when you have two notes which are overlapped. Okay, So if I were to come here and click, what's gonna happen is fl Studio moves both of them and it's like, Well, no, no, I just want to move the f like, how do we just adjust the f So all you do is you just hold on Ault in the scroll wheel or you can highlight it and you can move that. Okay, so there's multiple ways to do things in FL Studio. But the altar is really, really powerful. Especially like I'm saying, if you want to just multiple notes and I get I'm holding on, she control and shift. You know, you can easily come here and use this girl well up to do that. Another thing I pass on to you is if you right, click down here you have lots of different settings to give you a different sound. So, for example, let's go to this drum loop for a second and this will be really, really powerful for you. So this sound the one that you know, I sound designed with those in and out knobs, which I really I really like how it sounds. But we could find tune It may be a little bit more so I'm going to right click will piano roll And here, if you right click and go to that's to say pitch or something You can adjust this and make it sound a little bit different so you know, they will do this, okay? And I have no idea how this is gonna sound, but so I just want to pass it on to you. But you can do really, really cool things like resonance and stuff like this. One other thing I want to pass on to you, too, is if you right click from an area, you can make them grow as a whole, which is really, really powerful to, you know, These are just little little tricks that just help you to be more creative in your productions. This is a really, really powerful one. Especially when you're dealing with pitch. So, for example, imagine ripped for buildup before a song. You can come here and, you know, bring this down here and this right click now and all of these, you can make it go from, you know, people Poo, poo, poo, poo, poo poo. You know, kind of it just ah, really big build up. So in this case will go back to the history and put Kwan ties. So we're gonna go to our other pattern where our instrument is on, we'll click it and we'll come back to here where our notes have been quantum ties. Okay, Another thing that I do want to pass on to you. I'm gonna hit escape here, and I'm just going to clone this K. And I'm just going to hit piano roll. And I'm just going to make a note like this, okay? And we just like fullest. Just imagine it was a kind of a baseline or something. You know, I'm not caring if it's if it's on timer in tune, I just want to show you ghost notes. Come up here to the arrow and it's in helpers. And you can go, uh, ghost channels. There's also with the edit herbal, but I don't really don't use that one. I just have to ghost channels, and it allows you to see where the previous notes are. because you know, when you're working on a song and there's a certain chord progression, for the most part, you can really only playing certain notes. You know, we think that scale and everything. So when you have the notes from the other patterns, you can see in behind on the Grid, which agreed out, it's just really, really helpful when you're clicking sounds. And if you're trying to build the melody or something. And if you want to switch instead of coming up here and going to like guitar to because this is how you could switch instruments with make that pattern, you can simply come here and double right click, and it takes you to that where I can write double right click to go back to that. So that's a really, really powerful one. There's one more I want to pass on to you here, and it's in select. It's called the Magic Class. Ooh, this is such a powerful one, and I noticed I didn't have it on as I was trying to explain something earlier to you. So if you start from here and if you highlight around you see it highlights it for you and sometimes is This is just really handy. Um, I can't really think of a great example off the top of my head, but sometimes they're doing something and, you know, you just kind of k there, and you kind of work with those two. Now, again, it's all about workflow in speed in fl Studio. So in this video, I just wanted to show some tips and tricks that I like to do with the piano roll in terms of Kwan ties ing in terms of, you know, if I was going to be doing sound design or being creative with my loops techniques that help me edit faster, such as the ghost note in the Magic Last Sue and also showed you how to, like note knowledge with shift or increase velocity. You know, all that stuff is just to do with speed workflow, and it allows you to work way faster and really get what's in your head out into your song and the next video. We're actually gonna hit play. We're gonna listen to what I've recorded here. We're gonna hear what's off, beating everything, and fine tune it and we will progress with our course 11. 10 - Piano Roll Editing Secrets [Fluid Workflow]: Okay, so I'm gonna hit play here. We're going to hear how this sounds. Remember, I have Quanta ized it, so it's locked the notes into their grid. However, that doesn't mean that there on time or doesn't mean that it's gonna sound good. It just means that it's a lot easier to edit. So hit play well, here where we're at and then I will start to adjust the notes on. Sorry. So, like I showed you before I clone that just so I could sit the ghost notes. So I'm gonna come here and delete that we will play it on the playlist castle right here. This this comes back. So I'm gonna press control and click and hold. Bring it back. So it's continuing on the drum loop. I just want the loop to keep playing over my instrument and the drum loops. Someone's gonna delete this drum loop, and once it gets to the end here, it will repeat. Okay, So again, it's all about getting like that workflow in that speed. So as I keep listening to this drum loop over and over, I can keep tweaking, tweaking, and I don't have toe, you know, stop for anything. Kind of silly. Just like that drum loop continuing without the instrument. Okay, Lets maybe increase swing. Little bit decrease. Okay, I'm just gonna focus on these things. Higher notes kind of get it to where I want to be. So all right around here. And my goal. This instead, Michael Boom! And down here, I don't know. Total guess so. It's Jolbert time. Okay, So what I'm gonna do from here is again. I showed you that trick. If you hold on control and click on a key, you can highlight the whole thing. So I just want the top notes. I'm sorry. Didn't do the whole thing press control and X and allows me to cut those. So let's just go like, uh, Lo g Tar case was kind of more like the the rhythm. I guess we're gonna clone that and are still right. Click and paste that in there. I'm just gonna push in the middle scroll wheel. And it allows me the label. I'm gonna go high guitar, and if you hit f two allows you to give a color or you can select in here and stuff like that. This stuff just saves you later on. Once we add our sounds into the mixer, the color will follow. Now, another thing I see down here is some of these notes are quieter than others. You do want that you want humanistic characteristics to your sounds. But sometimes things are just too quiet and compression will bring this out to. But we're not there yet. So for the time being, I just want to just it where it's quite well already. So Okay, so I like that. So what I'm gonna do before we move on, though, as I'm just gonna break this pattern out so that it will save us time later. Come arrangement time. Okay. And, you know, cause I'll talk to a little bit about arrangement in further videos. So what I would do here is and this kind of press control shift and see, and that would clone it. And that's just a short cut. So here's the arrow up here and there's the clone, so I would literally just clone it from here. And then what I do is I go up on my number pad, maybe the next video I'll do on the number pad. OK, just kind of trees on tricks for workflow. So I'm just gonna press the minus on my number pad. It allows me to go up a pattern. So from here, gonna push him a middle scroll wheel. I'm gonna press control and see I'm gonna hit f two. And that will allow me to label the pattern. So is the same thing is coming up here and rename and color. Okay, so F two again Just all about knowing the shortcuts that's it speeds you up massively. I'm gonna press control envy because already copied low. Gee, tar, right. I'm gonna come here, and that is the same color as when I enter. And then what I'm gonna do is I'm just couldn't remove this loop from this pattern. And I'm gonna press control and x on that, OK? And the reason for that is because I already have the loop right here. So I'm gonna press control an X on the low gi tar within this pattern because I only want those notes now. So what I was saying before, So I'm gonna person a middle school wheel and I'm gonna press control and see the highlight that now when I hit Enter. This color is saved as the first state in FL Studio. It's a really kind of nice little perk that they give us. It just allows everything to be the same color. So again, I'm gonna f to toe label this actual pattern because right now it's pattern three and it's gray, you know, it doesn't look pretty and again once we once the song gets bigger when she started ranging having things color coded will allow you to work a lot faster and more efficiently. So I'm gonna have to and we're hit control V cause already copied high. Gee, tar. And then, like I said, when I hit enter without orange, that same oranges right there. So now everything is the same color. Okay, so in the next video, I'm gonna talk to you about the number pad and the workflow of that 12. 11 - Creative Number Pad Workflow: So in this video, I want to talk to you about the number pad. This is actually quite a crucial part of my work flow and the speed of which I work. The number pad allows you to go through your patterns really, really fast as well as go forward and backwards within your playlists. Really, really fast to. I don't really use the 1 to 9 too often, however, if my song doesn't have too many patterns. So, for example, if I only have nine patrons as they start working on the actual song, a lot of times you just kind of start to memorize where they are on the patterns over example. If I goto one, it goes to Pattern one record. Three goes the high guitar to goes to load guitar, but the numbers only allow you to go up to nine patterns. So what I like to do is I like to use the minus and the plus with on the number pad, and that allows you to go to Pattern's really, really fast. And even if you don't know where the pattern is, you can just look up here or efforts to just now added this section in efforts to your 12. Or you could just be looking on your actual step sequencer and you can, you know, quickly go through it. Another thing I like to do is a little off topic from the number pad. But on the actual step sequencer this arrow if you goto auto resize here, I've actually selected off and also resize When you start adding sounds and stuff like that , it starts to growth on you. And I usually just like fl Studio to sit where it is. Like I've adjusted my windows and I like it where it is. So I select that to be off because this will stay where it is. The mixture will stay where it is. And then from ever working specifically within the playlist you can hit enter again on your number pad and it will grow so you can work full screen. And then when you're done, if you hit enter again it puts it right back to where it waas. So everything is situated where you've put it. And this is this something that I've liked over the years. And then when you're in the playlist, if you hit the asterisk or the Ford slash case, like the star of the Times. Or like the divide. Okay, so times goes forward, Divide goes backwards, and especially when you're track is very, very, very, very big like this. You know, you can easily go to where you want to go really quickly because, you know otherwise you get to go to your mouse, and yet the fine tune. But if the song you know, like, let's say I'm zoomed in like, wait here, you know, I'm gonna grab my most zoom Oh, probably and click here and hit play. But sometimes if you are wanting to go back just a little bit, it's just This is just a really, really nice shortcut and it just all to do with the number pad, OK, so the numbers allow you to go upto from patterns 1 to 9. I typically don't use them too much, though I will use the minus and plus to do patterns or the divide and multiply allow you to go on the playlist faster. All right. So moving on 13. 12 - Powerful Leads with Portamento: Okay, So we're going to start adding another instrument over top of our beat here right now. And what I'm gonna do is I'm simply just gonna clone that sound again. We're just creating ah, whole composition out of a single note again. You can check organic beats by gratuitous. You could search into Google and my course will come up. But in this video, I want to talk to you about port aumento. Parlamento is a technique which I've discovered in my early years of production, and it's been a really, really special sound for me. There's something I kind of like about it. And so what it does is it allows your notes to slide within each other. So, for example, if I hold on a note here, and depending on how you have adjusted this, obviously it's more or less drastic. You can hear it even just suddenly right there. But again, if you go really, really drastic, the slide is much longer. Now I will talk about model quickly to what mono does is when you press and no and hold it down. The other notes will follow the envelope of that sound. So the 80 s are. So when I hold down this note, we're gonna listen to it. So that's how it naturally decays. So what mono does is when you hold down that No, it will only fall the envelope until it becomes quiet and it will stop. So, for example, so fickle on lower kiss. That's model with poor aumento. You're not restricted to that one. Sounds so, for example, if I increase its we can hear it better. Now I want to talk to you about port aumento is It's a very, very powerful tool for your leads. So again, it's just one of those tools to have in your back pocket to pull out whenever you're kind of not finding something fit. Another cool way that you like to use. Port aumento is in courts. So right here we have a drum loop, right? I'm just gonna play some kind, of course, quickly over it. And then I'll just fast forward this video. Okay, so I have my courts here. But what's happening is this is too long for this pattern, so I'm just going to hit Control and X were to come down here is proven to a new pattern and we're just gonna play around with these justice for the time being. So I've muted the other instruments which we will actually work with. I just want to show you cords and port aumento sometimes is just a really, really cool sounds. So it sounds like this theme without it thing here you have politically So what? That means just the maximum number of notes that could be played at one time. So if you do this sometimes you can even get cooler sounds because my cord right here has three notes. And if I limit on Lee two notes, then only two notes of that court will play at a time. And we'll listen to that with Okay, so not an amazing example. Like, you know, it only sounds OK. However, sometimes it has sounded really, really cool. And then sometimes, even if you do that with with an arpeggio and stuff, you can get away with some really, really cool sounds. So anyways, we're back to Port aumento and I'm going to right click and go to clone this and I'm going to label this lead. Okay, so l e a d and give it a color get like yellow. I'm actually gonna put this to its own mixer in searches. For the time being, I'm gonna press control and l That's a shortcut. Just two wrote it there. So to roll a sound to the mixer, you know, you straight click and then wrote selected channels to this track. So in this case, not much going on with it. We're going to go up here. We're gonna trump parlamento eso because we're using the same note again. Frequencies air clashing. And it's hard to hear different sounds over different sounds. So there's two ways to do that. One way is to play up or down on the frequency spectrum. So in other words, higher notes or lower notes, that's one way to avoid the frequency. Clashing the second way is to actually manipulate the sound. So it's actually different sounds. So what we can do for that is we can I'm just gonna compress it quite hard. Just let the sound is very, very, very consistent. Okay, I don't even know how it's gonna sound, and I want to style that in, and maybe I'll just increase the volume Dalla back just a little bit but add a little bit distortion onto this sound Camel crushers. They're really, really cool Plug in, In case, let's play aggressive, we get under to compress it quite hard. So Oh, I get a chorus effect. You're gonna hear this. This sounds really, really cool. Just kind of makes it sound totally, totally different. So on and then, ah, we can apply some reverb in stuff like that. I'm just go lead reverb and we'll give it with same yellow and I'm gonna click this and click it over here and we're gonna add a reverb on here with fl studio 20. They've added this new modulation thing. So the reverb This is a sound so constant. Whenever you're working with Ascend, you'll put the dry 20 You put the wet to full and then from down here, you dial in the effect you want. So renown are sounds like this. Okay, so I record something like this. So again, coming here, Kwan ties that and let us hear how it sounds and then weaken tweak it. And with the porta mental and everything like that case. So now we can come into here with airport aumento and it's like, Is that too aggressive? Maybe let's try and go down The doctor Wayne here. It's the port rentals too slow. So and then we can just delete all this that we added in afterwards. It kind of sounds cool down low. The thing I'm going to go with it in between videos here, I'm gonna probably maybe tweak and kind of get something I like so that we could maybe add one more instrument on. And I can kind of be prepared, not waste your time, and we can keep moving forward. 14. 13 - Making Space for Sounds [Boost + Cut Opposite EQs]: Okay, so I just want to give a little update of what I have done behind the scenes just to speed things up. So you're not watching me, you know, try and figure out a melody and tryingto edit it and everything you know, because they're ever shown you like the piano role in everything. So what I did was added this lead sound again. These are all from the same guitar. I'm just playing up either higher, lower or I'm applying things that parlamento or adding things that chorus on on distortion . Just so I have different frequencies. So as I use e que can sculpt different sounds again, I break that all down and organic beats that course. But I added this lead sound. It sounds like this. And what I did was I have my lead here. I added some quite heavy compression. I sculpt ik you a little bit and then I add a distortion on there Just so it sounds amore of like distorted electric guitar. So, for example, with it off, it sounds like this sounds cool with it on a little more of a distorted guitar. And if I really increase that, but some of this just to give you ideas on how creative you can be and how aggressive you can be, Um, you know, understand? Dial it back a bit. Kind of where it waas Also what I did was the first melody I recorded with you this sound So I actually have this called lead before. However, I just kind of found out it was more like a melody that I just I just level that melody. And then I added a new sound that when I just showed you the lead and then he also added an art. But it sounds like this Theo. Okay. And so for this lead, I just, uh I took that reverb that was with the other melody Sound, which has switched the sounds. Now, I just applied reverb there. Um, I also send it to a bunch of different kind of sense. And stuff like that will cover more of the send kind of stuff in later videos. I also have a course called fl Studio Mixer workflow, and I break down just like how it the mixer works in depth and how to get a fast workflow as you're mixing. And then I just wrote it This to a delay. And what I did was I citing compression so that whenever this lead plays, the delay is an audible. But when this lead stops playing than the delay comes in and then I just molded it. The delay. Just so it has a little bit of a different sound on this arpeggio. What I did was actually right clicked file and went save Mixture State. That way I didn't have to reopen plug ins that ever think that because I wanted distortion . I wanted aggressive compression on this art, too, but in this video, so I actually have a conflict going on it now and again. This is because I'm using the same guitar note because I'm using the same guitar note. I'm using the same frequency. So in order to add new frequencies, I have to add things like distortion or chorus. You know, things that manipulate pitch or or kind of stretched the sound again. That's why I'm having to use low frequencies or high frequencies and by by creating a beat like this, it really stretches your capabilities and how to get things to fit and so naturally and balanced Still. So what's going on between my lead and my art? Is there kind of clashing cause they're kind of the same sound and in the same frequency range. So I'm going to show you a trick. You ca NBI using two different cues and you can carve and boost different frequencies on each e que to make each stand out. Okay, so what I'm gonna do and it is going to open up another e que Here we're just gonna go, um, lead will make this yellow K even the woman AARP. And then we'll go to the lead, Go select will e que moral to this and we're gonna go heart cut, and we're gonna make it blue. Okay, so we're making space for the AARP, and we're making space for the lead. This is what the track sounds like with the art and the lead. This is what this is what I did behind the scenes. So I like how it sounds. Except except what's happening is the art and the leader. They're played at the same octave. So because the same guitar note there clashing. So what I'm gonna do is I think I'm going to cut around here on the art. And then what I'm gonna do is this is where fat filters really cool. So I'm gonna double click. I'm just gonna go 3.7 k for 3700. And I'm just guessing this frequency, we can't even hone in on it, so maybe I'll do that. So listen thing. So you see that frequency? I like that frequency, So I'm gonna actually do this. So we ate five, OK? And we're actually gonna boost this on the AARP. Let's just go by five decibel. That's quite aggressive. But I'm gonna copy this. We're gonna come to the lead now. We're going to cut this for the art. Okay, so gonna put in that frequency, and I'm going to minus five decibels. So what I've done is I've boosted that on the art because I like that frequency in the art and that I've cut it on the lead. And now what I'm gonna do here on the AARP is I'm going to cut again. This just go away. Three points. Mystical four k. Keep it simple. And this just cut maybe three decibels. Now you have to remember if I'm cutting three decibels and here and then boosting three decibels here. That's quite a drastic difference in between that. So you can be getting frequency imbalance. In other words, you're sounds are going to sound supernatural. You know, it's gonna sound almost like an imbalance in the overall song sometimes. So you have to keep that in mind. Um, so instead of doing a a five boost, you know, you may be able to go like a to boost in a to cut, which is like a difference of four decibels. In this case, three and three would be a difference of six decibels. So I'm just gonna copy this. We're gonna add this in here, we're gonna put four, and we're going to boost that by three. Okay, so everything I've done over here are just on the opposite. So what that's doing is it's making space for this AARP and making space for this lead. So we're going to check that out, Theo. Now, this sound is also very, very loud, like the AARP and compared to the lead, So that's kind of unfair to So we listen to it again. So as you can hear this lead doesn't sound as powerful as it was before. So maybe we're still, like 2.5 will come back quite a bit. And I'm just gonna go maybe 2.5, and I'm just wanted to help it cut through the mix. That's all I'm trying to achieve out of this. And then maybe this lead. We can kind of get some body just to help it over a little bit. So way we turn this off and this off, we're gonna hear without the e que. So in this case, I'm probably gonna leave it just like this, So I'm not even doing that. The cut on the lead. However, that is a technique that you can apply, but using two different cues on each channel you boost. And then you cut on the opposite with the same frequency 15. 14 - Dynamic Frequency Control: so before proceeding further into this video, I just want to break down the difference between static and dynamic frequency control. So in the last video, I just showed you to open up to eke use, and we can boost at one frequency and then cut on the other sound, and then that will allow you to get clarity out of bull sounds. However, like I mentioned, this concave your track like a total imbalance. And so now when we hear the word dynamic, think about moving. Okay, so it's not static like this is, you know, we've adjusted it. It's staying there for the rest of the song. But when we hear the word dynamic, if I put just zero, this means that the AARP is playing exactly as it is. But whenever the lead would play, I can get this band just to dipped down, however much in volume I want and just keep going back to zero as soon as the lead is done playing. So I show you that in this video I just had to record this as I was editing, cause I didn't make it clear. OK, so just to continue on with helping a sound stand out. Like with frequencies that are clashing. I want the lead to be front and center. So what we can do is on the AARP. You could be using a multi band compressor that allows you to have a side chain input and we can add abandoned here. OK, and legal expert Tab, you go external input because every single compressor has a side chain. It just depends on if it's following the input or an external source. And the external source in our case is gonna be the lead. If you're following the internal source, that means that it's just following itself. So it's compressing against itself. So now, in this case, whenever the lead will play, the art will reduce in volume. And we could maybe just play these two together. Just so we're not playing the whole BTO Kagan without it, Theo. Now I know everyone doesn't have a plug in like O m B. Now, another way you can do this is you can actually do this with the peak controller and an e que. Okay. Now go on to the sound which you want to affect your AARP. Okay, so in this case, the lead is going to reduce the AARP whenever the lead plays. Okay, so we're gonna open up the arrow. We're gonna go controller, go fruity Pete controller. And then what you do is just open up your e que So I would like the lead cut here. And then I'm morning to reduce this band to go up and down whenever the lead plays. So you can right click this knob. And that can do this because I'm using the VSC three version of pro que and I want to go a link to controller, OK? And we're gonna go internal controller, which is the peak. So, Pete control and we go peak instead of coming back here and clicking on this air Ongoing inverted. The P controller just allows you to turn the volume down. So in this case, see the basis weight on here, so I don't want the base down there, so let's be bring it up a little bit. I wanted it to be at three, actually. So this is what I could do. So minus three. Okay. We're gonna right click copy the value, come to the base here and paste it in here. So now this base is exactly what I wanted it at, which is a huge tip NFL studio. And this volume, we don't want to go down that low. So Theo Moore themed then the decay. Once it hits the bottom, it determines how long it takes to go back to what it waas. So as you can see, what I'm doing here is whenever the lead plays, it's making this band on the AARP go down and volume and then depending on my settings here in this case, the decay, how slowly we wanted to go back up on the most important thing with this is you want to annoy mute so that you can hear your lead. So this is it before on, if I enable this now, so I'm just able to get the lead toe cut through a little bit more. You can hear it a little more audibly yet the art is still there. But you know the fighting isn't happening. So that's a really, really cool one is with the fruity Pete Controller 16. 15 - Keep Exact Values from Plugin to Plugin or Automation Clip [Copy + Paste Values]: now, there was one trick. I just showed you there, which is really, really powerful, which I want to touch on just a little bit more before we continue further on. And that is simply to right click and copy the value of knobs. Now, as you saw there, I wanted this band to B minus three. So when I copied it, I went to the P controller and I pasted into the base minus three. So that minus three was where it was always at instead of me having to find tune it by mouse because you'll never really, ever get it perfect. Even when you hold down like things like like shift, you know, so you can find tune now. Why I'm telling you that is because when you're working with automation clips, So in the case of an automation clip, I'm just going to highlight this area. Okay? I usually like to highlight the area. I'm creating an automation clip. Some people let the automation clip go for the whole song. And what I mean by that. So imagine the songs like this long, right? Some people creating automation clip, you know. So in this case, let's call the gain and they will create on Mission Clip and they allow the automation clip to be the length of the whole song. I personally like to just highlight the area. So I'm gonna hold down control and highlight this whole area. And if I, right click and go, create automation clip. And then, in this case of everyone, I reuse it. I just just hold on a shift and click, and it will go where I want now to go back to the copy and paste value. So this is an extremely efficient workflow. So imagine you're wanting to mess around with your e que as your song plays, which is something I do quite often, and I'll show you what I mean. So right now, if we go to pattern one, we just go to the master because the drum loop is not routed to any mixer inserts. It's just going right to the master. So I play this, I'll be able to play around some e que. But sometimes this is something I do, you know. So it gives you a really kind of cool sound, right? And in order to achieve that, like to get to this exact location is quite tricky. Like in order to fine tune it down here. So if I right click and creative automation clipping all three of these bands Okay, now, this is something that takes a little bit of time to get it to where you want. However, by the copy and paste values, it will significantly speed you up. And this isn't just for a technique as extreme is this like, even if you're wanting to slight improvements to see what I would do is I'd right click and go copy value. And if I want to kind of click all through here and it's like, Well, now I want this one to be the same, is there so I could right click pace value and then imagine I want this next one to be the same as this one. So going to right, click and go copy value and you paste it in there, you know? So that is where that could be really handy down here. But in the case of here, it's like when you're moving around a bad with your mouse. It's like you are controlling all three of these knobs, like so the Q is affected by the scroll wheel, and then the gains up and down and the frequencies left and right. So in order for you to be able to do this, that's pretty tricky to replicate down here. I'm sure you can record and get it to kind of work for you that way too. But if you want to kind of fine tune it by mouse, what I would do is so I would start from here. So I'd go right click. And right now we're on the game. So I go pace value. And then, you know, you'd come here and then you'd go copy value on the Q. And then you go pace value. Let's just say I want this to end up over here again. I just rinse and repeat, So copy the frequencies. So I'm gonna calm the safe by here. I'm gonna paste it in there as the song progresses. It's like we are able to find too in this a lot better than just trying to manually click it where we want it. But when you right click a knob, copy the value and paste it, it will significantly speed you up and it will exactly get where you want that band or whatever affected is to be exactly where you want it. So if you're going from instrument to instrument, oh, RVs, TVs, tea, it's the same value being passed all throughout pretty much that that copy and paste value . 17. 16 - Break Apart Drum Loop in an Organized Fashion: I'm gonna break apart our drum loop and get them into their own patterns. Kick drums, claps Hi hats. Understand? I have to I usually type in capitals for my titles. I used to find looks a lot cleaner, so go drum loop. OK are actually the doldrums and f two. And we will just give that a green and I'll just save it from here in case you know, anything ever screws out. So I just labeled those drums. I'm gonna highlight these because these are my drums Go color selected radiant. And if you trees green and then you choose the same color all those air greens, those of my drums now we're gonna do is I'm gonna hold on control shift and see. And again, that's the same thing is going clone. And when I do that now have drums too. So I'm gonna go back on the number pad, the minus, and I can come here and I can delete all of these sounds. I know how my drums Okay, so I'm gonna delete all this and we can zoom in a little bit bigger and I'm going to bring these down a bit because one's gonna be for collapse once for high hats, One for open hats. Okay, so now I can hit the plus It's gonna take me to drums to which will actually be collapse, Okay? And it's gonna be this purple. Now I can remove the drums because I already have the drums. And then the last clap, I believe, is this one this'll is a high hat. Okay, so, Holly, all these and you can also pushing the middle scroll wheel to select individual ones or you compress, downshift and click in between them in case you've missed one or something like that. So it is gonna press control and X, and now I have my collapse. Okay? And it's a dragon perfectly in there. Now I'm gonna hit the plus on the number pad and just rinse and repeat, and I'm just going to push the middle scroll wheel in. Give that the same blue. Now, down here, I want to call this. I don't know. I might just call it like main hat or something like that, because it's for this one that I sound designed with you way earlier on. We'll give it like this bright blue. Okay, and come down here Middle scroll wheel boom! And I'm gonna call it Main hat to, you know, all the other ones left the same. It's just a matter of having it the same color for me. So what's gonna happen is this is the same color. It's the same color in your playlist. And then when we bring it to the mixer, it's also the same color down there as well. We're going to delete all these with control with controlling X, and then we're gonna come down here and delete all these with control of X. So now we have our main hat would come back down to main hat number two, and I believe I am going to maybe just leave these as a whole. And I would have called these high hats and that's it. And maybe we'll give it Ah, what color don't we have yet this color? Okay, now I will click here and highly all these And this is when I have multiple sounds color selected, radiant, and then that color and the same color. And we will add the hi hats in there, and this is our whole beat again. Soviet play thin this case. Yeah, this this multibillion compressor from earlier. Just delete that just to stay organized in the long term. So everything is color coded. Everything will be easier when it comes to adding stuff into the mixer, which will be our next video. Okay, so in the next video, I'm gonna show you how to roll everything to your mixer. Everything will be color coded, and you guys will be set up and good to go. 18. 17 - Sending Sounds to the Mixer Properly [Color-Coded for Fast Workflow]: when it comes to adding stuff into your mixer because everything's color coded, it will look so beautiful on your mixer and on your playlist. Everything is this done for you. It's just good to go. And the reason why I do it all at once is because when you add that color by hitting, enter here and then you come here to like the color again. It's like the color stays. So when you do it all at once, the color all follows each other. Nothing's off in color. It's just super smooth. Everything is just there. It's fast and you're good to go now. Like I've done a lot of my other courses. I've shown this process. However, I do feel it's really, really crucial to get across so that you could be working in a very fast fluid and visual environment. Okay, so because as I was making this be, I kind of was doing sound design as I was, you know, making the beat. So it's gonna make it a little bit tricky in terms of adding my sounds in here. So what I'm gonna do is I'm just going to hold on control and shift and click a couple of these and you can hold Ault on the left arrow key and I'm just gonna move him in front of these. So all I'm gonna do is I'm gonna click low guitar and high guitar. Now, as you can see here, both of these are going to track seven. So I might have to rewrote number eight. The same way is number seven. Because if you right click and go save mixture state as, um it doesn't follow the actual signal path. So that's just something to keep in mind because that only transfers over the V ST's like it's kinda little shortcut, single file savings or stay as you can drop it onto their you know, 17 would be exactly as this insert, except the actual signal path doesn't follow. But anyway, so when I right click here in Goa Channel roading, what's gonna happen is if I select this option, just the control l Both of these go to the same mixer insert, which I don't want. I want control over them if I would to go to this one. Is this starting from this track? So low guitar stays here high guitar would be on eight. Okay, so there's no control shift in l. And there you go. So I'm just gonna select thes and bring them back now just to make sure. So we got low guitar and seven hired turned eight Melody on nine. Lead is on 10 and the AARP is on 13. So perfect. Now from here, I would just grab all of these and they will come here, and I was dropped them in with control shift in l. And the reason why I'm so careful at that moment is just because, as I was sound designing, you know, within the lead. So I have, like, um, the river and the delay. So it's just not a matter of 1234 right? It's like 123 and then I've actually used a couple inserts. So I was just being cautious that I wasn't putting certain sounds to inserts I didn't want them to be. And now again, if you wanted to, you could do the same copy and paste values like, Yes, it takes a little bit of time. But in this case, you know, I liked it. How it was for the time being and then later we can come back and we can adjust it in our actual real mixing stage. You know, as I designed the beat, you know, I kind of get it in a general area. Um, because that's just where I feel that it sounded good at the moment. But then once we're in the mixing stage, then were actually really fine tuning this. You know, maybe there's too much reverb going on or not enough. Or maybe I just want to totally design this one way different than the Logan tart. And we still don't have a baseline in here yet. So I might add that in the next video might just slip it in there. Uh, and hopefully we can get a baseline to stand out. Now, I will also cover one more thing with you guys in this video, and that is just subgroups. So a lot of times, I will ah, group my drums, my collapse. And you know, if I have multiple high hats or multiple percussion. So in this case of pressure, middle scroll wheel in, enter that we have the color and I'm gonna go drums sub, okay? And I'm gonna like that same color. And then if we hold on control, shift and click and hold, you can right click and go out to the track on Lee. So what's happening is these drums air on Lee going to this drums bus, and then this is going to the master. So now one mixer insert works for three drums. So, for example, I could apply one e que and only one compressor, and it's affecting three sounds. Now, this is something to just think about as you're mixing your track. Like, for example, sometimes if I have one drum, which is way more aggressive than the other drums, and I want to process it differently than in that case, I wouldn't send it to the drums bus. I was sent to the master, and in this case I might even give it like movies like a brighter or a darker greens. Hold of a brighter okay and you'll see it just kind of makes it stand out just a little bit more. And if this was the drum, which was different than all the others again, I can process it differently. I can send it wherever I want, and then on this drums bus. If I apply e que and compression, it's separate. So that's just something to keep in mind. So I'll take this one and right clicking go broke to this track on Lee because I got to keep it simple. And I'm just going to say that I want them all going to the strums bus. Every track is different. A good example in this case would be like a clap. So these collapse. You know, I consider them kind of like the whole. But if I were to do, like a riser into, like, a course or something and imagine I have a big clap with a lot of reverb before that chorus , I would then put that clap separate. In other words, I wouldn't have it on this claps sub. Okay, let's see if we get that purple. Okay, So nice. So again, I'm gonna click here and there. Hold on, control shift and click and hold right click and go wrote to this track on Lee. Now one mixer insert controls all of these claps. This one's a solo. I don't have to worry about it. This one's a solo. Don't have to worry about it. And then here just pushin entered to get the color Amber go high hat sub and we will wrote them all to hear. Okay, so again, click here. Control shift, Hide them. All right. Click wrote to this track on Lee Done. Deal Now from here. This is where you can kind of get into sends air, getting to parallel processing, for example, on the hi hats. You know, I can I can add them to distortion or parallel compression or delay. You know, I've set this up previously. This mix is very, very organized. Everything is color coded. So this high hat sub controls this pattern, which is the same as these ones down here. And this is just for convenience for later. Because right now, our song is only this big, right? It hasn't grown that, you know, we haven't arranged. It's not like we have an intro where things like this, and then you start to kind of really build it. You know that you only have a couple here and couple here, and you know, you don't have automation going on a stuff like that. But once it starts getting a little bigger, it's like now you know that this is this and these air that and it just it's just one of those things that it takes you an extra maybe five minutes. But as the song progresses, whether you work on it for a week or a month or a day, it saves you that time. You know, when you come back, you're fresh and you know where everything's laid out. 19. 18 - Molding the Bassline to Fit the Mix: Okay, So what I did was this right? Clicked went clone. And I created a baseline out of that same guitar note. And it just sounds like this. Uh huh. On again. So when you're working with this single, No, it makes it a little bit tricky, especially fit the baseline. So what I'm gonna do is I just wrote it to his own mixer insert. Yes, we'll put it behind the AARP. And I'm just gonna push the middle scroll wheel in, Called his base, getting related. Write in capitals. Your green, I guess, and will come here and control an elf. I hope so. I'm highlighted on the art. Now, when this has happened, if you push your middle scroll wheel and you pushed back space. So in other words, do you remove the title? You can reset it with control and Al. Okay. So I just want to fill you in on this, so I'm gonna mold and sculpt this baseline to get it to suit this track a lot more. Let us into and contacts of the whole beat, though without it. Okay, so it sounds pretty good, actually, but I think we can tweak it a little bit to kind of get it where I want And how used to do that is I will maybe be a little gentle on the high end just to keep a little bit of the highest cause you do want some highs sometimes in your base. It does help it to stand out. But let's just listen to this base by itself here, you know, So around here I don't like this a rumble sound so so you can see down here is a nicer base up here a little bit more flabby. So maybe around here, old cut, maybe like three decibels. Maybe around here, I'll cut a little bit too. So with this moment, you want to make sure you're a and being so in other words, when you compare the unaffected versus the affected, you want to be very close to the same balance in volume. Otherwise, you're gonna be persuaded to the louder one. So we're gonna listen. Case listens boosts up a lot of being really, really aggressive here. Um, maybe we could make this a little bit tighter. Just so doesn't totally cut over base. Kevin, not so aggressive will back of that just could apply a compressor on here is to kind of get a little more balance before we apply some distortion on, which is goal here, this light late compression, but fast attack, fast release. Come here to supply some distortion on just a little bit on here cause I'm gonna do parallel distortion in a second. Uh huh. On And then I'm just gonna duck a little bit on the low end. Assists just not so flabby. Okay, so I think that sounding better, I'm going to wrote this to some parallel compression just a little bit. And I'm just gonna wrote it. Two more distortion and then I'm actually doing something bad here. I'm a mixing in solo, which is bad. However, when it comes to my base, this is a lot of times how we work. I just kind of get the bass sound and decent. And then once I actually apply it back into my track, I will then find tune it. However, you don't really want to be mixing and solo. I will make a separate video on that because it's it's a very valid and crucial point so that you can be efficient in your mixing, so we're gonna check it out. So here we go. - Case was just a little unbalanced. I'm just gonna bring these up just a little bit, and we'll check this out. So maybe a little appear. So Okay, so there is the bass sound in her next video. I'm gonna quickly cover the topic of mixing and solo versus mixing in context of your mix. 20. 19 - DANGER - Mixing in Solo vs. Mixing in the Mix [MINDSET]: So some of these videos I'm creating some things are just kind of popping up. And I really feel that they're valid to bring to your attention so that you could be the most efficient and most productive with your mixing with your productions, all that kind of stuff. So sorry that sometimes it feels like this course all over the place. However, we are progressing. We are moving forward. Just sometimes I just gotta come back a little bit, tell you this stuff, and then we will keep moving forward with the track. Now, when I was sound designing my base there, that's a very dangerous thing I was doing. And what I mean by that is, if you have a sound in your track that you don't like, it's usually best to mix it inside the mix. Okay, so, for example, let's say you're working with a piano. Never were Cornet solo. Okay, you always want to be playing this song just like this on. Then let's say this low guitar as the song is playing, I would open up a e Q, and I would start mixing the low guitar inside the mix. Now, if there's a problem happening like a problem frequency, or there's something really sharp happening. Or like it was like a transient that just keeps cutting through or something. Then that's the time to solo out. Figure out what the problem is. You could maybe try and work on it and solo for a little bit. But then always keep going back and referencing it to the track, because what's gonna happen to you and it's happened many times to me. Is your working on the track? You solo out that sound, you go and work on it for 5 10 minutes, sometimes even longer. I'm probably only saying a low number to soy. I don't make myself look embarrassing because, like I'm sure there's been times where I've been working on a sound like 20 half hour. It also added back, you know, like all I saw was absolutely horrible. So it is just like a life lesson that I've learned over the years. You don't want to mix in solo okay again, there's a problem, frequency or something. You can quickly go solo work on it, but always bring it back to the mix and keep working in the mix and that will allow you to get your balance. It will allow you to really know if your decisions are proper for the mix, and this is also a really valuable tip to if there is that one sound that is clogging up your mix, but you're not sure what it is. So in other words, like you just taking out a sound and you're tweaking it and that you're kind of hoping that that is the sound, that's kind of like muddying up your mix. What you can do is you can remove a sound out of your mix. So, for example, a pad is usually a really good example of this because pads are really, really big, really emotional, like there. They kind of swell. You know, at first they might not clog, and all sudden, you know, their long sustaining. They have a super long release, usually so they really clog up your mix. But if you're unsure if it's your pad, as the song is actually playing, you can solo it out. Okay, and that's your first step to figure out Well, what is the problem instrument in this track? Okay, well, let's just say it's the lead. Okay, so now you know it's the lead. Now you can open up in e que on here. And the really nice thing with a plug in, like pro que is it does have this headphones so you can hone in on the frequency and I'll let you hear that. So, for example, if we have our lead, you can actually hone in on frequencies, but up here. But I know all of you don't have a plug in like this. However, what you can do is you can boost up to figure out well, what is the frequency that is clogging up your track or or that's kind of, ah, masking your other sounds or not alarming clarity into your mix. And once you find it, you can then come down on the year and you could just, like, dip it just a little bit. And then again, you could just turn off and on, and you know, you want to make sure your level matching. You just want to make sure that the volumes are very similar in comparison. So when you're turning often on the plug in or here often on the plug in that what you're hearing is fair in comparison of volume. And then, you know, hopefully that will help you clean up your mix. But what I'm trying to get across to you in this video is mixing in solo is very dangerous . It will waste your time like don't get me wrong. Sometimes things just work and you're, like, all cool. It worked out great, but sometimes they don't end. It's this waste of time. So if you mix your instruments in context of the whole mix, you will be a lot more efficient, and your decisions will actually help improve the track, okay? 21. 20 - Testing Our Back Pocket Tools [Tempo + Swing]: this video is going to be more of, ah, following up on a lot of the things that we kind of covered already. Okay, so first of all, what I want to do is just want to take this bass sound, and we're gonna create a new pattern and put the base in there. We're gonna paste the base in their F two gold base again. All capitals, and we'll give it. Let that break green. Okay, so now everything is organized. Now, what I want to do is I want to play around with some tempo, just like I was talking to earlier in the temple section. Now that our song is kind of at this point again, we haven't started arranging or anything like that playing around with Temple playing around with swing, where to try and find, too, in this track toe where we really, really like it. And then we're going to start getting to the arrangement, and then I kind of start getting into the mixing. So let's listen to this. This mess around some tempo. - Okay , so I understood. Call for this value. Come back down here to 84. That sounds gotta cool. but we're going to check out the 80 forces. What it was at. Okay, Come up here. Paste in the 95. No, totally different vibe. It's like before, you know, it was maybe almost like a sadder song. And then now it's, like, kind of a little more upbeat. You know, this is called maybe, like, 91 beats per minute kind of meat. It kind of in the middle. So? So I started at 84 beats per minute, bumped it up six more beats per minute. So to make it into 90 and then we'll play around with some swing. Now, without any swing, you look commingle. 88. And when you leave it, leave it there. So one more time. Check it out. Oh, okay. So I like it again. Just wanted to this video. This is a little follow up just to kind of let you see the difference of how you can start molding your song just from all these little tools in your back pocket. Such as this Swings such as Temple. Um, pretty powerful, right? You know, So as you can see how I work, I just kind of set myself up with some baselines and with me in the actual like a baseline , I just being kind like a foundation. So with that drum loop, right, it was a decent drum loop toe work with. And then as I started to work off of it, you know, it's or maybe add some swing into it. I started to layer a little bit. I started to note, nudge a little bit, and then I kind of got into the in and out knobs, which was a very, very crucial part of this. This sound right here, this mean hat, you know, and then right now it's not mixed, so we're not really able to really hear stuff. And then in the mixing stage, that's where you can help stuff stand out, too. 22. 21 - Mindset When Arranging: Okay, so I guess this kind of leads us to arrangement, because without arrangement, we're not really gonna progress any further. Now, arrangement is a quite a hard thing to discuss because every track is kind of different, you know, like whether you coming with the intro or whether you come and write with the chorus or even if you just come in with a verse right away. It's all a boat trial and air trial and air, and I can repeat that over and over, like for myself. That's how I build my tracks. However, I can pass along some mindsets that I have, as I am arrange my tracks on to you. So I usually like to have multiple instruments in my tracks. You know, some songs you hear, you know, there's just like that one main part, and then you don't just over and over, and then they might be always affecting it with, like, a filter or something like that. And then they have a break down and they use that filter to bring the song back in and stuff like that, you know, So some people work that way a lot. They're very good filters how I usually approach my songs is I have multiple instruments and that allows me to remove and add whenever I want to. And that also gives me different flavors all throughout the track. So, for example, Verse one might only have it the low guitar and the lead for where his verse two might have the AARP And, you know, like the melody only, or some like that. And the thing is, it's like some of these sounds go together better than others. And it's just a matter of finding what suits the song at that point in time. And the only way you'll know how to do it is like I said at the beginning, video is trial and air trial in air and trial and air. So what I'm trying to get across to you is as you're listening to your track, you have to find out what patterns go together. Well, some are too thin. Some can't really hold their own by themselves because they're only complimenting other instruments. But again, as you are working on your track, you know, you kind of start adding and removing, adding and removing, and then, as you're starting to like as it's going, then you just keep moving on that you move onto the next chorus, then you then you decide you want to break down here. Do you want to go right into the verse, or do you want it to go into the ah bridge, which is kind of a different part of the song And then, you know, solders lots of options with arrangement. Now, I'll just kind of give you some shortcuts that I like to do, which helps speed me up. So I usually work. Not always. But most of the time I will complete my whole chorus. Okay, so in this case, I'm gonna call this a done track. That's all my instruments that are that are going to be a part of this track. And that's my course. Okay, so from here, it's all color coded. It's all it's a done deal. I'm good to go. I'm gonna hold on, control, click and have it all. And you can press control and be as in Bob, and you could use a couple times now from here, it's like I have no idea what I want to do with my intro. So let's just listen to some. Repeat, and we're going to remove sounds. Oh, and kind of get an idea of. Well, what's the most powerful intro week in half for this song? OK, do we want to come in with the drums right away? We want to remove the drums and kind of come like this, you know, because right here we could have a riser weaken A to this moment right here. We can call like the master track. We can open up e que. We can kind of Ah, come here, create automation, clip and income here, and I'm gonna bring this down here and let's just bring this down to here. So what's gonna happen is as the song progresses, we filter it, although, and that's probably too low. But watch this. You don't sound like this, you know? Maybe. Oh, here, bring it up. So again, Too low. So time to listen to that from back here, you know? So whether even want that to be your intro. But again, it's all about just being creative and trying to find out what you want. So I'm just gonna play around here and then I'll fill you in as I'm doing. Okay, so from from the beginning, So maybe we'll take some of these hats. Melody tickled the high guitar immediately to wake up our baby at the high high guitar back in. Can you bring this back up here a little bit lower? So let's just move on a little bit with her progression. So let's just say we hit up to our chorus on We'll go right to here, OK? And then from here has taken the lead. Take out the melody. Maybe we'll leave the Arpin so Oh, sorry. So school here doesn't look like the art. It's the AARP scored 14 so it shouldn't have been so the art should be on 13 aereo. So on this actual art, let's just put a river just directly onto it before all with the distortion, everything. That way the distortion will pick up the reverb, make it a little more audible. So too much river. But we can hear a little better. Okay, so to continue on from the chorus again. This way. So it was pretty cool. And the reason why that one clap played because it shouldn't have played there was because we did this late stuff, so that's pretty cool. And then again, like I'm saying so with that clap, if we wanted what one clap to be different from the other ones. And I assure you, I'll do that in this case. So let's just take one of these collapse. Just get be from survival will stay in this this kit. So it's kind of a cool sound, so I just directly drag it rate in, and then we will come here right here. And instead of applying its own reverb and stuff like that, let's just take advantage of the ones you have right here and ah, let's just be quite aggressive on the EQ. You really, really bright. Okay, Can I take it? Loads. So from here, watch this on. I kind of don't like how so late. So you will use like this in and out stuff again. Again, This is This is stuff I do all the time. I guess I'm not just making this course just for the sake of, you know, making a course. It's like, this is stuff I actually do so so that might That might sound really, really cool. Do something like that um, it's compressed this little harder. Get that initial transient longer attack for that. Bring this down on then See that that noise here. So I'm just going to used the out and then we don't have that background hiss. So see you like theano. Numbers are very, very useful because the reverb is giving us or tail. We don't need the tale from the sound. So the river already has that for us. So I think that sounds really good way, Theo. I'm not super happy with that art. It kind of it's kind of throwing me off a little bit. There's something I feel like maybe we could do to it. Let's just try something to be quickly eso on this art. We have a gate and ah, come here to our So again, like I'm saying all about spin. It is all about trying to achieve the stuff that's important. Mental now. Theme, my son Cooler. And then here. Let's just distort it quite hard and just be aggressive with I think so. At this moment, even as I'm working, I was kind of listening to like the claps that this clap isn't really standing out. Case will add some reverb on that on then here. So we can just, uh, you know, maybe take a little bit low end and has helped the high end of their clap way. Haven't even really talked about, like, compression and how you could be using that to mold the sound. So let's just try and get the initial transient on. That s Oh, sorry. This isn't just the clap here, you know, again, I said not to mix a solo, but this is this is one of those instances where you can, and then you just have to keep referencing it. So Okay, a little less attack, but more ratio. So moved like this. So well, listen to it. Contacts of the beat again. Case I way too aggressive. So I will just dial this back here That was back here and bring back Flatten on, then. Just this one sound here on the clap, you know? Go see. Since they're all going here to the clap sub and the clap sub this week, he was affecting all the sounds. But this it kind of like that white noise sound to it. Right? So you know, on this one we could maybe or even just use a god high shelf or something. Justice is not so aggressive, but maybe he's kind of boost up some highs. Okay, so I know I'm just kind of going all over the place, but I really find arrangement of really, really hard thing to cover. But if I just kind of show you just by actually doing it, I'm sure that you guys get a lot more out of it. So just to kind of go over my process there again. So I found my intro, which is this is this is a kind of a cool intro. I don't know if this this would be yet, but new try without the base or something. So here, maybe I could play like that one. This one knows on and then further on. So as I went from like this first to this one here, you know, So you can other press control be or you can press, shift and click, and that duplicates it as well. So from here, let's just say Ah, you No, no, no. Lead. Um, you We will try this just to be really, really different ever. Verse two on the same thing here. We could just repeat the same thing we did before and bring over this. Uh, yes. Sound clip this clap service going so slow, Aereo Kit Sort of drop it here. So again, this is This is a cool sound on then right there. That's where we can add in this lead again because that sounded really cool before. So another thing to mention with arrangement is it is all abo bringing in the best and taking it away and sometimes teasing. It's all about this this term I call audio painting. So we as producers, this is like our canvas, right? And on here it's like we can paint whatever we want and we can use whatever tools that are available to us, just as if like a real painter does, you know? So whether they're using, you know, a thick paintbrush or different types of paint or different, even actual, different materials to put on there, you know, it's the same thing as us, and it's like the way how we are painting that picture is an arrangement. We have to let the listener know that things air coming or things were happening and there's different ways we can do that. Whether through transitions such as this filter that I didn't hear or through silence, right, I removed the drum loop and I added in just this little clap again as a transition. Well, that you listen to that again, right? Just just listen is this is a transition. And then I bring in that lead, which is a really, really catchy part. That's probably the most catchiest part of this song, in my opinion. Take away that drum loop and just kind of lets the listed or no, it's like, Okay, it's starting to build up a little bit. So by letting the listener know beforehand that things are coming, it kind of starts to prepare. It lets them know that if you're kind of taking him on this journey from the beginning to the end, and however you want to go about it, it's a you as the producer, you are in control. And when it comes to like arrangement, it's like that's where, like, the sky is kind of like the limit, like you can really just do it. Anything. An arrangement you can. You can even break down an ad like a new instrument, and only in certain parts. Again, you can add your filters. Transitions such as, like reverse symbols or white noise, which is which I think will be our next video. I will cover white noise with you. Um, but that is kind of a little overview arrangement, how to get started so that in case you get stuck again, how I like to work as I like to actually create my chorus first. And then I build my track and then try to find the combinations which suit the song. That's that's usually how I work again. Some instruments aren't powerful enough to hold their own, so they need a kind of a support layer. And then those two sounds together might sound really, really good, but you just have to find those combinations. And the only way you'll find them is by just like how I showed you. It's like, Oh, well, try this in this or no, this in this And it was like I was kind of sounds weird. We will take that out. Um, one thing I did find in this track is I kept out in the basin here. You know, maybe I could take the base. So in certain spots, or even here once, we kind of got to here. Maybe that we take this so and maybe, you know, I have no idea where to go from that. But I'm just trying to break down how I'd go about arrangement. Hopefully, this one helps you. Oh, and kind of, you know, spark some creativity in you and our next video. We're gonna cover white noise. I'm gonna show you how to use it as a transition as well as another technique that I've learned over the years as well. So it's get into white noise. 23. 22 - Benefits of White Noise: So in this video, I'm gonna talk to you about white noise. I'm going to use the three times oscillator to do that. So if you go insert, I have in instruments three times oscillator or you can have eight and you're plugging. Database comes up. So here's three times oscillator. So I'm just gonna drag just a first. And what you have to do is you just select ah, the random here and then for the volume eternal these down. And now you have your awesome white noise. White noise is a very, very special sound. The only thing I think about when I hear white noise is like the TV static back in the day it when a TV channel was no longer like in service or whatever. Like you get right, you get your white noise, and it really does baffle me even till this day how we use white noise in our music. But it is amazingly powerful the things that you could do with it. So one way how we can use it is we can use it as a transition for a build up kind of a swell, uh, without the whistle another way you can do it is you can actually use it as like a layer. And behind your track this is typically really, really popular in the E d m music. So if you had a pad and if you use a kick drum to manipulate the volume of the pad So whenever the kick drum plays, the pad drops in volume to get that TDM pump sound. I know some people they start to add white noise in behind there, too, and they will start pumping the white noise with the pad, and it gives it just a different texture. And even with sound design, for example, if we open up silent one here, you'll see that they even have the option for noise. Right? So if you play it, I just want to show you You know how white noise is a very useful thing in audio production to even use it as an option for your type of wave that you want to choose. What I want to do in this video with you is I just want to show you how you can use white noise as a swell. Okay, so it's gonna go piano roll here And it doesn't matter of what note you choose, because White Noise doesn't have a pitch. So I just put on C five easiest to work with, and we'll see that about their So put it here and was gonna highlight from here. We're going to wrote this to a mixer insert. Okay, so I'm just gonna go white noise. I'm just gonna copy that and paste that in there too. And with the deaf to hear go white noise and give it that same color. Okay, so now we've highlighted it. We have waiting always here. I'm just gonna put an e que on here. Now, there's two different types of filters you can apply on to this. You can either apply your high cut filter or your low cut filter. I'll let you hear both. So, like so Because I have the master filter on. Turn that off. Wear high cut. The low cut was selling this. Okay, so in this case, I'm thinking gonna fill throats of the high just so it's just not so aggressive. And then I think we'll use the low cut filter for this one, and ah, this is just residence. Okay, let's just right. Click this crate animation clip. As you can see, I've already highlighted it. And that's why I like to work this way and we will just bring it up, bend it and then bring it back. So a little faster. When you're working with automation clip, you can remove the slide. And when you move this, it will allow you to move it inside without stretching the automation, clay. But if this is on ah, your end point will move, it will grow or shrink. So I'm just going to put that here, and then I'm going to turn off. And now you can just before you want. And with this, you know, you can apply it. Tons of reverb lay which just to the white noise. So that now, one other way, I just want to show you how to use white noise. Now, this is something I discovered over my years to I don't use it all the time. You have your noise gate and you could be using white noise as arithmetic effect because, like it has no pitch. It's kind like a percussion element. So what I'm gonna do is we're gonna put the threshold up, but they gain all the way down. So the weight noise, you will not hear it all. OK, but what's this? Okay, so you could be really re created this way. So what I'm gonna do is it's gonna Maccido full gonna create the automation clip. And because I've already highlighted the area it created automation clip right here for me . Now, when you're in the automation clip, if you right, click right now it's on a single curve. But if you go hold, this is where you can be really, really creative with it, so we'll just stuff like this. So what I did here was I just sped up the temple a little bit so you could watch how this gate is kind of making a rhythmic melody, you know? And this is a really, really common trick with, like, if you're using a synthesizer for actual Um, since the stuff like that, you could be a finest, just white noise as well. And then depending on its release, setting you ca NBI a little more creative. So I just wanted to kind of give you a list of little overview of white noise just because It is a really, really powerful tool in audio production is kind of one of those things that you kind of see it out there. You hear about it, but you're kind of surprised at the usefulness of white noise. 24. 23 - Understanding Parallel Processing: in this video. I want to talk to you about parallel processing. It's definitely a very well known one. However, when you're first starting up, this is something that you are not aware of. And it will really help you get more professional results out of your music. So how this works is you have series and parallel processing. Okay, so if we take these three drums, they're going to a drums bus, Okay. And then this drums bus is just going to the master. So if we apply any que in here and then if we apply a compressor on here and if we apply some distortion on here, the more we process these drums, the more affected they're getting. Okay. And then the output signal is the end result of what you've done on the e que compressor and distortion. Now that IHS Siri's. So now what happens is I have created these sends in the beginning of this video. I just haven't effort studio template, which I used to help speed up my workflow. So this open audio is the affected audio. And if I were to wrote this to, let's say, a distortion sub this affected audio kind of resets. So now I can affect it. However I want, I could apply a different e que on. I can apply another compressor on. And now this goes to the master. But at the same time that this drums bus goes to the master, it also goes to the distortion send and this distortion insert. This is this distortion send then goes to the master. So instead of me affecting the drums bus so heavily with distortion and all that kind of stuff, I can just wrote it to a distortion send. I could apply my distortion on it, and then I can blend in the amount I want. And that way I could have way more control over my sound. And this is really, really powerful, especially once you start dealing with, like, instruments. And as you can see, every one of them all to the sends, because sends are very, very beneficial. Do you a couple things. So one is they save CPU power. Okay, So instead of using a reverb on every single insert, if I want reverb, I can just simply wrote the clap to the reverb. As you see, I've done there and ask. You have to re verbs for a different sound. But instead of me applying a revival in the claps up on the low guitar on the high guitar, re verbal in the melody, so reverb is very CPU hungry. OK, in other words, is very hard in your CPU. So if you use one reverb instead of many, it's easier on a computer. It's also easier to adjust only one reverb versus many re verbs, and then people usually say it kind of gives you like a unified sound in your mix. Now I just want to bring up to you parallel processing because it's a trick that will really help improve your mixes, because you could simply just blend in the amount you want instead of actually applying the distortion directly onto the drum. Now, in this case with the drums, I would typically apply CQ and compression just to kind of mold them how I want. But again, you have to think about whatever you're adjusting on your drums bus. The output is now like the affected signal and is being sent in Siris to you're distortion send and then you can affect it. However, you want. But then this distortion goes to the master, and then you can simply blend in what you want. Now, another thing to help you understand. Siri's and parallel processing is Siri's. Is this one path for your audio to flow? Parallel is multiple past for urology 02 flow. So, for example, from this point, you can kind of t tap off of your drums bus and you can send it to a river of a river. But delay serious separation. Now, you really wouldn't be doing that with your drums. But in the case of your lead, you might like, you know, in this case, I have sent it to a reverb. I've sent it to a delay. I've sent it to another river. I sent it to some stereo separation for some wide nous. But parallel processing is definitely something you want to learn and learn very well, because it will thicken up your track. It will give you mawr diversity. And another thing to talk about with that is parallel compression. So right here I'm talking about, like distortion and reverb and stuff like that. So parallel compression is when you send your insert in our case or drums to another insert . And then you just apply a compressor on here and you compress it quite hard. And then what you do is you would just blend in the amount you've won, and it just helps thick and up in this case, your drums. It's just a really, really cool way, because you kind of get the best of both worlds of the original signal, which is a lot more dynamic. So in other words, the transient of the drum is punching through its hitting you, you know little harder. But then you're also getting that thickness that parallel compression can add to your drums . One more thing I'll talk about these parallel tracks is when you're dealing with effects such as reverb and delay. You want to make sure that your dry signal is zero and your wet is 100%. That way this is ascend, and it's your wet effect. In other words, your drums is like your dry. Your send is like your wet, and you can simply blend in the amount of effect that you want. Okay, so that's parallel processing. Very, very powerful is definitely an advanced production secret. And in the next video, I'm gonna talk to you about distortion now that I've covered parallel processing 25. 24 - Why Distortion is AWESOME !: So I first wanted to cover parallel processing, so you got a general idea of syriza's parallel processing. It does take a wild to digest if you are new to the concept, but that leads is perfectly into distortion. All case of distortion is such a awesome tool to choose for parallel processing because you can blend in what you want. So what distortion does is it takes, you know, your signal, and it adds frequencies onto it to make it sound fuller and also kind of give it a different sound, like you can also lengthen it out or give it a different texture. And the end result is usually a thicker sound like you know. So if something's lacking in terms of kind of fullness, it will help it sound fuller, and there's lots of different ways you can achieve distortion. So whether it would be like a real to reel analog tape, driving it through like tubes in like old kind of analog gear through transformers and a lot of the different terminology you can hear for distortion is like distortion, saturation, warmth, tube fatness. There's all these different words, and they're all they're all meaning. The same thing, and the harder you drive, what you're doing is you're actually reducing the dynamic range of a sound. So, for example, let's hit. Let's take a kick drum. So it has, like the initial transient, which hits you in the chest. And then I'll have, like the body, which is kind of like the rumble, the actual low sub kind of frequencies. But when you're applying something like distortion, it's pretty similar to like compression, in a sense that it's reducing dynamic range accepted the way more aggressive to the point where it's like adding frequencies. And you're pushing the signal so hard where it's literally distorting. So you're actually kind of lengthening out the sound. And that's kind of just like distortion in like, a nutshell. When we apply distortion onto sounds such as drums, the characteristics you can get out of it is they sound like they're hitting harder. You can typically hear them cutting through your mix better and again. When it's in parallel, you can just simply blend in the amount that you want. So I'm just going to turn off these because I was explaining that to you in the parallel processing video And if I simply just add on distortion onto these drums, they would sound like this. And with it all, you know, showed up. But the thing is, I have to turn the volume down. So what I want to do is I will open up this blood overdrive and I will just turn it down. OK, so when I turn often on the effect, we should be getting similar volumes for fair comparison. So I got I'm decently balanced, so I'll let you hear the difference in between the two. Okay, so this is with it without it. Now, if I increase the distortion, you will hear the difference even more drastically. People okay with it off. It's kind of making the drums almost unclear. And they're also hit harder now again. You don't want to be over doing this because your drums will like they won't have, like, the initial transient. You're kind of sucking the life out of them, but they will hit harder and they will cut through your mix a lot better. This is with base to sold, for example, like base here. As you can see, I've applied some distortion to it and then It also just applied some parallel compression for for thickness. Another thing to keep in mind is when you do have a parallel channel for your distortion and if you have multiple tracks routed to it, if you're affecting this, you are affecting all of your tracks. Okay, which is many times why I create a separate reverb for like a lead, because I wanted to be unique and different, and if I adjusted it a certain way, I don't want anything else to change that. So that's why I sometimes separate it with its own reverb, its own delay and kind of keep it as a group. But if we listen to this in context of the beat here, and if I turned the distortion on and off with this drums, we will hear a difference of the drums hitting harder and cutting through a little bit more . So here we go. So right off the bat, I could just hear that it kind of has more of a commercial sound to those drums that kind of pop through a little bit more. It just kind of feels that the drums arm or in the mix rather than kind of muffled and then on the lead or something like that. As you can see up here, I've applied it directly on to the lead. And then also, like I said, when you're dealing with Parallel and Siri's, I wanted that distortion to be going into the river. I warned of the distortion to go into the delay as well as you know, the serial separation because their separation busy wide nous. But I also wanted the distortion to help at thickness. That's kind of my mindset is, that's why apply distortion directly on to lead. But here, with these drums, he totally can add it on here. A lot of times that is find I usually like to have it in parallel. But to sum up this video distortion is such an awesome tool to apply onto your tracks. Like, for example, even this clap here, I'll let you hear the difference. Wouldn't we start adding distortion onto the clap? You'll hear that it becomes a lot more noticeable in the mix, a lot fuller, and it's sometimes it's like sounds don't really compete so much against each other. It's kind of like the sort blending a little bit start with it often will add it on again. It's a subtle, but it's helping the cloud just cut through the mix a lot better. So that's distortion. Super, super, powerful stuff. We'll move on. 26. 25 - Achieving SILKY HIGHS in Parallel: So another thing I want to talk about with parallel processing is when you're dealing with the high end of certain sounds of certain instruments. Sometimes you want a sound to get brighter, but when you boost up the highs, it kind of sounds aggressive or harsh. And this is a lot of times, like in vocals or, you know, in high hats or in certain instruments where you want brightness. But when you apply brightness, its aggressive and this is where a tool called an exciter comes into play, it kind of does it for you. But I'm gonna show you the manual wrote How to do it. So let's just go exciter. Okay, so it's just like everything else have been showing you in terms of parallel processing. So we'll put it after a parallel compression, and all it is is taken e que. And you feel throughout lows and kind of mid. Somebody put one k see how that goes, and you could just simply boost up your highs If you want, you can compress thes super hard to, you know, just to keep it really, really consistent, because this is going to be the high frequency content that you blend in, you know, maybe you'll 15. And, uh, let's just take maybe this lead as an example. Okay, so let's just go to the lead here and play this. So do you hear how those highs it's like it sounds brighter, but it doesn't sound harsh. It almost sounds really smooth. We don't have to dial it as drastic on even if I take off the compressor. So so see, like that's kind of getting aggressive so I can bring this back. Just listen to that in context of the beat, with and without that exciter. And then we come back here and we dial it and quite aggressively. But then let's turn that compressor back on just to kind of hear the difference. We will go a little bit longer attack and little. You seem like that. I think that's quite aggressive, I think so. How about this area? And again, this is usually sometimes how I work. If I'm working on something specific, you should hide the area I'm working in, and then it will just keep looping, and I can keep working that way so again we'll listen too often on, - So let's just see if we can add anything else onto that to get benefits out of it. So this high guitar around here, you calculate the difference of that. So again, Quite aggressive. So there. Okay, so this is doing the low guitar. Maybe too, because maybe just to help it a little bit so we'll soludo No, just sounds a little bit brighter. So if we play all these together, the whole track together, and then I'll play it with the excited and without it. So here we go one more time. Just with the compressor on here with these claps will have that in there, you know? So see, the settings I have dialed in are quite aggressive, so you know, you can easily come back and dial it down. And then with this lead everything you can be more aggressive with it because the clap that was too aggressive, you know, it was kind of making a white noise sound, which is not the benefit of oven exciter. You just want to bring up some high frequency content. So I just want to pass this one on to you. An exciter is totally cool. Little trick toe help boost the high frequency content A lot of times uses on vocals to to kind of get, like that kind of silky kind of sound. So that's another trick that I wanted to pass on to you. 27. 26 - Creative Wideness with NO PHASE CANCELLATION! [MONO COMPATIBLE]: Okay, So in this video, I'm gonna talk about achieving wide nous in your music. There's lots of different ways you can achieve wide Niss. Ah, the biggest thing you have to be aware of is you can be getting phase cancellation, which is really, really bad. And in stereo, it might sound good, But on your master track here you have a knob here called stereo separation. If you look up in the top left there, so it's a stereo separation. If you go left, you're only playing your stereo content. If you go to right, you're only playing your mono content. So the biggest thing to understand is what is cereal and what is mono? So mono is when there's no difference between your left and right speaker. So right now you are listening to me in mono. So, in other words, Theo, exact same audio is coming under the left and right speaker. That is mono. So if I took one microphone and recorded into it, that is now a mono signal. But if you take two microphones and you plug it into the left and right channel now what happens there is you are gonna have some content, which is the same, and that's your model content. But it's the difference in between those two microphones when they're recording you, whether they be further and distance or whatever that is, that creates the stereo sound. And it's a really, really cool thing. Once you understand that concept to achieve wide nous, you can be using a plug in. Or you could be using two different recordings to different microphones recording the same source, and you pan one far left and one far. Right now, there are ways to kind of fake wide nous. When we're dealing with phase and time and stuff like that, you could be getting wide nous, because if you play like the left before the right again, that's still like the difference. However, you could be getting something called Phase Cancellation and you get a home filtering and hollow sounding and so in your studio. You know you're listening in stereo because you have two speakers and you're capable of hearing the left and right channels separately. And that's how you get that Syria wide sound. But sometimes the device you're listening to on on Lee has one speaker, which means that you're listening to it in mono. And what happens is if you used a plug into fake wide nous. If you collapse to mano, it has the potential to have face cancellation going on. And this is the reason why, as you're mixing, you want to be testing in mono. So this track right here, if we listen to it when it went to mano, I kind of lost some of like that delay and stuff like that. However, that's not really destroying the track, right? It's still audible and stuff like that. But if you ever hear the effects of wide nous when it goes tamano, it's a horrible comb filtering hollow sound, and it really takes the life out of your music. It's kind of like a swirly washy kind of sound. Now why I'm telling you this is because Well, first of all, like we're talking about wide nous and how to chief lightness, and I forgot to do this earlier. This is a technique that I sometimes do so right here we go to our collapse. And so what I can do is I can actually blend this the Left Channel and this one to the right channel and now that allows my clap to sound very, very wide. So this one right here I will blend this one toe left because these two are played together and then these two are played together. So this one, I have pan to the right. But then this is pan to the left and this is paddle left. So if we listen to that, if we listen to it regular whiteness mano Now you don't have to be so drastic with it. You can, you know, kind of dial it back a little bit. So it's not super super wide, you know. But all I'm trying to say is by using unique sounds and panning one to the left from one to the right and then I keep one dead center just for the sake of that's my clap. That's a really cool way to get widen this to. And I just kind of forgot to show you that as we were building the drum loop. So if you listen to this in context of the actual beat, just to hear, you know, do the collapse kind of sound cooler is on wider versus, you know, it just gives it just a little bit of a different sound a little bit wider again. It's all about knowing just the different tricks you can use to give your track that sound that you're you know, that's in your head to make it real commercial product. So I just want to pass that one on to you. As you layer your collapse, you can pan a couple of them to get wide nous. You know what? Panting far left part far, right? Keep you one dead center. It's just an awesome trick to get wide nous. 28. 27 - Overview of Sidechain Compression and Real-World Uses for It: Okay, so moving on, I just want to talk a little bit about side chain compression. Such in compression actually has many, many uses for us, as produces most people just think you don't use their kick drum against like your base or if you are in the e m seen you decide. Chain everything to your kick drum. But usually where I would use a lot of Sachin compression is to duck my base when my drum place. So in this case, we take the drum, We right, click and go side chain to this track. So now the base sees the drums as a trigger. We can come here and just open up a compressor that allows for an external input. Because all compressors have a side chain. It's just not all compressors except an external input. Okay, so if you clicked on here on expert on pro see, you can see external input. And if we were to open up the fruity limiter, you can see that it has a side chain here. So in this case, if I select none, this compressors side chain is actually just following the base. And so it's actually just compressing against itself. But if we enable the drums bus whenever the drums play and we've set our settings, you know? So whenever the drums go over this threshold, depending on the ratio, it will reduce the base volume as such, but only one the drums play now, another thing to say a both. This is when I am doing side chain compression with my bass and my drums. So let's actually look on the drums here. So in this case, if I'm using the drums bus as a side chain trigger, I don't think I want that. And the reason is because this is so busy, right? So I have this one, this one and this one. And so what happens is your base is just gonna be in and out, in and out, in and out, in and out. And it's just like you're gonna be missing your base so many times. I will actually just select my most prominent drums, such as this one, okay or yeah, because if this one's kind of weak, and since it's a higher frequency drum, so there's not so much low and content that's not really going to clash with your drum anyways, maybe I will choose this one. Or maybe I will choose this one. I'm not sure that would be something I have to play around with. So all I'm saying is I'm gonna remove this drums bus and let's start with 46. Let's try that one. OK, well, side change this track. So we come back up here, I'm just gonna turn off the limiter. Here we go. Proceed. Okay, so I've enabled the compressor to follow the drama. Okay, so whenever the drum goes over the threshold with a ratio that we've set, it will reduce the volume of the base. Okay, so if I just play the bass and the drums together, which is what we'll do and other school, like a B or something that I usually do have it on a beat or bar when I'm arranging a track . That way, when I'm far out, um, things don't kind of get misaligned. Just kind of this little Hattie trick I've discovered over the years. So here we go. So whenever the kick drum plays ah, 46 plays, it will reduce the volume of the base. And it might sound a little weird, right? now, but in context of the whole bi might get a clearer sound. So when you're kick drum plays like you feel, it's a lot more prominent and it's not clashing with the low end because, like I was saying, phase cancellation can happen and stuff like that. So then the baseball slowly kind of fade back in after the kick drum place. Right now, these are really, really drastic settings I wouldn't have in this extreme. This is just view to here. So here we go without it. Okay. So really, really drastic. But we can listen to that. And contacts of the whole beat way too aggressive, right? So in this case, we could dial it up a little bit. Now, I will also destroyed 83 here quickly just to kind of show you. So go base site into this track and we will remove it from here. And a lot of times it does just added in so 83. So now instead of it following this 46 is gonna follow this one. So it's a little bit tighter of a kick drum, so it might react just a little quicker and the base will still be prominent. All right, that's just a little breakdown. How you can get your drum stand a little bit better over your base. In context of this track, the bass and the drums really aren't clashing too hard. This base has quite a bit of like mid kind of cutting through pretty good. It's not like a super super low base, but sometimes you will have, you know, like an eight away and a kick drum, and then maybe even have a baseline or something like that. And when you're doing with that, that's where you kind of have to start using, like the dynamic e que stuff like I showed you here with the AARP. Like how it kind of goes boom boom stuff like that, citing compressions. Really, really powerful? It's not just for the E M pump sound. It's also very, very useful in getting a cleaner mix and achieving creative stuff, such as getting other sounds to stand oh, or make them quiet when something comes in and stuff like that 29. 28 - Hand-Crafted Manual Beat Repeat Effect: So since we're talking about arrangement, I just wanted to share with you another technique I like to use a lot, and it's kind of like a note Repeat. But I do it manually, and they use it quite often before a chorus or in the case of like, right here would be a good place to use it kind of before transition or something like that . But it will use it before the course. Okay, So what I do is I come up here and I would set this to but like, beat. Okay? And I'm just gonna highlight my percussion drum loop, and I'm gonna bring it back to here, okay? And I'm just going to press control and be in control and be. And now these notes have repeated. So this drum loops So you listen to this. It kind of wasn't this. And then, you know, we can bring this back or keep the lead there or something, and they will bring this one here. Clap, clap, clap. I will add this in here too. Take this base. So this baseline. Oh, you know. So play it one more time because this would be like a really good point to put like a transition and a transition is typically like a risers like that. Um, you know, usually I do custom make them with, like, Harmer or something like that. And it's just a matter of playing your No. And it's making it rise up. But I'll show you an example. Here, Exclusive audio usually comes pre packed with, like, tons of stuff like that. So we'll go like, uh, sound effects. So, for example, like this. OK, so watch if you like dragged. This is just in here and be like this. Actually. Sorry, I guess we do want that. You know, that's just an example of what you can do A lot of times around here is where you would start to build up your transition. But I just want to share with you this note. Repeat. And it's just a matter of I just grab him, bring it here. And sometimes I will change it up. So, for example, instead of playing here, maybe I'll do this. I'll be like, um 13 because this is like a sexually the third beat and come back down here and maybe you'd be like the first and then the fourth or something that so big this and bring this up here and then bring this down here, you know? So it might be a little confusing, but it's just a matter off your kind of changing up the beats of what would actually be there. But you chopped it up manually, Theo. But in this case, I don't like that. We will leave it. Just do it. Waas. So there you go. That's the kind of manual beat repeat. 30. 29 - Creating New Melodies from Chopping Old Melodies: So in this video, I want to explain to you how I go about creating unique melodies out of a melody already. And it's kind of building off of that manual beat repeat video. But it's to do with the melody now. Okay, So I'm just going to hold down control, right click and is high this whole area and what I'm gonna do is I'm gonna focus on this lead, OK, So I'm going to mute the lead here, and I'm just going to keep dragging off of this, and I'm going to build my own melody out of it. A lot of times I will use this in, like, a verse or something. And then once the actual riel melody comes back in, it's like, that's what everyone's been waiting for. However, I kind of tease them with this different melody. So I'll let you hear what I'm talking about. So what I'm gonna do is and it's going to start with this Well, here, that would be like, so that was kind of cool. So I was like, Do do so and then let's just see. So from here, maybe we'll, like, add that lesson or something they create after. Let me go back to the original Go back down here case that was a little bit slow. So we'll do something like this. So memorable, Like on what kind of keep building off that. So we've easily this. So bring that up there, because I like that to that point. And at this point, sometimes they start getting down to the smaller snap. So this is what I'm talking about when things got start to get a little more intricate. Um, And then what I do is I keep having the patterns start from here, and I will expand it and then depending on if I want to add things in. So what I want to do from here is I think I want to maybe do this and then I want those things small notes these ones again. I have no idea how this is going to sound. Um, but it's just kind one of those things that this is something that I do quite a lot. I kind of chop up my main melody Ah, and play around with it differently and that I could bring it back into the chorus, which is like the main thing, maybe a little too aggressive. Try to be creative. I'll change these notes around. - You know, that's just an idea. And then we can bring it back just to this, - you know? So it's like at this point, it's like, Well, which one is the course that that's a technique that I use quite often, so just want to pass it on to you. That's totally one of my little inside secrets that I do a lot. 31. 30 - Conclusion Overview [COURSE WRAP-UP]: All right, so that's our course on advanced music production secrets. I sure hope you learned a lot, and you got to see a lot of insight to know how I approach things and my mindset as I'm actually producing beats. As you can see, what I was trying to get across to you this whole time is just understanding to have all these tools in your back pocket that you can always keep pulling out to keep trying. So when you get stuck, you at least have something you can, you know, make it try and work. And typically I do find an end result. Sometimes it just takes a little bit longer than other times. But I just want to say that if you guys have any questions at all with this course, always feel free to contact me with, like a comment or through an email. I can always create a new video on a certain topic, or if something was confusing to you. I also want to bring to your attention again my two other courses. The piano for beat makers. If you do want to learn how to play the piano and learn music theory, as a beat maker. You as a beat maker, you're really focused on the repetition and stuff like that. And then Thea other course is the organic beats. If you wanted to learn how to create a full composition out of a single note, you know, I take the whole process, actually record the no on the guitar with you, and then I walk you through the whole process. Kind of like you saw in this course. You know, I only used one guitar. No, you know, that's all the same. No, I've just affected them differently on the mixer and stuff like that. So, again, I'm gratuitous. Thank you so much for taking my course. If you could leave a review, I would really, really appreciate that. It would help the course grow and get out there in the eyes of other people and help support my business. So I will just play this beat. And that's this video. So thank you so much for checking it out.