Transcripts
1. Introduction: Welcome to a new video, ride from a lockdown
with COVID hair. Today I'm going to explain our latest release with
Rascal called mistakes. If you haven't heard
the truck yet. This is what it sounds like. Today. I want to do things
a little bit differently because I've been doing a lot of threat
breakdowns in the past. And with this track
specifically, I want to talk about the things that I think could
be better industry. So obviously these are things that I could
not improve on. But it's more like the things
that I, in an ideal world. The track woods sound a
little bit difference. Today. Of course I'm going to
explain the entire track, but also I'm going to really
focus on those things that I will draw our C difference
in an ideal world. First off, let's start
with the actual track. So I've made this track
with rescaled Franklin. And as you can see, some of
the stems in here or some of the elements in here
are based on stems. Luckily, I still have
the melodic linear.
2. Vocal: So first off, the main
thing about this track, I think the vocal is the
biggest thing about this track. You know, of course
you have to piano, you have to sinth bots the focal is really what
glues it altogether. I think. If you're a splice user, you probably already
noticed sample. It's this vocal right here. Don't trust me with your
questions. Don't trust. That is from this focal the
HLS once in vocal hook, discretion, dry, C minor
vocal, don't trust, maybe. There's also another
parts later in the song. It's this focal. And that is from another vocal within that
same sample Peck, and that's this
focal right here. And then the very last
bit, with the wages. Funnily enough, those
who samples are sung by difference focal lists, I think their voices
do not sound alike, but that specific part of
that focal does sounds like the actual pitch down vocal
on this first focal take, this is pitched down,
as you can see, this one is not. So That's pretty funny that you can't really hear
the difference if you place it in the context of a
entire song. That's funny. I think as I said, the vocal is the main
thing about this track. To be honest. I think it comes back a
little bit too much. But you know, sometimes you just don't have enough
focal to work with. So we tried to keep the vocal interesting
by adding different delays. So for example,
you can see right here that there's a manual delaying going on
with the vocal. And also right here, there's a lot of difference. Focal delay is going on, a lot of automation on the
volume to all make it fits. Yeah, that's one way to kind
of keep that interesting, but be honest, I felt it
should be more interesting, but it just wasn't possible. So that's a bummer. There's also some reverb. Reversed. Reverb is
going on right here. I've explained this in the past, but simply by taking the first
bits of your vocal tics. So just take a cut of
this sample right here. You give that a lot of reverb. Then you reverse that. That way you get
this vocal reverb. Don't trust, maybe. That's a perfect way
to introduce a vocal. Or in this case, really adds to the five the atmosphere in
the beginning of the track. I think.
3. Drums: Next up is the drums. And if we go to the
drum loop right here, and there's quite
a few elements. If you are a supporter
on our Patreon page of the university tier and you get all these drum
elements for free. Yeah, what can I tell about it? It's a good groove. I think there's a couple of interesting
elements in there. One of those is this PRC shots, which is not coming
back into drop, but it is coming back
in the intro and just before the actual drop. So that's just such
a small elements which is coming back
every now and then. I think it's pretty interesting. Usual as well for at least the stuff that
I mostly produced. What's also interesting
is that there's not sure if you could consider
this a percussion sounds, but this tonal percussion
sounds right here. It's almost like a melodic, but it's static throughout the track that I don't consider
it as a melodic elements. And this just comes back
every now and then. It's very subtle. I think you could make the decision to
remove it altogether, but I felt it was
a nice addition. So I put it in that sense
in terms of the drums, there's there's a cleft there, so o behind it, there's
some close high ads. Maybe we can go through
them one-by-one. Here we have to kick. That's a drum groove. Easy as that.
4. Melodics: So that's the vocal. Let's now move on to
the otter melodic. Of course we have the piano, which is this media
information right here. These are just courts, not really anything special. I think. What's kind of gifts this track, It's interesting thing in
terms of melodic x is of course the melody
that's on top of it, which is this melody. To get our deaths makes up for the entire harmonic
content of the drop. Besides deaths, those
are the main focus. Melodic elements of the drop. Of course you have
to base as well, but the base is
simply just following the bass notes of the piano. I can just find it. This pattern right here. That's done 3D. Something
to focus on because it's simply following the piano
chords. Next to debts. There's some other
small melodic stuff that is making up for the, it's not really something
you focus on as a listener, but it's there because if
you'd remove it, it will. Sounds really boring. And flats maybe even we have
this since step right here. If that's and we also
have this vocal repeats. In the intro. We also have a
focal atmosphere which is, yeah, it just makes
up for a lot of them. Dreamy vibe. Indians wrote. Very subtle. I can actually all these things that's adjacent to the drop
there hardly noticeable. If you're really focused
on it, you can hear them. But they don't take up
any of the attention. And that's good. It's because if they would take up a lot of your
attention as a listener, that will really make you
shift your focus to much. Your focus should be on the
piano and on the synth, and later in the, later
into track on the vocal. But knots on the
steps right here. And one interesting thing
production wise about the steps is that if we
listen to the original step, which is here, if we listen to that step
and also to the piano. If you listen very closely, there's a harmonic in there, a notes in that sample. Since step sample, which is not sounding nice with
the piano chords. How I fixed that is, I recorded this since
step with Melodyne. If you set your metadata
to a polyphonic algorithm, you can actually see all the
different notes that are in this specific sense,
steps sample. So as you can see,
there's a D in there, there's an F in their nurse, an a in there, and
there's an e in there. This way you can simply remove the notes that is
not sitting well, which are piano chords. And that way you can really
make certain samples. Samples are mostly on editable in terms of
their harmonic contents, but by using Melodyne or
sin plugin like iris, you can really take
out those notes. And this case it's of course, a sample of a court staff. So there's multiple notes. You can simply remove one of the nodes with a
plugin like Melodyne. So that's what I did with that synth and it's a
really minor thing. But in the end, this
is the final scene. If I use ready, made sure that that
seems step was not clashing too much
with the piano chords. It's a minor thing, but I think it's helpful for you to know.
5. Things I don't like: Now let's gets to depart where I tell you guys about what I think would be
better about this track. Because let's start off. I tried to make those
things better and distract, but it just didn't work out. Sometimes you have to,
if you're working on this unless projects
and you just can't seem to get it just the
way you want. That's okay. You should always try
to make it perfect, but sometimes it just doesn't
work, work out that way. And the first thing
that's really annoyed me about this track is the amount of big melodic elements
that are in this track. I already, I already talked
about a lot of them, a lot of elements
that are in there. But there's also a lot
of melodic elements that are taking too much of
the listener's attention. If we just start counting,
counting them out. We have to vocal, we have the piano, we have to since melody. Let's treat it's the
most important ones. Then we also, in the
second part of the drop, we have the arpeggiator, VEGF. And then in this part of the second break we
have this symph. Don't trust you. I think that's too many
melodic elements that are taking away a lot of
focus for the listener. And ideally, I will remove this one and
also remove this one. But if I did that, the
truck would be too boring. You compromise which are
self in that manner. So in an ideal worlds, I will take those phenolics outs and I just think they
takeaway too much attention. It also feels like
this metallic is done. Here's another one. Here's another one
to lay focus on. Just doesn't it doesn't feel right with me. That's one parts. Another thing that really
annoyed me in the strike was that's the vocal. It comes back a lot. That's well, that's
annoying as well, but nothing I could
have done about that. I think bots in this parts, There's two parts of the vocal working together and
let's just listen to it. I'm annoyed by the fact that
this focal getting cut off. Well, not really cut off,
but there's another love. There's not enough room for that vocal tic because this
focal needs to be there. This folk or I can't, I can't move it to some
other place because it doesn't feel right with
the groove of the track. I don't know. I'm
not feeling that. So again, in this case, I had to be okay with the
fact that this focal is getting slightly cut
off by this vocal sake. That's also a really
big annoyance for me in this whole track. But all by all, I'm really glad that we
got this track outs. I think it's a lovely track. We're definitely going
to play it a lot. Definitely adds
are all nighters. Yeah, this goes to
show that sometimes you can't really make
attract perfect. Sometimes you just
have to be okay with the fact that it's not
going to be perfect. And even with
professional tracks, tracks it gets signed
two big labels. The producer will
still have pet peeves. Small thinks that
they do not think are the best way for the trek. They are not entirely happy
with how to trick came out, but there are 95% is happy
with how to track came out. And that is okay. If you are struggling on a
project and you're thinking, and I just can't get this
specific elements to sound exactly
rides. That's okay. You can let go and you
can still put it online. Of course, there's a
difference between something not sounding good at all or something sounding ninety-five percent
as good as it can be. There's a difference
between that, of course. But not everything has
to be perfect always. You know, that's
the biggest lesson for this track breakdown. I think I hope you've
learned something about it, and I hope to see you again
in another video later.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
