Transcripts
1. Introduction: Music produces his Curtis
can't Curtis came.com. For those of you that
are trying to either make the transition
to FL Studio 20 or for those of
you that are just getting started from scratch and you have no idea how to
even find the on switch. This online course is for you. You, my friend are living
in a very lucky time. You got FL Studio to start your career
off. You know what? I had to start my
career off with MTV Music Generator
for PlayStation one. And unfortunately, there weren't too many YouTube videos are too many books
that could show me information
about how to become a great producer at
MTV Music Generator, to be honest, I just literally had to go learn on
the fly something that I want you to do first and foremost is I want you
to set some goals. It can be minor goals. I'd say at least
three to four goals that really set out
what you want to accomplish from getting started on this course for many of you, it is just making sure that you understand what it is
that FL Studio is. How can I make a beat
for some of you who just want to make your first
trap be for some of you, you want to just understand the terminology a little
better within the program. I know for many of you,
if you've ever looked at anybody's FL Studio screen on their computer like on Instagram
or something like that. It looks mighty confusing and overwhelming if
you've never used it. And it was for me as well
in the very beginning. But you know what, I found out that little PlayStation game
that prepared me for that. And my goal is to get you to start making
beats for yourself. That being said, if
you are ready to proceed with this course, please proceed to chapter one, which is going to be
an FL Studio torr and extensive tour. So you want to sick.
2. The FL Studio Tour: Music reduces. Welcome to chapter one of the FL Studio beginners
course for FL Studio 20. I am your host, your guide, your tour guide, Curtis King. I wanted to start with really just a brief tour to
show you what sections you really want to
pay attention to and what sections and maybe not
you don't want to ignore, but are not really
needed for you as you get started with
your FL Studio sessions. Now that being said,
music reduces. The first thing that I want
to point your attention to is the fact that FL Studio, in an attempt to make
things more simplified, have actually made things
more complex by taken all the files and
buttons that were used to and they made
this compact mode. So first things first, if you right-click here
and his blank area. Got a default FAL 12. That basically brings back
all these old buttons and menus and fast guides to take you to the
sections that she'd like. Fl Studio has took
the liberty of giving you a hint panel. Just think of this
as your key guide. Anything that you click
over, hover over, it's going to basically
tell you what it is. If I'm going over something
a little bit too fast, go ahead and just revert back to this and
you'd be able to see what exactly everything
that you're hovering over is. Let's start from left to right. First things first,
your drop-down menus. The file drop-down
menu is where you're going to open up
new files, open up, old files, open up templates, save as save new
versions, all of that. Let's go ahead and
break that down. So obviously this note is if you want to open
up a new session, we're not saving this, so
there's a new session. The next section is the New
from template FL Studio comes equipped FL Studio
20 at least comes equipped with a lot more templates
for you to choose from basically based upon whatever type of music
that you're making. So for instance, if you want to go to the
advanced features, they have stuff for
breakbeat style, chill out drum and bass, EDM, house, electrode,
trap, funk, whatever your ensue FL Studio has a template just for you. I would basically start off with the basic minimal template if you're gonna be used in
FL Studio has a beginner. Next thing we're going
to draw attention to is the open menu. The open menu gives
us an option to open up all project files. So as you see, I have
many different files that I've already
been working on. The next is a save feature. Now if you want to
save your beat, you basically click Save and it allows you to name this file, but say you already
named this session, you go to Save As
and you want to change the name, go to Save As. And it gives you the
option of basically save as whatever you
want to save it as the next section now say you're working on a beat and
you want to try out different mixing
techniques and you don't want to actually
save it in the original. This is where you
save new version ***. The next section is
the export section and the export session, it gives you an opportunity to export your completed beat or even your pattern because FL Studio comes in two
different sections. I don't want to lose you,
but FL Studio comes in the pattern mode and a song
mole in the pattern mode, which are going to
go over in a second. It's basically where you put together like your
drum patterns. The song mode is where you
basically arrange all of those drum patterns and you make a complete arrangement
of a song. Now say when you
finish the song, you want to go ahead
and export it. This is the section
you're going to come to. You can export it as
a zip loop package. Say if you want to
collaborate with another producer who's
using FL Studio, this is very helpful because it'll take all of your sounds, all your presets, and
then basically give all that information over
to the other producer. Collaborate in
width, make it open a file and add
their sounds to it. Next you can export as a way, but MP3 and OGG file, a FLAC file and Mini fan, I don't really mess
with too many of these are really just mess
around with the wave or the MP3 depending on what
I want to export it as the next thing to draw your
attention to recent projects. And I'll say after you
work on a few beats, you're gonna see some
project files down here are some recent projects
you've been working on. If you click on it,
it'll basically open it up super
fast and you can go back and reference other
beats or see if you use certain sounds on one
and kind of ball from it. It's just something
that's really convenient for you to
go back and forth from. The edit section is
pretty self-explanatory. You can copy over sounds from this channel
wreck and the channel Rag, by the way, is this pattern
feature that you're seeing. The way that channel
rack works is that it's literally a
rack of channels. This kick is one channel, this clap is another channel, this hi-hat is another channel, the snare is another channel. You can add as many
channels as you possibly can think of in one way you do that is click
here on the ad. And you can basically
add a channel of a virtual instrument or VST. Or you could take sounds from this browser section and
drag them over here. Now I'm going to show you
how to add your drums in a second because I know that's probably what you're
itching to get towards. We'll talk about that,
but let's go over here to some other sections that
are very important. The next drop-down menu was
the patterns drop-down menu, which basically is
like a quick load or a quick link to all the patterns
that you've been using. Now you can honestly go
through multiple patterns by using the left clicker on your mouse and basically
dragging up and down. And you can use as many battles as you possibly can think. Look it up in its 100s, good guy, but we're
on pattern one. And as you see this, so
you can see it visually. So you put nothing but
kicks on this one. You put in collapse on this one. Bones. So now you can see
different patterns. Now the next section you want to pay attention to is the view. The view is basically
how you mess around with your
workspace in what windows that you want to have open right now we have that Shamrock open and we can also access
these different windows. Let's actually talk about these different
windows now that we're here first and
foremost, the playlist. If you click on that and there's some quick buttons up here to help you get to that faster. But the playlist, this
is where you're going to arrange all of your
different patterns. Your patterns are going to
align in order right here. You basically can
drag a pattern. Whatever you add
to this pattern, while in the pattern mold on the channel wreck, you follow. So if I add this
kick, clap, clap. Now all of a sudden, knocking uses bar to zoom in. This is exactly
what you have here. It's giving you a preview of it. We can exit out of
that playlist mole because we're gonna get
to that in a second. But the next section in this
Windows is the piano roll. The piano roll is basically
how you're going to get more control over whatever sound that
you're manipulating, whatever channel that
you're manipulating, you can get a better control. Now say for instance, you want to put this
kick and a lower octave. You're basically
going to just use this piano roll feature. And the way you access that
you can right-click here, go to piano roll. You see how that kick
is right here on the C. I could take that if octave
down just by dragging it. Now the piano roll has a lot of things that I
want to talk about. That's why I've dedicated an entire section in this
course to the piano roll. It's very important that you understand how to
manipulate your sounds in the piano roll because that's really going to take your
BCE to the next level. It's cooler nor to sit here and practice
with these patterns. But after a while
you're going to get bored and you're gonna feel like all your drum sound the same no matter where
you put them at. No matter where you put a mat, they're going to all
start sounding the same because everything is
according to what Grid. Beautiful thing about
the piano roll is that you can move a kick a
little bit off the grid, and this will be a
lot off the grid, but you can basically manipulate the sounds in this piano roll. Now the piano roll is also where you're
going to add melody. But once again, that
is going to be in another section of this course. And I'm going to break
that down for you is super, super, super easy. Next thing in the View
menu is the channel rack. We've already gone over that. This is exactly what we're
looking here as the pattern. The next is the mixer. And now the mixer is
basically the place where we're going to assign
these individual channels, like the kick clap, we're going to assign these
two individual inserts. When you assign those, you can basically add up to ten different
effects on that one sound. Now say for instance, you
want to add reverb to Eclat, that gives it a lot more space. All you would have to
do is basically click here on one of these
green buttons to highlight that
particular channel. Go over here to the
mixer, right-click. Route that to that channel. Then you click here on a slot. Open up the FL Studio River. Right-click to a preset. We're gonna have a whole
section dedicated to this. But for right now,
I just wanted to show you what exactly you're going to use the mixer for because you're going
to use all of this. This is the most important stuff you want to pay attention to. I'm not gonna go
over anything that you're not going
to actually use. I'm not here to
waste it's on now the way that you can
kind of go back and forth between those
windows without having to go to view,
go right up here. And as I said, keep
in mind there's a hint panel to show
you what everything is. Bone playlists,
easy, piano roll, easy, channel rack,
easy, mixer, easy. Isn't that convenient? So let's exit out of here next. If you happen to move
anything up here, you move these particular panels around and you don't
like the way it is, which you can do as always, go back to the default
settings by going to View, going to toolbars. And then you can either go to the default which
we already changed. You can arrange windows by
going to the desktop default. It'll take everything
to its original place once you first
open up FL Studio. The next drop-down menu is
the Options drop-down menu. Now, this is pretty much how you go under the hood of FL Studio and take care of more of the technical aspects of
your particular sessions, being your midi keyboard. If you want to set
up a midi keyboard or even a drum pad midi, this is where you're going
to go ahead and set that up by going here to
the Midi settings. And then once you
plug it in the USB, it's basically going to
recognize it for us. So let's actually
do that right now. So you see what it looks
like in the next section, we're actually going to go over how to set all this stuff up. But just so you see what
it looks like, bone, you hear that sound,
recognizes my midi instantly. Here you're gonna see whatever particular audio
that you're using. Now, if you don't have an audio interface
like some kind of Sound card external
from your computer. It's pretty much gonna
say primary sound driver. Are you going to use
the SQL for all? I really think that
you should use the SQL for all or the
FL Studio asks us. So as you're
installing FL Studio makes sure you install ***. Yo do not overlook that this is definitely going to be something that's going to help you. Our hurts you depending on what settings
you use for this, especially when it comes to how much your
computer can handle, how much that sound
card can actually handle of the sounds you're
putting down how much CPU, which using how late the keys are as you're
recording them in, that stuff is gonna be
ultra, ultra important. Also an options menu. You have your general settings. I pretty much just
keep it default. Next is the file
and folder section. Here's something I want
you to pay attention to. Click here on this auto
save feature and go to frequently every five minutes
in before risky operations, there's nothing more
frustrating than working on a beat and then FL Studio
just crashes on you. This ensures that
your files gets saved every five minutes as long as
you just save it one time. Now also in this particular tab, this foul and folders, this is where you're
going to add your drums. Now this course, of course, came with my drum kit,
big drums and knock. Now in order to
add that drum kit or any other drum
kit that you have, which you want to
do is click here on an open slot and then
go find the drums. I typically like to
put all my drums into one particular kit and then
just access them from there. And I'll say, for instance, your big drums and
knock is right in here. Go ahead and click on a folder. Press Okay. Then here you can name your actual folder that
you're gonna put your drums. And so let's just
say rums from Kurt. Press Enter and insulin. When you do that,
look what happened. Bone drums from Kurt. Click on here. Now you're gonna see all
these drum options down here. Percussion snares. And you can literally
drag in whatever sounds you want by manually
dragging them. And you even heard you can
preview these sounds to. You can even use your directional
buttons clicked down, preview these different sounds, and just add them here. Or you can use, if you have a scrub wheel, which is that little wheel
in the middle of your mouse. You can just click
on it and make sure that this green box is highlighted because it will not replace that sound unless
you do have it highlighted. He was basically click on here. Take a kick. Drag it here. I'm going to show you when we go over this channel rack function, some things that you want
to do, for instance, I want you to name all of
your stuff as you go along, just getting that
habit early on. Because when I show you
how I arrange my beats, it's gonna be very
important that you're able to identify the different sounds because it can be a bit of a clutter if you don't know
what you're looking at. Now for those of you that
are interested in some of the stock drums that come
along with fl Studio. It's really easy. Just go
over here to the pacs folder. But a legacy, but
a drums and boom. Hip-hop. Age rums are a
little bit outdated, but you've got to give it up to FL Studio for
at least giving you the option of having drums like this just on deck for
you to start out with. Now if you want to add some melodies or you want
to add some piano keys, we're gonna go over all of that, but I just want to make
sure that you at least have been exposed to what I
want to plant the seed. Click here on the Add button, and then you basically
want to take one of these stock VSTS, these
virtual instruments. Now. Boom. All right, we'll go over
that in more detail. Alright, the next drop-down menu as the Tools
drop-down menu. Now in this, all are really pay attention to here is the macros. This is gonna come
so much in handy when you start getting
more elaborate which your arrangements, and you start using
more instruments. Or maybe you've been taken
a lot of instruments and say you're not actually
using them anymore. And you go to select
unused channels. It takes all these channels
that you have not used. It basically highlights them. If you want to delete all
of those, put all, delete. Boom. Next section is
the volume panel, the master volume panel
and the master pitch. This manipulates the pitch
of the whole entire beats. So if we play the next, you have the master volume, which basically changes the
entire volume of the beat. You can always reset it in
case you mess with something. If you mess with
anything on here, whether these knobs or whatever, you can always right-click it and reset in pretty
much any section. So have no fear if you mess with some and don't know
exactly what you did, you can always go
back to the default. Next thing, you basically
have these moles that you can go into
the pattern mode is basically what we're
looking at right here, which is the channel rag. This is what you manipulate
all your different patterns. The song mode is basically how you manipulate the playlist. Next is your play button, which obviously
starts and stops. She just stopped
button here as well. You have to record feature, which we're going to go
over in the next section. Also here's where you
manipulate your temple. Basically you just hold down the left clicker on the
mouse and drag up and down. Or you can right-click and pretty much just
put the speed in, or you can even
tap in the temple. Now the next thing
I want you to pay attention to was this
panel right here, which we add it from coming
from the compact mode. First thing here
is your metronome. Now before I really add sounds, I like to put the
metronome on just to walk and stay in the temple
of what I'm working on. So when we click this metronome, generally it starts off as a
tick and the default mole. It's got to go back to pattern mole because
anything we do here in a pattern mode is
how we fix this stuff here. Click, boom, boom, boom, boom. So that's basically you
get that allow click. That's telling us the
beginning of this loop. This is really for you
if you're adding sounds in live and you're
recording them in live. Now if you don't like that
metronome as a clicking sound, you can right-click it and
actually use a hi-hat. Instead. I like to use the high hat because it's
really in the flow of things and it helps
me out a lot. Next thing, typing keyboard
to piano, keyboard. So if you don't have
a midi keyboard, FL Studio basically gives you the option to use your
computer keyboard, your laptop keyboard, or your
computer desktop keyboard, you can basically key
in different keys literally using the
keyboard on your computer. Next thing, wait for
input to start playing. Now there's two
different sections here that I want you to pay attention until we're
gonna go over this, especially when we go over the channel rack and adding
new sounds and recording. But basically this input
makes FL Studio wait before it begins playing
as you're recording new sounds and isn't gonna make more sense than
the next section. But just know that between
this and it's three-to-one countdown that basically
count you in to your loop. You're going to basically mess around with these two options in the next section to understand the importance of
using both of them. Next thing is the
blend recording. This basically gives you
the option to add sounds, the sounds that you've
already recorded within your piano roll or your
particular channel. Next section allows you to
basically grouped together different chords are
different keys that you put together in group
within your piano roll. And you don't always
have to have this on, but it does come in handy, especially if you're
messing with cores that you don't really want to take
individual notes out of. Other than that, I
don't really mess with these particular options here, but it's good to know
that you have them like the loop recording. You can put multiple tags down. Don't really mess with that. This is your multi-lingual to controller when you actually
set up a midi controller, which we're gonna go over
again in the next section. Also here is your
songs positioning. So if you're on your pattern or if you're in your song mode, you're basically
going to be able to see what part of
the song you're in basically by whatever particular numbers you want to set that at. You can have that be bars or you can have it be
minutes and seconds. Next is your actual snap mode. The snap mode basically
enables you to really manipulate your patterns
on the actual playlist. So as I have this
particular pattern, say I drag this pattern
I'm working on. Say I only wanted to snap to the grid that I'm going
to use the line mode. Say I want to be a
little bit more precise. I go here, all of a sudden I
can move it in more options. Here's where we basically
go from each pattern. If I'm working on
here, boom, boom, pattern, snare, snare,
and so on and so on. Now here are the quick
buttons to get back to every single section that
we talked about already. The playlist, the piano
roll, channel, wreck, the mixer, browser
own browser off, keep that browser own. Now here we have
our master monitor and as we play our drum loops, we're gonna be able
to see that thing changing is pretty much how are you going to see your waveform? Here is your peak
meter to tell you if your beat is peaking or
the sounds are peaking. The next thing is probably
one of the most important. This is your CPU low. This is basically telling you if your computer's overworking, you want to keep this
number generally below 70 or below 50 if you can. But the higher you get up, the more FL Studio
will begin to act up. Fl Studio 20 has
done a great job of ensuring that you don't have
sort of these wig outs. But sometimes F22 you will wig
out the more BSTs you use, the more that you're
starting to eat up the RAM of your computer, this will start getting some higher numbers and you're going to actually see a
lot of this dust are going into the red. Here are some other options
that allow you to undo, that allow you to open up
a new audio editor that allow you to record
audio. Help about you. You can have a quick
save feature here. You can render audio, you can view the project info. Don't really mess around
with those too much. Here you have basically
a menu dedicated to all the newest news of FL Studio 20 and
cases of new updates. You'll see a pop-up as you
go along your business, but that's pretty much it.
3. Setting Up Your Workspace: Okay, produces is, I
know a lot of you are starting out in chapter three. I want to show you my most
simplistic setup that I had some years ago when I was working out of a
studio apartment. It's very cost efficient
and really easy to follow. Check it out. The next thing that you
see in as my aces laptop, my aces Q5 to four UQ. So when 11 of my favorite things besides being maxed out on RAM, is that you can actually
turn into a tablet. And it's also touchscreen, which is something
that I loved doing, especially in my FL
Studio sessions. Now the next thing that
you're looking at is a foldable laptop standby
accompany called pile. I use this so that
my neck doesn't get strained when I'm
working on beats, especially because I work
a lot of long hours. The next thing you may
recognize as my focus, right, scarlet to generation. So this has been dormi
justice for many, many years. I have not run into
issues is probably one of the most durable
audio interfaces that you could ever use, definitely worth picking up. The next thing you looking at Is my AKG perception
for 20 microphone. It's one of the best
microphone's ever use, especially for the amount
of money that I pay. That's my pop filter that
I'm using alongside it. I use this for rat
features for some of my YouTube videos
and also my podcast. This combination is
definitely deadly. Now the next section is
dedicated to my headphones. The first pair of AKG
K24 studio headphones. My next pair, my
Yamaha HPA H M T7. Now I use my AKG
is really to get a flat signal within my mixes and here
from that frequency. And the next one is for here
in a snap of my snares. The next piece of equipment is my RadioShack
desktop microphone. I generally uses pretty much just for
on-screen tutorials. The next equipment is
Mach ARK rocket fires. I had a downgrade from a rocket eggs because I moved into his one-bedroom apartment. But these bad boys steel bang, not a hold those bad boys up. I got these ISO acoustic
small speaker stands for the rocket 5s is definitely important when
it comes to mom mixing. Now, the next piece
of equipment you recognize what his lady he is. My elisa is 49 key
mini keyboard. I use this for all of my beets. I loved the fact that it has a drum pad already
built within it. And it just becomes very convenient when it comes to just make it beats on the Run. Now my Wiz Khalifa,
black and yellow mouse is made by a company
called permanent. And it's really to match
my color scheme with my mouse pad that was made by a company called
Mises ethyl.com. Now also have a
backup midi keyboard just in case things go
wrong with the first one. But it's also by Alisa
says a 25 key keyboard, so it's a lot smaller. I also added a few
acoustic foam panels to my apartment by a
company called H2S. Lastly, let's talk about these four LED light strips by a company called Sir light. I actually got minds for my Kia, but it is as a nice low
flare, what's going on? Music produces. Welcome to Chapter Two of the
FL Studio beginners course for FL Studio 20. In this chapter, we're
going to basically cover how to set
up your workspace. Now we just left the
video where I showed you a studio tour of all the
equipment that I'm using, everything from my focus right, to my headphones, to
my midi keyboard. Well, in this chapter
I'm gonna show you not only how to set up
your midi keyboard, but also how to have the proper settings
for your sound card, because this can very
well affect the way that your music is sounding as
you're creating your beats. Also, let me not forget to
mention if you're using an MPC, midi controlled MPC. We're going to also go
over how to set that up and how to
assign each and one of your pads to something
called fpc with an FL Studio. This is going to be more
so a technical lesson, but I think you should still follow and understand everything that you're dealing with. Because look, if the engine will work in a guard, a
car is not going run. So let's go ahead and go on to the hood and start to get
some of these details. First and foremost, let's
hook up our midi controller, or a midi piano or midi keyboard or midi
MPC using the USB, I have an open slot that
I'm going to insert. You should basically here some little looping sounds soon as we go ahead
and put that in there, let you know that has been
recognized by windows. And that being said,
we gotta go back to is these options settings and
then go to Midi settings. Now, I've already enabled this, but what you're going
to need to do is find the input
focused out here and the input and figure out which midi keyboard that
you just plugged in. It should give you a hint based upon whatever
one you're using. As you know, I'm using the V 49. So I'm going to click on that
and then click on Enable. Once you enable it, press somebody keys the seed
was being recognized. Okay, Now next we're going
to go to the audio settings. Now after using an
external sound card like the focus right
that I showed you, makes sure that you plug it in before you open up FL
Studio may seem very basic, but that is very important. So let's go over here
to the Audio tab, looking at a few things. Now first things first, this is where you
go ahead and click on what audio device
that you're using. Whenever you don't have an external audio
device is going to go to primary sound driver. Next is the focus, right? Usb audio driver. And the next is the pretty much the primary standards sound
that comes with my laptop. The next or the actual devices. Now, the SEO devices come as a free installation
with your FL Studio. And this program has really been designed to make sure that your SoundCloud
works as smoothly as possible with fl Studio. So it's important that you go ahead and pick one of the toe. Now if using FL Studio 20, I suggest that you
use FL Studio SEO. Now like I said, it
comes along free as an installation when you're
installing FL Studio. Click on that. Now, some things you want
to pay attention to, these settings should
pretty much stay the same if you're tripled,
buff is not on. Go ahead and turn your
triple buffer on. Mixture safe overload
just turned on. And all these settings basically makes sure that if
something happens where you beat starts kinda
wiggled out of you using way too many sounds and it's using up a lot of RAM and memory. It ensures that
there's a safe kind of overload encase the system
starts going crazy. It makes sure that
everything kind of calms itself down smoothly. Next is the CPU section
makes sure that the multi-threaded
generated processing is on, as well as the mixer processing, as well as a smart disable
also makes sure that you're re-sampling quality is
at least 24 points sink. And then the last thing you want to go ahead and
mess around with, at least in this
particular section, is make sure that you push on play truncated
notes on transport. Now, let's give into something that you're going to want to
get familiar with the term. And the term is latency. Latency is basically the speed
in which you send a signal to your computer and how fast your computer
basically recognizes it, or how fast it basically
reacts to this sound. Now, to understand
it in better detail, when you're actually putting keys from your midi
keyboard and you're pressing them and
you try to record them directly in FL Studio, sometimes you're going to
experience a delay and I might have showed you
that from the last chapter, but you're going to
experience a delay. If your latency is
put up too high. The thing about it
is let's click on his latency and let me go ahead
and explain it from here. First things first, let's
talk about buffer lymph. The lower you go down
on buffer lymph, the faster your computer will react to the data that
you're inserting, either from your committee
or your MPC midi. But basically the
lower you go down, the faster your computer
will react to it. However, Sometimes you're using these VSTS that really run up your ram and they
use a lot of CPU. You want to make sure
you go up a little bit higher whenever
that happens, because it was going to
happen is your computer is going to start clipping, is going to start glitching out. The beat would not
run as smoothly. Now generally when
it's starting to go a little bit crazy like that, you're gonna return back here to these SEO Settings and
they asked the old panel, and you're going
to put the number up a little bit higher. Now typically I
keep it around 512 unless I'm recording sounds
live within FL Studio, but good things to know
as you're moving forward, you want to make sure
that your input settings and your output
settings are correct. In this case, I am using this focus right
microphone as my input. And then secondly as my output, I'm making sure that
I'm using my focus right sound card to basically go to my
speakers into GoTo, my headphones, click Exit. And that's pretty much all
you need to know right now about the audio settings. Do not overlook this because this can literally be the reason why your beat making process
becomes an extreme headache. Okay, so that's it for
the audio settings. Let's go to how do you
set up your midi pad in case you have maybe some drum
pads on your midi keyboard, or maybe you have an actual
MPC, USB based midi. Let's talk about
how to set that up. We're gonna set that up
through a program that comes for free with fl
Studio 20 called FBC. Once you open up, FBC is going to look like a lot
of stuff was going on, but basically they provide
you some premade loops and Premade Kits and
some pre-made sounds aligned all these
different pads here. And it may be a lot more paths
and you actually have on your MPC argue midi keyboard. Now, what I like to do as a three-step process first being like to get rid
of all these sounds. Because right now if
I go ahead and click any of my pants down the line, they're all over the place. I need to map these particular
sounds are assigned my pad sounds to just this row since I only have eight different
pads on my keyboard. But I want to get rid
of these sounds first. So what I would do
is go up here to the preset right-click
and go to empty. Boom. So now we have an empty
pad to mess around with. And then what we're
gonna do is basically drag sounds over into here. So if I go here to my
Curtis King drum kit, I want to have a kick.
Put the kid here. I want to have a snare. Snare here, maybe a high hat, and then maybe a
percussion instrument. Now, these particular
sounds are not going to actually work in order
until you map the mouth. And the way that FL
Studio works is that you have to basically
map these out backwards. And I want to show you exactly what I mean
when I say that. It does make a second
row so you can see visually the sounds that
we're going to assign. Alright, so if we start
pushing the patch, these are everywhere
and these are not like these pads are
located everywhere. Now the way that we actually
assign them the correct way, going out here to the drop-down
menu and the options, and then map notes
for entire bank. Now FL Studio is basically
waiting on you to go ahead and press the pads and the older that you want to use them. Like I said, we're
pretty much going to go from left to right, left to right, bottom
row, the top row. So watch as I start
to assign these, I'm just basically pressing
each one of these pads from bottom row all the way
up and then up and then up. Now, all those sounds have been assigned, they'd
been mapped out. And that's basically
how you map your sounds out your fpc according
to your MPC, in case you're using sort
of a midi version or using a pads on your keyboard.
4. How To Build A Drum Pattern: What's going on? Music reduces. Welcome to chapter three of the FL Studio
beginners course. In this chapter, we're
going to basically be understanding the channel
rack and the step sequencer. Now the channel rack
is right here where my mouse is located
in the channel rack. You're basically
going to be adding individual instruments that are going to make up
your entire beat. Now the way that I make beats when I'm first put
them together, I like to really put
all of my sounds into a singular channel
rack or aka a pattern. I like to put all my sounds here just to walk and see
all the choices that I have when I eventually
take it over here to the playlist
to arrange it. Now as you see here
in the playlist, I have basically
divided these up to show you what 16
bars looks like. Now we changed the BPM to make
this a little bit easier. But what I want to do is
basically count which you, so that you can see how to count 16 bars in
case you don't know. You've probably putting
together beats and you're like, I'm just going to
fill it out and off. You want to understand
what 16 bars is? First and foremost,
we're gonna turn as metronome on and
we're gonna do accounts. So we're going to account this
like 12342234333442345234. And every time that first
number basically interchanges, that's one another
bar is coming in. When you get to 16 of
those, Guess what? You've got to 16 bars. So we're basically going
to count these out right now the way that
we're gonna do that, of course, we got to go
over here to song mode. And then let's go ahead and
just play this out so you see what 16 bars sounds like
and what it looks like. 12312342343234423452346. And as you can
see, these numbers up here are correlated with it. 7234, Two,
34923410234112341223413234. You follow on 142341523416234. That's basically it. That's
how you count 16 bars. Now, why is that important? When you're going to
want to know that? Because where you
position your kicks and your snares when you're
making your patterns, which of course are
gonna show up in pattern once since
we're on pattern one, you want to make sure you put
those in the right places. I've done courses before
in-person with producers and I don't want to stand what it is that for all
of us actually, we tend to like put the snare here and a kick all over here. We're just trying to
figure out our way, but look what that sounds like. It just sounds like a whole
lot of stuff going on. So let's simplify it first. And then I'm gonna go ahead
and walk you through this, since this section really is specifically about how to put together your
first drum loop. Yes, by the end of this session, you will know how
to put together your first drum loop
within the channel rag. Now that being said, The kicks tend to
always fall on the one. Now once again, remember
how we did this 1234, as you can see, every time we switch that
within that particular timing, when this becomes sort of
like this magenta color, It's basically switching
to another measurement. So 123422. So basically the
pattern here makes it very easy to understand what you're looking at if we
go ahead and lay this out and really you
can just drag this out to create more space if you want to add more kicks
and snares to this loop. But here we go. 1234234 kicks generally for every single loop that you're going to work on. Remember this, they're
going to start on the one. You're not going to put a
snare here unless you get some more advance to
where you're adding snares to kind of mess
with the timing of things. That's not how you're gonna put your first Rome look together, at least not in this
particular course. So you're gonna put
your kicks generally on your one and your snares
are gonna be on the two. And the four. Listener,
this 412341234. I'm basically
triggering that with the space bar so we can keep playing it over
and over again. Now the kick and go in
many different places. We can actually
put the kick here. You saw right there.
What I actually did is anytime you add a note here, it'll extend this out so that as we're
looking right here, since these are
pretty much broken into four bars a piece. This is how you
basically want to fill up this particular pattern. But since we know that they
fall in the 21 to four, we pretty much know that
the one in the tool of the magenta measurements
are going to have basically the
snare. So check it out. Something I like to do is
basically let it play. And seawall like the
cakes to be at night. You can of course, position these kicks wherever you'd like. Just keep in mind you
want it to sound right. And certain things
that you'd be like, Mike kind of work may not necessarily work
in the long run. Keep a simple in
the very beginning and then start breaking rules. Understand the rules,
then break the rule. So just keep in mind from this section in case I
lost you a little bit. Kicks on a one snares on a 24, and then you can vary it up just according to what sounds good. This is separated
into four fours. Fours times four is what, 16. So that's 16 bars versus
are typically 16 bars. Courses are typically about either eight to 12 bars depending on how
elaborates you don't, but they're pretty much like, I'd say like four to 12 bars. But you can vary it up based
upon what feels right. Just understand how
to count the bars. First and foremost, let's actually do a tour
of the channel Rex. And you know what,
you're looking at all the here
you're going to have basically your mute
or your solo option. If you click on it with the
left clicker on your mouse, That's going to mute
it and unmuted. If you right-click, it'll give
you the option to solo it. Now only the kick will
play the metronome off. Same thing for the snare. Right-click on that
circle, put solo. Only your snares are
gonna be playing now. To activate it again, just push the left-click
and is activated again. So that green basically
means that it's activated. Next they want to
pay attention to is the panning and the volume. Of course, the further
you pan to the left, you'll hear this sound
more so in your left ear. Same thing with the snare. We compare that to the right and see what
that sounds like. And you can see how
hard Japan and gets to the right or left
by looking up here. You panic here says 100%. We typically don't
pan the sounds and 100% It's a little
bit more mixing, but just understand
that this is how you give your beats a little bit more space as you move along. Now if you mess
something up and you want to return it to
its original place, just right-click on
any of these knobs and push reset,
right-click recent. The next section is the volume. Now it by default sets it to, I believe 80 years AT is,
whereas at the default. And then you can of course
turn this up to a 100%. Now to give you more value,
cyan thing with the snare, you could turn it
up or turn it down. Next thing here is the target mixer track where I
showed you this in the introduction to
where it basically sends your sound really quickly, right, to the mixer. Whatever insert that you
basically assign it to. The next section or this box is actually where we
add our instruments. And we can add
instruments literally by going over here
to our browser. And just dragging
that into here. Like I said, get in a habit of renaming these is gonna make
your life a lot easier, especially when you have
to learn how to put track outs out or
assign it to a mixer. So we'll just put high pets. Cool. Next thing I want you
to pay attention to is this green box that basically
is your select tool. It allows you to basically
activate a channel. And once you activate it, you can do cool things
like copying over a pattern and maybe assigning
it to another snare. So say for instance, we wanted to take this snare and add another
snare underneath it. Let's addict snap. Actually drag it right in here, in-between the high hat and
a snare. Let's rename it. Snap. Instead of having to put all of these snaps out here
to match the snare. We'll go to Select
push Control C. Go down to the snap, Control V. Okay, Now let's
listen what it sounds like. Now you're actually
adding layers to your sounds to make them a
little bit more interesting, give them a little
bit more character. Alright, Next let's talk about the hi-hats a little bit
because that's going to help us transition more so
through the channel wreck, just so you get an understanding
of the workflow now, most produces when
it gets started, when they get to high
hats, they just go crazy like but we know that sounds like it's not a day owed over 1982 were not
he had to do that. So some quick features that
you can mess around with. You can basically right-click on his channel and then fill it in. You can fill in two steps, or you can fill in eight steps. Let's take it back
to the toast desk. I like what that sounds like. An obviously you can add them wherever you want to add them. In a future chapter, I'm gonna show you how to do more accurate high hat roles
and really get in there and just make them sound a
lot more interesting right now this sounds
completely robotic. I understand that it
sounds very computerized, but I want to make
it as simple as possible so that you
understand what we're doing. So now that we got our kicks or snares snaps in the hi-hats. I want to introduce
you to something called the channel settings. And the way that we're
going to introduce that is to bring in a two way to n because this is
where things can get a little bit confusing. If you don't know
what you're doing. So let's take an 800
and drag it in here. Let's rename it. Once we bring into a two
weightless actually map, these kicks out some more. Now the reason
that I did that is so that basically we can copy this over and have our eight
await follow our kick. Once again, we select go
to Control C, Control V. Something else that I want
to show you what the select tool before we actually mess
around with the eight await, you can select
multiple channels. Say if you wanted to
delete a bunch of empty channels here, push one, select, hold down the Shift key, and then just click
on any channel. Then push Alt, Delete. And then that will delete all those sounds at the same sign. Just keep in mind
if you do that, you will not be able to
get those sounds back. So make sure that's what you want to do because
it's a final decision. Let's go ahead and
get our hi-hats bag, bring those back in, put them back in their
rightful position. Let's rename them snare. Hi-hats. Right-click
that, fill in two steps. Snare on all the
magenta measurements, the twos and the fours. And then right now
we're going to have basically this loop that
we added an A2A2 solidus. And so that altogether. Now there is an error here.
Do you notice what they ARE? Is Kamala Harris, you probably noticed
in his eight await as overlapping on top
of each other. And it's creating a very, very sloppy sound as you start to mess
with the eight away. The way that we fixed that few different
things we got to do. This is gonna transition
as to what is called the channel settings. If you click on any channel, you're gonna see
right here there's multiple settings just for
this one individual sound. There's a preview down here of what the actual
sample looks like. You can manipulate
the pitch of it. Here are the timing of it that basically stretches and
it makes it longer. But we're not gonna mess
with this in order to do what I'm getting
ready to show you now, this problem that we're having with the
overlapping sounds because you have not
shaped this eight oh wait, first things first we
need to get rid of some of his tail end right here, and at least makes
sure that it doesn't overlap between the
other Ada weights. So how do we do
that? Right-click on the Ada weight and
go to cut itself. So now basically when we
play this is going to cut itself as the new
aid away comes in. Right? So now that
sounds better, but we still get that
tail end of the eight await that we just
have no control over. Well, if you press
it right now in your keyboard, it
doesn't overlap. But the issue with
that is that you cannot stop it whenever
you want to stop it. The way we do that is we have
to shape the Ada weight. In order to shape
the Ada weight, we must go up here to
the channel settings and go to envelope and instrument
settings right here. Click on this. Now, this right
here represents basically the envelopes that as the default envelope for
this particular eight await. Now envelope and basically
takes your sound and shapes it according
to what you tail. The parameters to do. The parameters are divided
between a delay, attack time, a whole time, a decay time, a sustained time,
and a release time. What we want to pay
attention to is taken the attack time all the
way to the beginning. That's so that we make sure the beginning of
the Ada weight is going to play and not
a delayed response. Next thing we're gonna take
the decay all the way down. We're going to take the
sustain about right here. Then we want to take the release little bit tight within here. I'm gonna show you
why in a second. We're gonna take the
hold all the way up. Now if you play the Ada, wait, no matter when you stop or
how long you hold the key, it's going to react
immediately to whatever you tale
that particular key. Seattle works. So now you have a lot more control
over your aid away. If you play it right now. It stops right when we
press the stop button. Now, I'm going to show
you how to really manipulate those sounds once you start to get
into the piano row, which is the next
section of this chapter. But for right now, something else I want to show you is that you want to make sure that your eight awaits
are actually in tone. And the way that you do that
is to basically click on it. Go to the sample settings
and let me explain why. When you're Ada weights
are out of tone, they will not be playing the same keys as your
melody that you put down. So imagine you play
a melody where it's going to play a C, maybe an E. If you try to assign those exact same key
so that ate away, they're going to be basically
entirely different notes. That's because the root node or the note that this was
originally recorded in a whole another note now what I did right now is basically open up this waveform, the channel settings, right-click on it
and then go to edit. It takes you to another program within FL Studio Con Edison. If you push Control a which
selects the entire sample, the A2A2 sample, it'll
highlight the entire thing. Next thing we got to do, click here on this flag feature and then go to detect
pitch regions. Now this will tell you what
key you're a TO weight is in. This is so important, especially if you plan
on making trap or R&B or any particular genre
that has eight awaits. Now that we know that's an a, Let's go through the
channel settings and see how we can basically make that the default key so
that no matter what we play, it plays in harmony or in unison with the melodies that we
eventually put over this loop. If you go over here, back to the envelope and
instruments settings, and you look down here, there's a keyboard and it's telling you that
the root note is C, but we know that that
is not accurate. We have to take it to a as
you click on other notes, it'll show you what notes
you're clicking on right there. So right now we're on
the F5 in a way that I'm activating these is basically right-clicking
on these. Now what's at a now, no matter what kids we play, as long as we played
the same keys is what we lay out say in our piano or pads or wherever
you put underneath this, this add await would
follow suit and not be out of qi because that could be
another annoying situation. Now if you mess up, you
can always push reset. But we're gonna keep this
at the root note of a. Now that I showed you how
to turn your aid away, Let's go on some more channel setting because I want
you to get used to this. And actually let's use the
snare or a clap as an example. I want you to hear this when I'm starting to mess
around with somebody who's setting, I've
got my fun clap. We're going to go ahead
and drag this over the top of the snare
to replace it. Now we have a clap. Now
we're going to right-click and solo this because
I want you to hear this channel settings
that I'm messing around with. So I showed you this, which is the sample settings. There's your sample down here. You can click on that
and it'll play it. I showed you the instrument
and envelopes and even how to take your particular eight await and put it
in the right rootNode. Next, I'm going to
take you over here to the miscellaneous functions. And the miscellaneous functions, we get the opportunity to
do some special effects. We get the opera
cylinder to even arpeggiate some of our sounds. We just really get a
greater control over our sounds and we're able to add a little bit more
character to those. I don't use every single section here. Let me repeat that. I don't use every single
section that you see. So if you're looking
at things and be like, What does that do? Just do it doesn't mess
around with, didn't have fun. But I'm gonna show
you the things that I do mess around with, especially because they just really helped my workflow a lot. Now here you're gonna see some further level
adjustments to your sample. This is the volume multiplier. So of course we can
change the volume here as I've showed you
before, all the way to a 100. We can take it past
a 100 and even go to light a 150 if we want. It's gonna be a
crazy louds cleft. So get ready. Oh my gosh. So right-click
that. Go to Reset. Just good to know that obviously you
could do some panning, which you can do
the panning right here on the channel panning. The next thing we're
going to pay attention to was the time section. Here is where we have
the opportunity to take our drums off of the grid. I don't know if you've
ever heard that, especially if you're
a beginning producer, but which you've got to keep in mind is that a lot of producers, probably a lot of your
favorite producers. They don't make beast
as soundness, robotic. Do you ever wonder
maybe if you try to make a beat and you're like, man, why does it
sounds so robotic? It doesn't sound like
the stuff I hear on the radio or my
favorite produces. That's because a lot of them are either
recording their drums live or they're pushing certain
sounds off of the grid. Now think of the grid if
we go here to the playlist as these long black lines
that are going down. This sound is snapping
to all those grids, which basically ensures that it's quantized or
in other words, that it's all on time
according to the grid. But that's not the way
human beings play. And that's not the way
that you get swinging your drums or make your
drum sound more natural. And the reason why these drum sounds so robotic
right now is because we have everything according
to this pattern grid. That being said, this time section in the
channel settings allows you to push them off
the grid ever so gingerly. So now let's just listen to
this when it's on the grid. Actually go to the
highest toolbars. I want you to hear how it
sounds with everything else. Now we're gonna
take the shift up. Now the reason why it starts
sounding off is because all these other sounds are
now straight to the grid. And of course you can go
to any of these sounds, do the same thing in the miscellaneous functions and just shifted off of the grid. This is going to be important, especially if you do
like a lo-fi hip hop sound and really even trapped, because a lot of trapped
is off of the grid, even if you can't tell it all
sounds like it's on beat, but please believe it's
off the grid and it doesn't sound robotic and
methods for a reason. So another cool function
here in a channel settings and the miscellaneous
functions is the fact that you can add an echo delay right here within the
channel without having to assign it to a mixer. The way that you
do that go here to the echo delay slash
fat mode section. Go to this drop-down menu and click on Classic
or ping-pong. Ping-pong basically
is when you add an echo that's going
from left to right, panning, the classic is basically just a repeat of whatever sound that
you put down there. Now we're using a clap and
we're going to echo this club. Now immediately you
start seeing some of the settings start to
get effected by it. The feedback is basically how much of the clap that
you're hearing in the echo, how aloud you're
hearing the echo, and then it has a
presetting here. We can mess around with
that as we go down here, you'll see that there's
a number for how many echoes you're actually
going to have on that clap. Next is you're panning
where you want those echoes that pantsuit
to the left or the right. Here you have your
delay modulation and you delay modulation
y in x basically. So you can see that that affects different frequencies as
you go along with it. You can change the pitch
of your actual echoes. And the last thing is you
can change the time of when that echo actually is
placed after your sound. A lot of this is gonna
make a lot more sense as I play this loop
and you start to hear how it gets affected by me messing around with these
knobs, let's play it. And it gives you a preview
appear of what you're manipulating and what
number you're on right now. So right now it's telling you
that this echo was falling about a millisecond after. Now you can see how
that's going to add a little bit more character to your beats by having this maybe underneath
one of your drums. See how that adds a
lot of character. Now the last thing I
want to show you is the ping-pong feature in here. This is going to
basically bounce the echoes from left to right. Seems simple enough, right? Cool. One more feature I want
to show you actually hear and I don't really
use this too often, but maybe some of you are
wondering what this does, but here you have
a reverse feature, which obviously reverses or maybe you didn't want
know what it is, but you always want
to know how to do it. Well, if you click
on that, listen, what does reverses
the sound entirely? Bone. Now sometimes when
you load your sounds in is going to come
with loop points. Now none of my drums
do thankfully, but if they do is click
off of the loop points. And what happens is that
you'll put a snare in there and just keep
repeating endlessly. And I'll just be the
most annoying thing that you're trying to put
your loop together. But that's how you basically
mess around with it. Now, now I'm jumping
all over the place. But one last thing
and the channel settings that I want you to see, I don't really use
this too often, but maybe you may
want to use it, especially for melodies are
even for maybe your claps. I'm going to show you
how this can really give you some interesting,
interesting sounds. Now, the arpeggiator, if you've never even
heard that term, is basically when
you press one key, and then after that it activates multiple keys in
different octaves, right? So let me show you what
this sounds like if we just mute the shadow. Okay, Here you can
arpeggiate it up, arpeggiated down the octaves. Here is an arpeggiator
direction going up, down as a bounce. Right here is another
arpeggiator direction. Here, just a random
arpeggiator direction. In the range section, you basically can determine how many of these octaves that it's going to be affected after
it first is triggered. Here you can determine how
many times it repeats. But like I said,
it'll make more sense when I actually play this. Which is the timing of it, the gating of it, slide on it. But like I said, this
is probably more so for experimental producers. But here's what I suggest
as we start to move on to the section B of this
particular chapter, Have fun. There's no rules to this. They say, Oh, you can't use
the arpeggiator on the class. What are you doing? Don't
worry about that. Half fun. I'm guaranteeing you're
going to find some stuff that a lot of producers would
never even think to use. And literally those
elements will become a part of your
sound. Experiment. Have fun.
5. Understanding The Piano Roll: Music producers, welcome
to Chapter three Section be understanding
the piano roll now, what is the piano roll? The piano roll is
where you're going to start transitioning to from these pattern blocks when you want to get
outside the box of only putting your kicks in your snares just on
the one and the 234. There's a lot of different
measurements within this particular space
between the kick and snare that you're able
to really manipulate, but you can only manipulate
those in the piano roll. Let me show you what
I'm talking about. For instance, this kick, although you only see 12345 and then it's the
next measurement. There are little subsections in here that you can
push this kick too, in case you want to do some
really interesting rhythms or even kick roles, we're gonna talk about that
more so on the high hats. But let me show you
really quick by going up here to the main snap. This is basically going to change these grids
so that you're able to put your sounds
and more specific places. We can start at the 1 third. Now see how the grid changes. Now you can put the kick where you couldn't put it before. We can go to 106. See how that changes
the rhythm of things. But we're basically
going to start off with the high hats to introduce
you to the piano roll because I'm gonna show you
something really cool like the hi-hat roles that you
hear on a lot of trap beats. I'm gonna show you
how to do that, but if you want to know why certain beats
just sound different than how they sound on the actual pattern grid
or the pattern blocks. It's because of the piano roll or some kind of function that gives you more freedom of the timing that you're
gonna put your kicks, snares high at some whatever anti-Semites you
putting in there, that being said, let's play this out and it's actually mute this. I'm going to
right-click, solo it. Right-click piano roll. Let me give you a little bit
of a tour of what you're looking at once you
take that instrument, that channel into
the Piano Roll, going from left to right, there's a drop-down menu
for the piano roll options. There's many
different things here that we're going
to actually cover. But the File option has an
open score option where maybe you may save us
particular pattern you want to import it into
this particular pattern. Like I see a lot of
producers do that what hi-hat roles or maybe they do collaborations and they
want to use it as a template. This is great to put that there. You can put your midi files, individual midi
files within here. You can even export
this as a score sheet in case you want somebody that's reading traditional music, There's an edit function
that allows you to transpose your notes up
two different octaves. One octave up or
one octave down. We'll talk about that a little
bit later because I have some fast keys that
I helped you even more with that tool options that allow you to basically do
a few different things. I don't really use
the riff machine, don't use a quick legato
or the articulate. I really use the quick quantize, the Quick want I start times and the quantize more so the
quantized at anything else. What this does is if
you say, for instance, recorded this loop
and we're gonna go to the non-function so we can
just put stuff off the grids. Say for instance, you have these high head's going like this. Now you see that kind
of sounds off timing. Go back to line, go to the drop-down menu, go to Tools, and go to quantize. Now that's going
to make sure that that particular sound that
you recorded is on a grid. Peace. See how they
automatically did that. You could change the
start time of it, could change the
sensitivity of it, and then press except next thing we're gonna pay
attention until when the tool options is that
you can do a Quick Shop. Now in order to
manipulate these sounds, you basically want to hover
over these sounds like this. And then you see that
arrow goes side-to-side. That's when you can start
manipulating it left or right. You can do what manually. Or if you push Control
a and Control L, it'll stretch all
your sounds out. And then if you want
to change a sound, you basically take
the right side. You've got to wait
until his pencil tool gets into that
side-by-side arrow and then you just drag it left. Now, how much you
can drag it are, what it snaps to is
according to this, once again, your main snap. 1 fourth, have a little
bit more control over how much I want to have these high hats
basically be separated. That's one way to actually do your hi-hat roles.
As you can see. We're going to get
to that in a second. Now the Tools menu, you have also your arpeggiated, which allows you to do kind of what we were
talking about before. Arpeggiate these notes. We're not gonna do that here. Back to the tools. You have a strum option and
this is more sulfur light. When you're playing chords, you're able to really have
like a humanized cord that drums or simulates what it feels like to strum a chord. It comes in really handy. The only other thing that
I kind of mess around with here is the Flip option, which allows me to basically
flip my entire loop around. Sometimes I'd use that for
pianos whenever I want to do the reverse Drake
effect or the 40 effect, that's what I use to
reverse my sounds. But we're not gonna
get into that. It's more intermediate type of information that being said, let's go down here to the stamp. Now we're gonna get into this when it comes
to the melody. Now something I want to draw your attention to that
is really helpful to me, is go to helpers. And here you see that it
tells you like you can put your scale highlights, you can put your note
grid highlights. I really need to have this
ghost channel function on. Now the reason why
you want to turn that on, Let's go back to it. Because when you start putting
these sounds together, what you're going
to notice is this. Say for instance, I'm on
this eight away, right here. Say for instance,
I push Control a, and I drag these
notes all the way up. It's showing me that the
rest of the instruments within this pattern are
actually on the key of C, which you want to
make sure that you do is that you look at these ghosts notes to give you hints on where your a
to waste need to go, especially when you want them to kind of go along
with your melody. This is gonna be
very important to have this ghost note feature on moving on, snap. This is another way
that you can snap just this particular
piano roll like you don't have to mess around
with the main snap that affects the entire bead. You can actually do those individually if you
prefer to do it that way. Here you have a group
option that allows you to group certain
notes together. So say for instance, we did like these
two notes together. You can go here, got a group, and you can group
those together. So now no matter where you
move one individual one, we're using this
pencil or draw tool. The always go together. Let's move out of
the Ada weights and I'm going to continue this tore here
through the hi-hats. Now that being said, I want that to select went to the group. There's a zone feature. You
don't really need that, especially if you're
using your mouse. Now here you're gonna see some other tools
that you can use to manipulate these blocks now showed you how to drag those, but there's a few different
tools that allow you to manipulate this even more. So this tool right here
is called the Paint Tool. Sai, for instance, she
didn't want to put these individual sounds
one-by-one like this. What you want to do is right-click drag across
that to delete it. Use the paint tool. And something that I get
in the habit of doing is I get to basically
click on one of these notes and that's going
to now predetermined how long the next note that I put down is going to
be checking out, boom, it's copying this one. Now if I click on this, it's copying this one
using the paint tool. I can drag this all across. Long as I hold it
down on the right, left-click or excuse
me, the left clicker. It'll always follow it through. Next you have a delete
function that basically gives you this mouse with the circle with a slash going through it. And you can basically
delete notes. You don't have to do
that as long as you go back to the pencil tool and you right-click and drag over whatever you'd
want to delete. And once again, I'm
pushing Control Alt Z to bring those hi-hats back. The next thing you're able
to mute individual sounds. If you don't want to hear them, say you don't want to
quite delete them, you can at least mute them.
Now we're not gonna do that. We're actually going
to Control Alt Z. Take that off. The next
one is a slicer tool. Now say for instance,
I want to pinpoint where exactly like a surge and I want to cut this particular
loop or this note, I can do it just like that. Now I'm cutting all
of these notes. The next is a select option
that basically allows you to select over a
wide range of notes. Now, we're zoomed in right now. But if you want to zoom out, basically what you
want to deal with, since we're in a zoomed in mode is go up here to this section. Hold down your left clicker. Go down to make the
note look smaller, go up to make it look bigger. Now if you want to
expand this out so that you can see more of
the entire loop. Just drag that bar at the top, holding down the left clicker. And the next is a playback, which allows you to sort of
playback individual sounds. Now, I don't use
these too often, but I just want you
to know what you're looking at it since we're
already in piano mole, this allows us to
basically go here. And now we're able to
manipulate sounds immediately. Go straight to their
piano roll, I should say. Now we've got the snare hi-hat. Go back to the hi-hats. Boom, here we are again. Typically when you're messing around with sounds
in the piano roll, you're gonna stay here on the draw feature of the
pencil that you see here. The next thing we want
to draw your attention to is a section down here, which is really your
target control. It allows you to
change the velocity, the panning, the pitch of these individual sounds
and a few other options. But you can change those right here within this
particular channel. And I'm going to show you
what that looks like. So if you right-click here, this is what you basically
determine what you want these notes to
basically manipulate. So right now we're
manipulating the velocity, which is going to
change the volume. So say for instance, I
have these high hats here. Actually take this a two
weight off, alternate those. See how that changes
the swaying. And really the way that
you perceive this loop, literally just changing
the velocity does that. So it was important to do that specifically with high heads. The next thing we can
change here is the pan. Dragging that up basically
makes it go a 100% right. Dragging it down makes
it go a 100% left. So this is what it would sound like if we kinda alternate. Now see how you can have
a little bit more control over the way that people
hear your sounds. The last thing I want
to show you here is the note fine pitch. This allows you to
literally change the pitch of these high hats that we're working on currently. The way that I'm able to
manipulate so many at a time is that I hold down the
left-click or on the mouse. And here it goes. Now just imagine what you
can do when you get a little bit creative with those
kind of features. I just want to make sure you
knew that you can do that. Now since we've been talking
about how I had roles, Let's get straight to it and let's not waste
any more time. How do I add high head roles? Well, two things you want
to want to pay attention to is where you're actually going to put
your roles in it. I like to kind of
beat box my beats and just really imagine where I
would put it high head roll. I typically like
to put them before my snares because I feel like it moves the momentum of the beat and it just kinda
gives it a different effect. I'll show you what
I mean right now. So let's just kind of
Malthus often want to turn this down so
you can hear me. Terrible beat boxing. I see. I did a role here. I think I did a role right here. Now the way that we're
going to manipulate these high head roles, we got to basically mess around
here with the main snap. Keep in mind, there's many types of roles
as faster roles, slower roles, almost roles that feel like
they're out of beat, but they're still in the pocket. There's so many different roles, but we're going to determine those by using this main snap. I'm gonna show you
a quick little secret or not even a Seeger, but a quick function that is going to allow you to do this super easy and manipulate your roles as your
beat boxing with them. The way that I do this is
basically I changed the grid. And once I changed the grid, I use an option called control. You will basically
auto chop my sounds. The auto chop them according to what I make this main snap. So say for instance
I do a 1 third step. It's going to chop it there. Now say for instance, I
do like a 1 third step. Let's try that. So like I say, I once again we highlight it
1 third step, control you. That sounds decent. I kinda want a faster one. So let's mess with one-forth and see what that sounds like. Highlight it. Control you. Sounds decent. I want a faster one though, push Control Z to get
rid of that 106th step, let's try that and it's
gonna be really fast. The subtle differences are
kind of hard to make out. But the more you
make your beast, the more you're
going to recognize the difference
between the steps. But it's up to you how
you want to do that. That's pretty much free range. Something I like to do
since we're already here in the piano roll option and I
showed you how to do this. Take the velocity. And instead of having all of those kind of
duplicating velocity, I'll use his first
place as a anchor. This first node is an anchor. Hold down my right clicker, and then I'll drag down
to create a ladder. Listen to what this does. You can even use it the
opposite direction. Use last note as the last node, at least in this
particular selection. And it's going to creep up. Now watch super dope right? Now, imagine when
you start adding some manipulation
of the panning, manipulation of the pitch, you can do some pretty
creative things. But I wanted to make sure
that I showed you what this piano roll is
capable of doing. Now, something else
I want to show you, if you push Control a and say you don't like the note that these particular
high hats are. And you can drag them up
and down manually notes and note by pushing Control a
or using a select tool. And then just dragging them with your left clicker up and down. Let's go back to the
snap online because if you notice when we
had it, so once 106, we had a little bit
too much control and I can push things a little bit crazy off the grid and maybe you
don't want to do that. Now if you wanted to take
all these notes and just automatically take them down and shift them down an octave. All you have to do is push
Control and down are up. So he pushed control down, it takes it down a whole octave. Who push Control up. It turns it back to
its original position. We go control up again. Boom, and that's how
you take it up and down the octave super-fast, something I want to
draw your attention to. I don't know why it is in the piano roll that
anytime you push Control a and you try to stretch all that he
sounds Control a, Control L to stretch
them out for some reason as the last note seems to
be the last guy left out. Well, the way that you
replace that and make it like the other so that it extends to the end of this particular loop. Is you right-click to delete it. Click on his last note, which is obviously the
same length here as it is to end the note,
then click here. Super easy. Or you
can add a whole, another key exit out of here. Actually return this. Or you can return this back
to its original position. Take a keyguard here. Highlight this. Push Control L. At
least you know, it's going to go, you got
to delete that though. It's going to go to
the end of that node. So that's two different
ways to make sure that that little bug or whatever that issue is actually ends
on the piano roll loop. Then it goes to the beginning
of that being said, let me manipulate a
drum loop for you from scratch so you're
able to see how I kind of mess around with
these things because the sound as it is already
a little bit annoying. And I'm actually going to change some of the sounds
that I'm showing you. I'm going to run through some of the things that I showed you. For instance, to this kick. I'm going to rename it kick. I'm going to take this snare. I'll actually were install more. That's why you get that delay. So it's got a pattern mode. I'd say that and actually add a little bit of role to here. I want to highlight
this and copy it over. I just basically use
that select tool. Then hold down the Shift key and I can drag
over a copy of it. Now say for instance, I want to complete this loop out and copy over the same pattern. I'll select all these
and just drag this over. Holding down the Shift G. And then just dragging over
with the left liger. Come back to the channel
options and I kinda want to swim this drum off
just a little bit. Something that's
pretty cool when it comes to the hi-hat roles. And you get this in
a lot of the beats is that she will
take this section. We got to go to 1 third beat. Take any section
usually to in section. You're able to push control. You. Actually, we're not going
to hear that with this. We got to actually
take one of these out, extend that, are actually highlight it and push Control L. Now let's push Control U. Now watch this a dust sort of a stutter effect that almost
makes it feel like you slew, you slow down the beat. I'm pretty sure you've
heard that effect before. We can even take one of
these and get more creative. Mess around with the
pitch a little bit. Now as you notice, we need to shape this as well. There's a lot of sounds you're
going to end up shaping depending on where you're
getting your samples from. This high hat has a
little bit of air at the end w1 and get
rid of so that we get crispier high hats. So we take the attack up again. This is good because we're reviewing things that are really important as you move forward. Now the ulnar reason
we're able to control that eight
await once again with so much precision
is because we went into this Ada weight
and we shaped it very similar to how we did this when we did this a little
bit different because we can get tighter on the sounds since
there's not a lot, but we want to actually hold this high hat is a
really quick sound. The A2A2 still has a
lot of meat on it. And you want to
basically make this particular sounds stretch
as much as you can. So you get as much of
the Ada weight as you possibly want because
certain notes are gonna be this long. Are they
going to be this long? But at least you're
the one that's able to manipulate the sound. And that is what I wanted to
get accomplished by using a different things
that you can do by literally going in here
and sending your sounds. So the piano roll, something
I like to do sometimes. Take this particular snare and I even do like a
little bit of a role here. Let's take a roll. Control. You the least somebody. But that's how you get
those snare type of roles. Take this back to 1 fourth. You get the pitcher though, there's so many ways to
manipulate your sounds. And when you start to dig
deeper into the piano roll.
6. How To Create Melodies: Music reduces. Welcome to
Section C of Chapter three, which is learning how to
create your own melodies. Now this is a section in which we're going to add
some melodies. So this drum loop that
we already put down, we're gonna change the drum
loop around a little bit. For starters, we need
to actually take these Ada weights out
because those actually carry a key that is going to go against whatever
melody that we play. So in order to get rid
of this eight away, or we got to do is make
sure that we select this individual channel
push Control and then x, that takes the sound out. So now all we're left with is this same drum loop
from the last time. We may change it around
to fit the melody even more or even just to kind
of mess around with it. This kind of a normal
thing as you're working around and working on your beats and just
change things around. And some things don't always stay to the very
end of the beat. So stay flexible. What's your sounds
now the instrument that we're gonna use to build melodies width is going
to be the FL keys. Then also we're going to add citrus that may or may not
have come with Cher version, especially if you got the, I guess the $99 version. Maybe it did not
come with that one, but even so there's
other ones like security that has a lot of
great instruments in there. And there's another
one called auto gun, which is absolutely ridiculous. There's like a gazillion
sounds altogether here. Actually we're going
to use our gun and then we're going to build
some chords around that. This drum loop is pretty dope. I'm going to look
for something that's sort of a short release. We're going to use this one
called the wide ambiance. We're going to turn
the volume down a little bit, play
the drum loop. I'm going to just come up with a melody listening to the loop. Why not? In order to lay down that
melody that we just did, we need to first stop
it and make sure that the song position
is at the beginning, which had usually
does that by default, wouldn't just in case
it doesn't say we stop here and it stops there. We can always drag that. We've got to make sure
that positioning is there. Now we're going to arm this particular channel rack to be recorded on
the way we do that, Click here to the record button. Once you click here,
it's going to ask you what kind of thing would
you like to record, which likes to
record into Edison, which is the program
that I showed you where I found the pitch
of that ate away. Do you want to record
into the playlist, which is obviously where
we arranged the songs, notes and automation,
which is going to record directly on this channel,
record everything. We're going to record
notes and automation here and I'm going to show
you what that's going to do. We're going to use the
three-to-one countdown like I showed you before. And then we're going
to actually push play. Then let's go ahead and
see we got the right keys. Now I'm using my midi keyboard, but if you need,
so keep in mind, you can always go
here to the piano, roll and pencil these
in if you need to. Do it according to time. Now I'm going to
actually do this so that you can see it in live mode. Here's where that whole
latency conversation we had earlier is going
to come into play. So let's get a little countdown
and see what that does. To one. We've messed up. So let's push Control Z, and it sends it back
to the beginning of the loop. Let's try it again. But let's see what
we have so far. And then we can actually just copy this over for not gonna do that mini crazy variations.
Here's what we record it. Take it off of three to one and take it
off with a record. As you can tell
that it's not quite perfect because this
one is out of place. Now we can manually
move it over. That's pretty much on a grid, so we did a good job of
recording it in beep. But even on this section, you can tell certain things are pushed in the
wrong direction. But if we do, we can take this, delete it. We can actually copy this over. Push control, a. Copy this over. As you can see, depending
on how long we make this, this determines actually how much that melody
is going to play out. But I liked the original
rhythm we have for this. That's how we put
our melody together. Now say for instance, we recorded it and let's actually try to record
this off beans. We're going to go ahead and
delete this three-to-one, do a record melts and
automation, let account down. We're just going to
play a bunch of keys. Just want to show you what this looks like when it's off B. Now look, these notes are
pushed all over the place, but they're so close to the
grid that if I actually go to snap line and
I push Control a, look what happens
once I expand this out and push Control Q quantize everything
is on the grid. Obviously played a
little crazy there, but that at least shows you
what the quantization can do. Now we added that melody and I just wanted to show
you how to record a melody. I don't really like
that too much, but I do like the FL Studio keys because although they're not the greatest piano
keys in a world, they're great to start
with just so you get an idea of how to
put melodies down. Now say for instance, I wanted to put
together some chords. All right, so these chords are all over the
place right now. And some of them are
like some of Madonna. We're just kinda
freestanding right now. But first things first, let's actually control a
push these to the beginning. Now find the grid. There were on the snap, which is line which control Q. Now, look what we have. Now Southern that you
saw that I did right now is that when you
highlight all the chords, you can actually drag
them as such to there's certain keys they kind
of overlap one another. If I want to change
that or push Control L, it'll automatically
shorten these to where they'll stop at
the next nearest note. I actually didn't want
to put that note there. So let's go ahead and do. Now if you want to take
certain notes in either invert them or take them
to a higher octave. You put control
up, control down. It'll take it down a
note, boom, to invert it. Now you can see how
this can be pretty fun to mess around with. We're gonna make
it even more fun. And especially if you're not someone that
plays the piano, like I'm not a
traditional piano player. I just kinda know what to
play by ear sometimes. But if I wanted to
add some chords, pre-made cores to kind of
help me learn music theory. And even at courts to this, a lot have to do is go up here
to this piano roll option, which is the stamp option. Here, what you're going
to see is that you have all these different
cores that you can use. Now say for instance,
I wanted to see what a minor seventh
would sound like. Here's how it measures
it out for me. Now, usually this
will repeat knocking, actually try out
other seven chords, minor chords if I want. But it's selected here
on the only one option. Sake the only one option off. Go back down some minor seventh. Let's see what happens if
we do a variation on this. But generally you're
going to kind of go from either minor or major chords. When you put together
that he's beats. For a major, we're going
to do a major seventh. And let's see how
they kind of changes this chord that we came up with. This output here. Cns sounds. You can mess around with it. I just wanted to show
you what the chords and melodies would look like. So let's go to soccer
and let's see what kind of instruments we can actually
mess around with here, I want to find a lead
instrument that I'll let me go to Record. Cool, pretty simplistic. I'm gonna show you how it
basically use this and the ghost notes to build chords around this simplistic lead. I liked that. Let's go ahead
and drag that over repeated. Something that's interesting
with the melodies. Like say you want to kind of get a little bit more
experimental and kind of make sure
these things don't go adjust according to the grid. Slide that bad boy
over a little bit, see how that changes
your perception of it. See how it sounds
a little bit off beat because you can
visually see it. The listener is not
going to hear that. That is going to think
like, Oh, that's a pretty dope method that
you've got go over that beat. Not dramatically shifted at over most produces what kind of shifted ever so off the
grid, which is right here. But what you got to
keep in mind is that, that is human timing. Human timing is going
to do that anyways. Sake, that will copy
it and I'm gonna show you how to build chords around that since we're already here in creating
your own melody. So now we have that
across the board. Let's go down here to our keys. Now we know basically
that this note is a note that we can kind of
mess around with to give us a guide on how we're going
to add a quarter round this. Now typically I like to
start off with whatever the root note of this
particular loop is. Now you can figure that out
by playing your keys up and down and seeing what key can
you play the entire loop. And it doesn't sound
like it's out of qi. So let's start from
the top and just see what that sounds like. Now that sounds the
best down here. So we're gonna start
our code here. And as you can see,
because we didn't take the option off for
those major chords, we can actually create a
major chord out of this. So check it out. Not unlike
the way that sounds. Let's go to a minor. Let me do a minor
seventh one night or just a minor chord. Let's just do that. Boom,
we're gonna delete this. I think we should go to a major. I'm using this note right here as sort of the guide
through it. So check it out. Probably going to end
up on a major again. Something we may do is actually ungroup these
in a way that you do it, I believe is Alt G. Now we
should be able to take those. Yes, there you go. Let's take this note. Since this really is the
note that we're going to use to base our Ada
weights off of. And let's take it down an
octave, even deeper than that. Now why is this important? Because basically now as we start to put our eight
awaits over this beat, I want to take
these high hats off just so you can
hear it even more. We're gonna go to
the piano roll, and now we're going to base our Ada weights off of
this particular note, which is to me the bass note
in this particular beat. Now we can see
that that is an a. We're going to go up. Right now. The Ada weights are
way too low for us to really get an
appreciation for these. We do not want to make a
chord for the ATO way. So the way you take this
off is click here on that stamp option
and then click none. So now we're going to
start here. We know that this note goes
all the way across. We know we can vary it because
pretty much anything in this chord we can use as a two way to slide
up and down from. But see how that
feels like it makes the track warmer
because that ate away. Now we're going to actually
take this instrument off. Because I want you to hear this eight away and I
want to show you how to do 808 slides
just really quick. Since that really does kind
of accentuate your melodies. If we use this as a guy. Now, I put those eight
awaits specifically there so that you can hear sort of how the roles are
going to happen. But let's go ahead and take
this to a higher octave. That's not actually
gliding right now. We're just going between
notes and it's sounding small because we've already sort
of envelope that ate away. Now to make that a glider, we're actually going to
take this note down here. We're going to
double-click this, press the slide feature and this is gonna
take it up watch. All right, so that's
one kind of slide, other slides you can do. Take this down on octave
to the top again. Actually going
another artist you can really hear with this stuff. That's pretty much how you
add melodies tool your beat. I think the last thing that I want to show you
that may come in handy is that you'll take
this sound right here, control C. And you can copy
over this pattern into this other instrument in case
you want to kind of give it a complimentary melody
to go along with it. Now that sounds like some that you find on the pizza here, but I just wanted to put something together
really fast for you so you can understand exactly
what you're looking at and show you just how easy
it is to get started. That's pretty much it. That's
how you add your melodies to your channel rack or
your particular pattern.
7. Learning How To Sample: It was gone on. Music producers, welcome to Section
D of Chapter three. Section D, we're going
to cover pretty much the basics of sampling
within FL Studio. Now when I first
started, I was really a sample base producer and
something I loved about being a sample-based producer
in the beginning and use an FL Studio was that they make it so easy for you to be able to sample within FL Studio, and that hasn't changed
very much in FL Studio 20. So what we're gonna
be using to sample is a plugin that comes with the
FL Studio called FL slicer. Few things I want you
to get familiar with. This auto dump feature
basically allows you to, once you drag in your sample, because you drag your samples
directly onto this plugin, you're going to
get the option to have basically your sample be divided amongst all
these different bars according to whatever
BPM that you have. Right now we've got
a pretty fast BP on. Let's go back down to
like a student 90. This is going to
change because we're going to basically adjust our beat to the sample or the sound that we get
from a sample that's one. The second is auto fit. Now this option
basically auto fits the sample according to your
beat time, your beat tempo. The next is D click, which basically
removes any kind of clicking noises that are
between sample chops. If you've never sampled before, what you've got to understand
is that it takes a lot of good work to really make
a sample sounds smooth. I think a lot of this
stuff is gonna make a lot more sense as we go
along and I add a sample. But I wanted to give
you the basics first. Down here, you have an animate feature that
basically allows you to see the animation of the sample chops as
we go through here, your sample is going
to be right here in the sample preview menu. The next section is played in. And that's going to
make a lot more sense once we have the sample here. But basically, you'll
be able to hold down a note and if you don't
press that Plato in button, you're only going to have a
singular chop of a sample. But if you push that play to and you'll be able to play
the sample all the way to the end simply by holding down a key into the sample is
over with. Next section. This is your pitch shift. This allows you to change
the pitch of your sample. Next is the fit are stretched slices length feature which allows you to
basically slow down. You can speed it up,
going down and slow down your symbol table by going
up of the actual sample. Here your slices have a fade-in feature and then also
a fade-out feature. Down here you have an auto
slice feature that basically goes according to
your low frequencies and your high frequencies. Let's go ahead and
drag a sample. And just so you can see
how this thing works. As you can see, this one's
an 85 BPM and we're in 90s, we're going to have
to adjust that. Let's drag that over in here. Now already you
starting to see some of the issues with leaving
the auto dump feature. Look what it did
in the piano roll. It's separated almost
every single shot. Its own section. Issue with that is that you're
hearing clipping and that's even with
the D click on. So you want to go ahead
and get rid of that? What I would do first
of all is go click on this box and then go to Control
X. Get rid of the sample. Now let's take the
auto dump off. I would even take
the auto fit off. And then what we're gonna do is my first step is I'll take
the threshold on the, the low auto slicer
all the way down. And I'll take the high
right about here. Now you have some sample chops that have already been
provided for you. We can even trigger those
from a midi keyboard. Just like I showed you before. We also have the option
of changing the pitch. So let's change it. Dance with about $0.400 and
see what that sounds like. Your sample chops pretty
much start on your C, C key. Then they go pretty much every half-note up goes
to another chat. And I'm still hearing
some choppy little clips in the beginning of the sample. Maybe you can hear
it if I do this. Like ever sold, subtle
pop that's there. So we want to do is slide this fade-in feature
a little bit. Now we got rid of the pop. Cool. Not only like it down here, sounds really dark,
so let's try. If we go up, you don't
have to change the pitch, but it's one way
to manipulate it. Let's go ahead and lay down some basic drum
SWACH and basically show you how you can have so much fun putting
together his puzzle. Right now the tempo
is right there. We can kind of play around
with the metronome and see. Not because we know the
sample is already too slow, because the sample is at 85 BPM and the actual session is at 90. So this sample as it is, is already too slow. Let's mess around with
the timing right here. And the way you do
that is to ever so gently shifted down. What I want you to do
is pay attention to the top-left corner where it has the help guy and
it's showing you by the percentage how much we're
actually speeding this up. Okay, So what's
at 95% right now, which is obviously the threshold is at 100%, which is normal. But if we go down, it speeds up the sample. So say for instance, we didn't want to
chop it at all. We just want to kind of
lay it out by itself. Super-easy. Now what happened? Stopped because we don't have
a plate to in right now, we'll just play that
first particular chop. So let's go ahead
and play to win. We can drag this
out to the answer. We can hear the rest
of the samples. Some more scenarios. That's cool, but it still sounds
a little bit off. Is a section here that sounds
a little bit too slow. Let's speed it up just a little bit because
we're almost there. Now see how just
laying that out. I mean, it's pretty
dealt at Sounds good, but you want to have a little bit more personal
lies approach to this are personalized approach to this
because there's probably a lot of people using these particular sample
just like any other sample. And you want to make this yours. This is where you start
slicing up the sample so that it sounds like something that somebody who'd be like
our economy recognizer, but I don't, it's because you manipulated it and
made it your own. Now some of the ways
that we can do that, obviously we changed
the pitch already, but now let's start messing around with these puzzle pieces. And what I want you to do, think of these notes. It's a little bit
of mathematics, but think of these notes
that you usually want to cut them up between 1s or 2s. Like for instance,
there's two notes here and it's one shot. Let's take it off
this play two notes. You generally want
to separate it between either one or two. You don't want to have three
because sometimes that can be a weird little situation. And you want to deal
really with even numbers as your sampling and
shopping in the beginning, at least as you
get more advanced, you'll start to find
really don't techniques that you can mess around with. But that being said, how
do you chop this one up? Say if you want to make
an in-situ notes, simple. See how we click on this and it shows you a different
preview up here. Click on the notes that you
want to separate and shop. Go up here to this guide. Get as close as you can to
the beginning of this sample. Right-click split. Now we separated those sounds. Now if you want to
get rid of that shop, basically you need to go to
the second shot where it, where you basically
chopped it at. Then what you want to
do is remove slice. Now we're back to
our original place. Now with that said, let's go ahead and
make this puzzle piece makes some sense. Basically you can preview these samples by just going over here and clicking
over the top of them to see what you're
going to play next. If you want to get an
even crazier control over these chops. I mean, this is pretty
much a great control because it does a lot of
the chopping work for you. But if you're a little
bit more advanced, you try to figure out how to get more control over this
particular sample. Here's what we can do
if we go back here to this slice folder, excuse me, to splice folder, and we
find this melodic loop, which is an 85. Boom, there goes. You basically drag that
to an empty channel. Click on it to get to
the channel properties. Right-click on a sample
preview and go to Edit. This is going to take you to another part of FL
Studio 20 called Edison. And Edison you can
use your scrub wheel. So basically zoom in
on different parts. So say if you have a
full song and you don't want to pretty much
add that to Edison, which are not
Edison Batu slicer, which I don't suggest you
putting a whole song in here. Say you want to sample
an entire song. This is where you
want to come to. So we're going to even use a different sample
just so you can see what we can do with this. I like this one. So actually pushed up on this and we're going
to use the controls in here. You press play. So say for instance, you liked maybe just this
placement right here. You basically hold down on
the left-click and drag out. You just drag this right
side are your left side. So however you want it to beats where it
makes a claim loop. Generally when I'm
looping around sounds, I like to get it to where the waveform in
the very beginning of the loop is here sort
of like in the zeros zone. Not when it's like
dipping are going up. I like to get it right here. What's pretty close to being a zeros zone because
it avoids the clipping. So I like to hear a beat
of my head sometimes I do. Now you see it stopped, honest, that's because we haven't looked around at a looping around. Go ahead and press a loop. I see how annoying
areas when we zoom in, it actually starts
relevant it for us. We can't see it in our view. Go down here and
go to scrolls to reach playback marker that stops it from doing
all that scrolling. If you click off a bit. Once again, let's
look for 0 marker. If we think we got the position we like right
there, no clipping. Now once we find the
chop that we like, we can do a few
different things. Now say you want to steal, manipulate this within Edison. There's a lot of features
in here that I don't necessarily use when I'm
chopping up samples. But if you want to see more, you want to right-click here. You can see I have a file menu, you have a Format menu,
you have an edit. Generally all I use in
these particular tools, or maybe the trim, which allows me to just trim that sample and get rid of
the excess sounds around it. Or right-click again. I can reverse the sample. Which can definitely make
this more interesting. After you get this,
if you want to drag this over into
your channel rack, all you gotta do push Control a to select the entire loop
that you just created. And go up here to
this drag feature. This drag feature will give the opportunity to just drag it. If you hold down, left-click right here to the
channel wreck now, exactly how you looked at one more feature that
I want to show you in case you're having
difficulty trying to find what key the sample is in. If you use this
little flag feature, you can detect the
pitch regions. Now it's telling you that
the actual loop itself, or this piano starts
in an A-sharp, then it goes to a D-sharp, then it goes to a D-sharp. Again. Keep in mind
these are estimates, but it's at least given you
a guide as you're trying to really play keys around it or add a baseline to your sample. This is how you're basically
going to use it as a guide.
8. Learning The FL Studio Mixer: Music producers, welcome
to Chapter four, also known as learning the
mixer in FL Studio 20. The mixer is going to be your best friend when it comes
to manipulating the sounds that you have created within
your particular pattern and making sure
that you can take those sounds to the next level. Now to access that you can
click on this button up here, which is the View Mixer. And this is what you're
going to be presented by. Now Let's go ahead and minimize this browser and checkout
exactly what we have here. So basically the way that
produces mixed their beats, especially in FL Studio, is to insert every
single instrument into one of these singular
inserts or the slots. I believe it goes
up to oh my God, I don't even know how
much it goes up to. I think it's 125. Please believe if you're
just starting out, you won't have a a 125 sounds that you're going to
need to mix it enhance. That's the beauty of having sounds that are very
similar to each other. So as these high hats
and maybe the crash, sometimes I actually
combine those together. And the reason why you're
separating those are not just to accentuate the sounds
and make them sound better. But if you get an
artist that wants to use your beat and they
want to wrap over it. Eventually they're
going to ask you for the stems or the track outs. These are the way
that track outs are generally created
within FL Studio. First part being
that you have to separate all the sounds. Now why would a rapper or an
engineer new truck routes? This is basically to ensure that they get the best mix possible. Perhaps you did some kind
of stylistic thing with the kicks and you kinda
pushed them up too loud. This is where an
engineer will go in and start to tweak things
to make it sound good, Really when it's around the vocals of a
rapper or a singer. Now keep in mind when you're producing your
gonna get better at doing that in complementing your beats for vocals
to be put on them. But when you're making a beat, a lot of produced,
not necessarily thinking about the
vocals on top of it. We're just trying to produce
the best product possible. Then that's where the
engineer comes in and starts to shift and mold our sounds so that it just sounds
complimentary to the recording artists over
that particular beat. That being said, there was a reason why I wanted
you to name all of your instruments because
it's going to make this process a lot
easier and lots faster. So there's two different
ways to go ahead and assign these
particular channels. One way, I should
say three ways. Actually. One way is to take an individual sound click
here on a select box, go to the insert that
you want to put it in. Let's actually start with the kid because I
like to put the kick of my first insert, then right-click it,
go to Channel Route. And then that's going to make sure that it's routed
to that channel. Same thing for the snare. Now use two different snare sounds for this particular beat. Mind you, this is
a different beast than the demo beat
that I showed earlier. I just wanted to make sure
I had a balance of sounds. So you can see how
you're going to assign these to the mixer
and how to mix them a bit. So I can assign these sounds
once again individually. And as a reason why I'm
not doing it right now, but go to channel routing and then route selected
channels to this trek. Another way that you can do it, which is pretty much
the easiest way, is to highlight our
DoubleClick actually to all of these green
boxes are highlighted. Then go to the mixer,
right-click here, and then go to channel
routing and route selected channel starting
from this trick. There you go. Not every
single instrument has now been routed down here. Now I liked so pretty
much put my kick at the one and this is
going to come in handy, especially when I
show you how to mix. Now if I want to move this kick over to be back in a slot one, all I have to do is push or Alt and then a left
directional button. And that pushes my kick there. I like to generally
have my snares on the same channel or separate if they're different
kinds of frequencies. Because sometimes you
have a snare that needs a little bit
better treatment. Because obviously this is
also what we're going to add EQs and reverb and all that good stuff that
we need for this beat. Now the third way
is to basically use this particular target
mixer track option, which allows you
to basically go to whatever channel
you can even see it being changed as we do this, you see how that's
going up and down. It's going according
to the number. Now this, take this back to the actual crash
which is right here. Cool. So what kinds of things
do you put on the mixer? It really depends on what
kind of beat you created. Let me actually play
this loop for you. Keep in mind and getting
ready to press it right now so it might
be a little bit loud. So 321, Here we go. Now every one of these sounds have now been separated
here to the mixer. And you can see as it plays, is playing in two
different places. It's playing where we assign this sound
and also the master, the master channel
is basically playing everything that's coming out of this particular
channel wreck. This master sound. You can literally manipulate every sound at the same time, which is very rare that you do that unless you're
applying a limiter, unless you're applying
some kind of E queuing special to
make room for vocals. But generally you're
not going to put so many effects on
this master channel. But as you move along here, what you going to find is that certain instruments of needs, certain types of treatment. Now, as I listened to this. Like with a kick is at but I want to make the
kick a little bit thump year being that it's
already assigned right here. I can basically add different
effects to make this kick stand out even more by going
to one of these slots. Now keep in mind the
order in which you put effects on these slots is
going to change the sound. It's pretty much a sound
effects chain as they call it. So if you click here, you got a parametric
to equalizer, which is pretty much
the most used equalizer for EQ in your KYC. Here's what you're gonna see. Go ahead and actually
settle this and the way that you solo it on
the Mixer Channel, same way that you do
it on the channel rag. Just right-click it.
Now the only thing that's gonna be coming
throw should be the kick. Something to keep in mind. And this is really just
a brief overview of this is that wherever
you see that orange, that's where the kick is pretty much kicking through the most. On that frequency. The frequencies are divided
into sub frequency, the base frequency, the low mid, the mid, the mid or high mid. And then pretty much the treble and the higher frequencies. Certain sounds just
live better in certain places and they don't actually make too
much of a sound. And the other frequency, Let's see what his kick has hit net. Pay attention to where you see
the most brightest orange. See right there. Little bit right
here. Usually when you're trying to make
the kickstand out, you want the most special parts of that kick or even
whatever sound you eat cueing to stand out and a sounds that are unnecessary
to be canceled out. I'm gonna show you some
low-pass and high-pass filters that are gonna help you do that. Now for this kick, I want to accentuate more of that
sort of base frequency. Okay, I see what it
sounds like without it. High effect, this making
a big difference. I like where that's at. Only thing is I don't want my kick to interfere
with my Ada weights. So one way that we can do
this is to basically go up here to this band which
represents this number one band. And then use your scrub wheel to basically go down until you find the high-pass filter. Then once you do that, what you going to want
to do is actually change the band order. Scroll mouse down to
steep six are steep. Eight, Let's go to steep six. Now we drag us a little bit. This ensures we're only getting sort of a little
bit of the base, not the sub frequency because
there's no sub in his kick. And especial parts
of the low man. Speaking of the
Ada weights sound, let's actually go
ahead and go to this. Open up the
parametric equalizer. See that most of this is live
in right here in the sub. We want to cancel this
out because there's not too much action
going on here. And let me show you what
happens when we put the low-pass filter on this. And then a steep, Let's do
a steep a for this one. Play it and watch what happens
when we drag this down. We get an all sub down. There's some special parts
that are kind of like made within this 808. But you want to make sure that the most special parts
of it are standing out. Play around with it, see
what sounds best to yield. Obviously, this is
not a mixing course, but I wanted to kind of
show you what the mixer is capable of doing to
individual sounds. So as we have that,
we can play these together in a way that
I generally makes them. I'm gonna show you when I do sort of a quick cook up at
the end of these lessons, is that I judged the
kick really airs. How I judge the
rest of the sounds. What I mean by that is how I mix these sounds are all
according to the kick. I want the kick to really be the most powerful thing
coming through on my mix. And then I use this
as a totem pole. If I'm listening to the kick. Before I actually
do this, I probably should explain
these features down here which I'm going to
affect first being the value, a term I've volume
all the way down. And then I gradually
turn it up and see what feels good according
to where this kick is at. Because if I'm happy
with this kick is at right now it's kind
of pushing over the 0. But say if I turn it
down and you can look in the left-hand corner
for how many decimals we're turning it
down. But three. That's at the 0. I want to start with
the eight away. Gradually start shifting this up like the way their sounds. So now next let's go ahead and start getting more of
the drums involved. Let's take the snare. Might even want to add a
parametric equalizer to, to the sphere to
get some more of the kind of high splashes
that are in the snare, some of the snap of that snare, writing activity or
something I don't want, I'm using a
parametric equalizer. I like to push these
notches all the way up so I know which one that
I'm actually affecting. Then turn it down as necessary. All right, Let's go
to the next snare. Next, let's go to the hi-hats tapers volume all the way down. Next to crash. Next the guitar. I like the sound of the guitar, but I kinda want to pan it more to the left in the way
that I can do that. I could do that in
a channel settings. Rob prefer to do
that on the mixer. How I do that is
basically dragged. This will left or right depending on where I
want it to be patient. We're going to go
left on this one. In a general rule of thumb
when it comes to painting, I like to put the more harsher
sounds in the left ear, the left panning or something
psychological about mixing, about putting harsher sounds
on the left ear because it can handle it better than
harsh sounds on the right ear. I can't exactly explain it. I just know that the way
that we perceive sounds, we're able to take
harsher sounds on our left ear than we
are on our right ear. So that being said, push some of those higher frequency
sounds to the left. And then of course control
divide you want at the same time. Next is piano. You can kind of see how
the process goes from here really is just
tweaking around the sounds and seeing which
you actually want to either cut the frequency off of
which you want to enhance. Now say for instance, this near already
has a lot of reverb. But say for instance, let's try another one, reverb. I actually pick some wet
sounds as they call it, safer. Instead you want to add some Raibert's that he's high heads. Sometimes people do
their producers do that. We would actually go here to the slot and then
goto reverb to. We can start with the presets. Just to give a little
bit more space. My best suggestion
when you come to doing this and adding extra
reverb and sounds like that, just have fun with it. Don't feel like
you're going to break anything like
worst-case scenario. You can just click
here and then just literally replacing got to delete, like it never happened. And then start from scratch. But go in here and half fun. Let's see how this can already start to create a
different effect. Now might add some reverb to this Vox sound just so you
can see what that looks like. There you have it.
One last thing I actually wanted to
show you up before we get out of this particular
lesson is that for pad sounds, some paths that you use, even with an FL Studio
carry low frequencies. And those sometimes
can make your track sound like they're clashing
with the Ada weights, Ryan, and the way that you
sort of cancel that out, same process I
showed you before, except that you're
canceling out or doing a low-pass filter, high-pass filter, excuse me, on this particular channel. So let's play this. If you want to be careful with pad sounds, because sometimes when
you push up on the highs, those can actually
interfere with the base frequencies to
what sort of a weird thing. But as you get along here and you start
working on more music, you'll see that certain
things just don't work. And that's when you need
to learn more mixing techniques or even just
experiment some more, maybe send it through a filter. Fl Studio comes with so many
great filters that allow you to really get away from
having these clashing issues. For instance, I'll go
to his love filter, that's an FL Studio. And then I'll send it through a high-pass filter
over the entire thing. Now see how that gives us an
entirely different field. Now imagine that I
liked the original, but I want to just take some of this telephone
effect offer here. Well, just drag this right here, which is the mixed
level of that effect. Take it all the way
down, you get to your original halfway up. You've taken half of
that particular effect. 100% of the effect.
There you go. Boom, there you have it. Same thing with this EQ. You wouldn't really
do that for EQ, but it's good to know
that you have, that. You also have some
other equalizer options which aren't really necessary because
you're going to be doing equalizing here. But if you wanted to do that, this first one is the
EQ band for the base. The next one is the
EQ band for the mid. The next one is the EQ
band for the highs. And then down here you
have a few different with features that allow
you to kind of go mess around with
some of the stereo, mono features and whatnot. But I pretty much focus
here on the slots, the volume control,
the mutant unmute. And really pay attention to
my levels. As you can see. As you can see, all my stuff is pushing here to the master. And now ideally you want to
have your sounds here at 0, but right now we
don't have a limiter on and that's what
the limiter would do. The limiter would take
some of these sounds like the kick that's too
harsh and it would bring it down and bring other sounds that are not really getting too much shine like the Oregon and a piano
and kind of push them up So it sounds
like a balanced attack. Sometimes when you're making
beats you have the urge, especially in the beginning, to try to make all sounds pretty much shine
at the same time. And that's just really not how music is supposed to sound, at least not in my opinion. It sounds like a hot
mess when you try to get everything to be
at the same volume, certain things just
play in a background. For instance, I
have that argument, you can hear it if you turn it up or if you
pay attention to it. But really it's there
as a mood placement. And what I mean
is that it's just providing a nice
little escape and the back soundscape in
the back of the beat so that you can feel
the vibe of the beat. That's all that I
really use that forum. So that's pretty much it
when it comes to the mixer. In the next chapter, I'm going to show
you how to actually lay this entire
beat out and even a little bit of something
called automation that will allow you to really use
these effects when, whenever, and however you want. So it doesn't have to go
through the entire tray.
9. How To Arrange Your Beat In The Playlist: Music reduces. Welcome
to Chapter five and the very last chapter of the FL Studio beginners course round of
applause for yourself. You have got here
to the finish line, and I know you can see the
checkered flag waiting on you. But let's get to
this very last part because this part
is so important, especially when it comes to finalizing your beat and
arranging your beat. In Chapter five, we're
going to cover learning the playlists and putting
your beats together. Now, you put a few
patterns together or you actually put all your
sounds on one pattern. So what we have to do is
separate that pattern into individual instruments
so that we have the ability, if we click here
to the playlist, to lay this song out for as
long as we want it to beat. We're probably going to
end up making this beat brought about two
or three minutes. But I'm going to show you
a few different things that are within the playlist
that you need to pay attention to as you
arrange your beat and export it so that you can
play it back in your car, your iPhone or whatever you use it and listen
to your music. Some things I want to
draw your attention to, Let's do like a
quick little tour of the playlist so you know
what you're looking at. So first things first
is the pattern one, which is obviously the pattern
that we've been making, the one I showed you
from the last chapter. And you can drag that in here. And don't forget, you've got
to change this snaps align. Now that we dragged it, Let's
see what it sounds like. It makes sure that
you're on song mode and not pattern mode. First things first, let me
draw your attention right here as part of the
tour, your pattern. What I want you to
do two separate all the sounds that are
within this pattern. Right-click and go to
Split by channel. Boom. Now you've separated
every single instrument that is within that pattern. Now you can drag
individual instruments and sort of order the beat the way that you want
to order the beat. And I'll say, for
instance, we're gonna start off with pianos. And I suggest that if you put an instrument down on that
particular track here, you make sure that you put it all across the same exact thing. Don't jumble it up because
you will get confused. Take the pet stamps. I would even drag these down because I want to
have my drums on top. That's just me though. 1234566 sounds someone to
leave six spaces, at least. I can take in multiple sounds and actually drag them
into the playlist. The way you do that,
click on the first one, hold down the Shift key, and then click on the
last one and drag it in. Bone. Not going to
add the guitar here. I can even add the
Vox, the vocal box. So as we have it right now, it's still the same exact
beats, so have no fear. Something I like to do is
take all these sounds and shift them over to simulate what the beat is gonna
sound like when it drops. But I need to have something to build
into the intro first. Now, I can either drag another Oregon or I can go
to this sound right here, hold down the Shift key and just drag over the top of it
until I get a clone of it. Now as I'm listening to this, I think I want to have
it loop around twice. This is where those
lessons I taught you about counting bars
comes in handy. Maybe bringing the piano when
I'll see what I did there, I actually had it a
little bit to songs, so you got to make sure
it's on this grid. Not sake there for a
second and ask yourself, what does this sound
like it needs to do? Doesn't need to go to a
drum already are ********, loop around another time. I kinda want to loop it
around again and give it even more anticipation before the beat drops. So
let's play it again. Maybe bringing the
high hats and guitar. Insult, the better
you get at this. Obviously, you see
I'm moving around like a maniac right now, but I want to show you how it works in the flow of things. So as you're playing the beat, you're racing times because you kinda get a feel as you're
playing a beat like man, I think right here a
change up would be nice. And this is the benefit of having your beats
laid out this way. What you can do a
year, you can go on into this actual
channel and change this. But if you change
anything in here, keep in mind it's
going to change that all across the board. So let's press Control
Z and get that back. So a couple of ways that you
can change things within the playlist in case you hear something that you want
to mess around with. One, you can go up here
to the slicer tool. And these tools are pretty
much the same kind of tools that you find
in the piano roll. You can go here and
say you want to slice, maybe the last note, slice it, go to the pencil, right-click off
of it or dragging the right-click or
over it and delete it. What you're going to have. We want to in space. See the benefit of doing that. So let's go here to
the drums and do the slicer tool
once again so I can show you like letting your imagination run free
with it, check it out. Now see how just make
him that one little chop and kinda gives
a mute effect. But at the same time
it's an unexpected drop you're gonna be doing
at all throughout here. If you'd like, if you'd
like that kind of sound, this is what you're
gonna be doing to kind of give the element of surprise and to make sure
that your beats are not too, as they say loopy. And when I say they're loopy, they're basically
saying that the sounds just sound very monotonous. You just let any sound just kinda recycled
themselves over and over and over again and trying to create a
verse and a chorus. But It's important that you vary things up and you can use these tools here
to vary them up. But let's go ahead
and play it out. And I'm going to basically
just run through this. And I'm gonna show you how I'm gonna make this three minutes. I'm going to add the course, which is obviously going to
have all the sounds together. And I'll really look at
the course like this. I'll say, when you're pushing up to the chorus
and when making a beat, you're either gonna
make the sounds bigger. Are you going to make
the sounds a little bit more quieter to kind of bring people back to the central theme
of the actual beat, the central vibe of the beat. So let me show you
as we go along, I'm going to show
you how I'm going to basically lay this out. We're keeping in mind
that we're gonna have the verse actually start here. So the verse is starting here. So you can still count
it out and make 16 bars, but we're going to go
along with it right now. I kind of liked it being worked quiet down and then
gets big again. So let's go ahead
and try that out. Then we can bring it two apart with the B gets
really busy again. Maybe even add a variation. There's gonna be an important
tool that I'm going to show you now once we're here. So obviously this was a B
starts building up again. A few different things you
can do to kind of vary it as add another instrument
on top of all this. Or I can actually make these
high heads here unique. For instance, this
one right here, click on this menu. There's another menu for
every single particular sound that you have, has a menu. All of these particular patterns that you put down
here have a menu. If I click on this pattern right here and choose to
make it unique, this is different
than every other. Hi, hey, you might
actually want to go in here and change the
color of it as well. Now we know that this is a
different hi-hat all entirely. Now what I might do to really kind of step
it up a little bit, is perhaps changed the
pattern of these high heads. Instead of doing sort of
that variation out is do these Piano Roll hi-hats, then just double them up. It's really lazy way
to go about doing it, but at least you can see what it looks like when we vary that up. So see how that's different than this particular high
headset listened to what now? For
the drop comes in. Then you'll pretty much be
repeating this on again. So you know that this
section right here is the chorus because you created it to have that sort
of anticipation right here. All it is is course. You can just
highlight that using the same select feature
that's in piano roll. And now all these
sounds are highlighted. And you know that
this represents pretty much the
chorus of your B. Now we can even do
something aware. We grouped these together. We never forget that. Now. Just hold down Shift
and drag it over again. Back to the course again. See we're already, that's
four minutes and 25 seconds. Now going to actually take us to an outro after that as
B comes back in again. There you have it. You basically just arranged your first beat. If you use this process, you've already arranged
your first beat. Now something I want you
to get in the habit of if this is indeed the
end of your beat, I want you to start dragging
one of the last notes of it all the way out until you hear sort of
like some of the effects, the reverb or are
some of the delays or even echoes or somebody sounds until they're
completely done. Because what's
going to happen is if you do not add this delay at the end for loops is going to loop this
entire beat around. Or when you export it out, it's going to chop off the
end of that beat because that's where you
told Fruity Loops that the beat is over with it. So if you want to make
sure that you get the most out of this here, how you steal, kind of hear
some of the reverb off at, at guitar, boom it
into right there. Now it loops back around there. That's how you have pretty
much a complete it beat. A few things I want to show you also in addition to this is that here you have a pattern mode and here you have
an AudioClip mo. The audio clip mode is when
you want to add some loops, maybe some drum loops that you
find are some hi-hat loops that can kind of accentuate and make this beat more interesting. You would drag those
here onto the channel. And you've got to
keep in mind it's a different process
and I'm going to show you right now
how to do that. Since I know a lot of producers kinda start off with a lot of those particular loops that come along with their drum pegs. So let me show you exactly
what I'm talking about. It's actually take
a percussion loop. Most of my loops here come
with an actual BPM on them. So this one says 70,
but we're at 130. So I kinda want to find one
that's close to that number. So it's not having to
stretch the sample too much. See how that's 131. I'm interested in
seeing how this one is 120th a bit of a stretch. We can try it anyways. Let's go ahead and drag that in. And as you can see, it does not automatically
fit to the loop. It should be stopping at
this grid point right here. Well, the way that we
changed that and go back here to the Audio option, go-to fit to tempo. Since we know this BPM
right here is 130, which are basically going to do, is now take this to 100, to 275 to 150. Now that we matched it
up, you can see that the endpoints are now
lined up with the grid. Now let's see what that
sounds like altogether. That sounds decent, doesn't really buy too much
with the beat, but it's important
that you're able to go back and forth
through that process. And maybe you'll
find something that fits a little bit
more in the pot. Try that. Once again, we're
gonna fit the tempo. Let's try this right now. Something that is
worth mentioning, especially now that
we're messing with these loops and audio clips. If you push the stretch
feature right here, this is going to give
you the opportunity to stretch this tool,
your manual liking. You basically can make
the sample slower. Maybe if it doesn't vibe with the beat as much as
you would like it to. And as I'm looking down here, I'm seeing for some reason
it did not drag to the end, maybe because there's
not enough of the clip. But we can drag this
and see if it fits more in the pocket once
we drag it, Let's see. Drag it's more like the
way that sounds in there. Obviously this is overlapping right now in a way that
we get rid of that. Go to the line feature, go to the cut and cut
right here on the grid. Right? Now say for instance, you want to manipulate
the shaker, maybe take the pitch down. Here's what you do.
Double-click on a sample and it takes you to the
channel settings of this particular sample. Yes, every time you add
an audio loop here, and as you can see, the rest of your sounds are
missing because it has auto, put this in a group full
of gesture audio files, but you can access the other
ones simply by clicking on this menu and going to all not their goal is the loop
we didn't use in a loop, we did use a shakers. Now, back here to the channel settings,
double-click on that. I can use this pitch
will write here, which will basically give me the option of pitching it down. I typically like to pitch down
and since for robot-like, either 500 to seven
hundred and nine hundred. But we're gonna see what
this particular sample sounds like because that's
more soulful vocals that I'm giving you that guideline.
That's what it sounds like. Let's say the 500s,
the stress 700. Then it comes down to
what you actually liked to hear as we're
playing along with it. But that is how you
add your samples. Obviously, you can
come here and do some interesting things because if you're using
your loops in here, there may be special
parts of it that you liked that you
want to cut and shot. See how that fits even better. I can even do some
interesting things where maybe chop it out here. But as you can see, I mean, you have endless possibilities as you begin to add sounds, put more sounds from
your actual channel rag. You could do so many
different things, but this is where you
arrange everything. So once you already have beat a range and you are
happy with what you got, you went here to the mixer and you're listening to
things and you're like, You know what I liked
the way it's mixed. I think this beat
is ready to export. Here's where we're going
to make sure that we pay close attention to detail because this is going
to bring this lesson to a conclusion and his
course makes sure, first of all, like I said, do not overlook this part. And make sure you drag
one of these samples out so that FL
Studio does not loop around your beat
and cut off some of the special parts of your
beat kind of fading out. That being said, export it, you go to File, export, wav or MP3, depending on what format you want to
go ahead and export it out of those you two
options right here. Now when I'm sending out track, I was like I've
mentioned before, I typically put those in way, but I think that's the only way you really want to
send out track. I was there huge files
because you're tracking out all of your instruments
with effects already on them. But it's well worth it because the quality is so much better. Now if you're just exporting
your individual MP3, just go to export an MP3. Let's actually choose the
desktop and then let's call this lovers Island. I don't know. Then press Save. Now I want you to
pay attention to all the settings that
I have laid out. First, you want to
go to full mode on song or false song on mode. Next you want to
leave remainder for tail because if you don't leave remainder is going
to just loop around, right where we had
it, but we kinda like bypass that by
dragging this out. So you want to leave remainder. Here, we're exporting it
in the format of mp3. The bit rate is going to be 320, which is the highest
quality possible quality 512 sink is where you actually want to put it
to it as high as quality, yes, it can be slower
as you're exporting, but it's much needed. Do you want to do high-quality? It says for plugins that
support high-quality mode, makes sure that you do that. Enable that enabled disabled. Maximum poly phony, not to
worry about the dithering. Now, down in this section right here is going to be
when you start to kind of like export should track out when you want to
export your track out. Another way to actually word that is split
your mixer trucks. Because you have your mixer
and you have the tracks that make up the sounds that are being played through the mixer. That's where you put
Split mixer track. But we're not going to do this
because we're an MP3 mode. But basically to
export this as an MP3, we've already done
what you have to do. Now just press Start. Wait for this to export and then we'll come back and
I'll show you how to actually export the
waves into a trach out. Now that our song is
actually export it, Let's go to the desktop and
see what that sounds like. Boom. And just how he laid it out. Everything is exactly
how we put it in within this particular arrangement
on the playlists. Another thing that's very
important as you start to add more of these
particular sounds. And you saw the
expert on this was pretty long because
of the quality, at least for me it was you
want to make sure that you get rid of sounds that
you don't actually need. I showed you this earlier
on in the tools and the macros and then also
purge unused audio clip, see how it gets rid
of that other loop that we try to insert in this. And then also you
can use the macros to select unused channels. We're not using this arpeggio
channels. We delete that. Actually, we need to delete
that on the mixer as well, so we don't export
the wrong file. You can actually write
this to the side. Okay, Now that we have this, we can basically export the
session files from here. So let's do that. Let's
actually export Anna. Oh, actually, no,
let's not export. We have to make sure we
assign somewhere for this shaker to go and
we didn't rename it. So shakers, unless it actually
assign this to an empty channel,
right-click channel routing. Cool, had to catch myself an L1. Now we can export this out in every individual instrument
will now be divided up. Then let's go ahead
and make a new folder. You're going to have
to do this if you're exporting session files. Do lovers island stamps include the BPMN that's
usually nice for your engineer's that are gonna be mixing
this with vocals. Put that there, then
put lovers island, and then put save. Got a Split mixer trucks and then the settings are here
a little bit different. It pretty much the same, but
it's a little bit different. Here. Your wave bit
depth is at 24, same point ST quality. And only thing that
you're clicking here, like I said, as a
Split mixer track. Now let's go ahead and send out these track outs are these
stamps to that folder. Now that those files
are actually export it, Let's see what it
looks like within the folder to the desktop. And as you see,
every single one of those instruments that we
added to this beat has now been separated for the
export or the session files, I should say, they are all here. Now a few things are
duplicated within here. For whatever reason
this current and this master is actually
the same thing. It's the whole beat pretty much. You could actually delete
one of those if you want. But if you go to an
individual channel, look for the kicks,
check it out. It's just she kicks hi-hats. Now an engineer can take all
these sounds individually, mix them and make them
sound really good around the recording artists who chose to buy your
beat or use your B. So let's go back here. And that is it when it comes
to exporting your sounds. All in all, you see that
this entire tutorial, there's a lot of
information that I tried to give you and make sure
that you look out for. But one thing I cannot stop you from doing is
making mistakes. You're going to make mistakes, feel comfortable
making mistakes, you're going to fail, but you're going to
get better with time. And the more time that
you dedicate this, the more that you go
and revisit some of the topics that may be
a little bit confusing, the better it will be. And I'm telling you you'll
get to a point where eventually one day and perhaps I'll make another
version of follow-up, this FL Studio beginners course, where you'll be able to really
do some advanced features. And the advanced
features, I mean, let me give you an example of
what that even looks like. So say for instance, I bring this piano and say I want to do a really
dramatic intro for this, be something that
you'll be able to do once you get some of
the advanced learning. Kind of do an automation effect. Now what does an
automation effect? It's basically what gives
you the opportunity to automate effects
all throughout this trek that literally changed different
parts of his beat. So light you ever
heard of beat that just kinda stops on a dime or has like an effect
that comes in for a second or two beat,
just kind of skip. So whatever, maybe you
heard a gross beat. This is where
automation is going to come in handy for this
particular track, which is the master track. I'm going to actually
simulate what is called the mic
well-made an effect. I actually made this a preset, but I'm going to show you
what automation can do. So basically, automation
is going to move this automatically without me having to do with
throughout the whole trek. And as you see as I move vet, this little thing is move until sell tickets
at the beginning. Now we're going to right-click it and create automation clip. Now watch what happens. This is on a master track mind. You saw all the
sounds are gonna be affected when I use this. If I take this endpoint in this beginning
point in drag it down. We can even stretch this out
a little further to make the effect last longer.
Curve it a little bit. Watch this. Mind you, this
works literally on every particular button or at least every knob
with an FL Studio. Now say for instance,
you wanted to manipulate the volume
which you gotta, you gotta be very
careful with that, but say you manipulate
the volume, it automatically goes down here, this is the master volume. First thing I would do is take this particular dot,
copy the value. Say you want the beat to
start fading out here. Right-click on that
to create a dot. Paste the original value, which is the 80%. Click here as an endpoint. Can even drag this
off a little bit. And you can now
fade the beat down, curve it right
here, check it out. Pretty cool. Those are
more advanced features, but the more you play with this, the more you're
going to want to be drawn to light the YouTube
tutorials that you see, which I have many
on curtis cane TV. You're gonna be drawn to
these tutorials that are going to make you want to
Step your game up even more, but please master
the basics first. Please master the basics first. I cannot stress that enough. As you master the basics, you're going to
want to level up. As you level up, it'll
be a natural process and not you automatically trying to be the
next sonny Digital or Metro booming out the gate, you have to take time. They'd said time
with their craft. They got better at the
things that they were the best at at that time. And then they didn't worry about improving audit
the weaknesses. The only weaknesses they focused on improving where the ones that were hindering their strengths
is a big difference. That being said, produces congratulations for finally
finishing up this course. I hope that you found
this to be very helpful If there's any other
questions that you have. Don't hesitate to hit me up, but this should pretty
much send you on your course for making beats. Whether you are a
producer that's trying to get used to
this FL Studio 20. Whether you are produced,
they're just starting out, or whether you just somebody that's kind of playing
around with this, you are going to
have the most fun now that you know
what you're doing.
10. Bonus: Making A Full Beat From Scratch: Him. Grounds. You don't okay. It
11. Outro: Music reduces. Congratulations, That
wasn't so bad, was it? Okay, maybe chapter three, that was a little bit heavy of information, but guess what? You can revisit
different parts of certain things didn't really
click to you the first time. Don't worry about it.
That's the same process that it was for me as I was getting mentor ship from the producers that
understood this program. There was a lot of
things that they said the first time that I was like. But the deeper and deeper
that I got into it, the more passionate I became about the beat making process, the more I started
understanding like, you know, what messages, words that I can understand if I
just go in and just have fun and just experiment
and not be afraid to fail. You really can't fail
and look at you. Congratulations, go on
through this course. I hope that you got the information that you
need it now if there's any additional information
that you don't need, please visit my YouTube
channel because I have many different
tutorials on there, which is YouTube.com forward
slash Curtis king TV. Curtis came with
two Ss with love. Curtis king of Curtis
came.com. Thank you.
Curtiss King, DIY Musician, Author, & YouTuber
