FL Studio Beginners Course - Learn How to Make Beats in FL Studio

1. FL Studio Beginner Course - Intro: all right. Hey, what's up, everybody? Welcome to beginners. FL Studio Course in this course, if you're just starting up with FL Studio, we're gonna be covering all the basics of FL Studio How it works from the step sequencer to the playlist, to the mixer to the actual piano roll, and I walk you through step by step my own personal workflow. I like to think that I have a very fast workflow with that full studio when it comes to all the shortcuts I use And I break all this stuff down for you step by step into each video. So, for example, we have a specific video on the step sequencer and the shortcuts and settings that I apply that do not come default with FL Studio. The same with the playlists. This thing with the mixer, I set it up a certain way to give myself a nice, minimal feel. For example, as you can see, I have a tab here, and these are all of my drum kit. So as you can see, it's super minimal looking. We come here, we have all like my effects on their all organized and I show you how to set all this stuff up. In addition, I'm gonna show you like the best settings for the best performance out of fo studio. We actually even build a little custom beat, and I do that afterwards. So after I walk through, you know the step sequence there to play list, you know, all these essential windows, and then we make that beat, and it helps solidify all these ideas. OK, so if you're new to music production or you have just recently switched over to FL Studio, this would be an awesome course to get you up and running. And if any time you guys have questions, I can easily add videos to this course just by simply asking me questions. Okay, So it roll. I'll see you guys inside and let's get learning fl Studio 2. Before We Proceed with the Beginner FL Studio Course: Hey, what's up? I'm gratuitous and I'll be your host in this fo studio beginner's course. So since your first just getting started up with FL Studio, this course is going to give you a full overview of you know, how to use FL Studio. How to get up and running with the and best practices and shortcuts. And hopefully, by the end of this course, you know, you have a really good understanding of what sounds are, you know, kind of how to mix your music a little bit and really just get up and running. Now, the reason why I want to make this video is because this course is just a boat learning about how FL Studio works, Okay, But there's certain aspects to music production which relate to any music program you're using. Okay? And I'm talking about, like, compression que sampling, you know, arrangement and stuff like that And I have created courses on all of these different topics . OK, so as you can see on the screen here, these are the actual names of my courses. So if you guys want to pursue music production even further, these courses will get you up and running and help you learn these skills faster, so you'll see my first course on the list here, and it's essential gear needed to make beats. The reason why I have listed this one first is because it's really important when you're first starting up to be wise in your purchasing decisions. This is the gear that you're going to be buying because there is quite expensive gear, and the thing is, a lot of times you don't need those features. Okay, So essential gear needed to make beats is a step by step course, showing you all the different types of gear that you're going to need as a producer. Such as like your keyboard, your audio interface, your speakers. We talk about what kind of computer to buy microphones. You know all this kind of stuff so that you could get up and running as well as how to save money. For example, you could be buying a lot of the stuff in bundle deals, and you guys can save quite a bit of money by buying it in bundles. As you guys progress, you're going to realize that there's a lot of reading that you're gonna have to do to become a good producer, Okay? And another thing that you'll discover is being a producer isn't just making the beat. You also have to learn mixing, which is actually a different trade in the industry. You also have to learn. Mastering mastering is like the next step from mixing arrangement that is a different trade within the industry. Sound design again, another trade. And if you're trying to learn all these things all at once, it's a lot of information to take in. Trust me, you don't have been there. I've been doing this for about 10 years now, and I just want to relay a lot of this information on to you just to get you up and running , because again, you know you want to be careful about the things that you're learning on forums, especially on forums like when it comes to like the analog gear to like the digital gear. So, for example, analog is like hardware compressors, hardware accused mixing consoles. The digital is what you call in the box, which is inside your computer. There's the debates of like what sounds better, So I just want to pass on, you know, these courses. You know, I've been doing this for a long time, and I just get right to the point in all these courses. So let's get into this FL Studio beginner's course. Listen, let's get you up and running. Let's get you making music and you don't have your fun while you're doing it. Okay, so let's get into the course. 3. 1-1 - Best Settings for Performance in FL Studio: Okay, So in this video, we're gonna be talking about how to get the best performance out of fo studio. So the shortcut to open up your menu is F 10. Then you're gonna go to the audio tab now, right here. This is the most important thing is you want to be selecting an ASIO driver and if you don't have an audio interface or anything, you're going to see and as feel for all of you to as well as the efforts to do as you now you're gonna have to play with these to see which performs best with your computer. Because the thing is, as your drivers, depending on how they're coded, they can have better performance than others. For example, you could see this focus right as your driver right here. So I have ah, focus right second generation audio interface and the performance with their as your driver is extremely good with fo studio. I can get better results in compared to the FL Studio, ASIO. But the reason why I am using the efforts to do as hell right now is because if I am wanting to record my audio for example, with these courses, I'm using a software called O B S. Ah, If I don't use the efforts to do as CEO, I'm not able to record the audio from fo studio. If I had a choice, if I was actually making music myself, I would be using the focus, right. So again, you're gonna have to play around with those to see what works best for you. Um, And the thing is, in the beginning of your tracks, you know, these will all perform really, really good where you're going to see their real true performances when your track starts getting busier when you start adding more instruments once you selected as your driver. And if your computer is starting to bog down, starting to go slow at certain times of stuff like that starting to get glitches and pops these air called under runs, Okay. And what that means is that your computer cannot keep up with the audio trying to be played at that moment because music production is actually extremely hard on your CPU. And the reason for that is because music production has to play back your music in real time. Okay, so that makes it really, really hard on your computer because it has to make all these calculations, like, right off the bat, so you can hear it right away. And through that process, your computer is having to run really, really hard. Now you have something called a buffer length here. Okay, buffer size. So when you're first starting out with your project, you could be setting this quite low and you'll be able to play your keyboard very, very responsibly. OK, because there's a thing called Audio late Insee, and it's a horrible experience. Okay, It's something that right now in our music production industry, it is a problem. It is getting better. For example, I mentioned about I'm using a second generation focus right audio interface. This second generation has a huge improvement over the first. In other words, I'm able to select lower buffer lengths and get Maura response out of my MIDI controllers or if you're recording a vocal. So if you are trying to record your voice and you're starting to hear like that echo and stuff like that, that is because your buffer sizes too high. But the problem is if your CPU cannot keep up with the project that's going on at the moment, you're gonna have to put this up higher. And then if you go to record, you get audio agency, and it makes it almost impossible to record. So what you want to do? There is many times you might want to export the track, just took a rough MP three, open up another project, and then you can actually select this to, ah, smaller buffer size, and that will give you more response. You'll also see that the music program this looks smoother as well. But that is one thing that you can do to help improve your performance and then even to take it further. If you have said it to like the most highest one that you can get, there's also an option for Triple Buffer. Okay, so again, this is when your project start getting really, really busy, like we're talking like 2030 40 tracks kind of thing. OK, so just to break that down, Super super simple. One more time for you guys in your audio settings. You want to be selecting an as your driver. You're going to be having to, you know, trial on air to see which one performs best. In my case, I prefer the focus, right. But since I'm doing these courses, I have to be on the Fosco ASIO. As the project starts growing bigger, you might have to increase your buffer size. Okay, as you can see on 2048 here and then if if you're still getting those clicks and pops and under runs here, you can select triple buffer and that's going to give you a T least allow you to listen to your track. Hopefully again, depending on how powerful your computer is. The next thing that you want to be looking at is down here at the re sampling quality. So this comes into play when you're dealing with an individual sound. So, for example, if I just take this kick drum dragged in here now, if I right click, go to the piano roll and if I just click around in here So, for example, just kind of click stuff like this. So this is where this re sampling quality comes into play. So instead of playing the note at the original sound that you've loaded inet, now you're trying to play it up with higher pitches, stuff like that. Again, this is where the re sampling comes. And okay, when you're making the song, you might not hear as super high quality. But in all honesty, you're really not gonna hear too much of a difference. But when you goto export the song So, for example, if I just go to my desktop here, you also have an option for this re sampling again. Okay, so when you actually export the song, I would recommend putting this to the maximum. So I put it to 5 12 It's gonna take a little bit longer to export. But as you're making the track, if your computer's having problems, you could deflect it at a lower re sampling quality here, and you're going to get a little bit better performance there as well. Personally, I'd probably put this around to 64 myself. Let's keep moving on here. So on the general tab, what I like to do This is more of a workflow thing now, not so much of a performance thing in the undo history. I put this to about 100 and what that's going to do for you is if you come here to the staff and you have different snaps. If you want, I'm gonna show you how to set this up. You can click here and you can set them up. As you can see, I have one for my drum kits. These air just like my drums, Um, and then ones for, like, my effects. So what the undue levels is going to do for you is in the current project, you're going to see history, and you could see all the last undoes that you've done. So, for example, if I move this knob moving back again, you can see that it keeps adding there. So, um, as you see, adjusted panning than volume would do volume again, uh, mute mute. So and then I also enable the undue knob tweaks. And if that is not enabled, then would you ah, movies. As you can see now, it's not recognizing them. So it's really important that you do enable this so that if you do increase acidic the volume that you compress controls the undead, is it? And you can go back, OK, and then if you want for my animations, I go to make it pretty and then I have my smoothing around here. You can increase it a little bit. And what that's going to do is just within, like, the playlist and stuff. Just gonna make it look a little bit smoother as you're going in and out. But these are my personal settings right here. Okay? Now, the last thing I want to share with you isn't file. So, as you can see in the auto safe, we have frequently. Okay, that is the one I select. Now, the reason I do that is, if you have f one, this brings up the help manual, and that's a really, really powerful tip for you. Okay, so whenever you are working with FL studio, no matter what window you have open, for example, that open this window and of F one, what's gonna happen is it brings me to help manual just for the specific area. In addition, if you have a question on a certain area here, for example, right here you can click it and it's gonna bring you just to that page about more information on it. So efforts to do is really, really good that way. So, for example, if I want to learn about polyphony. I can click on it and a breezy rate to polyphony. Okay, In addition, you can also hit control F and you can search something. Let's go like adjustments. So I'm gonna go a just So as you can see, it's one of five. You could just kind of click through this, and there is the area that it is. Okay, so those are some shortcuts with the help manual, But the reason why I want to show you this is because of watch were goto file. Now we're going to go to the backup settings, so it is gonna type in back up to The reason why I put it on frequently is because the backups are made even when Ethel Studio is playing. And if you read the other ones, you'll notice that these ones don't back up when FL Studio is playing. And the thing is many times if fl studio is gonna crash, Typically it's like when the you know when your project is actually playing or when you're doing something intensive, right? So that's the reason why I set it up on frequently, because when efforts to do was playing it will still auto back up. Okay, What it does is it backs it up into this folder right here. You might not have data that has changed. In more recent versions of FL Studio, you'll see that there's an auto save in there. There's, like the backups that in this case, this is an untitled project. I haven't saved it, and it's been saving it, you know, in five minute increments kind of thing. There's two more things I want to talk about in terms of performance. So on the general tab you'll see down here that there is forced high performance power plan . So if you go to your start menu and you type in power settings, you will get a page like this, okay? And you can click up additional power settings, and you just want to make sure that you're on high performance. That's just gonna make sure that your computer is running at optimum performance and it's, you know, no kind of equal Moser are being applied. The next thing I wanna talk about is just the meter quickly. So if you ever look at this type of meter to see you know how your CPI was doing and on Windows at his press control shift and escape. Or you can press control ult elite and you come to the task manager and I just went to the performance tab. So as your project starts getting heavier, you're going to start experiencing under runs. And again, you know, I was talking about you can increase the buffer size and as well as the triple buffer if you're really experiencing heavy under runs. So if you're looking at the meter up here and you're seeing that this is maxing out, but you look at your CPU and it's not even close, it's because FL Studio has a different meter in a sense that it's reading the rial time performance of your music. So this is actually the more accurate meter of what you're wanting to read, and not so much this okay FL Studio has a couple of videos on this. I'll leave it in the links below for some resources. It's kind of confusing, but all I want to say is that this is the meter that you want to be watching, because this is what determines like that buffer length, because when you hit play. Your computer has to go through so many different processes in order to make your music actually be heard. Whereas when you're dealing with something like video editing or even creating like video games, for example, you could be offloading a lot of that processing to the video card. Whereas when it comes to music production, it's all solely CPU based. So that's why it's so important to have a good CPU. So for your CPU, FL studio recommends the single core speed. So you know, you might be thinking all you need like a quad core. Or like you know, now that like eight cores and stuff like that, it's like that stuff's gonna help in certain areas. But this single course speed is the most important. OK, you guys could just search into Google Best CPU at full studio, and this is their page. Also, leave this link as well in the description. So they keep this updated because I remember when I built my computer it was only like the I 7 77 k or something like that. So, as you can see, it's only the 97 now, so you know, computers update fast. But what I'm trying to say is music production is actually very, very hard on your CPU. Okay, So by selecting an as your driver, see how it's performing. And if you're getting those glitches and pops just gonna have to increase your buffer size , okay? And I keep it at 44.1 myself. Some people are super intense about this stuff, and they want to be like 96 k at 24 bit and stuff like that. I honestly working just 44.1 16 bit. And I'm really, really happy with the results that I achieve out of fl Studio, so hopeful that, you know, kind of gives you an idea of how to get best performance out of FL Studio. For the most part, it's pretty, pretty simple. You just want to be getting a really decent computer as well as selecting an as your driver and you go be ableto handle large projects. No problem. OK, 4. 2-1 - Overview of How FL Studio Works: in this video. I'm going to explain to you how FL studio works. Okay, so there's four main windows with Ethel studio. You have the step sequencer. You have the playlist. You have your mixer as well as you have the piano roll. Okay, this is how I prefer to set up fl studio. Typically, what I'll do is I'll have, like, my step sequencer here. I'll usually have my mixer down a little bit lower and I'll do like this. And then whenever I'm working ah, with, like the playlist, for example, all those enter full screen. And then when I'm done working in there, I can just make it smaller with Enter again. Really, really nice workflow, especially if you're only on one monitor. I personally do suggest you work one more than one monitor. Okay, so how are these music? Production programs work, and it's not just duffel studio. It's any music production program is. You create patterns and that is creating loops. OK, and then what you do is you add these patterns into the playlist, and then this creates the song, and then you get to choose where and when these patterns play, and then that creates your arrangement. You don't? For example, if you want your intro, your chorus reverse whatever, and that's really how simple that is. Okay, so you create patterns, you add the patterns into the playlist, and then you arrange it and then to take it a step further. Now then you add the's sounds into the mixer. You can adjust the volume levels if you want to add on effects like Q and compression and stuff like that, and then you can master the track as well as you know what I call audio. Painting it even further pushes that arrangement with, like, transitions and filters and stuff like that. So we're gonna touch on all that stuff as we proceed, but just to give you an example here. So let's to start with this step sequencer. So when you first open up FL Studio, it does come with stock sounds so you could just click the packs here and use. You can see I like some drums here or whatever. Um, if you do have your own sounds, you can literally just drag the folder into the browser right here. This is the browsers you could see and it's gonna create a folder for you like this. Let's just drag in, you know, Kick Castle, have a kick drum here. Let's get a snare. Okay. Maybe two stairs. You can get layering. Maybe a different snare. Okay, so there. Ah, let's get a high hat. Okay. So what is? Keep it simple like this? Okay, so we're gonna lower the in the temple a little bit, maybe like 92. Let's just say and I typically like to increase some swing. And what that is doing is it's just nudging over the 2nd 16th note. So each of these steps it's 1/16 in FL Studio here. Okay, so all of these are 16th. But what happens with swing is it nudges over the 2nd 16th note just a little bit. And what that's doing is adding a humanistic flavor into the drum loop, OK? And not just the drum loop. It could be for all your instruments is actually a really, really common technique. And it's just called note nudging. And many times, you know, it might just be a certain note that you're working with. For example, if we just go to the piano roll, Uh, it might just be kind of like nudging like the door over a little bit like that from being on B. Because in digital music, since everything is like programmed by a computer, it can sound really, really rigid. Okay, So in other words, with the drums being on B, everything is on be forever is gonna constantly repeat that way. So when you increase them swing, it's this nudging these 2nd 16th notes or eighth notes over and over and over. Okay, So I'm just gonna add in some drums here is gonna click my stairs in here because I'm just gonna layer these So so far we have our kick and we have a snare. And one thing to say about your sounds is it's important to have high quality sounds from the start because it's easy to create. Ah, high quality be out of high quality sounds. But it's hard to create a high cold to be out of low quality Sounds OK, And the thing is, you also don't need thousands of sounds. As you can see, these are all the sounds I have. Like, you know, I have quite a few sounds, but I don't have, like hundreds of gigabytes. I might only have, like, maybe 10 or 20 gigabytes of sounds, which is pretty incredible for producing for 10 years. And these are all the sounds I have. The reason for that is because I know that these are high quality and I have lots of versatility in my sound. So, for example, I like tambourines, Cymbals, shakers. Tom's, uh, you know, eight awaits and then short kicks and, you know, stuff like that. And the thing is, as long as I have those types of sounds, I have the versatility toe kind of mold and sculpt and shape these sounds into what I want , whether that be through e que compression or using other effects to really get the sound I want. But as long as you have a high quality foundation of sounds, for example, exclusive audio is it's an amazing company for high quality. Then it's really easy to make high quality beats. Okay, so let's just add in some high hats here, So, NFL Studio, you can just right click here, and you can select, like fill each two steps or four or eight. And what I'm gonna do is just go to And this is a nice little shortcut, because now I can kind of click sounds in like this, and instead of clicking it all and manually, it kind of gives me a nice little, uh, you know, template to work off of. So here we go. Let's increase a little bit more swing. Okay, so now this second hat, let's just Larry every once in a while, you know, just for a little bit of flavor made me feel it here. Okay, so now we have our pattern. As you can see up here, we have pattern one. So what you can do is you can click here, and as you can see, there's rename and color, and the shortcut is F two. So I like to label as I go. It makes it a lot easier because come arrangement time, everything's colored. And it's super super simple. So I'm just gonna have to and understand, Go drums. Ah, and then plus clap. And the reason why I'm going to say that is because I actually want to take thes high hats out because right now, if I add in this pattern, you're going to see that This is the drum and clap playing forever, you know, for just right now, impressing control and B is involved, and it's just duplicating that pattern. But as the song progresses, it's like, Well, what happens if I want to take out the hi hats or, you know, really, And even if I want to take out the clap So maybe if I hit F two and let's just take out the clap here, okay? So let's just say it's drums. So we're going to do is you could just highlight like this and press control and X is gonna cut it. Now, up here, you can press F four to go to a new pattern. How I like to do it is I like to use my number pad a lot. So if you press the minus or the plus, so in this case I'm gonna press the plus you're going to see you goes to Pattern to was a pattern three pattern four or five. Okay, you can also go from 1 to 9, and then you can work your way anywhere within the number pat. So the number pad has just been a really, really good workflow tool for myself. So I'm just gonna press the plus, and I'm just gonna paste in those notes again. I want to make sure I'm starting from this snare because that's where it started from. If I paste from here, I'm going to miss my layered snare. Okay, so I'm making sure I'm from here, gonna paste it in. And there's my snares. So I'm gonna f two and I usually write in capitals in FL Studio. It just looks cleaner, As you can see even down here, this is just like a mixer template. I'll show you how to set that up after. So here's snares and then I just have to to give it a different color. You can also select here to select a color as well. So let's just like orange and hit enter. And right now you see, you can't see the color, but it's actually on. The snares are here, so if it's highlighted, you want to make sure you right click to disable the highlight. Okay? And I'm just gonna add my snares in here. So what's happening right now is if we just click on drums, you'll see that I have the drums and it just sounds like this. If I click play right here, it plays in the pattern mode. If I click play right here, it's gonna be playing in the song mode, okay? And that's the difference between these two. As you can see, when I go to song, you could see that the arrows here and it's ready to play if I go to pattern that arrows removed. So right now we're just playing in just the pattern is gonna play just the drums. Okay, Now, if I go to the next pattern So this is going to play the clap and the hi hats, which is what we don't want. I want this just to be the snares, But right now, if I play just the pattern, OK, But if I click here, you're going to see that automatically switches to saw mode. And now we're gonna play the drums and the snare and the high hat because the hi hats are in the snare pattern now, another way, how you can be adding sounds to another pattern that is already in a pattern. So instead of coming here and cutting, what you can do is you can come up here and I use clone a lot. Okay, So if I clone this, what's gonna happen is now I have a snares to and it's nears one, as you can see, stares and stares too. So I'm gonna go to the first snares and I'm literally just hitting the minus on my number pad. As you can see, it put me to a different pattern right here. Right? So it's just a really, really nice work full thing. And then from here, I'm just gonna press control and X and then controlling ex. Now I'm gonna press the plus It's gonna bring you back to snares to I'm gonna hit F two And I'm gonna label this high hats okay again f to just give it a random color and understating after a couple of times just to make sure that the color is different from what we have already because we already have a green and orange. Maybe think that there that's a good color. Okay, so I'm going to take thes and I'm gonna press control in X. Okay, So now I still have to add the high hat in here and you can also select your patterns from here. So, for example, if I'm on drums and you want the high hats, so right now, hi, hats are not added in. You can also select it from here as well. Okay, so let's add those in, and I was gonna drag it to the beginning. Okay, So this is how you start to kind of build that track. Now, if I had taken instrument like a piano or something, which I'll show you eventually here, um, you know, the song is building, and you can start removing stuff. So, for example, like the intro, the song we're playing it all. And then let's say this like the verse, you know, we're playing bit of like the verse. And then now we're back in, like, the chorus Now, back to the verse, you know, just to give you an example. So as you can see beside each sound, there is a box here. And if you look in the top left, this is a super handy hint panel. Okay, so if I hover over it, it tells you what you're highlighting and what you're doing. So for example, this is a volume knob. This is panning. This is to get a sound other left or right. Um, and the thing is, you know, if you're going to you adjusting sounds up here or within the mixer, you know there's no right or wrong. I personally prefer the mixer because everything is here. As you're mixing the track as you're building the B, I usually find that this is okay to kind of tweak stuff, but at the end of the day, I usually make all my final decisions in the mixer. So anyways, what you can do is you can just select any of these, and it puts this to the mixer insert. So, for example, on my nine is put it to nine, and if I go to play the sound, you can see it's on nine. For example, if I go to like 10 it's on 10. In addition, there's also like a short cut. You could press control l as you can see. So since I was highlighted on the sound on press control out, now it's there, and you can also see when I did that, that it's also given me the title. Now if I would've pushed in my middle scroll wheel. And if I would have colored that right off the bat. So, for example, this was the green that we select for the pattern. FL studio actually stores the colors here. Still, so this is really handy. So, for example, I'm gonna select this green, and what I'll do is I'm gonna actually have to on this. We're going to remove it. Okay, so it's still being routed there, but we don't see the title or the color, but because I've colored it, What's gonna happen is control. L What brings the color of their for you? So I'm gonna show you this in a separate video. But I just want to show you that efforts did You could be really, really powerful if you know how to set it up. Because, as you can see, if you're gonna mix your track, no. Or if you're gonna arrange your track, you know this the kick drum. This is the kick drum as well. Is this the kick drum? So it's really, really easy to kind of identify what's what. Okay, So that's just how to wrote sounds to the mixer. You can just simply you know, click here to do like that. And the way how a new control l is a shortcut is if you right, click a sound. So, for example, you want to make sure it's highlighted. First, you're gonna right click, you're going to go channel roading. And as you can see, there's a shortcut. Control L Okay. In addition, there's also this one, but you have to be highlighted with multiple sounds. So, for example, for hold on shifting click, you can highlight multiple and you can right click again Channel roading. Now you can select both, so I'll break down how that all works after. OK, so the last one I want to talk about I'm just going to get instrument here A guitar. Okay, So if you were wanting to play an instrument, for example, you know, playing it like this is not the way to do it, because what's gonna happen is you just could be playing that same note over and over again . Just like this. It's like, but you know, you're not creating a melody. So if you wanted to create these beautiful compositions in your productions, what you want to do is right, click and go to the piano roll, and this is where you can start editing your midi notes. So with FL Studio, since my MIDI keyboard has already plugged in and that's just in the F 10 settings, and you want to make sure that you enabled your midi keyboard or controller or whatever you're using, OK, it's just a matter of clicking on it and going enable. In this case, I've selected a preset here, and what that does is that it just allows you to use, like to stop the play often like the actual Midi keyboard itself. Those air called the transport controls. So, for example, if I were just to record something, I'm just going to close the piano roll here. And one thing you want to be knowing as you proceed with Ethel Studio is the short cut. So, for example, you know is open up like the piano rolls. It's like F seven. Ah, the steps to conserve it here is F six, and as you can see this just up here, So this is the playlist. And as you can see that the shortcut is that five. So the hint panel is your friend. Okay, it's super super helpful. So here is the playlist is just at five. The piano roll again was F seven. This is like where you can, you know, program your notes. F nine is the mixer. And as you can see, I'm pushing the button. And is this highlighting it right here? But don't worry. As we proceed through this course, I'm gonna keep talking to you with shortcuts and helping grain. You know how to speed you up that way. Okay, So for example, I'm just gonna hit the record on my actual midi keyboard. Um and what I'll do is I'm going to select it to song mode. So how it works with FL Studio, if you're going to be wanting to record a sound, is you want to making sure that you know, however long you're recording is gonna be you want to make sure that your playlist is set to that. OK, if your playlist is only, you know, like this long or something like that, but your actual melody goes like over to hear the drum loop is going to stop playing and you're gonna keep recording and it's gonna throw you off. In addition, if you have programmed in some notes like this and here and then you try to record your guitar and it's longer than this. Then it's also gonna stop the recording for you. So when you go to record in FL Studio, you want to make sure that your on a new pattern okay, and then typically, I add the drum loop into the actual playlist, and then I would go to record. Okay, so in this case, let's just say my Qatar loop is this long, and I just hold down control and click the highlight. And then I pressed again. Control and B is involved. And that did a duplicate. In addition, you can also hold down control and click and highlight and then hold on shift and click, and that will duplicate it as well. Those are just a little short cuts. Someone's gonna hit record. As you can see, the record appears on, and right now I'm on a new pattern pattern. Four. So, as you can see, there's nothing in there if I go to the pattern Previously, right? So let's go high hats. As you can see, there's the high hats and I get I'm just using the minus in the plus. So we're going to keep pressing the plus until I get to a new pattern that nothing is on in this case. So there's the drums. Here's the snares. Here's the hi hats. Now here will be the guitar We're gonna hit record. It's already highlighted that I'm gonna hit play and just gonna play something. Count me in. Okay, so now, as you can see, it's put it into the piano roll And you know, I'm gonna be walking you through how to edit this in future videos and how to use it to speed you up and make you faster. Fl Studio 5. 2-2 - Using FL Studio's Step Sequencer: Okay, so this video is gonna be focusing on just the staff suit concern. And we're gonna be talking about just kind of specific things that I like to set up with it to make my athlete studio workflow very, very smooth. Okay, So, like I was saying, I usually like to set my mixer up. If I'm on my laptop, the screen realistic. He is very, very small. So I literally have to bake this mixer all the way at the bottom. But in this case, I want to make it so that I could at least read all the words of my sounds down here, OK? And then what we'll do is I'm gonna put this step sequencer just but it up right there, and it actually just kind of locks in. So this is the way how I like it now on the steps. See concern with the auto resize I set this toe off if you don't have that disabled, what happens is whenever you keep adding sounds in your step, sequencer is going to start growing, and it's just really, really annoying, cause it's just like I've set it up this way. I want it like this. And then as your song progresses with more sound and more instruments, all you literally have to do in here is just scroll and that's it. And it's just super super powerful, like this is enough. Ah, window space for you to see everything that's going on with the drum loop or with your instrument, whatever. And again, if you're working with the MIDI stuff, you know, it's just a matter of your piano roll. So you're not even working in here anyways. You're working off the piano roll. The next thing I want to talk about is coloring. Okay, So as you could see, if I push in the middle scroll wheel, it allows you to rename your sounds. Now, I don't usually rename the individual sounds like kick drums, claps, snares like I call those one shots, okay. And then you have what's called instruments, which is like your V s teas, which I'll be talking about later. So I don't relabel this kind of stuff, but in this case, this instrument, I typically will go like guitar, and again, it's just have to to kind of give it like, a color or something like that The reason I do that is because when you're building a song , it's usually the instruments which are like the main part of that song. And then here I have, like drums, snares, whatever. But I do make sure that it's color coded, which I'm gonna show you right now. Okay, so I already did the drums with you. But let's say you had snares and let's just actually get somewhere snares here and let's just layer a couple because this is a common practice in music production, layering collapse of stairs and drums and stuff like that just gives you a bigger sound and just a different sound and also a cool thing you could do with us. Layering and stuff like that is right now. I could make pan this one of the hard left and pan this one hard right, and what that's gonna do is it's gonna give you a really big stereo sound, and also you might be wanting to adjust your volumes. You can adjust them here, or when you wrote them to the mixer. You can adjust them there as well. And in her previous video, I gave the snares and orange color now I showed you that fl Studio stores that color in the power it. Okay, so right now I've highlighted, although so, to highlight NFL studio, there's a couple ways you can highlight the sounds. You could literally just click on it the 1st 1 and dragged down. But sometimes it's like, well, you might not want to highlight this one sound right, So you could be pushing in your middle scroll wheel to select those where you could be holding on shift and then left clicking as well. Okay, so those are just really handy things to know to select stuff. In addition, you can also be holding the Ault key and then up and down the arrow, and this will allow you to move sounds up and down again. A really, really handy feature. For example, I typically always have my instruments up top, and then I'll have my drum loops below is just a nice work, full thing. But those are just the kind of shortcuts. So again, I'm gonna highlight all of these snare sounds, and we're gonna click the arrow. And as you can see, there's color selected. So this is how FL studio approaches coloring multiple sounds at once. So, as you can see, here is the snares that I had previously. That's the exact same color. So I'm gonna select it. And now, the key word there was Grady int. So typically, what ingredient is is it goes from one color to the other color. So I'm going to select the orange here again. And now it's like that If you wanted to selected to be a different color, it would go from, like orange to say yellow, and it would work its way as ingredient. Let's just do the hi hats here just to kind of for completeness. So again, right now, I'm on the hi hats pattern. These are the sounds that just listen to them. Okay, so I'm gonna hold on shift and click, and I'm gonna click the arrow. We're gonna go color selected, greedy in and here's that kind of purplish color. Okay, so we'll click that again. Now when you go to wrote these to the mixer, if you guys want more information on this kind of stuff, I also have a course fl studio mixer workflow, and I break down how to set this up too. again. It's just all about workflow. As you can see, everything's color coded. It doesn't take long. It's only taking a while cause I'm explaining it to you. So right now what I could do is we can highly all of these sounds and gonna click here. I'm gonna f to medical fact space and delete this. The reason for that is because I have wrote Did this kick drum to answer seven? But I don't want to anymore. So if I delete this, Okay, now, when I wrote these sounds to the mixer, you're going to see that it's gonna be the guitar. It's gonna overwrite the seven here, and then the kick drum was gonna be on eight. And the thing is, the colors follow it as well as the names. So it's really important that for your instruments that you are labeling them beforehand and again, it's just a matter of pushing in your middle stroll wheel, giving it a color, that label and stuff like that. And now if you right click and go channel roading, so this is important here. Okay, So if I go control l, what's gonna happen is it's gonna put all of these sounds toe one mixer insert and that's not what you want. You wanna have all of these sounds on their own individual mixer inserts, and that's going to allow you to adjust their e que or their volume and just give you more control as a mixer. OK, so that's what the bottom line here is. So wrote selected channels starting from this track, So starting from insert seven, it's gonna apply all of these sounds to the mixer. OK, so as you can see, the shortcut is shift control L. And that's typically what I would do. But as you could see, there we go. So seven is the guitar eight is the kick drum. If I play any these sounds down, they're all in the mixer. And if we go back to these ones, so as you can see, I panned it hard left up here. And as you can see, it's only playing on the left speaker. Whereas if we go to like, let's say, the kick drum, you'll see that it's playing on both channels. Okay, so typically, I would be, um, applying the panning in here, but there's no right or wrong way it was the preference. Now, quickly talk to about dragging sounds into the step sequencer. Ah, because it could be a little bit tricky. So right now, if I'm gonna drag this clap three in, you're gonna see there's no problem. I can drag and drop it anywhere in here. And it's fine, right? So if I press Ault and elite not backspace, actually delete, I could delete it. You can also do that with multiple sounds you could highlight multiple Go all totally. And I can delete all of them all at once. Again. That's a nice shortcut as well. As you know, if you select these individual ones, whatever, it will actually delete all of these sounds that are highlighted. Now, if you're wanting to drag this sound in between, you have to be really, really careful because if I drop it right here, you can see it's highlighted. Green. It's gonna overwrite this seven. So seven would become three if I drop this in here. But if I drag in between you could see that I can drop it in there. So I'm gonna go alton delete to play it safe for you can also just drop in the bottom and hold the salt and up. If you want to put it somewhere also, you could right click on the sound and you can go open a new channel And that again, that's gonna put it right there at the bottom. And you don't even have to click and drag. In addition, you guys can right click on the sound and there's, you know, tons of different things that you can do in here in a sense of like, right now, um, you know, I have sounds clicked in. You can right click. And here's what the copy and cut, But again, control C control V in control X our respective to like that copy paste and cut. So let's just finish off with the steps you can syrup here. Okay, so this is just swing. This is a really, really powerful tool. You may not really fully understand it until later in your production career, but it really, really helps with a humanistic flavor. Okay, I'm gonna bypass this one for a second. Uh, here you have the option to control individual notes. So this this is really, really powerful for again amore bouncy flavor to your music. Just so it's just not so robotic. And this is just velocity. So you can control the volume of each of these individual sounds by clicking like this. Okay, this is the same thing of right clicking and going to the piano roll, and you can see right there if I put the piano roll to the side here and we go back to this is called the graph editor is again if you look in the hint panel. So it's called a graph editor. So watch this. If you watch the piano roll, this is event data. Is that the Event editor? I believe, and you've watched. If I do this, you'll see that it moves there. Okay, so this is actually the exact same thing. Um, this just allows you to control it from the steps you concerns. So in this case, since I right clicked and went to the piano roll, you know, it's the same thing. One thing I want to say with the graph editor is sometimes it's easy to forget that you have adjusted this sounds this way, So just be careful. In addition, you could see you also have different options down here. So if you want to just like the pitch of one and make it one lower Ah, you can do stuff like that. Okay. And typically for myself, I don't use the graph editor. I personally would just right click and go to the piano roll. Let's just have an trickle full screen. I'm gonna press control and right click. That makes it full screen. You can also hold on control. Right? Click and hold. OK, it goes like a blue box. Andrew allow you to zoom in just in that specific area like that. In this case, these air really, really small. I'm gonna highly bring him over one. If I were to work with this stuff, I would right click and go like pan velocity. Here's like the pitch. That's the exact same thing. Is the graph editor. I just wanted to show you just for kind of completeness. Okay, Now, lastly, I will cover the pattern length here. Okay. So effortless. Did you actually removed the pattern length as well as the graph editor as well as this loop mode? I think it was like in later versions of fl Studio 12 or like in the beginning versions of FL Studio 20. But because of the community, they wanted to back and fl Studio was really, really awesome that way. They actually listened to us as FL studio users, and they actually brought back this feature. Okay, so let's just go to a new pattern, and I can show you how it really works. Okay, so for example, again, we have, like, our kick drum here was played like this. We have just, like, one snare and this just play some high hats here. Okay? Okay. So now you just sound like this. I'm in record mode, so it play again. Okay, So what's gonna happen is if I go to the guitar here, got a piano roll, and let's just say I play, um let's just say a court here, and I'm just going to duplicate this over and over and over just to make it really, really simple. And it's gonna hold on shift and click. And I could duplicate and understand, of course, will be and go there, and we'll control beat. We'll go again. And with overtime. Ok, now I'm gonna press enter. It's gonna make the piano roll smaller. Okay? I'm gonna press control and right click. It will zoom it, uh, make everything center on the piano roll. And so what happens here is so this is a one bar loop. Okay, so if we count one, 23 and four, Okay. Now we come up here, the piano roll. So is the same thing. So one, 23 and four. But here's the problem. I have a two bar loop with this guitar, but this drum loop is only one bar. So this is where this looping feature can come in. Okay. Ah, If the looping feature isn't enabled, what's gonna happen is the drum loop is gonna play for the first part of this loop. But it's not gonna play for the next part. Okay, so it is. You can see in the actual steps to cancer right here. You could see that is red. Right? So that's me highlighting that. But over here, you can see it. You can't see it now if I go to the looping feature. And I think if you click this, you can see show a complete piano preview. There you go. So now you can see all the notes within this scandal role. And as you can see, you can actually see that where I'm clicking in there too. Okay. And before a hit play here, we're gonna do is in the piano roll. I'm gonna hold on control in the up arrow key. And what that's gonna do is gonna put all the notes up in Octave. And what I also did is if you look at the mixer here, insert seven. If you follow the audio cables, I've routed it to a delay, a reverb and another river. And this is just so that it sounds a little bit better. So when I hit play, what's gonna happen is the guitar is going to keep playing, but the drum loop is going to stop after the first bar. Okay, so there's four beats in one bar. So 1234 As you could see, that's one bar here's to. This is the second bar, and right here this is where the drum loop is going to stop playing. So I stopped. Okay, So the reason why this comes in handy is because sometimes as you're building your beat many times, you might be actually building your be all in one pattern, but your instruments might be longer than what you're Drum loop is Okay, so it might be a little bit confusing, but this is where this loop feature can come in handy. Now, when I hit play, you will see that even the second bar, the drum loop, will play way so plain. There's also an option to select like Luke channels. And ah, you look advance sleeping and you can get really, really intense with it. I honestly do not even use it for that many times. What I will do is once my drum loop is built, I will actually just add the loop in here like this many times. The drum loop isn't split as you see here, like many times that the drum that will all just be in one pattern. Ah, In that way I would just like this. So imagine all the hi hats, snares and the drums are all in there. What I'll do is I will just play the drum loop for you know, the four bars, as you can see right here and then I will play the instruments over top of it. So from this point, I would go to a new pattern. And now let's say I'm working with the guitar. I would go to song mode and I would go to record again. You are you making sure that this drum loop is the same length as with the loop that you're going to be recording? So if you're recording four bars in this case, you know, one, 234 then you know this case we're going to go. So that's typically how I work with the step sequencer. Those are the things I like to set up, especially this auto resize. I turn that off, Um, I color code. And then I will wrote it to the mixer. I don't wrote to the mixer until I know, um, that I'm ready to start mixing. However, I do make the exception that if I'm actually working on making a beat and that there's that one sound that you know, it's like, Oh, I want this sound to be special. I might wrote that to the mixer Apply effects on NFL studio. You just go to Thea toe a slot right here you go select and these are all the different types of Ah you know, effects that you have now. This might look a little bit different than what you have. I have custom. Lee set mine up to make organized like my delays Myeik use. But that's typically the only time where I'll wrote a sound to the mixer as and making the beat. Because for myself, as a making a B, I typically like to just make the B. I like to focus my time on. Okay, find that new sound focused more on sound selection. I'm focused more on timing for those sounds t played. You know, I'm focused, bore on the composition. And then again, if one sound needs some kind of special tweaking or whatever, I might apply it to the mixer. I'll put on the effects, whatever. And then I will adjust accordingly. OK, so that is the step sequencer. 6. 2-3 - Using FL Studio's Playlist: Okay, so in this video, I'm gonna be talking to you about the playlist. Okay, so this is the playlist right here again. I hit enter to make it go full screen. I'm gonna hold on control and right click, and that makes everything bigger. OK, so for example, if I had, you know, it was it was really long. It's gonna zoom everything into the screen. Ah, the same thing. If I highlighted everything, that's to say I bring it down to, like, here and hit, uh, holding on, controlling right clicking. It just seems everything into the frame. You can also hold on control. Hold on. Right click. And you can zoom into certain areas. That's a really, really useful trick. You can also call control Z and then control all to NZ, and that is your undoes. Okay, What I'm going to start with is we're just gonna add in our patterns into the playlist and how I would do that. Great. I'm gonna hold on control in a highly everything and impressed elite, not backspace. And it just leads everything to give us a fresh slate. So again you can select your patterns from up here. you can also select them from right here. Okay, But how I like to do is through the number pad so I can press one. And I know that's my drums to Is this my snares? Three my high hats, and it just kind of goes in order. So if I press one, that's my drum. So that's my very, very first pattern. Okay, as you can see, So right now I'm just gonna click in the drums for four bars here. Okay? Interested? A right click toe on. Highlight that. And I'm gonna press Plus and you could see it Just change the pattern. So this is just the way I work. It is very, very fast. Here's my high hats. Now again, I previously mentioned to you about there's the pattern mode and the song mode. OK, so if I click play from here, you're going to see that it's which is the pattern mode. And it's only playing this pattern. Okay, I start the editor's notes, and if I click the playlist, you're going to see it turns the song mode, which plays everything that you see right here. Okay, so again, what is click playlist right? here now. Recently, fo studio has started to include this new feature is called The Panel Picker, which is what you will see when you install FL Studio. You see this now? Me. Personally, I kind of feel it's redundant in a sense that it's like, Well, what's the point of selecting your pattern from here when right now I can click Stares is gonna highlight it. I can also select my pattern from here, and I can also select my pattern from here. So I just feel that the idea seems good, but it takes up too much of my screen real estate and it's come stands kind of redundant. So I just go to the PM, the panel picker and ago disable it. And now I have more room to see my playlist. And you know, this is how efforts to you has always been again. The panel picker is kind of a new feature. It's up to you if you want enable it, but that's what I do. In addition, if you click the arrow and you go to view and you go to behind clips, so I believe efforts to you comes with plain. This is what it looks like. I like to select this solid. Ah, I think it just looks, you know, better to my eyes, you know, like that. That was me. And I also do not color this kind of stuff. So for example, right now, this is that the drums, if you right click and go like auto name. You know you can do this, but I kind of find unnecessary, because again, how I've set myself up. I have the color already here I have the color in the mixer and now I already have the color on the pattern within the playlist. So going the extra mile of organizing it this way, I feel that that's that's just an extra step. It's unnecessary. As your song starts to grow, it's really easy to track everything. Okay, That's just how I float. Now I'm just gonna share some things with you to help with your work flow when it comes to the playlist. Okay, So if you want to highlight certain areas while you have to do is hover your most up here. Hold on control and click. And that's it. Left, Click. Ok, you guys can also just right click and hold does the same thing. And to get away from that, you could just double click anywhere and it will get. Get rid of that. And then how many times work is if I hold on control and hold down my left click and highlight? I'll hold down, shift and click if we want to duplicate stuff to bring it over. Okay, And then again, if it's highlighted, you can press delete. That's deletes holding out, right? Click, you know, deletes, um, but I really like this control and be so if I highlight and then press control and be typically how I build the track is I typically would build it like in something with, like, these four bars. Or maybe it might be eight bars, Um, and, for example, this guitar. Just imagine the MIDI notes or there aren't highlight this press control. Be a couple of times, and then now it's just easier to remove stuff you copulate over like all your instruments, as if it was like the core is playing forever. And then you simply just remove stuff to kind of start your intro, start your course, start reverse. Um, and that's just a good workflow for myself. Okay, One other thing I talk about is this snap. So I'm gonna press my enter and go to press control and right click. And so the snap is this magnet up here? Okay, so what this snap is is it's how fine the grid is. Okay, So for example, right now I'm on a boat beat. And when you are working with your song arrangement, I typically work in beat or bar. So, for example, if I go bar, you're going to see that we don't have these lines in between the thick lines. So I'm gonna go bar, okay? And the reason why I like that is because when I am zoomed out and I'm working on a huge production, you know, by huge I be maybe like, let's say 2030 tracks or something like that is you can see when I click and drag it snaps it right in there. So it's really easy to arrange, Okay? And then if I want to do some fine tuning, So, for example, that say, I want to do some chops, So I'm gonna click the magnet up here, and I go like beat Now, for example, I can highlight this. I can come in the very edge of it. Hold it down. And now I can do something like this. And now again, you can other press control and be or you can pull down, shift and click. You know, something like that. So that's a lot of times like what I'll do if I want to do some kind of chops or, for example, if we do go back to that are I think I have to redo it. So just do this. Go control, be control. Be so sometimes you know, if you want to remove something or like that, sometimes that's kind of powerful stuff in your arrangements. If you are on a really, really fine snap, like, for example, if we go with, like, 1/4 step, you're going to see how fine this is now. Right now, it doesn't look super fine, But watch when I zoom in now, even Mawr line start happening. So again, if I was going to start coming from back here and I'm gonna try and arrange my song, you're going to see that it's really easy to be out of sync when you have a huge production and it looks like this. You know, sometimes it's hard to see, like, you know, we can't even see the difference or here or whatever, Right? But we can see it here. Um, so that's what I'm saying. It's just I like to work in that beat or bar. Let's just kind of go back to, like, here. So again, be her bar. This is gonna be super super helpful to you when you're arranging your track That way, you know everything isn't sink. Okay, now I'm going to show you how to work with audio clips. So, for example, let's just they were working with, like, a symbol thing. Okay, so I'm just gonna click and just literally dragged this in. Now you may be watching some tutorials, and you see, people have these audio clips all over for, like, their drums and their collapse and stuff. In my opinion, I really don't feel that those people know what they're doing. This is how you're supposed be using FL studio just like you see right here. You don't have, like, my drum and the sequencer, and then you make the pattern you put the pattern into the playlist, and this is how you build the track. Okay, this is the most simplest way. If you have the most flexibility on your creativity now, I would apply an audio clip like a reverse symbol or something like that, because you confined to knit a lot easier. For example, if I added the crash into here into, like, a pattern and then I put it into, you know, like, let's say here and now I put it here, so I'm just gonna have to and we will go symbol. Okay, So as you can see, this is like the symbol. But now it's like in order to find, too. In this, I have to go to the piano roll and then, ah, move us over so you can watch this step right here. Now, if I move it over, you can see it's like that. But it's just like I'm saying. It's just do not follow what you see in tutorials. That way I will use an audio clip like this when it comes to like symbols or, ah, you know, types of transitions that I'm warning to kind of build up into the next section. of the song. So, for example, you guys can check out my course song structure, an arrangement I talk about audio painting and how to prepare a listener through transitions and stuff like that. So, in this case, you know, if we have a symbol, I'm gonna put it like here, and then I'm also gonna hold on shift and click. Now it duplicated it. You can right click here, and you can go make unique. Okay, Now, this is a duplicated copy. As you can see, I have two versions up here If I push him in middle scroll wheel and just type in like, uh, reverse symbol. Let's just give it a different color. Um, and we're going to click on it, and I'm gonna go reverse. Okay. Now, what you can do is you can come up here and line it up. Now, as you can see, it's actually not perfectly lined up in this, Like the list of super annoyingly I can't get it now. What you can do is you can come up here to, like, none on this snap and you confined to knit this way. Um, but again, next Now you're having to come up here and it is just an extra step. So I always leave on like, a beater bar. And then if you're wanting to fine tune it well, you have to do is hold on, Ault. And it breaks free from the snap. Okay, So for example, if I don't hold on, Ault, you can see 1/2 to follow the snap like that's a huge jump, right? So I have to do is hold on Ault and you confined to in that Okay, let's just turn this down because symbols are very, very loud. And if we just listen to that this is a very common practice in music production is to use symbols, a reverse symbol and afford symbol to prepare that listener for the next part of the song. So, for example Okay, now let's just talk about slicing. So if you do want a slice stuff, for example, like right here, we can just, like, take the slice tool in slice and go back to like the paintbrush. I typically will always use it. The paintbrush. I never used the draw. I never use, like the delete up here because this is the same thing as right clicking on here, you know? So if I just click this or right clicking Deletes. But if you want to do that, you can see up here in the hint panel. You can presidency. Actually, right now, I can't use the shortcuts because I have typing keyboard to piano enabled. So I disabled us. Now you could be using, like, the shortcuts it says appear shows like be for brush and P for paints of a press P. You know, now I'm on like the pencil. Um, I leave it on brush. Um, I don't use any of this stuff. As you can see, that there's, like, the highlight here. So that's like the seems like the select that I would do with holy down control and left clicking. So I never have to really stay out of the brush seconds. Hold on control and click. Um, now, if you hold on Ault on the right side of your keyboard, you want to hold on ault and shift. Okay. And now, if I left click, you can see Aiken bacon slices. Well, so if I hold down just the right shift, okay. And then left click. You can see I can slice, but again, it's following the snap, so I have to stay on grid as soon as you hold down the altar with it, you can override that snap and you confined to knit again. This is just really useful. If you are working with, let's say a vocal and ah, maybe there's like a little bit of, ah, kind of like a weird like maybe like a breath like kind of like a noise from like your mouth as you're recording. What you can do is you could hold on Ault and shift again. This is on the right side of the keyboard, just left click where you want to slice that. Say it was a great there and you could, like, slice it out and you could literally just, like, delete that again. Now I could hold on ALTs and you confined tune if you wanted to kind of move a little bit more. Whatever. In addition with this stuff, if you go to like the Channel sampler, if you go to the D clicking mode here, you can select different types of fade ins. So, for example, instead of it just kind of coming back in abruptly, You can kind of fade in gently and you can just kind of play with those. I don't use those super often, but the option is there. Okay, Another thing that show you is quanta izing. Okay, because sometimes what happens with that full studio is sometimes, like you'll drag a sound over and somehow it just kind of goes off grid. And you're like, Well, how do I get it back on grid? Like, you know, again, you could hold on the altar and do it that but again, it's just that's just extra work. So let's just say our pattern here was off beat. What you could do is you could I'm gonna hold down control and just left, Click on it and you compress controlling Q Okay, that Kwan ties, Is it? So quanta izing is snapping to the grid that typically creates that really rigid digital computer sound. Ah, but since this is a pattern, you want to be making sure this is on grid like it's very, very important because on the actual pattern now you could be off grid within like the piano roll. Okay, you could make it. These kind of ah, no nudge and stuff like that. But the pattern you want to make sure this is in sync with the rest of the track because this is out of sync. It makes the out of sync with your snare and stuff like that. Okay, so the shortcut for that is up here, we could click the arrow. We're going to tools. You can see it's quick quantities and its shift Q. Now, when we go to the piano roll, it's actually control Q. I don't know why they that made that kind of confusing, but anyways, that is this the shortcut right here shifting que you want to make sure you highlight at first? Because what's gonna happen is if I were press shift and curate. Now it quantifies. Is everything on here? Okay. Whereas if I highlight just the individual pattern because this is the one with the problem , you go shift in Q and that we're just gonna save you. In case, you know, maybe you have done some nudging around on your playlist. Uh, and if you quantifies, it snaps all that stuff, and it may not be what you want. So again, I highlighted them press shift Q. And it quick Quanta ized it for me. Okay, so I think that's pretty good to get you up and running with the playlist again. I like to have it on beer bar that's going to speed you up because you know the actual pattern is locked in. It's good to go. It's going to be in sync with the rest of your track. I usually keep this just on brush, and most of these options appear. I have shown you with the shortcuts, for example, holding down control and left clicking to highlight holding down control right clicking to zoom in. Doing that, the sliced so you have to hold on the right shift left click And now you can do this. And again, if you hold it down with Ault, you can get rid of the snap, and you can slice literally wherever you want again. When you're working with these types of sounds like these audio clips, you want to be holding down the left fault, not the right old hold on the right old and click it mutes it, OK, and I don't ever you do that kind of stuff. If I'm gonna meet a sound. I'm gonna mute it from here, okay? And this just makes it so that you can't hear it. And Ah, what you could do is you could right click to solo it out and let's say I left clicked to make both these heard. Now, here's a cool trick. So what I can do is I can right click here. It's gonna sold out the hi hats and it or right click again, and it brings it all back So that sometimes a useful thing If you're working with, uh, like some drums, I just want to hear them by himself. You could right click again Your whole song comes back Or if you wanted this kind of solo it out maybe bring in just a few and then again to bring it all back you can just double right click, boom And then boom Okay. So again you wanna be holding on your left Ault here and it's gonna break free from that snap and then highlighting the playlist again. Years hold down control and left click. You could do it like that or you can just right click And you could do like that too. Okay, if it's already like this and you hold on, right click. It actually adds on to it. Whereas if you left click, it kind of restarts it. So holding on, right click extends that. That's kind of cool thing. I just learned that right now. Okay, So if you guys have any questions that you'd like to see a little bit more on the playlist , just let me know, and I can create another video and just add it into this course here, okay? 7. 2-4 - Using FL Studio's Piano Roll: Okay, So in this video, we're gonna be talking about the piano role as well as some tips. The speed you up and you know, kind of cool tricks. Okay, So before we get into that, I just want to share. I forgot to share this with you with the step sequence there. So now that I have audio clips added in, you can select up here and you can goto audio in case you ever want to see those symbols. Okay, again, you guys can always click like the pattern here it changes. Or if I click on the audio clip, it's also gonna change as well once we get into automation clips. And, for example, on automation clip is something that you set up previously so that as your song plays, it will just follow. That, for example, says that highlighted that area. I'm going to right click and go create animation clip. And now if I increase this, you're going to see that as a song plays. So right now I'm on the automation clip. I want to go to audio because I affected the audio clip. The reverse symbols volume knob. Okay, That's what this is And as a song plays if you watch this knob right here, Okay. Ah, you'll see that it increases, okay. And it just increases according to what I said here, I can, right click and, uh, you know, do stuff like this, But just so you're aware you can access all that stuff from here now, I typically do not work with all because you know when to have your full composition. If you have automation clips, audio clips, you have all this stuff. It's kind of unnecessary. Typically, all you need is unsorted. Um, I don't worry about creating groups and stuff like that. Ethel studio is kind of weird when it comes to groups. I leave it all like this and I find that if I color code, that's good enough in terms of my group's. Okay, But I will leave it unsorted. And that way I could see all the sounds on my instruments. And then if I'm working with audio clips, you know, that's kind of more like the audio painting stage. Typically, add that stuff later to help prepare the listener for its next in the track. Okay, so let's get into the piano rolls So there's a couple ways how you can access the piano roll. You can click up here, but again, if you look at the hint hint panel, you'll see that's F seven. So I typically like the shortcuts, So f seven it opens up. You can also right click on any sound, and you go to the piano roll. Also, if you already have the notes within the piano role, as you can see in this case, you can click this and it's gonna open up the piano roll. Okay, so let's just go to these guitar notes can. And I'm going to have to and I'm going to go guitar and you will see that's the color. So I'm just gonna click here over. Is that the piano roll? Let's make it big screen. I enter, I'm gonna press control and right click, and the first thing I'll do is I'm gonna check my snap here so I'll typically work with either 1/4 beat or like 1/2 staff because that's a lot easier to work with. Went to again go down to, like 1/4 step. So again, right now, it looks like this right. But as you zoom in, you can see that there's even Mawr, and it's just like when you're editing your many notes. When you're on like 1/4 step, it's just like I have no idea. Like it's even hard to find, right The middle is I'm pretty sure this is like the middle right here. If I go to like a step. So as you can see, this doesn't give tons of flexibility in terms of where you want to place your notes. I only have four options. I can place it here, here, here or here. That's it, Right? So it totally depends on the track I'm working on, but I'll work in either step or 1/2 step. OK, so you could see 1/2 step, gives you a little bit more room for creativity. If you're wanting to click sounds in. Okay, so for now, let's keep this on 1/4 beat, which is the same thing is like that step there, and I'm just gonna press control and Q. So that is Ah, the quick quantities control Q. And what this is going to do is just just gonna snap everything to grid, and it's gonna make it sound on perfect time. Now again, you know, this is making it sound like robotic. But I find that by hitting control Q and Kwan ties ing, it makes it easier to edit. So if I do want to come in here and, for example, I can hold on shift and the scroll wheel and it's gonna nudge. You can also hold on Alton on the scroll wheel and you can see it's gonna affect the velocity. That's just the volume of the note. You can also like, select like most multiple and doing the same thing. Or hold on shift, do the same thing. OK, so again I'm gonna hold on Control que aun Kwan ties. Now, if I click play here, it's going to switch this to pattern because this is the same thing as clicking the speaker in this pattern. Okay, just so you're aware if we are full screen if I hate, play here is gonna listen to just the piano, but sometimes that doesn't give you a good reference. You can enable the Metrodome and Weaken Check it out. Okay, You know, just to hear if it's on beat. But many times I like to listen to that in terms of the actual track I'm working on. Let's just delete all this stuff and we'll listen to what we got. Okay? So turn off the Metrodome, So maybe try us over here. Okay, so this was a really easy one to edit. Sometimes your notes could be kind of like all over the place would be like, you know, like this and stuff. So it is just a matter of finding what is on B and kind of like what flows and makes it all sound like in sync with your track. But again, by setting yourself up with, like, the quarter beat, it is hitting the quick quantities with control on cue. You know, it's a nice, quick way to get yourself up and running, and then you can start maybe adding notes in. So, for example, if you know music theory, and if you don't, you guys can check up my course music theory and cords for beat makers. And if you want to learn the piano, you can check out piano for beat makers and producers. Um, but I'm in the scale of C minor right now. And, for example, I could just kind of click some sounds in here, which are in that scale. So you know, for example, of maybe I'll do like this, for example. Okay, Lets just leave those for now. OK, so now let's talk about some things that you can do to make the piano roll Super, Super awesome for you. Okay, so I already covered holding on shift and the scroll wheel that allows you to get a more humanistic flavour again. So, for example, we play a chord like this. We could maybe, like, nudge it a little bit. Maybe even put this one back a little bit. And if you hold on Ault in the scroll wheel, you can adjust the velocities. Ah, that's just a cool little trick there. Now, I always like to have ghost notes enabled. So, for example, if you click up here and you go to helpers, you want ghost channels enabled? Now, what this is gonna do is I'm just gonna clone this guitar, for example. You know, imagine this is a piano, OK? Just as an example, I have to give it a color. So watch this when I go to the piano and I got a piano roll. You'll see that these are the notes from the guitar. So I'm gonna go back to the piano here and now what you can do is you can actually double right click on this, and it's gonna put you back to the instrument of whose notes these belong to in this case, the guitars. Right. So if I double right click now, we can go back to our guitar to edit it. So this is worse where this is really handy, cause now you could maybe start clicking notes in and you could start following what you've previously played. And this is the powerful technique of, like layering if I was working with with a different instrument. OK, so let's just delete that piano. And so a really annoying thing with editing midi notes within a piano roll is not being able to edit it from the left side by default. FL studio doesn't allow you to add a note from the left. So what you want to do is click the arrow, go edit, and you have to enable allow re sizing from left. This is a really, really powerful thing to speed you up you know, for example, to say I was editing notes like, I want to move this one in Now instead of moving my most all over here, it's like, Let's say I want to move this one in You know, it's just really, really nice. So I would highly recommend you enable that. Okay, now we're going to jump into the event editor. So this is where you confined. Tune your instruments and get them. It's sounding exactly how you'd like in terms of velocity panning pitch, all that kind of stuff. So previously I showed you on the step sequencer. You can click this graph editor and you can edit stuff like this way, but I highly recommend you don't. I would edit it through with the piano roll. Okay, so all you have to do is down here as you can, right click. And you could see you have two different options. Um, I typically will stay on the property side. There's also this kind of stuff. For example, of his eight volume, you can left, click and, like, click things in. This kind of gets messy, for example, For close out of this, you can see that it's actually within the pattern itself. And watch this if I go back to that channel volume. And now, if I extend this like past here now again, if I close it, you can see that it extends the pattern past where even your notes are playing and again, you know, I just find it messy and kind of annoying. So I typically never use this. And in order to delete this year's gonna select the delete up here. And what you can do is you could just click and hold, and highly, and it will delete it for you. Okay, so again, I stick to the left column here. If I want to start editing these notes, this does give you a little bit more fine control. Like, for example, if you do want a pan Ah, sound like halfway through. But in my opinion, I would recommend, like, do it using automation on the playlist for that. Okay, so here is the note property. So, for example, here's pan. Now, if you wanna pan an individual note, you have to highlight on it. Okay, so I'm having the most holy not Ault and again at the scroll wheel and you can pan notes individually differently. So, for example, uh, a sharp up here is obviously being pan to the right again. I'm checking the hint panel. Super helpful. Always enough will studio. Okay, so on the boat, like set, You know what, 70% down here. This one is like 20%. And if I highlight it, you could see that this is the actual note. OK, we go to the velocity. So again, this is just volume. This allows you to get more balance in your pattern. So, for example, instead of having to, like, use aggressive compression and tools like that because impression is cool But sometimes it can have negative artifacts, especially if it's just like that one sound that sticking out. So, for example, if we have that this one sound rehearing of a super loud, you could just simply just kind of dial it back a little bit. And again, if the notes are, you know, kind of stacked on each other, just hover your mouse and you can use your scroll wheel. Ah, whereas right now, thes three or stacked right, If I left click this, It's gonna just all the notes okay as a whole. And as you can see, if you follow like the bars, the velocity, her here you can see it's going up and down. So it's like that's not what we want, right? If it's just like this, one note is kind of sticking out or it's not sticking out. You can boost it up and maybe like the base, you can really bring that one down or whatever you want to do. OK, so I'm going to right click down here. We're gonna go to the pitch now. If you want to adjust, pitch on these, this is you know, the exact same way. So, for example, right now it seems like this. But if I crank it up, you know it's no, it sounds high pitched will bring us to So right now. That sounded not bad, but that put it up. I think like a full octave, whereas in between you got to be careful because now this could be under two. So, for example, yes, as you could hear, it's out of tune, right? So when it's all the way up, I believe it just kind of puts it up like a full octave kind of thing. But, you know, the option is there. I'll show you a cool thing that you could be doing with this again if you check out the song structure an arrangement course I show you some cool stuff I've done in there. So, for example, here, like the hi hats weaken right click piano roll and a cool trick you can do is you could hold down the right click, OK? And you can actually drag from a note and you do stuff like this. So, for example, figure like pitch and ah, you know, that's but this one all way down and I'm gonna right click and hold, you know, doesn't like this. So if you listen to this high at, let's go back to the velocity and let's just, you know, was put it all out there. Okay, so that's a really cool technique. If you are working with, like, a snare or something like that, it's kind of cool to put before, like, the chorus drops Another cool thing. I'll show you with the piano roll here. So if we hold on control in a so that highlights everything you'll see you have a little arrow right here. So you can actually drag this to make it faster or slower, like the tempo If you want to approach it like that, you know, because right now it's like, now, if kind of slowed down or sped it up, um, that's just a cool feature. Okay, Another thing, too, is you can also enable this magic lasso. So if you go to select and then enable magic last suit Now, what you can do is you can actually ah, wrap your most around certain notes and highlights it for you. Ah, this is kind of like a cool trick. Sometimes, you know, like if you're wanting to work with certain stuff, whatever. And if you want to be highlighting certain notes to, you know, move notes up or down or whatever, so you can hold down control, okay? And that's just gonna highlight one note. Now, what you want to do is hold on control and shift, and you can actually select different notes. If you choose to do so, you can also de select them as well. Okay, Now, if you want to highlight multiple notes again, you just hold on Control. How I like them If I hold down control and shift now you can highlight mawr if you choose to do so if you hold down control and the up arrow. So what that's gonna do is it's gonna put to a new Octa for us many times when you're making your beats sounds, selection is very, very important. You have to be thinking about low frequencies, mid frequencies, the high frequencies. And when you're choosing your instruments, you have to always be thinking about this so sometimes a sound. It may not sound good at that oct of, so you can bring it up and active, which is gonna make the sound higher and pitch. And it might suit the song better. And it might make it also easier to mix because now it's not fighting for those same frequencies as maybe the other instruments in the lower ranges are okay. So again, that's this control and up and down that moves all the notes up. If you want to move just like you know, some of the notes, you can highlight those and you could bring those up. Okay, you can also hold down shift and up, and that brings it up. Just one note. So, for example, if I was highlighted here shifting up just one. Okay, so let's just listen to that one more time again. If you have a meaty keyboard and you have enabled your transport controls again, if you just look up here, I'm pushing in my stop. Or if I hit play right now, you just played the pattern. But you can also push the blue button on your MIDI keyboard, and it's gonna switching between pattern to saw mode. Okay, if you have that option, If not, you could just click up here. Okay. But again, I'm just trying to train you so that your work flow is smooth because typically, I'm always trying to use these shortcuts to speed myself. Okay, so here we go. That's pretty much my tips, I think with the piano role here, if you guys have any questions, you know, always feel free to reach out. But the biggest one is really enabling the ghost channels that's in the helpers in the edit . You want to be enabling allow re sizing from left that allows you to edit notes from the left of them. Super super helpful this select one. Sometimes this is handy. Sometimes you can get annoying sometimes to select sounds. You just hold on control, highlight them. If you want to select more sounds, you go control, shift and then highlight. You can left click to select individual notes and de select them as well. You can hold down shift and the scroll wheel and nudges notes Ault and scroll wheel. It nudges the velocity or depending on what your property is if you're on pan or pitches. Stuff like that and in terms of editing your notes, is pretty similar to working with the playlist. Like if you hold on Ault, you can override this snap. Where is that? I don't hold on, Ault. It has to follow the staff right, which again, that's a pretty big gap. So you know, many times if I play a sound and if it just sounds a little bit too long many times, all of maybe just highlight these Hold on, Ault and I just bring it back just a little bit, you know, just for example. So hopefully that's enough to get you up and running with the piano roll here again. If you have any questions? You guys, you just reach out to me and I can create additional videos on the piano roll here. 8. 2-5 - Using FL Studio's Mixer: Okay, so in this video, we're gonna be talking about the mixture. Okay, so I already kind of briefly showed you how to kind of set it up in a sense of up Here are your sounds, and all you have to do is just wrote the sounds into the mixer. And as you can see, this is the number. So seven is the guitar, and if they play the guitar, you can see it's playing on seven, Michael, Like the kick drum. You know, that's the kick drum on eight. It's really important that you color ahead of time. And then what you gonna do is gonna highlight them. You're gonna come to an empty insert. You're gonna right, click, you're gonna channel routing and you go wrote selected channels from this track and know what that's going to do is it's gonna put guitar on 15 and then the High house will be at the end here, just like you see here. Okay, so from seven. All the way to 14 Okay. On the mixer. What you can do is now you can you know, you can actually control the volume of that guitar you can pan. Uh, This is how you can get model, or you can remove the model signal and Plame or of the stereo. You want to be careful with this stuff, but many times like a baseline. Sometimes you can, ah, put right tomato. And so if you're wanting to highlight multiple mixer inserts, all you have to do is hold on control and shift and you can select them. You can also de select them same way. So let's just say I highlight a whole bunch of them. OK, you can actually control multiple failures, which is really, really cool. This was a feature that was introduced in later versions of FL Studio. I wish it would if I right, clicked and went reset. I wish it would were set all of them, but it doesn't. Ah, so that's just one thing to be aware of, as you can see is, bring them all up and I'm repressing control. Alter and Zito undo again in your F 10 settings in the General. That's because I have maximum undue levels at 100 as well as undue knob tweaks that allows me toe undo stuff like that. Here's how I like to set up the mixer. OK, so if you click the arrow right here Ah, you'll see that this plug in delay compensation. Now, this should be checked automatically. Make sure it is. It's really, really important to make sure all your plug ins that you're going to be using, such as accusing compressors and accuse everything in sync. Okay, the next thing I like to do is we're gonna go to view, you see colorful mixer here, so I think it comes with low. I put it on medium. It just looks a little bit more vibrant when it's on high. It's kind of a too aggressive. That's just my own opinion. May also like to have the track inspector on the left. So what that means is, it's your effects. Okay, so every single insert has 10 effects that you can apply to it on. If you really want it, you can ride it to another mixer insert, and you can have more effects. I'll explain that to you in a moment. Okay, Now, the reason why I like this on the left is because typically when your music program, it's like my most ISMM or in this area where is This is so far out of the way. Uh, really. It's like, you know, you're not really ever working with anything over here. It's pretty rare. So that's why I will co view tracking, tracking inspector on the left. And now there it is. Another option I like to enable is just the lines in between tracks. It just makes it a little bit more visual in between. Whereas if the if the lines aren't on, it just kind of makes it as if it's like it's all together. So the lines has kind of Assam separation. Now you guys can also click up here and select different styles for your mixer. For example, if we go like Y three when you select Melissa compact, you know it's a super super small, right, Um, but if you work this way like it's totally up to you, I'm just passing on how I approach this. Um, I believe if you go extra large, it shows the plug ins here, which is kind of a cool feature, and you can also enable compact plug in list. As you can see, you can actually see all of the inserts, like the effects that you wouldn't want to apply. I think the reason why I don't like this is it doesn't have the stereo separation knob. I think I used to use this, and then it was kind of like, for example, like they don't have this knob. Um, in addition, you can also flip the phase s O, for example, if you are recording drums or whatever. Ah, flipping the phase is a very, very common practice to make sure that things aren't cancelling each other out. Ah, for example, if we have to kick drums here, uh, here's one kick drum. Actually, no, this is a good example. I will use the same kick drum because it will cancel its itself out. So I'm gonna right click and go clone. Okay? And let's just play it on every single beat. And I was gonna go control C control V. And if I take this kick drum and high reverse the polarity So I have literally flipped this kick drum. So now when I play it, we should hear zero audio, which is what we do. Okay. Now, if I turn reverse polarity off, what's happening is I'm literally duplicating that audio so it's gonna be doubled in volume , Pretty much so. Okay, if I turned off okay with reverse polarity on this is what you call the null test. Many times if you're wanting to test a certain piece of gear Ah, you know, to hear if it's introducing a lot of noise or something into your music Ah, you can record it through that piece of gear. You could bring it back into your music program and you can flip the phase, which is the same mis hitting this right here. And it's called the null test, and it lets you hear Ah, the difference between the original signal to the affected signal. Okay. Ah, for example, if I were to open up in the piano roll and highlight this and just nudge it over a little bit, you hear our sound a little bit, but it's going to be, uh, canceled a little bit. Okay, so just just to share that with you, okay, it's kind of a cool thing to know again. It's just called like a null test. That's the reason why I like to set it up on like this setting is because you're able to do , uh, reverse the polarity. A swell as you could swell up like the left and right channels if you choose to do stuff like that. Um, now how you can record with FL Studio. I'll actually show you a specific video afterwards. But all you have to do is here is the record button right here. And if you want to enable a microphone, you click right here and you can enable the microphone if you're using audio interface. If you played into Channel One, you select right here. Now you have to be careful there. Stereo and mono. Ah, microphone is mono. It's only a single source. Stereo is two sources. Okay, so now we're going to get into more advanced stuff with the mixer. OK, Now, if any of this is confusing for you and goes over your head, I have created a specific course on this, Okay? It's called FL Studio Mixer workflow, and it covers this stuff way more in depth. It's helped a lot of people. I even have a video in there that I use paper and pencil and a breakdown, audio routing and signal flow and all that kind of stuff. Okay, So on the mixer, there's two things I'm gonna introduce you to. So there's a subgroup as well as sends. These are super super powerful tools to improve your speed of mixing as well as the sound of your mixing. Okay, so any of these could be ascend as well as they could be. A subgroup at full studio doesn't work special that way. Like, you know, in some dogs, you actually have to create a send and stuff like that. In this case, it's just a matter of your roading down here with the cables. Okay, So as long as you follow the cables, this is really, really easy to figure out how Ethel Studios wrote in your audio. Okay, so first of all, how it works is the master bus is what sums up all of your mixer tracks. Okay, So no matter what you're doing here, as again, if you follow the cables, you can see that they're all being routed to the master. Ah, you can also disable it. And I could like, send this to like a clap sub, for example. And now the clap sub is going to the master. Don't worry, I'll break it all down for you. Okay, so this we're going to get rid of this. Um, I was doing this. I screwed up in my first recording. Okay, So we will dislike. Great. OK, so I'm going to create a subgroup here, and typically, I will write the sound that I'm working with. And then sub, for example, this is work with the claps here, so I'm gonna go f two and then I always write in capitals. So clap sub. Okay, I'm gonna click here, and this is the same orange as what we had previously, so I'll select that. And if you're color doesn't show there, what you can do is you can just select one of these f two and they just enter. And what's gonna happen is they have to again. It will put it first for you. That's a cool little trick that FL studio does for us. Okay, so I'm gonna hold on, alter the left arrow key, and I'm gonna put that to the front. This is typically what I do now. What I'm gonna do is I'm gonna highlight all of these, and I'm holding on control and shift and clicking and holding. Okay. And now, while I have to do is right Click on this clap sub and you can see that you can go wrote to this track or wrote to the track on Lee. Now, if I select wrote to this track, what's gonna happen is these four sounds are going to go to the claps up, but they're also going to be still going to the master. So we have now duplicated that audio, and that's all we've done. We want to make it so that these sounds on Lee Goto. One insert by Clicking wrote this track on Lee. OK, so again, if you follow the cable, you know, So this one's going to sell to the claps up, but it's not going to the master anymore. But if we click on the clap sub, you could see that it goes to the master. Now where this benefits you as a producer and mixer is now, we have one insert to control all four of these sounds. OK, so this one insert controls all four sounds Now. In addition, if I were to open up, let's say like an e que so we'll go like a pro que Here I like fat filter plug ins a lot. Um, they're expensive. But in all honesty, I purchased this a long time ago. I'm still in the first version. I think it's only version three now, but it just goes to show that you know, I'm still in version one and I still love the tools. I've just like their workflow in terms of sound quality. You know, it's like most plug ins. You know, they might give you a different sound a little bit, but for me, I like these plug ins for workflow. If at the moment if you only have FL Studio stop plug ins, I'd highly suggest to use the fruity Parametric eq you to. This is a great e que You can also resize it and ah, you know, So you can see however you want. Okay, So to go back to our subgroup. OK, so all of these snares going into the claps up against follow the cable now the clap sub If I apply an e que here and let's say I cut some in the skies, it's actually cutting the highs out of all of these sounds. And that's just kind of cool. Instead of mixing each of these individual tracks, you're actually mixing four tracks at once. Now, since all these sounds are going tore subgroup, you do have to be careful on the processing of the actual subgroup because you are affecting all the sounds. So if there's that one sound that's being difficult, you can still go to the individual sound. Open up Aneke or compressor, whatever kind of type of effect that you want and you confined to knit here, too. You can still control like the volume and you know if it's too loud or whatever. But this is just a nice way because you can, like, put a compressed, drawn here and kind of help glue. All four of these collapse all together. Okay, so that's subgroups. Super super powerful stuff. And it was just a matter of creating an insert, bringing it over, highlighting them, break clicking and going wrote to this track on Lee. OK, so now I'm going to introduce you to sends. So, as you can see, I already have sent set up right here. So right here I have my snare sounds, okay, and I'm going to bring the volume back up now before what I had is I actually disabled this because I wanted to use the shortcuts, so I usually press Q and that allows you to hear the sound. But if this is not enabled, then we can't use our typing keyboard to play Sounds. So right now, I've enabled it. So I press Q and this is a good way. Just a test sounds Oh, okay. Again, that one's pan far left. This was pat far right. So why sends air so powerful is because you can actually be using this river for multiple sounds. So, for example, we can apply reverb to all of these tracks by simply clicking here on the river. But I'm just left clicking on That's the same thing is going wrote to this track. Okay, so what's happening is now the claps up is going to the master again. The Masters. What sums everything. And that's the final export. Okay, goes down to your two bus audio that you export, and it's ready for the world. Okay, so right now I'm on my clap, it's being routed to the reverb. And if we click on the reverb, you could see that the reverb is going to the master, so we're going to hear the audio. So if I were to play a clap here, any of them okay? And that's because all of these are being rooted to the clap sub. The clap sub is going to the river, which is a send. And then the river was also going to the master as well as this is what you call the dry signal. When you're dealing with, send some terminology that you'll hear is dry and wet. Okay, so this right here is the dry signal. This is going directly right to the master. However, we've actually tapped off of it. And this is what's called in parallel, a breakdown series and parallel processing. In a second. It's a little bit confusing. I highly suggest, you know, checking out that mixture course, but this is the dry signal, okay? And then this is what's called the wet signal, and we can simply blend in what we want. And that's what's so powerful about it. Okay, so for example, in addition, we can also maybe take the high hat and let's say the high hat we want some reverb now I'm not telling you to actually do this in your mixes many times. Ah, high hat with reverb doesn't go well. Hi. Hats typically do sound better. Quite dry in a sense of not having like that river been stuff, but he the mix is your mix. If it sounds good to you, then it is what it is, right? Like that. That's what you like. I'm just showing you what you could be doing. Okay, so all of these sounds going to the clap sub this claps up is going to the send this reverb . Now we can also click on this high hat and we can also take advantage of this reverb. And that's just the power of ascend because typically, a reverb is very CPU hungry. I you know, it's very hard on your computer, especially if you're opening up a reverb on here opening up a reverb on here and stuff like that. And then in addition to that, you're also having to manage, you know, one reverb now, another reverb, instead of creating just one reverb to take advantage of. Now, I've even taken it a step further in my template. So this is what I do. I always have this template. And this allows me to wrote things in parallel. If I want to add some thickness with parallel compression or distortion is also another one . But by having to re verbs, I can get just a little bit of a different sound. And I could just simply blend in what I want into that signal. The same thing here. Like I can take advantage of that. Um, and this is just what sends are Okay, So for example, let's just set up our own scent, and I'm gonna create a distortion. Send. So again, I was taping capital, So distortion f two. And you know, I have always been putting these up to the front. Uh, just allows it for easier mixing as I'm actually making my track. You guys can also right click on the insert and you guys to go separator and it puts a little separator said these are the sends a little separator. Now you're back to your instruments if you want to approach like that. So on ascend. Um, first of all, let me just show you a reverb. Okay, so I'm going to go river and this is a free room to this comes stock with FL Studio. So honest send you want to put the dry? That's the dry signal. That's no effect. OK, and here's the wet. You want to put the wet to 100% And now this clap sub So if we removed from these now, if I play a snare is gonna be no effects nice and dry. If I click here right now, I know it says distortion, but there's actually a reverb on there If I play the snare, okay? And we can affect that hard for what we want, right? In the case of the track that we're working with, Okay, just for example. Now that's when you're working with effects like delay and reverb. You want to make sure that the dry is at zero, and then the wets 100% because this is the dry and this is the way, and you can blend in what you want right here. Okay. The cool thing with a plug in like this that allows you do dry and wet is you can apply it directly onto the subgroup, and you can apply it this way. Ah, the reason why having Ascend is really powerful is because you could process it totally differently than this. If I put the actual effect on insert 10 here, which is all of the collapse of snares here, it's affecting this whole audio signal, whereas when it's being rooted in parallel, I can actually control this. However I want. And it's separate. Toothy sounds OK, even though that it's getting its initial audio source from this subgroup. I can still process it differently. For example, I can put e que and compression on here, and I can simply blend in what I want either through this snob or this knob. Now, one thing to be aware of is there is a difference between blending it in this way and turning down the volume. Okay, so if we turn down the volume from here, what's happening? Is that the reverb in this case? So right now it's distortion. Let me just write river for you. So right now, if we have turned on the volume on the knob, what's happening is the clap audio is going in less to the actual reverb, which means that we're actually unless reverb. But if we have it on full, for example, And then if we turn on the volume, So we're actually getting more reverb Where is turning down the volume? So there is a difference between this volume knob towards the knob. Okay, so let's just talk about a distortion one, for example. Now, this is the same thing with, like, parallel compression. Thes air used to add thickness toe attract. Especially when it comes to drums and stuff like that. These air tools that really really help Now you have to be careful. You don't want to be using them as a crutch in this sense of you can't mix without them. You just want to be using them to help enhance your mix. Okay, so in this case, let's remove this. Ah, reverb. And I'm just gonna go to distortion. And I like the fruity blood overdrive. This comes stock with FL Studio. I like this distortion a lot, so I'm just gonna crank it up here, and you can simply just turn down the volume if you want, because it is gonna be quite loud. Um, let's just turn this down to you. Okay? So Okay, so without the effect and I could turn off the effect right here. So sounds like this with the effect case, if we're more aggressive. Actually, this used the kick drum, for example. So right now the kick sounds like this. And if I wrote the kick drum to this distortion, send okay, so you can hear the difference now in terms of the mix. Now you have to be careful when you're mixing, because if I was just doing this in solo, it's like, Oh, I don't like how that sounds, but in terms of the mix, in a sense of our other instruments percussion elements, it might sound great. So it's very dangerous to mix in solo. You want to be making these types of adjustments in terms of the mix. So, for example, let's just disable, um, the claps up from going to the distortion and let's just have the kick drum go to the distortion, okay? And let's just hear the difference. Cancels turned up the bed, so it's too loud. Let's just turn it down from here. It was turned off the distortion. Okay, so one thing you have to be careful of when you're mixing is you want to make sure that there's a fair volume comparison, so just because the distortion is on, it's still making it louder. So I'm gonna dial this back a bit. Let's hear the actual kick drum with and without the effect case, we could still dial it back just a little bit. Okay, just sit for a fair comparison. So here we go. And then with Okay, that's pretty fair. So again, now I can turn up the volume and let's just listen to with and without the distortion. Okay, so it is a little bit louder, but you can also hear that it sounds bigger and the kick drum kind of hits harder. So that's a really, really cool tool. Okay, now, one last thing on talk apo is serious and parallel processing again. If this is kind of going over your head, just check out the FLS digital mixer workflow Course, I swear it'll help you tons really Open up your eyes because the mixer is what takes your productions to the next level. So you know, sure, you can make your beat and stuff like that. But the mix is what really takes your beat to that finished product. It makes it sound amazing. Okay? And this is all to do with the tips I'm showing you here when it comes to like, a subgroup when it comes to creating sends and taking advantage of them in your track. Okay, So when we're dealing with something with serious Okay, so what that means is so all of these tracks are going to the collapsible care. Now, if I haven't e que if you want a copy on effect over so you just click and hold on the state preset and gonna drop it in here. OK, so let's say we have to eat cues on here. So this one we're gonna boost up a lot, We're gonna take another e Q And we're just gonna, like, cut quite a bit. And this is just to show you that. So what's happening is this is the first e que So, for example, if I end, then go number one. And as you can see, it's right here and by pushing a middle scroll wheel, go to end. So you know, I'm just hit home or end on my keyboard, and those are just the shortcuts, and I'm gonna go number two So as you can see, you know, I've boosted it up and then I open up another e que and cut. Now, again, this is probably something that you may not ever do when you're actually basing your track . I'm just showing you for educational purposes. Okay, So what's happening is your audio is being played and it starts at the beginning right here , OK? And then what happens is it goes into the first e Q and it gets processed like this. This is number one and then what's happening is this audio that you've boosted is it's going into the second week. You okay, And then now you've cut it. Now, if we had another EQ, you hear another effect, a compressor, reverb, whatever. Your audio is kind of going sequentially into the next effect and is getting affected more and more and more. And that's what you call Siri's processing. Okay, so it's just getting affected more and more and more the more you do to it. But as soon as we t tap. So, for example, this claps up. If I click here, what's happening is at the end of this affected audio. Fl studio is now sending a copy rate to here. So if I bring this over and I'm just going to write parallel, okay, give it a color. So this parallel track takes the audio that has been processed to this point, and now it's in parallel. Okay, so in are you engineering and even like electricity? So parallel means more than one path for electricity or audio to flow. So if you go to the claps up And if I were to disable these, what's happening is this parallel track is just seeing the dry audio issues seeing a duplicate copy, and we can literally come to the parallel track and process that however we want. And it's not affecting the original signal Now, even if we apply these effects, what's happening is the parallel track is seeing this process audio, but it's still just taking a copy of it, and we again on the parallel track, we can apply e que compression reverb, lay chorus, whatever we want, apply here. We can apply it aggressively and weaken. Simply blend in what we want. This is what people do. Ah, and it's called parallel processing, especially when it comes to like parallel compression other known as like New York compression or like, distortion that I just showed you with the drum and thes air tools to add fullness to your track again. You don't want to be using this as like a crutch. You want to be using it as a tool to help enhance. Okay, so that's just a little overview of the mixer when it comes to like sands subgroups and just kind of shortcuts of how to use FL studio again. If you hold on control and shift, you can highlight multiple, you know, go up and down. Um, if you have like, let's say like an eq you on here, um, this just like this. Now, if you want to gonna go like tests, if you want to copy this insert to another one you can right click and go file. You go save mixture state as, and you can literally just drop it on there that you have just duplicated that mixer track if you want to just copy a plug in onto a different insert or even the even the same insert , for example, is to put it to insert two. You know it would just do that, or you can drag it on to, you know, an actual insert. You know, that's how you do stuff like that. So hopefully that gets you going. And you know a better understanding of how fo studios makes her works again. You know, not to keep pushing that mixer course on you, but it would be really eye opening if you're kind of at the stage where you're starting to learn efforts studio to make your beats. But you're wanting to take it to that next level. The mixer is where your music takes it to that next level. Okay, so again, I'll leave a link in the description below. But the courses called fo studio mixer workflow. Okay, So if you have any questions about the mixer, though, just feel free to reach out to me. And I can always create another video 9. 3-1 - Sounds (One-Shot Samples) vs. Instruments [VSTs]: Okay, So, Internet section of videos. I'm going to be talking to you about how to be organized in FL Studio. Okay, so I actually have a course on this, And if you are a part of my membership, it's called a specific music production folder. And I highly recommend that you check out that course after you're done this course before you really get into working with FL Studio. Because the thing is you, when you're new to producing, you know, everything is just fun. But as soon as you start taking this stuff a little bit more seriously, what's gonna happen is you're gonna have missing files. And that is the worst experience that you can have as a music producer. OK, so by checking out that course again, it's called a specific music production folder That is just gonna break down way more in depth about why I've organized my folder the way I have because, like I'm saying, over my years of producing with FL Studio, I have experienced missing files and I'm telling you, it's the worst experience that you can have, because sometimes if you've lost the sounds, your track will never sound the same ever again. You have to go try and find that same sound kit. Or you have to try and find, like, a similar sound. And so just trust me is just really annoying. OK, so that's just what we're gonna be covering in the next section of videos. So the first thing I want you to do is I want you to create a music production folder, okay? And this is everything to do with your music production. So, inside of this folder, you're gonna be storing your sounds. You're gonna be storing the FL studio projects NFL studio. They're called fl Peas, for example. If we just check one out here So these that the beat tapes that I've released on Spotify and stuff like that So I'm gonna go to mixed and let's just say climber away. So this is the f. L P. And it stands for an FL studio project. Okay, so let's go back to the very beginning of this folder. And so, as you can see, this is how I've laid out my music production folder. I simply called it music production. I've stored in Dropbox this way. It backs it up as and I can also work off of multiple computers if I choose to do so, so that's a really awesome thing. But in addition, I am also backing up my Dropbox folder on like a backup hard drive on this computer right here as well. So I have like a local backup, which is important. But then, this is kind of like a cloud storage backup that makes it convenient for working on multiple computers. Plus again, back up. So as you can see here, I have a Sounds folder. Now I want to talk about in music production. There's two different types of sounds. OK, there is your drum kits and these air like your one shot samples. Now you have to be careful when you're buying third parties. Sounds you do not want to be buying construction kits. Construction kits. In my opinion, um, they're kind of a weird purchase because it's like you're buying somebody else's loops like you're essentially buying someone else's song that they have broken down into loops that you can use royalty free in your songs. But you've got to be careful because I actually even had a cousin that you know, he was really interested in music production. He was talking to be able to know how to get started up, and he went and bought this $100 construction kit. And I was just like, Why did you go by that? Because he didn't. He didn't ask me. You know what to buy. So when you're buying sound kits, you want me making sure that they're the individual one shot samples. So, for example, exclusive audio is one of my favorite sound design companies. There sounds air, extremely high quality. For example, this Just open up one here. So as you can see, there's folders for each type of sound. So, like there's kick drums, snares, claps, high hats, for example, here's some kicks here. He also has one kid here. I think it's an urban heat on real kicks here. Okay, so that this is I'm talking about. So I was talking to you previously about how I don't have tons of sound kits, these air, all the sound kits I have. If I go back to drum kits, you know this is it. And then if we go into each bowl there so I only have it for this is like one sound kit right here. Uh, I have all of sounds and HD sounds for the most part, but the biggest thing for purchasing sounds is first of all, yes, you want high quality, but the next thing that you want is you want variety. This is so important. OK, so for example, you want tambourines, Cymbals, high hats You want open hi hats. OK, open I ads are very, very powerful within your productions when it comes to your kick drums. So this is what I'm talking about. So he's various kicks, He has long tailed kicks, He is short kicks his booms. And then in addition, now you might want to go on purchase like a ate away kit. You know, you might want to make a purchase like one or 28 away kids just to get a different flavor. But the thing is, once you have are like established as a producer, in terms of your sounds like this, you don't need to be buying mawr sounds OK. Some people, you know, they like to buy sounds and whatever, like that's up to them. But the thing is, it's like the more sounds you buy is the more space here on your computer. It's you always have toe always carry that stuff all around, and it gets heavy right for me. It's like I have a really, really minimal set up. I'm able to create extremely high quality music on, and I have tons of variety in my sound. So that's the biggest thing that I want to stress to you when you are purchasing your sound kits like again if you don't have tambourines or Tom's or shakers and stuff like that, and you can always record your own sounds to like if you don't have these types of sounds. But when you purchase these high quality sounds, it's just a nice, awesome template to work off of. And then you could be using effects like EQ you and Compression to take that even further. Okay, so how I break this down is, I have Let's go back to my sounds here. Okay, so I have my one shot sounds and this is what you build your drum loops with. OK, so it's pretty much all this kind of stuff right here. If you just listen. This is like the one shot samples okay. And as you can see, this is the folder right here. Just you know, these are all my different sound kids right here. Now, you also have what's called V s. T is now obvious. Tea is what you call a plug in. Okay? And how fl Studio describes them. If right here we go to plug ins, or if you only have this snap right now, we'll see that you have your plug and database right here. Okay? So you'll see that they have generators and effects. So effects are what you put into the mixer thes air. Things like e que and compression chorus distortion, reverb delay. Those are a fax. Okay, generators are instruments. Okay, so there's ves teas. And then there's V S t eyes. The I stands for instrument. And right now I've just loaded in just a single guitar. This is like a wave audio file. So it's actually of recording that I recorded into a real microphone from a real guitar. Just a single note, and that's it. Okay, again, I've applied some effects through the roading, as you can see, what you just learned through the mixer, right? But this is not a V S t. This is an actual wave sample. So, for example, if I just go to generators here and I've created my own folder called it My Generators to get organized on Let's Go to instruments. So some types of V ST's that you could be using his like, addictive keys. This is for pianos. Now, these are third party V ST's like you guys can purchase this kind of stuff, but some obvious teas that comes stock with FL Studio. You have, like, the three times oscillator. There's like the FL Slayer like the FL Keys and for example, we have to do is just drag it into here. Okay, Now, remember, I'm on the generators, okay, So the generators goes into the step sequence here because these are the instruments. If you try to drag a generator V S t on to the mixer, you're going to get a weird pop up. It's going to say that like an air. So you have to make sure that you go to the effects. And then if I wanna drag like an e que on or something like that. For example, if the fruity parametric eq you to hear if we just drag it into the mixer. So let's just go back to our generators. Okay? So I want to instruments and again, this is how I have organized my plug in database. And if I right click, you can insert a V S t this way to now again, you might be seeing it differently because I've organized it as different way. And I'm gonna show you this in a separate video how to set up the plug in database to make it really, really simple, as well as to keep it all in sync so that you don't have to worry about if f else did your updates. That is not overriding how you've customized it and stuff like that. Okay, so right now I have the keys, and this is what you call a V S t. And this is where you're creating your melodies out of now. So again, these like the one shot samples. As you can see, you can actually see the rial way form, okay? And then you have a V S t, which is like a generator. Okay. So, as you can hear, you know, it's high quality and you can choose within here like all these different settings, to get a different sound. For example, some hardness. So it's not like softer, But if I increase it now, it's more aggressive. Okay, so just to give you an idea, in addition, you can also select different types of piano solos is like a road sound. Now, one thing to talk about Soviets teas Since their digital, they have perfect pitch, and that's a good thing. Okay, when we're dealing with a recorded guitar now, who knows if this guitar note was tuned properly? So if you're working with these types of audio, for example of this guitar here, so go up in octave eso Now if I tried to create a beat with this guitar as well as the FL Keys here now, it may not be in the right pitch, because again, when I recorded this guitar, I had no idea if it was in pitch it in tune or anything that I just simply recorded it because I wanted a guitar sound. And then if you guys check out my course creating organic beats, what I did in that courses I recorded a single guitar. No with you. And then I created a full composition out of it, for example, like the melodies, the baseline and all that stuff all that of a single guitar note. And that's just kind of a cool approach that I've taken over the years. But at the end of the day, you're going to get your highest quality music out of a V s t OK again replacing key Easier . Now, some other types of es tease you could be using Harmer comes with FL Studio again. If you've purchased the signature edition, I believe Harmer comes with it. But with the producer edition of Musharraf, it does. But for example, like 1/3 party that you could be purchasing separate is like serum. For example, this is a really, really popular V S t that you'll see in a lot of tutorials. Um, and you could totally create your sounds through all these knobs. And this is what you call synthesis. Okay? And there's actually quite a few different types of synthesis. For example, this is wave table, but for dealing with something like Silence one. Now again, this is another type of V S t. I'm not sure if this is like additive or subtracted. But there are just different types of synthesis that you could be learning. Ah, and do different sound design with So over the years, um, if you remember on the website I have a bunch of, um, free presets that you guys can download these what you call banks so preset banks for silence One. So, for example, if we just open one up here so the individual sound is called the preset and as a whole is called a bank. Okay, so right now it's like an arpeggio. That's what the A r stands for. Okay, School like another preset. This is another arpeggio. And then if you go to like some kind of lead sounds in this case, actual don't have any leads in this bank. Let's just check out a bank here, though. Let's just go like persistence and we will choose a lead sound. Okay, So, for example, let us check of serum, for example. Um now, in terms of like the quality, it's like it really just comes down to your mixing. But each V S t allows you just to approach sound as I Maybe this a little bit differently. It really just comes down to preference. Okay? And the thing is, with music production to if something sounds louder many times, it sounds better. So if I give it a little bit more for a fair comparison, So Okay, so just to give you an idea, okay, so I just want to break down the difference between one shot samples and again, that is your actual one shot sounds here. So, for example, these are just a bunch of different eight awaits. I have. Okay, you're gonna need headphones to hear that low end there or the speakers. Um, you know, there's, like, collapse. Um, you have a high hats. Now. This is like a real classic Roland tr 80 wait. You guys can check the on Google a Roland tr 80 wait. That's where a lot of the classic sounds came from. And we still use a lot of like those eight awaits and stuff today. This is the same sound kit that I was just showing you in that previous folder. As you can see her here, here's at the various kicks, long kicks and stuff like that. So if we just check out a few of those, you know. So there's extremely high quality. Okay? And the thing is like I'm saying, like, I already have high quality now, Like and look at many kicks. I have, like, there's so many and they all have a very creative flavour to them. So I don't need to be going on buying mawr sounds. I already have an awesome high quality foundation toe work off of have tons of variety to work off of. And I'm good to go. So again, for example, like the percussion. So we have, like bongos. Okay, All types of different buckles. Um, if we go to some shakers now, right? So, for example, assure you a quote trick with shakers. So if we just dragged the shakers in there, let's go to new pattern. I'm using the number pad hitting the plus. And what I'll do is I'm gonna great clicking. Go fill each two steps. I'm going to right click, go to the piano rule. You kind of don't like FL Studio does it like this? Like it used to always make it like a full thing like that. Maybe I'm doing something wrong, but anyway, So this is what I'm doing here. Now, a cool thing you could be doing with shakers is I'm gonna hold down, shift and click. So, first of all, you know what? I highlighted it with control and left, click and highlighted Holding are shifting, clicking. And sometimes you could have put up a note or two again holding down shift in the arrow up key when those sounds air highlighted. And if you listen to this, OK, so without it and then if I bring it down here, you're gonna hear that it doesn't sound the same. OK, but if I bring it up a little bit, it makes it sound like you really using the a real shaker. You know, depending what you want to do on this one. Up here, you can also hold on Ault in the scroll wheel, Bring down the velocity a little bit. You know, for example, if we ah, put a kick drum in here and then our clap okay? You know, just give you an example. Okay? So, again, these were our one shot samples. Okay? Like our kick drums or collapse percussion elements. They're like the actual wave recorded sounds OK. Typically, you're looking at 16 bit wave. 24 bit wave is a little bit higher quality, but in my opinion, 16 bit wave is is perfect. That's typically what you want. Ah, 24 bit. It just kind of getting intense. But it's to do with, like, the noise floor. It allows a little bit of a quieter signal. But at the end of the day, the audio that gets exported is 16 bit. Anyways, when you're uploading it for, like, a CD and stuff like that now I just want to quickly talk about with the STS. Okay, so again, I'm gonna go back to my main music production folder here. So, as you can see in my main music production folder, I have created a folder called Sounds. I have created a folder called Drum Kits. And then what I do is I create a folder for each vendor. So, for example, exclusive audio is a vendor. In other words, there a company. Ah, sounds honesty. There a company, um, modern beats there a company. Okay. And then inside of each company, if I purchase more sound kits from them, I just dragged the folder in there, and that's what simple that is. And then again, since it's in Dropbox, it's backed up. OK, so let's go into sounds again. And as you can see, I have V ST's. Now this gets a little bit tricky because there is different versions of V ST's. Okay, so for the most part of music production, it's been at V S, T two. And with FL Studio V S T to plug ins are a little bit restricted. And what I mean by that is so right now, this plug in is a native FL studio plug in is called FL Keys. It comes stock with FL Studio, and because of that, you can right click on here and you could do things that create automation clips. So, for example, like if our if this was a piano, whatever we can highlight in here, you can right click and again you create automation clip, you can increase it. And then now if we watch, I think it was the overdrive that I just ah created automation clip on. But as we increase, you could see that the overdrive is increasing right, so that is the benefit of using like a V s t three plug in. But the thing is V S t three plug ins, you have to install them in what's called a Commons folder. Um, that's the only way how fl studio will recognize them. And ah, it's just like your C drive. And then it's a Commons folder. Ah, as you install a plug in, it kind of walks you through. And wherever that Commons Files folder is, that's where you have to install V S t three plug ins. Okay, but in the case of E S t to plug ins, I installed him into this folder right here and then within FL studio. If you hit f 10 and if you go to file, you can see that you have a plug ins here, so it manage plug in. So if we click it, I'm gonna walk through this in a separate video. But what I wanted to say is that you can also include additional folders. So as you can see this dropbox all the way to V S T plug ins, this is this folder right here. Okay. So, as you can see, I have included it so that when fl studio searches for my plug ins that it's gonna find them. And then again, what's gonna happen is it's gonna be in your plug in database and depending on if it's a no effect or a generator, you'll be able to use it. And when it's freshly installed, you'll see that it's It's in here Now again, in this V s T plug INS folder, you can see I'm taking the same approach. So I create a folder for each vendor of the plug in creators company. In this case, let's say fat filter. OK, so a double click on it and then what I do is actually store the execute herbal file in here. And the reason why I do this is because if I ever transfer computers at, like a later date or whatever, all I have to do is just go through all my plug ins here, and I could just simply install the execute herbal file, which is really, really easy. I also have it stored in here again. This is the VSC two version. Okay, so, you know, it might be a little bit confusing if you're just getting started up with music production , but V S t three is what you're gonna want to use. Ah, back in the day, FL Studio sometimes had troubles with BST three plug ins. So sometimes you want to test in compared to a VSD, too to the VSC three version of that same plug in to see how it operates. But again, if you have a VSC three plug in, you could be right clicking, and you could be creating automation clips, and it just allows for a way better experience. If you're using a VSD to plug in and you want to create an automation clip with something, you actually have to move the knob. Then you have to go to tools and have to go like last week. And now you could be, uh, working with it, like vsc three plug in as if it was like a native plug in. Okay, so I don't want to be getting, you know, too confusing for this video. I just wanted to break down that there is a difference between your one shot samples. Okay. As your drum kits, you want me making sure that your purchasing single samples, not construction kits and loops and stuff like that you want the individual sounds so that you could be the producer. And you can build your whole composition yourself through drums, claps, snares, hi, hats, all that kind of stuff. And then you also have instruments, which is V S T plug ins. Now, these are the VSC eyes. Their instruments, The V ST's are like your effects. Okay? And then again, I just create a folder for each vendor. I will drag the execute herbal file, I'll install it. And then it's just a matter of coming into file, manage plug ins and then, uh, making sure that you're including that folder again. I'm gonna go over another video with you, step by step for you on that, Um, And then you go to the plug in database and you can add stuff in this way just by simply, like, for example, like instruments three times. Also later, you could just drag it in like that, or you can click down here, and as you can see, here's, like instruments three times oscillator. You know, this is like the exact same thing. And this in the same order. So two times oscillator addictive keys three times. Also later addictive keys. So it's the same thing you guys can also right click on that. You can replace it if you don't want this effect anymore. Or so this generator, this science one or you can go insert, and it's just going to add in a new one. So, for example, this is like a bass drum and you'll see that it's just added and bass drum. And this is what you can use to create kick drums and you can dial it and stuff like that. Okay, so that's how you add them in. That's the difference between one shot samples to V ST's, um, in our future videos, I'm gonna break down more about how to set it up and stay organized, okay? 10. 3-2 - How to Install Plugins in FL Studio [Plugin Database]: Okay, So in this video, I'm gonna be talking to you about how to install your V ST's into FL studio. Okay, One thing I forgot to mention about your one shot samples. So what you could be doing is you can simply drag your sound kit folder right into the browser. So, for example, if we go back to my music production folder here, I'm gonna go to music production. So in sounds so I'm not gonna drag in like my whole music production folder into here. And I'm not gonna drag like the sounds. I'm actually going to drag the think the drum Kits folder. So this is just like the one shot samples. All you have to do is drag and drop this in here. And then what happens is if you hit F 10 and you go to file, you'll see that I have it included right here. So this is the drum kits, and if you ever want to remove it, all you have to do is double click and literally just delete it. Enter and you'll see that it's gone. Okay, so all you have to do is you literally just drag in the drum kits folder and you can see it . And you guys are good to go. But as you can see, when I dragged in the drum kits folder, I think because I already had music production already included that it just kind of included it with it. It didn't make its own thing right here. So if you click the actual folder, this pop up appears and I'm gonna select a drum kits, okay? And just press, OK? And now, as you can see, um, you know, inside of music production, I have drunk it's there. But I like to have it within its own folder. And then again up here, you can see that I actually have my drum kits as a snap, which I'll show you later as well. Okay, so let's get into RVs. Tease here. Okay, So if you've just installed FL studio in your brand new and you don't have any third party V STs, what you want to do is just go into the plug in database. You're going to go into generators and you're going to see your different instruments. That efforts do you come stock with and you could just simply drag him in here and the same with the effects. Okay, you could just drag them into the mixer. Now, personally, if I'm working with DeFelice studio if I come to the mixer, I typically will open my plug ins by clicking on like, a slot here, going select. And now you can select all your different types of effects. For example, like e que delay. Ah, distortion. And again, I just organized it this way. I'll show you how to set that up in this video. Now, if you have third party V S t. So I'm gonna f 10 we're gonna go to file manage plug ins here Since I create my own custom music production folder. This prevents Mystic files and it allows me to stay organized for the long term. So, like I was saying that I always in the actual VSD plug ins, I create a folder for each vendor and then I'm gonna install it, actually, in here and back in the day. It used to be 32 bit and 64 bit so 32 bit. You were restricted to the amount of ram, the amount of memory that you could use but nowadays, with computers improving all the time. Now it's like most plug ins are 64 bit. However you know the audio and might be 32 bit. But back in the day, I used to install both the 32 bit folder and a 64 bit folder when I was installing it. And that's just like the V s t two version okay, again, when he was stall it with one of these executed all files, you know, it's just going stalled a plug in, and then it's also gonna walk you through. If the plug in has a V S t three version and again that's gonna install into the Commons folder, and if we look at it right here, you can see right here. So here's the common files for here. So in my case, it's included both in the program files as well as in the program files X 86. You can see that there's two different folders, depending on you know how the creator of the V s t like when it installs, like where they're going installed in your computer. Now this is kind of like the annoying thing is like there's no real standards when it comes to this. Sometimes it could be all over the place. Ah, lot of times, like, as you can see right here, a lot of plug ins install into this Steinberg V S t plug ins. Um, and then some plug ins just install into, like, a program files just VSC plug ins and it just kind of all over the place. So over my years, I kind of just got sick of it. And I was like, I'm just gonna create my own music production folder. And as you can see, this is how simple it is. Inside of sounds. I had drum kits as well as the VSD plug ins. And so, by adding it in, you click right here and the little palpable appear. You just include the folder of where your V is teas are, and you just gonna click fine plug ins. And what it's gonna do is is going to search through all these folders is gonna find the FIA's teas that you've installed. And so once you've done that, you're gonna head to the installed folder, okay? And then let's say you just installed like a new V s t such a serum. 1/3 party V S t you click generators, and you're going to see a non option called New. And it's gonna have ah, sear right here for you. And you can simply just drag and drop it in. In this case, this is Nexus to this is ah, type of e s t. I must not have my license or plugged in, um, if I enable it. And then if I click, retry here. Okay, so there it is right there. So now how you go vote organizing your plug and database. Okay, so you got to be a little bit careful on how f listed your does this. Now, they may have changed it in more recent updates, but when they first came out with this plug in database because they didn't always have this plug in database, I think it came in like the beginning of fl Studio 12 or kind of like in the middle of efforts to 12 and it was kind of like a total change of how they approached plug ins within fo studio. So how it works is the installed is this is the actual V ST's that are installed, OK, And then what it does is it takes a copy off those and puts it into like the generators or the effects. And inside of effects and generators, you can freely delete them without having to worry about it. Because if you ever want to access them again, they're always in installed. Okay, so that's kind of the approach that they took. When it comes to this, the generators and the effects is kind of like a copy of the installed, and you can organize it how you'd want. So now with FL Studio, how they approach is so they have generators, OK, and when you install that, you're going to see a bunch of different folders. But what I did was I actually ended up deleting all those. I created a folder inside of generators, and I called it my generators. And the reason why I did that is because whenever you updated FL Studio, it was actually overriding. If you went in here and you organized it, how you want it, you know, it's pretty much really similar to what you probably see for yourself, because when efforts to do again comes install that comes with the default. Kind of like Leo for Netflix, like garlic effects. You know, you'll see, like delay and e que. And stuff like that. But, you know, I have my own custom ones in addition to the ones they have. Like, for example, you know, the delay three a super awesome delay plug in. But then, in addition, I also have, ah, these types of delays, which are third party, which obviously do not come organized in the default fl studio. Okay, so what I'm gonna do is I'm gonna right click on effects here, and I'm going to go open, okay? And this is gonna open up what we see right here. So if we close my effects and close generators So what I like to do is I'm not sure if fl studio comes like this for you flick the plug ins. But anyways, I have created a different snap just for the plug in database. Let's come here. Let's go. Size. Let's make it the big Okay. Make it easier to see um, and the reason why I like this, because if click the arrow, you're going to see that there's show only one for their content as well as show only open folders. Now, what that does is when I click through these. So right now I'm in creativity. But if I were to click, let's say instruments, for example. Creativity is gonna close because I only allowed one folder to open. Okay? And if I go like drums, Instruments is gonna close, and this again just makes it really, really simple for a nice, minimalistic workflow. Okay, so if we go back to this window right here, Okay, so we're gonna go to the plug in database. That is this folder right here. And then we have effects generators and installed, just like we see right here. So instead of generators, if you want to start organizing it. So I have something called my generators, and I just created a folder. And then, as you can see, this is how I've organized it. Now, if you want to add in 1/3 party V S t into, for example, our generators here. So in this case I have next is open. This is a good example. Okay, So what you want to do is they're going to go through the installed first. Okay? because this is what you just installed into your computer after you went to F 10. Ah, you want to file? Went to the manage plug ins. And then once you actually did find plug ins with your folder included, Now it put it into installed. And in this case, Nexus is a generator. It's something I can create melodies out of, and it would automatically put it to new. So it click this as you can see right here, I'm gonna drag and drop it right in, just like you see right here and now. What you want to do is you want to open it. OK, so now what you want to do is now, like I was saying, so installed is what you just installed from your computer. The generators and effects take a copy of it and you can organize it however you'd like. So, in my case, what I did was right here inside of generators. All you have to do is right. Click and go new. And you can just say it. Uh, missus, A course folder. Okay. And you'll see that when I come back to generators, you'll see course folders right there. um And then if you want to get more organized with it, let's just say instruments, for example, instrument instruments. Okay. And as you can see, when I click here, you can see now I have instruments. So what you want to do is you want to click on instruments, okay? And now, if you click up here and if you click, add to plug in database, what's gonna happen is efforts to do is going to take a picture of however this looks I'm gonna go add to plug in database again. It's gonna take a snapshot of this plug in, and it's gonna add it. So re effects nexus will be added to this subcategory instruments. I'm gonna press. OK, so as you can see, when I click on instruments now, you can see that re effects next. This is right there with the image, which is awesome, and that's how you organize it. So if you have multiple instruments or, you know, base instruments, this is mawr, especially when you're into, like, the effects, because, you know, you've queues and delays and stuff like that, and that's all I did there. So for the most part, I would lay out my actual folders right here and again to open that up. I just right clicked and went open. So it's just a matter of within the effects. I create my own folder and then I create my own sub folders again. So my effects, as you could see you know, Controller DeLay CQ This is just how I've laid it out and again because when fo studio, when you upgrade it, what's gonna happen is, you know, is gonna overwrite everything that's in here. But it's not going to touch your folder, your my effects folder, because again, that's my own custom folder. Same with generators. That's my own custom folder. For example. I have to custom folders now of my generators, which is my personal music production one and in the course folder, which I just showed with you. So I created a folder. I created a sub folder in that I called the Instruments and then on natural plug in you just click the arrow add to plug in database and that just stores the thumbnail as well as the plug in. And then now what's gonna happen is is if I right click and go insert. You can see that I have course folder and instruments. And again, the more ah, you know, via cities that you add to hear. For example, it's at another one. So, generators, let's go to V S t. And that's Iago serum. Okay, so I would add that in there and let's just go back to generators. We're gonna go to course folder, and I'm going to say that serum is an instrument. So I'm gonna click on it and click here. Go Ad blocking database press. Okay. And you could see that now it's stored serum in there again. If I were to right, click and go insert. Now you can see And instruments I have these. Okay, so that's how I have organized my own. And as you can see, I've included some of the FL studio stock plug ins that I use sometimes as well as quite a few third party. But as you can see, like, I don't have tons and tons of plug in. So really, take that into account. Okay? You don't need to be spending tons and tons of money for all these sounds. Just need variety. Okay? That's the key I want to get across to you. You know, addictive keys is a real nice piano plug in fo keys. It's OK, but addictive keys just allows a little bit more of a real piano sound. See Rome? Silence one. And then I think I got this expand flick $1 or something like that. It's kind of a cool plug in. Okay, so that's how you install plug ins into FL Studio and how to get organized. Now, again, I'm going to be doing that for both my, uh, generators as well as my effects. And typically, I would lay it out within the folder right here. So in this case, and they go back to the plug in database, we're gonna go effects now again. Personally, I just label at my effects, but you can label it whatever you want. And again, I create that folder so that fl studio does not touch it when updates. Okay, 11. 3-3 - How to Back Up in FL Studio [Project Data Files + Proper Labeling]: Okay, So in this video, I'm gonna show you how to properly back up in FL Studio. That's gonna help you prevent missing files ever again. And also the user data folder And how that works with FL Studio. It's a little bit confusing. I'll tell you right now, over the years is caused people a lot of headaches. The actual idea behind the user data folder is actually a really good idea. But how they've approached it again has caused a lot of people like missing files and stuff over the years. Okay, so this is how I approach it. So every single project I work on gets its own folder. That's really, really important. OK, so in the case of creating a beat tape, So this is be tased by graduates William eight inside of mixed. So this is each project. So, for example, that say, we're working with ambition here. So what? The book? Click on ambition. As you can see inside of ambition, I say the actual f l p d fl Studio project. And then I also saved the sounds. And this is really, really important, because if I ever delete some sound kids or somehow they get lost. Whatever this song has essentially become like its own entity. And it doesn't matter about what I've done to the sounds elsewhere. This song is backed up. And if I were to open it up in, like, 5 10 years from now, I don't have to worry about my sounds within, like, the browser or anything, because I'm backed up. I'm good to go. Okay, So how you do that NFL studio is you're gonna click file, you're gonna go export, and you're just gonna go project data files and you're simply just going to select the folder of where you want to save it. In this case, I would just select, uh, the actual project. And what I do is I create a new folder inside of the project and I call the ambition Dash sounds I also even, for example, that say, it was like climb our way. I actually used the acronym. So as you can see, I I actually put Seow, So climb our way, Dash sounds will look at like another one here, Let's go look looking for my love. So looking for my love dash sounds and the reason why I do that is just to prevent missing files. Because how FL Studio Works is as soon as Ethel Studio opens up. If you hit f 10 and if you go to file So fl studio again when it first opened up, what happens is it looked through all of these folders that you've told it to look through . So in this case, you can see that there's the browser extra search folders. So what Felicity was going to do is it's gonna go through the drum kits, and it's gonna look through all the drum kit folders, you know, like the Children folders. In this case, here's drum kits is gonna look through all of these folders, and it's gonna look for all the sounds that pertain to this track. And if it can't find it, it's going to say missing files. Now, if you are working with vocals and let's say you work on one song and you name it Verse One Okay, then you go to another song and you name it 1st 1 as well. The exact same wording, the exact you know, all that kind of stuff. And let's say you move computers. What's gonna happen is FL Studio is just gonna grab the first verse one that it confined. Okay, and that's really, really annoying because you could be playing your song and also you realize you're like, That's not the reverse one. So over my years, what I have done is let's just go like my albums, for example, like, This is where I've recorded my voice and we'll just go to What's it gonna be? Life or death will go mixed and let's just say Let the rain poor. OK, so as you can see with vocals, I have applied the same technique of the acronym and again, as you can see in the vocal. So I went verse one and then let the rain poor. Okay, so it's a really key thing that you want to do as you're labeling your sounds in FL Studio when it comes to recording and even like when you're backing up your sounds and stuff like that, this is just a technique that I have applied over the years, just by putting the acronym within, like the 1st 1 the verse two, and this will allow you to never have those missing files. And if it is a missing file. At least you know where to find it. Now, another thing that you could be doing with FL Studio is if you go to the Project tab, you can actually assign this project. Can have its own data folder again. Whenever FL Studio opens up, you're telling it to look through all these folders to find all your files. And if you have assigned this project to in this case, let's just say it was a clip. The rain poor. It's gonna look through here and it's going to speed up that process. Looked through all the files nice and quick. Load up and you're good to go, because again, missing files is a horrible experience. So if you take my advice and follow this technique of applying the acronym, for example, chili verse one, verse two as well as like to this sounds here and stuff like that, you're never gonna have missing files. Now, if you do have missing files, all you have to do is literally click this. Drop it into the sounds folder, open it up and you'll be good to go. The most important thing that if you do open up a project and a window appears. And it says that you have missing files. Do not save. That's the worst thing that you could do. Because if you save, you're essentially telling FL Studio. Yes, I want my project to have missing files. And what's gonna happen is you'll see the sounds that are missing. They turn red and for myself, like whenever it comes to coloring, I typically always avoid red because I've just experienced too many missing files over the years. So I just usually never choose red for a color, even like this color here, that this is kind of close. So if you open up a project, the window appears and says he have missing files, you can close the window. You can look it to see you so well. What files are missing? Make sure not to save. You can close a full studio just, you know, appear to close it. Come here. You're gonna drag the f o P. Drop it into the sounds folder. Open it up. And now you'll be good to go. Okay. And then you can even assign the project out of folded there too. Okay, So now I just want to quickly talk to you about how this user data folder of works. Okay, So again, I previously mentioned to you that you want to set up frequently because it starts backing up your project, no matter what. And you could find that backup folder by going to the snap with all and right here. Here's the backups, in case you ever want to go back in time. Let's say you did something and it's just like all of that was a big screw up. You can always go back. As you can see, it backs up every five minutes. So I'm going to right click on this. I'm gonna go open, Okay? And this is gonna lead me pretty close to this user data folder. I'll just do like this, and I'm gonna click. Are so you re here. Okay, so we have the user data folder, which is right here, and this is it right here. So now over the years, FL studio again has just taken different approaches when it comes to this stuff. And as a read on the forums as you progress with FL Studio, you know, this user data folder has just caused a lot of people a lot of problems. And that's the reason why I have just took in the initiative. I was like, Hey, I'm just creating my own music production folder. I don't have time to be dealing with missing files and, you know, all that kind of stuff. I want it when I spend my time that if I'm gonna be making music on making music, I'm not looking for missing files. I take my time. Really? Seriously. So here is image lines, So we're gonna double click on this now. What I'm trying to say is, so this data folder, you guys might not see a data folder it might put you right to here again. This is something that FL Studio has kind of changed over the years. And again, it's like you can't be doing that when you have a softer that's, you know, this popular and you just go and change, like of the folder structure and stuff like that. Another reason why I don't really like this user Data folder is like it makes you save all like the presets of these ves teas. For example, if we go like toxic biohazard these air like the actual presets on. It's just like well, like I barely ever used toxic biohazard. And you know, it kind of makes you take around this information when you don't need it. But if you go to FL Studio, this is the folder that you're going to be working with mainly, OK, And if we click into projects, you'll see there's back up, and this is the same folders right here. So if I open it up, you know, this is all the backed up five minutes frequently kind of backups right here. Now, in terms of like something like this, like the backing up here like this is where the user data folder is awesome, like, it works really good for this kind of stuff. But where you have to be careful is when you're dealing with plug ins like Edison Edison is a tool that you will be using a lot in fl Studio. So all you have to do open up, Edison, is you can click on your mixer and whatever insert your on the shortcut is controlling e. Okay, it pops up. Edison is an amazing tool for recording your voice for actually dragging a sound and here and using any of these types of tools. If you want to fade in a sound or fade out of sound or, you know, cut audio or normalize it or whatever you want to do it, it's a super, super powerful plug in. But the thing is, what happens with Fo studio is currently at the moment. FL Studio does not back up the Edison file. Okay, as well as you may also start using a tool called Slice six. So in samplers so sly six Slice six is a super super powerful plug in tow. Allow you to sample, for example, if I just take a gore like drum loops and I'm just going to drag in ah, to say epic story. Okay, so as you can see, it has sliced up each individual area so you can use these right? But the thing is, if I were to sample a track and you know, in making music, there's a difference between like original compositions to sampling, sampling is more like hip hop based. That's where a lot of like the hip hop came from, like the nineties with Like MP sees if you don't know what an MPC is. I highly recommend you look it up on Google in MPC Drum machine. But efforts to do does not back up like Slice six or the Edison file. And this is really, really important because if you've sampled your music and like that is like the main part of your song and it's not backing it up, you want me making sure that you are saving it. And another thing to So, for example, if I've come in here and I've kind of moved it a slice a little bit over whatever, I have fine tuned thes slices a particular way which translate to my song, and that's what makes the song. So in order to back up slice six or Edison, what you want to do is you just click here and you drag this. So, for example, if we go back to let the rain pours, you can see if sounds here. So this slice right here, you literally just want to drop it in there, and now you've backed it up. And, for example, if I drag this into Edison, you'll see that it actually saves the slices. That's super super powerful the same thing he was, Edison. You would click this, come to the folder and drop it into the sounds. Now I know it's kind of a little bit finicky, but for the most part, FL Studio does make backing up really, really easy. It is just a matter of when's Your track is pretty much complete. What's gonna happen is it backs up all the individual sounds in terms of the V ST's. You don't have to worry about that because FL Studio saves the state of however you've programmer these. For example, if I move the knob here moved us back here, FL Studio saves that stuff the same with, like, automation clips. But when it comes to the individual one shot samples like your kick drum, your snares, your high hats. FL Studio will back these up if you go file export project data files. Okay, and then because that you've already saved your f l P, you're good to go there. You just want to go the project data files into sounds, and then, in addition, you just got to be careful that if you are using slice six or Edison, that you are just clicking this and dropping it into the sounds folder. Okay? And that way you're gonna be backed up and good to go. Now, there's also one more additional way if you choose to back up this way. In my opinion, I think this is kind of over and above, a little bit overachieving. But if we talk about exporting just for a second, that will be another video. The shortcut for that is that control our or control shift in our or you click the file appear and you go exports. So, as you can see, control are or a shift control are just the difference between a wave and MP three wave is your higher quality. So let's just click wave here, okay? And I'm just gonna say to my desktop and now a little pop up menu will appear. Okay, so what you could be doing also is using split mixer tracks, and what this does is for all of the actual individual tracks. It will export an individual file for that sound, uh, fifth actual mixer insert for however long. This song is so, for example, like if it's this long, it's going to create of way file for each one of these, okay? And the thing is typically why I don't approach it that way. It's just because it can get quite large in size. So, for example, if we go to export again and we save it, so if you look up here so if I disabled split mixture, tracks will see that the file size is quite small. With it, it starts going a little a little bigger. So you know, your file size can you could be getting to, like, you know, 2 to 5 gigabytes versus maybe like a 50 megabyte file for that 16 bit wave again. When we get to the export settings, I'll talk to you about, you know, waivers, MP three and stuff like that. Okay, so that's how I back up in FL Studio. By approaching it this way, it saved me from having missing files again. It's the worst experience that you can have as a producer, cause you're wasting time doing something that is not necessary that could have been prevented if you just took some extra time out to set yourself up the right way again. Checco. A specific music production folder again. If you're a part of the membership. It comes included. And it's gonna break down all this for you in depth video by video. 12. 3-4 - Setting Up Snaps in FL Studio's Browser: Okay, So in this video, I'm gonna be showing you how to set up the browser here to make it really, really super simple. And you can get these snaps okay. And you can create the icons. You can choose your own icon, your own color. And as you go through the folders, I can show you how to make it so that only one folder opens at a time to keep it really, really minimalistic. Okay, so how it works is what you want to do is you can click the arrow up here. A drop down menu will appear. You select a different snap. In this case, I'm only choosing three. I have one for all. This contains everything to do with fo studio. And this is what I would use that if I'm ever going back in history. So, for example, in my current project, I can click this inside a history. This is where So, for example, for moving knob moving off again, moved to pan knob. Now I can go back to the very, very beginning of the track or wherever I have gone in history again. If we have 10 that is to do with in general in the maxim undue levels, I put it to 100 then I enable undo knob tweaks. Okay, so I have the all snap just for everything. Okay, but then when I'm actually creating the beat, I will focus on my drum kits tab. I guess they call it a snap. And then this is just really awesome, because then I'm able to work with just by drum kits. It's It's a nice, easy workflow. And then this is kind of like my instruments and effects. Okay, But again, when I am actually working with my effects many times, all this right click go insert and all selected from here sometimes I do select it from my generators through here is well, it's the same thing. You can also select it from here. Ah, but many times on the mixer, I actually approach it by adding in an effect through this way, that's just usually my work flow. So how you go about setting this up is you're gonna click the arrow, select a new snap. So in my case, I'm gonna select four. So the snap looks a little bit weird. If I click the arrow. And if we go Ah, show only open folders. So there we go. So this is what your snap should look like. OK, I'm gonna close all the folders. And so how I approach my snap is what you want to do is is pushing your middle scroll wheel right here and ah, palpable appear you could now label it. So, for example, licious say drums. Okay, you can select a color here. Whatever you want. Let's just say green. And then in addition, it's kind of tricky to find you just click the arrow, and now you can select whatever you want here. So I'll select something for, like, my drums. So, for example, will say this is like a drum kit. Okay, so I want to enter. You're going to see a new staff is available for you now. Right now, this snap is the same as my all. Okay. The only difference is if we click the arrow and I went size. I think I put it to big. It just looks a little bit easier to look at. Okay. So in order to get your snap to look like my drum kits, snap here, you have to follow it in a particular order. Okay, So first of all, what you want to do is click on the folder that you only want for that single folder To be open in this case are drum kits. Okay, so I'm gonna select it to highlight it. Now you click the arrow and you're gonna select show only open folders. Now, this is going to remove all the other folders except drum kits. OK, so that's our first step. But now for me, I personally like it that so watch. If I open this one than this one, you're going to see that all these folders air open. Over my years, I've just found that it gets kind of annoying because now you have to click to kind of close them. You can also, For example, if you click within a sound, you compress your left arrow key on your keyboard and it brings you up to the top. You compress it again and it closes it for you automatically even press it again. It's gonna close this folder again. That's the left arrow key on your keyboard. Okay, so you can approach it that way. But I've just found that it's annoying when all these folders are open. Especially like if you know you're working through multiple sound kits. You know this thing can get huge, so I don't like that. So I click up here and I select show only one folder content. And now what's gonna happen is when I open the folder, you'll see that Let's just close these and it'll make more sense to you now. So let's say open personal. Now let's say I go to producer cats, Okay, so it's gonna close the other folder for you, and this is just really nice to keep it really, really minimal. And the thing is, when your programming your drum loop. Typically, it's like if I'm working with my drums right now, I'm working with my drums. So, for example, with school organic drum kit kicks. So right now I'm working with my drums. Now what I'll do is, oh, close kicks. Let's say I go to collapse. And so now I'm working in collapse. Now let's say I scroll to the bottom. Now I can click symbols, and what's gonna happen is claps is gonna close for me, and now I'm into symbols. Okay, so that's how I set up my snap. So again, it's just a matter of coming here selecting a snap, and then you can select it again. You can actually just select rename slash color. And that's the same thing as pushing in your middle school Will. Right there. You just give it a title. You could give it a color. You can also select an actual icon when you hit Enter. It's going to create a new snap here for you. OK, so I'm gonna push him on my middle scroll wheel. I'm going to remove drums. I'm going to remove the icon. I'm gonna press, enter and this icon should be removed. And this is how I have set up my snaps. Okay, so I have one for all. This is everything to do with your project as well as FL Studio as a whole. Uh, in your current project. This is where you can check out your history and stuff like that. I always leave that when on all. And then when I'm actually programming my drum loops I like to work in here is super super minimal again for my settings. I have this show only one for their content as well. This show on the open folders again. You have to make sure you click on the folder first before you select this, otherwise you're gonna have a folder that you don't want. And if that happens, all you have to do is just disable the show on the open folders. It will reset. And then you can just follow the steps again. And then also, just have one for my plug in database. And then you guys can just follow the plug in database. Ah, video to learn how to set up and organize your effects so that if you right, click and go insert, you know you have all your different sounds in this case instruments organized and within the mixer these are all this year effects. Okay, so that's how I set up the snaps to stay organized as I produce my beats 13. 3-5 - Setting Up a Template in FL Studio 20: Okay, So in this video, I'm gonna be showing you guys how to set up a template. Now, it's really, really important that you guys do set up a template. But I want to warn you guys that in your template, you don't want to make it so big that it takes forever toe open. And what I mean by that is so as you can see down here, I have, like, a river, another reverb. And these are two different plug ins I'm using. So Ones comes with FL Studio. Once 1/3 party reverb, we have another one that comes with a full studio, the fruity delay. And then I also have 1/3 party plug in here. And you know, if you are are opening up like ves teas and stuff like that because, you know, the whole thing with Attempt Lee is that it speeds you up Whenever you open up a fresh project. It's like typically, you always do a certain amount of tasks every single time. And the thing is, every single time you do all these clicks, it takes time away from your producing beats and all that kind of stuff, right? So over your years, a template will be something that you keep fine tuning until it finally suits what you got that you know your workflow. So in the case of me, I'm just gonna walk through my template and then I'll show you just how to set one up for yourself. So whenever you're making your music, you're always gonna want a limiter as your very, very last plug in. The reason for that is to prevent distortion. And on your limiter, I put it to minus one. And the reason for that is so when the audio converts to MP three through that process that it does not distort. OK, a little bit too intense of what I want to get into. But so a limiter is always last. Now the plug and that's even after the limiter is a meter. And this is a free meter is by you lean because over the years, there's been new standards implemented when it comes to mastering and mastering is when you make your music loud. Is that's one part of mastering, But it's also kind of perfecting the track, making it ready for release. But in that process of mastering you were pushing up the volume to make it loud. Now there's different volume. Loudness is like. For example, if you go to YouTube or Spotify, it's what's called al you Fs. So, for example, if I just play like a bongo hit here Ah, I think I might have to play in here. So if I do it like like this Okay, so now you can see you know you have your integrated and short term loudness, so I'm not going to get into it in this course. But what I'm trying to say is, you want a meter at the very, very last plug in, um of limiter Great. Before that, because that is, you know, the limiter is actually like the last plug in in the audio processing. The meter is now monitoring what's going on at the very, very end of your chain. Okay, before you export it before official release, I typically have a compressor on here, and I compress very, very gently. This just helps when it comes to mixing. So for my mastering chain, that's all. I set it up as for my template, But come actual mixed time, I will apply like Aniki one here many times like a multi bank compressor and many times like a clipper to help get the sound I want out of my master. The reason why I have set up these sends is because I use them very often as they actually mix the track. And in order to create, you know, all these colors, open up the plug ins and do stuff like this. You know, it's a very time consuming task, especially if I release beat tapes. And on each beat tape I release 11 tracks. If I have to do is for every single track you know it is. That could take 10 minutes for every single track. And that's unnecessary, right? So again, I set this up beforehand so that when I open the template, I'm good to go. So the reason why this is so awesome is because again, if you watch the mixer video, I showed you how you could be using sends and stuff like that. So, for example, if I just take a guitar here, okay, I'm just going to normalize it. Gonna trim it up a little bit. Just the out. I'm gonna just the attack here the 80 s are. So don't worry about this. If you want more information on how to ah, you know, program. Ah, sound out of a single guitar. No. Again check out my course creating organic beats. Ah, but the moment I just have this guitar. Sorry, I'm playing the bongo. So this is what the guitar sounds like. Okay, You know, it sounds not that, but when I watch this, if I wrote this to insert seven here and since I haven't highlighted and then I've clicked on the insert, you could right click go channel Roading and wrote selected channels to this track. But I use the shortcut control l again. It's important to color it first. Okay, so for example, forgive color like that then. Now what you want to do is f two. Delete the actual name in there. Now you can press control and elegant, and that just brings the color. So now, since I have this template set up, I could automatically use sends. So again, the guitar sounds like this. But now watch this. We had some river bond. No doubt this one back a little bit so but without those effects K one more time. Let's apply some reverb, some more reverb, some delay. This is just echo, um, some whiteness of distortion. And, you know, we're working doubles back a little bit, but now our guitar sounds like this. So huge difference. Right? Okay, so that is how I set up my template. Ah, it's just really, really simple. It allows me to take advantage of these tools when it comes mixing again. I'm not using the sends as a crutch. I'm using it to help improved by mix. Okay, um, you know so on the actual individual track, you know, I applying like e que and stuff like that. But then I just used these to help enhance. Okay, So let's just open up a brand new template. So as you could see new template. And what I'm gonna do is I am going to go to ah, minimal and inside a minimal I'm gonna select empty. So this is how I build my template. Now I'll build it with stock fl studio plug ins just so that you guys could set up this way , but feel free to add in your own third party plug ins if you work with them. OK, so on the master, what you're gonna do is you're gonna put a limiter, so I'm gonna go dynamics, and we're going to go the fruity limited right there. Okay, so on here, what I would do is I would set the ceiling to minus one, okay? And we'll leave it right there. So that's done. Now, on here. I'm also gonna put wave candy. Now. I'm not sure if I have it in here. Let's go. Monitoring. Yeah, Wave candy. Okay, so wave candy is a really, really cool plug in that comes free with a full studio. Um, and I'm going to go to the meter, okay? And I don't see it on my school. Oh, sorry. It's on my other monitor. Okay, so this is what it looks like, Okay? And you can adjust it how you like, And as you adjust, like, you know, square to rectangle and stuff. It'll change on you. But you can set it up, you know, just by clicking their seminal change. So I want to make the meter on here. You're gonna just like the color and stuff like that. And so I don't want it to be see through. So I'll just increase this like this and you guys could just leave like this. You guys can also put it to keep in front or whatever you want to do. Their um but this is just really awesome so that you can always see a meter. Um, and let's see, in the mode here they have this. So I think this is like the AL you fs again. I really don't use this plug in much, but this is what I used to use when I first started up. It's just like a nice little thing. But again, the you lean loudness meter is free, so I'd highly recommend you check it out. I think he has two versions now. He is a paid in a free version, and I'm actually on an older version, Um, at the moment. But just so you are aware, if you're just starting out, I wouldn't worry about the compressor on the master track. OK, I will just leave it like that. Now, if you do want to set up some sends, So for example, I'm gonna push her in my middle scroll wheel and this just type in reverb look at night taping capitals. Okay, so I'll set up to sends with you. But you guys can create however many you want pf two again. We'll go. Delay give that a color. Okay, so on the river, what I'm gonna do is go to a slot we're going to select. We're gonna go to reverb. And in this case, I have fruity reverb again. Years might be organized a different way, but here it is. And then you guys can also select it from your effects and then wherever it is in there as well. Okay. So again, the biggest thing on your send is that the dry is that zero and that the wet is it 100%. Okay. And then you can adjust this. However you want many times on reverb. You want to cut someone like the low end. That way it's not muddying up your mix, you know, not tons, but enough to clean up the low end because you want your low end of sitting nice and that's it. That's a river. In addition, you guys can also be putting like a compressor or like an e que on here. If you want more fine control over the river and you guys confined to it however you want. But remember, once you save this template, it's going to be the same template that goes with you forever until you come in here and update. OK, so if you set it up a certain way now it's going to keep following you that way. So you have to think that way. And right now, how have set this up? Efforts to do is gonna open up very fast. Still, like we're not loading up tons of plug ins, for example. We're not putting. I can eat Q and compressor on every single track or anything like that, because again, when you open up the template, it's gonna take forever to load and just gonna be annoying. So I typically only apply the tools that I know that I use all the time and that say's me these clicks. So here is the delay. So let's just go select. We will go delay and I like the fruity delay. Three. This is a newer plug in that they've recently released, and it's it's a great plug in. You want to put the dry all the way down and then you have your wet, which is already 100%. Again, the wet is the effect. The dry would be your signal that you would be roading to send. Okay. And on the actual delay, many times that my kind of dial it back a little bit And I might even use this cut off a little bit. And what that does is it allows the delay to not get in the way of the original signal. But you're still getting that emotion out of it, okay? And this is pretty much what I would do, and I would save it from here. Like, you know, for example, I might also add, like, some wide nous I might add, some distortion as and parallel compression. I even have another reverb just for a different sound. But again, that's just my approach. So all we have to do to save this template is go file. You go save as and now what you want to be doing is you want to be saving it into your documents. Okay, So go documents. FL studio has changed this over the years as well. Used to actually save it into your C drive where Ethel Studios actually installed. Now you're installing it into, like that user data folder. So we're gonna go to image line. We're going to go to data again. You might not have data if you have a newer version of FL Studio, uh, f here to go fl studio. Ah, and then it's in projects templates. And now you name it, whatever you want. So I'm just going to leave this copy one. I was just testing it. Open solutions Say ah, course template test. Okay. And you save it. So where you're gonna access this template is you're gonna access it from new template. But as you can see, we still have the copy. So in order to do that, you actually have to close fl studio. Okay, so I'll close it. And as you can see, here it is. I saved it into the templates, so I'm just gonna open up at four fl studio here and once it loads up, um, So right now, this is what the empty template was. Okay, so how FL Studio works is what you have to do is first of all, you have to open up your template. So this is the one I just created with you course template test is gonna load up. So what I would do is, um now, if you keep working like this, I think efforts to use good to go. I think back in the day, you had to close it and then reopen it, and it kind of locks it in. I'm not sure if you have to do that, but just to play it safe, I am. OK, so as you can see, there's a template. I opened it up and there it was for us. So that's how you set up a template. OK, It's just a matter of setting it up the way you want again. You're gonna find Tune this over your years, OK? But don't make it that it takes forever to load. Don't be opening up like tons and tons of es teas and stuff like that, because again, you know, it's just it's gonna take forever to load. And it's just it's just not worth your time. I make it really, really simple in terms of like, Kate when it comes to mastering while I'm always gonna have a limiter there for myself. I put a compressor on there. I probably really could enable Ah and e que a multi band compressor and a clipper because that's typically what I used to master. But then I could just maybe disable those. And Tele may be ready to use them because it's I typically use ALS on every single track. So, you know, those are just more clicks that I have to always do. For example, click. You know, I have to find dynamics. I have to go to the multi band compressor. I use fat filter, but the fruity multi bank compressor is is great, too. Okay, so that's how you set up a template, hopefully helps you out. It's going to speed you up tremendously. And you're gonna find too in this as you go throughout your producing career, okay? 14. 4-1 - Creating a Beat From Scratch: Okay, So in this video, I'm actually going to walk you through how to create just a little B. We're not going to get super intense, not gonna be creating tons of instruments. And I'm not going to get super in depth and to let the mixing and mastering and stuff like that. Hopefully, I can achieve this and like, under kind of 15 minutes. But I feel that by creating this video is going to sum everything up for you in terms off the step sequencer, the playlist, the mixer, the piano roll and just the shortcuts of how I use this stuff. Okay, so let's get right into it. So first of all, you know, you got to think about what type of be are you going to be creating? This is gonna be like a dance track, will. Typically that's around 1 42 like the 1 28 Or if it's good, more like a hip hop track. We're gonna be read out that down to, let's say, 96 beats per minute. Um and then let's get some drums here. So I really like exclusive audio. Let's work out of ah survival drum kit. So here. Get some kicks here. Okay, So find some kicks. That, like that one wasn't too bad. I'm just gonna turn up my headset here. Okay? So let's select that one and maybe this one, Okay? So typically, I work with what, two or three kick drums. And as I'm working with these kick drums, if you're layering, if we hit play here case that sounded pretty good, actually. But many times, what you want to do is you want to check the polarity because otherwise it's gonna cancel out. Remember I told you about the null test? What happens especially in the low end, is that cancellation can happen so many times you want to test it out? For example, if I play it with this one reversed now without it. Okay, so my headset really isn't telling me a difference. But if you do have speakers on a sub many times you can hear a difference. So you just want to play with those to make sure that the kick drums are not canceling out . Okay, so the reason why I like to use multiple kick drums is because I can actually just maybe play a couple and then I can use ones like fillers in between and stuff like this. Okay, so I don't know what it's gonna sound like right now, but I'm gonna move on to a clap here, okay? We will use that one, and I'm just gonna layer a lot. Okay. Then we'll get the snare. Maybe. Okay. And then what I'll do is I was click them in here, and I'm just gonna copy paste and paste and paste. So this is our drum loops so far. Gave me that temples a little bit fast. Let's ah, increase some swing here, and I don't like it on that. So maybe we'll do like this and like this or something like that. Okay, so we'll work with that. So now what I'm gonna do is I'm gonna get some high hats. And as you can see, I'm working in one pattern right now. I can always separate this stuff later, so Okay, whole use that one. Maybe that one and this one. Okay, so play this one in every single beat. This one will play on like the off beat. Now, if you guys want more information on drum loops, you guys can check out my course foundational drum loop basics as well as I have a book on Amazon. It's called safe spots. Breaks down kind of where you could be placing your sounds within the steps. We concern for them to sound good no matter what, so that they're always in time. So right now, this is like the on beats like the one the two, the three and the four you could play only the offbeat, which is halfway in between beats. Okay, so if this is the one, this is halfway in between, this is the two halfway in between. Okay, Something's gonna keep going like that. And then what? You have what's called the in betweens, which is Ah, I call it the A and the B and the A is trickier to work with. And the B is a little bit easier to work with, but these are what I call the in betweens. Okay, so this one, let's just kind of play around with it, Okay? So let's just hear that. I have no idea what it's gonna sound like. Okay, so from here, I don't really like this one right here. I can only to tweak it a little bit, but things that you can do to help make it fit is I'm gonna push in control and right click . And, you know, maybe this one we can kind of, ah, bring down the volume a little bit and we can even like, no, none of these a little bit to give it like, a looser sound, just for example, maybe we can get it to work. So let's say I'm happy with this drum little case. What I'm gonna do is it's gonna add it in to the playlist right here. Now, there's two different ways you can approach making your beats. You can create your instruments first and then create the drum that after or you can create the drum loop like I've done here. And then I'm gonna create my instruments after. So what I'll do from here isn't gonna push the plus of my number pad that's gonna take me to a new pattern. In addition, you know, using come up here, you can go at four. But what I like to do is I just like to use the number pad, so I'm gonna press the plus and then if I knew what this instrument was gonna be at f to label it, you know, whatever. And then have to to give it a color. But for the moment, I don't know what it's gonna be, but I am just gonna go into my personal sounds here, and I'm going to select a guitar. This is typically, however, making a lot of my beats lately. It's kind of a cool ways. So I take the guitar, uh, normalize it, trim it up just a little bit. Actually, I put the trim full, and then I might just put up a little bit, and then I just bring the attack all the way back, and now I could play. This guitar is an instrument, so maybe a productive. OK, so this is gonna be a nice little, you know, instrument with this drum loop toe work off of now to really help me play an instrument like this. So in this case, this is dry. But if you are working with something like serum or silence one again to open up instruments, school insert, and now this to say keys, for example. Okay, So here's the keys Now, Typically, I this sensitivity. I'll bring this all the way down and then maybe just up a little bit. And that just makes it so that it's just not so sensitive to the velocity. So right now. So the thing is, with this piano right now, it's kind of dry. Okay, So what I would do is like the piano on rich like the mixer. And then I would use my sends just a little bit. And this doesn't mean that this is what the piano is going to sound like in the beat. It just means that it makes it easier for me toe play and be more creative. So, for example, off my media keyboard, I'm pushing the loop button, okay? And you can see it turned to song mode, or you think you can just simply click right here and the playlist will start playing. Okay, so right now I'm on the keys. So here you also. So at this moment, I'm just trying to find out. What do I like? What kind of flows with this now? Typically, I usually choose four chords. If you guys want more information on cords, you guys can check out two of my courses again, this music theory in courts for beat makers or piano for beat makers and producers. Okay, and I usually choose about four chords, and the reason for that is because I feel that that gives enough variety for the listener's ears. And then many times, if I choose an eight bar loop again, each of these is a bar. So 12345678 and you can just see the number up top there, um, eight bars. What I will do is I'll actually repeat the same chords except for the last two. Many times will change those two chords up and again. That just gives more freshness to your listeners ears. But what I'll do is I'll actually just work with this guitar now. Okay, Uh, sometimes I like how this sounds a little a little bit better, So let's go with the guitar and put some reverb on it and dial it back just a little bit. Maybe just put a little wide. Nissen. There just makes it sound bigger and better so and then, depending on how I recorded it, you can see that the Left Channel is a little bit higher than the right. So if I just bring that over just a little bit and again, this is just because I've recorded it this way. If you were working with digital V ST's like FL Keys, you know, these air perfect tune They've been recorded very, very good. So I don't have to worry about this kind of stuff. But when you get into, like, recorded audio like, for example, like vocals, pianos and in this case, like a guitar you guys could be getting, like background noise or poor recordings are in this case since it was like a stereo recording like the Left Channel could be unbalanced towards, like the right channel or, you know, stuff like that. So that's just the reason why I'm panning a little bit to the right and giving it a more balanced centered sound. Maybe go back a little bit of whatever. You know what? Not to get super fine tuning, but just to kind of tell you these tips. Okay? So again, I am on song mode and I am going to hit record, and I'm just gonna play something. I don't know what I'm gonna play, but you know just because I know how to improvise on the piano. I know I can at least create a loop to get us going here. Okay, So play here and I hit record, So Okay, so that is our first recorded signal. Okay, so now I'm going to click here into my piano roll. I'm gonna hit enter, and it's gonna make it full screen. I'm gonna hold on control and right click. Now it's made it all really easy to edit. So again, like I'm saying, with the snap, I typically always have this on, like, 1/4 be or ah, half step right now it's 1/4. Be That's gonna be really easy to edit for you guys. I'm gonna hold down control and queue it Kwan ties is a lot of people, like all you know, Don't Kwan ties. Now you've took it out the humanistic flavor. But in my opinion, this is much easier to edit. And then I can manually come in, hold on shift and use my scroll wheel if I choose to, you know, nudge notes to get that humanistic flavor. So what I'm gonna do is but a trough record right now. I'm on song mode. So that means that ever hit play this pattern, which is pattern to and, you know, if you have to Now, since I'm in the step sequencer and I can go like guitar, okay? And you can give it a color. And since I gave that a color at the moment, I'd probably give this the same color just because I'm already in that flow. Okay, so I'm gonna click here to open up the piano roll again. You guys can also right click and go a piano roll here or since I'm highlighted on this guitar F seven and the piano roll will pop up as well. So again, if I hit play here, the playlist is going to play. If I click here, the patterns going toe, OK, but I want the drum loop because I want to hear this guitar melody that I just recorded with you in conjunction with the drum loop so I can hear how it sounds in that just to make sure that all these notes are, you know, in sync and flowing properly. So here we go. Okay. So this right here, I can either reflect it over here or on on B. Okay, when you play something like this, um, in this case, like, I just didn't like how it sounded. So what? I'll do, Just bring it over, and then you can click here. And what's gonna happen is, since I'm still in song mode, it has actually just put the cursor as you can see right here so I can click anywhere in here, and it's actually changing it on the playlist. And this is just a good thing for workflow again, I'm not pressing play from here. If it was full screen, you know, I would I really be hitting the space bar. Or I'd be hitting play on my actual midi keyboard or I would actually be hitting play from appear. Okay, so I'm just trying to break down my work flow just to speed you up to show you the shortcuts. So I'm just gonna here, right here to see if I like this. Okay, so what I'm gonna do and how to throw a curveball at you guys, But I'm actually not gonna play this guitar, because again, this is my own single guitar note. And who's to say that this is in tune with the actual note that was played. Okay. And because of that, it's not gonna be in tune with V s teas, which are digital, which are in perfect pitch. So I just hit control and acts okay, And that cuts it. And I'm just going to hit control and V and paste it into the keys f two and I'll say piano OK and is to enter. And I will delete this guitar again. You could just right click and go delete. Or you can hold on Ault and then press delete not backspace. And you congee leave it like that and you can also again if you select to multiple things. I'm just pushing a middle scroll wheel or holding on shifting clicking again You've you hold on Ault and Elite. You can delete multiple sounds if you choose to do so. You can also hold on Ault and up and it moves, you know, sounds up and down. Okay, so I'm gonna create tumor instruments with you guys. We will create a baseline as well as maybe a kind of like, lead kind of sound. Um, you know, just to give you an idea when we actually start to kind of build this track a little bit, and then we'll add these all intellect, the mixer, and start flowing. Okay, so what I'll do is I'll right Click will go insert, and that's go instrument. So, for example, let's maybe go to, let's say silence one, okay? And I will grab a baseline so I'll just go through my own bank here again. These are a part of the membership. You guys can get any of these Ah, ones that you see with gratuitous beside it except the silence one. I think I sell this one. So let's just say endure, Okay? So I'll go through here and I have a couple of baselines. So friend center. So let's hear it. I'm gonna play down lower on my keyboard. So? So this is quite loud. I'll turn this down, uh, go down lower on my keyboard. Maybe a different one turned down when we rocked it down, Gasol. Okay, so let's just see if we can play a little baseline with these keys here. Now, again, since I have those ghost channels enabled. So I'm gonna right click, go to piano roll, and again that's what? The arrow and helpers and that's goes channels. Now I can see the notes now, just to keep things simple. I'm actually just gonna follow the court progression that's going on here right now. And I'm just gonna do that by clicking it in. Okay. So, typically, I would actually take the time out and try to find a melody with my keyboard. Uh, that goes with this track. Okay, But with the baseline, typically, you always want to follow the root note of the court. So, for example, for playing like a C major chord C is the root note. So, um, that's this. The initial sound that you want to play, But you can always play notes afterwards. But the initial sound you want to play with, like the root note now you'll hear it now, have a play. You'll hear that the baseline is up high. But that's not a problem, because we can transpose it to make it lower. So maybe I will actually follow this. Just something like this. Like, who knows? Make some cool. Um, looks then that will extend this story and then all played up here. We'll play it here. Bring it back and maybe Ah, I think honestly like that. And I'm just gonna clicking, hear clicking here and clicking here, bring this back and then see, I have two steps right here in two steps for years. So what I would do is that actually hold down control and shift and highlight. I'm holding on control and shift still and highlight. And I couldn't move both those over at the same time. Okay, So it's just about these kind a little tricks that little that, you know, they just gonna speed up a little bit. So now what I'll do is I'm gonna hold on control and down, and that's gonna bring the baseline down an octave. Now, if I press on my midi keyboard, uh, see that I want Okay. So I won't see three, But right now it's at sea for if you just listen to that. Oh, so this isn't really base. We want that sief c three. OK, so I'm gonna hold on patrol down air a woman time. Now again. Let's just listen to how it sounds. So I have an idea. I'm gonna bring this up again. I'm gonna hold on control and right click go up. Former active. And what I want to do is I think I'm gonna follow. Ah, the's notes. Okay. Um, it might sound cool. It might not sound cool. Um, let's just listen to it up high, though. Let's actually playing like this. We'll play it fast. Castle down a knocked of our couple octaves. Bring it to see three. So, um, this G sound right here. So, um, let's go up again. They just had a little bit off, but that's where it is. So maybe I'll play it from here, though. They applied the a sharp That might sound okay, because in the lower frequency, sometimes things don't line up the way you think. So we'll play from here. Okay? Just to keep things simple, we'll leave it at like the g so, So far. So what we have I'm just gonna open up another VSC. Okay, so now we can be playing another instrument over top of this. Now, as you can see, I'm typically building my instruments in one pattern. And then I built my drum loop it another pattern. And then when we get to the arrangement, I break them apart. I find by building like this. It just allows you to work faster. Okay? And then everything could just be heard. Um, and you're not trying to do different tasks at once, so I'm just gonna go to gratuitous Let's just go to a continuance and this just choose a lead here. So genuine wine relationships. So let's go up inactive. Okay. So I don't know what I'm gonna play. So let's try and improvise something, okay? So I'll leave it like that. And as you can see, I didn't record their Now, here's a cool trick for you. OK, so I'm gonna go to a new pattern first, because otherwise, what's gonna happen is it's gonna export. Um, all the notes I played for all, like the sounds and stuff like that kind of confusing right now, but I'll show you. So I'm gonna go to a new pattern. There's gonna hit the plus in the number pad. So now one pattern. Three. You go to tools, you go to a dump score, locked, selected pattern angle. Last two steps. Now, as you can see, you know, it played the keys, played this one and that one. Now I'm not sure if it was gonna overwrite this. That's why I went to a new pattern. Give some holding on shift. I'm clicking on the keys as well as this one are here. I'm gonna hold on control and ex. It cuts those. And now I'm gonna open up the piano roll, and I'm going to get these sounds. Now, that doesn't mean I want to play all this kind of stuff. I think I want to play just from here. Okay, so I'm gonna hold on control of X, we will press delete. It's going to be all that stuff. I'm going to go to the previous pattern because that's where all my instruments are. And I'm hitting the minus on the number pad. OK, so I'm gonna right click and go to piano roll again and get a hit control and v it pasted in there. And so now what I'm gonna do is I'm gonna bring them all over, and I'm gonna hit control in Q is gonna quantifies it. OK, now, as I was playing, um, I just want to make sure because as you can see, the one melody is longer than the other ones, so in this case, What I'm gonna do is I'm actually gonna cut this. I'm going to go down and I'm gonna go controlling the okay. So I have to make sure I paste in this pattern right here. And so what I'm gonna do is I'm gonna hold on control and highlight and press control and be, as in Bob. Okay? And this is only because this melody is longer than the piano. OK, so I've just made sure that in the playlist, now it's gonna loop over. And I'm able to hear this melody right here and now. When I hit play in song mode, it's gonna keep looping. But now I can edit these notes. Okay. So here, we're going to hit play. Okay, so I played this. It was later, so I think it waited, flipped the first drums. It was like, Okay. So as you can hear most of the other sounds, So sorry, I move that over. Most of the other sounds were quick, whereas thes ones were longer, so I want to keep it kind of consistent. Now, it's okay to have the odd, long note because, you know, that creates a little bit of, you know, dynamic. But in a sense of just this melody there's all kind of quick sounding And as soon as those notes played that were longer, I just didn't like the sound of that. Okay, so I'm gonna click great here again. That's gonna move the actual marker. As you can see, you know, it's actually moving and the reason why I'm doing that. So when I hit play, I don't have to listen all the way back because I already know that these notes sounded fine. If I want to change them later, that's that's different. But in terms of them being in sync, you know, in rhythm there find that way as well as in tune. You know, they're there in the same scale as what I'm playing here. So I'm gonna click here. Will it play? Okay, so there was a problem here, right, as you can hear. So when it comes to editing your midi notes many times it would be like a trial and air for you. But a good general rule of thumb is to try to put it on beat, or like halfway in between again. You guys keep putting it on, like the be here too. Okay, because again, like I was saying so you have, like, the one you have the the, you know, halfway in between this kind of the off beat you have, then the a and and be okay, So don't be thinking about actual note keys. I'm talking about the safe spot, so I don't want to confuse you. But again, on the step sequencer. If I play on B, you don't. That's on bees. 1234 We have the offbeat, which is, you know, halfway in between on b and then we have the in betweens and I call this one the A and the B on the A and the bill can it repeats over and over and over. Now, that's what I was just trying to show you here in the piano roll. Okay, so we have, like, the on be the off beat, and then it's like a It's like the b for that safe spot stuff that I've just kind of talked about over the years. OK, so let's just click from here and let's just hear how it sounds. Okay, so, you know, we need to add some or rhythm in there. So what I'll do many times is the ghost channels are super, super helpful. So I'm just kind of click some notes in here again. I don't want to get into music theory and stuff, so I'm just gonna kind of bypass that. I'm just gonna kind of click some sounds in here. Okay, So and maybe we will add a note in here. Listen to one more time, Okay? So now one thing that you have to be a little bit careful of when you're using plug in, like serum and stuff like that NFL studio is if this sounds air so close together like this , so you'll hear only a couple notes play when really we're playing four notes. Like I only heard two notes. Player it there. Listen, one more time. That was only two notes. Okay, So what you want to do is highlight them. Hold on your altar key. The left halt. And I could just drag it back to us a little bit. And now watch. You're gonna hear all four notes play, so maybe a little bit more. Okay, so that's just one thing to be aware of. sometimes, you know, these are computers. There are bugs in code. And sometimes that's what you have to deal with, you know, But being a music producer, you kind of learn these things over the years. And now you have just learned some little trick right there. Now, not all via Caesar like this. I have just found this just was serum, But that's just something to be aware of. Okay, so let's just listen from seven. So in this case, again, the same thing's happening here, so bring it back. So I kind of liked it like this. Okay, so there we have it. This is our little beat we have. Okay, so let's break this apart. As if I was going to actually arrange the song now. Okay, so right here, I'm gonna have to and I'm gonna write in capitals, and I'm gonna type lead, and it's half to I'm gonna push the middle scroll wheel in ongoing type lead, and now we click here. Here's the same color. Okay, so that's that. Now I'm gonna press my minus on my number pad. I'm gonna come up here gonna hit control and X to cut this to take it out and then go to a new pattern. And I get I'm just using my number pad to move forward. So right now I'm a pattern four. I'm gonna paste it This in. This is the baseline case. I'm gonna hit F two wearing a base when f two again push it in here. So base and f two. So the first time I'm labeling, what's happening is that as the actual pattern. So as you can see, this is purple. So if I have to this is the pattern name, okay? And then when I actually labeled this this is just so that I can see that this sound here is my base and these are the notes. Now, it totally depends on the track. Many times, you know, I have my instruments up top, and then I have, like, my drum loop down below, which is to enter gonna hit control and right click. And what I'll do is I'll just bring this down here, okay? And then I'll bring fees up top. No, I guess it was hit control in a and highly everything and bring it up. Okay, Um and then I'm just gonna remove the loop, enter again and then controlling right click. Okay, so now we're gonna work with our drum loop here. Okay, So how I would approach my drum loop is many times what I'll do is, as you can see, the clone is right here, and it's shift control. And see now I think to myself, OK, I have drums, I have claps. And then I have high hat. So I have three patterns that I want to create. Now, sometimes this hat right here might be it's own pattern as well, so I might have four patterns. Maybe I'll do that just to show you. And the reason I do that is because, ah, high hat is a very, very powerful tool in music production. When you add a high head in, sometimes it's hard to take away because it adds so much fullness and excitement to attract , even though it's so short, you know, something like this. But you'll hear in, especially in, like dance music and hip hop. That high hat is so crucial to the groove and melody of that drum loop. So in this case, what I'm gonna do is I'm actually gonna hit control shift and see three times case A 12 and three. As you can see, I am now in pattern four. So if I click the arrow, you can see I have three pattern or four patterns here. So I'm gonna go to the 1st 1 I'm gonna highlight these, and I'm gonna press control and X now I've deleted them. But that's OK because pattern to and pattern three and pattern four are a clone of what I already had. And the reason why I've done that is so now this is in my drums, so I'm gonna highlight thes we're gonna come up here, we're going to go color selected. We're going rogue, radiant, and we're gonna give it a color. Let's just say yellow, OK, we'll give it that same color. And now I'm gonna f two and I'm gonna write drums K. So now this does take a little bit of extra time in your music production. But you're going to see that this is the difference. Okay, Now, in addition, I always have my instruments up top some highlighting those holding on fault and the up arrow key. Okay, this is just my flow and how I stay organized like my instruments up top than my percussion elements. You know, drum clap, high hats, those are all below. So I've done my drums, I'm gonna hit the plus. Okay, so what I'm gonna do is I'm holding down shift and just clicking these, and then I'm gonna shift in holding click those Now I'm gonna hold down Control and X. Now I've cut those Now I could highlight thes. And now I'm gonna go with the arrow. We're going to go color selected, and I don't have an orange. So let's say we go with orange here, Okay? So there's those I'm gonna have to medical claps and actually a short cut. So since I already gave that a color, watch this. So instead of hitting F two F two gives you a random color. If you hit f three, it uses the last color that you just saved again. Another shortcut to speed you up. So now I'm just gonna put the collapse in here. Okay, So what I'm doing right now isn't just adding in all of my patterns, and then we can start breaking them apart to build our song. So It's a really, really nice workflow. So I'm gonna hold on Ault and the scroll wheel. You're going to see that the height of these tracks there's going to shrink a little bit. You can also do that from here as well. Okay, so just the shortcuts, Ault. That way you don't have to move your most all the way over. It's just all about speed when you're flowing. Like right now I'm talking to you. But as I'm actually doing this myself, it's like my work flows very, very fast. Case I'm gonna hit the plus on the number pad. We're gonna delete all of these as well as the bottom one. Okay? And again, I'm holding on shift and clicking right there, holding on Control and x bam. Okay, so now I'm gonna how those two? Only because, like I was saying, I wanna have this one high hat just by itself in his own pattern. So have was highlighted. We're gonna come here. We're gonna go color selected ingredient. Uh, say, um, this color and then we'll give that same color, and then I'm gonna have to We'll say hi. Hats of 1.5 3 because that's the same color just saved. Now we can put those in here. Now I'm gonna hit the plus one more time, and now we can delete all of these sounds. OK, so in this case, what I'm gonna do is make sure gonna click on this high hat. But now I'm going to click on this high hat and hold, Okay. It's kind of a little work around that if you wanna click and hold on stuff like that. Otherwise it does weird stuff like, for example, So with those two highlighted like this and then if I want to go click and highlight, you can see everything got highlighted, then I try to do it again. Well, I guess it works that way. But if I just click away and then click on it and hold, I can highly everything. Hold on, Control on X. Now I'm done now, In this case, if I want to color the single sound, I don't have to go. You know, I don't have to highlight it. I don't have to go to the arrow. I don't have to go color selected. That's only if you're wanting to color multiple sounds But if you just wanted to color this single sound here, just pushing your middle scroll wheel, okay? And now you can just click here and select it, Whatever you want. Many times, all this F two. And just make sure that the color is different than what I have right now. Um, I think that's probably different color, so we'll use that now. I'm gonna have to again. Now, this is actually coloring the pattern, because right now, pattern four is called pattern four. But really, I wanted to be high hat to Okay, so right now, you know, it's a great color, and this is not what I want, so I'm gonna f two. And this will allow me to color the pattern. So first of all, a little high hat and then, you know, maybe like number two and they're not gonna hit at three because that was the last color I just saved are actually it didn't work. OK, so if it's not working, you can click this and that. The reason for that is I must have saved something afterwards. But typically, if I push him my middle scroll wheel, I save a color than F two and then have three. For example, if I select like this and half three, you'll see that it keeps going back to that same color. And that is just so because that's the last color I use. Okay, And now are color coding. And, you know, breaking apart or patterns is done, so if we just walk through them quickly. Okay, so I'm gonna start from the beginning, so I have my drums. Okay, this is what it sounds like. And this is the drums right here. So if I played the drums on the playlist, as you can see, it's playing right here. Okay, So that is the drums, um, thes of the collapse? No. And I could see it's all labeled. It's all colored, and it's really, really simple. I know it takes a little bit of extra time, but it's all organized now, in this case, the piano's blue. But the pattern is actually kind of brownish kind of color. So I'm gonna keep this brownish color. And the reason for that is just it's a little bit more diverse than like the blue. So I'm gonna click on the piano. I'm gonna have to and I'm just gonna hit Enter. And this is because this thick the pattern. Okay, I'm gonna push in the middle scroll wheel on the piano. And now I could extend the F three that will bring that same color in or again, it's gonna be the very, very first color for you. Okay, so now we're done coloring, OK, we're past that point. And the reason why this is so important is because now when it comes to adding them into the mixer, you're going to see all the colors, follow you, and you're done. You know what? Take some extra time, but it's really, really worth it. Okay, So in this case, since I have routed the piano to this insert just so I could take advantage of the sends, I'm just going to hit f two and backspace and remove that and then this guitar as well. 15. 5-1 - Various FL Studio Tips [OVERVIEW]: Okay, so Internet section of videos. So what I've done is a lot of these videos I have released on YouTube, but I have done a lot of research when I was creating those videos. So I think that if I include them within this course, and I'm just gonna be removing, like, some of, like, the ad stuff that I had in there like, I would be promoting this membership. But since you remember, you know, he don't need to be hearing that stuff again. So if, like, the intro or outro kind of like, uh, ends kind of weird, that kind of abruptly or something is because I just edited out promoting the membership when it was on YouTube. But you're gonna watch videos on, like, automation clips, and I'm gonna show you always kind of best ways to use automation clips in FL Studio copy and paste and any other kind of videos that I think will be really, really useful to you That way. This all this information is just in one nice section for you, and you guys can just kind of soak it in OK, 16. 5-2 - How to Record a Microphone in FL Studio [and Use Edison]: Okay, So in this video, I'm gonna show you how to record a microphone. Okay, So all you have to do is if we have 10. Here we go. Toe audio. So again, I've selected in as your driver. Okay, so I'm gonna click the X here. And so what you'll want to do is just click any answer that you want, anyone that's free. And you can see you have an option up here. So this is your inputs. Okay? So now you have to be careful in between stereo and mono. If you select stereo, what's gonna happen is you're only gonna record to other the left speaker or to the right speaker, but ah voice. Since it's only one microphone, it is a mono source. So you want to be selecting just the one here. So now if you want to record, what you want to do is just going to right click down here and right click again. So when you just record, as you can see, it puts it into that user data folder again. Again. You want to be careful here. I personally would save this into the folder that you're actually recording in So I'm going to actually put this to the desktop so little desktop and will to say like a verse one, Of course. Okay. And we'll click safe. So now, in order record it's just a matter of clicking record here and again if a pop of appears, you just want to select everything. And then when I click play. So hello, How's it going? So, for example, this is like what I recorded. I'm just gonna normalize it to make it louder. And maybe we will turn it down just a little bit. And this is what I just recorded. So hello. How's it going? Okay, so that's one way How you can record this is a nice way to record because it puts it in sync right here in FL Studio for you. But another way that is really awesome to record is again If I press control and e, it opens up Edison, this is what you can use to record. In addition, you can just click here goes select, and then wherever you have Edison stored, I have personally put Edison in miss effects effects. So miscellaneous effects. And here's Edison. Okay, what's really handy with Edison is because if you screw up a take whatever, it doesn't save it toe a file. Ah, you can still become here and just go like new. And then again, so you just wanted to making sure that on the insert you have selected your microphone and then on Edison itself, you could just simply click record. And the cool thing with Edison is it doesn't just have to be like a microphone. So, for example, let's just like our kick drum, and I'm gonna press control and Ito open up, Edison. Gonna highlight it. Go control and eat. So, as you can see, here's our audio right here. Well, we have to do in Edison is literally just click the record button. And now if we play the kick drum, you know we can record whatever we want. For example, if you if I plan on lower for up higher, you know, it records it, and that's just really, really cool, because this is how you can get different sound design. For example, if you have made sound effects Ah, all you have to do is load of Edison, and the thing is with music production. So if I haven't e que here, okay? And so if I record Edison, what's gonna happen is Edison is actually going to record the kick drum before my e que happens. But on my EQ you look, let's say I boosted up some low end or something like that. And I want to record that into Edison. You have to make sure that Edison is after the effects. Okay, because again, that's to do with that. That Siri's processing like I was talking about again. You guys can check out the FL Studio mixer workflow course to learn more about that. Okay, so it's just something truly important to know with recording your audio. Now, if you do want to record your voice with effects on, because many times, if someone's gonna, like, sing a lot of times like you want, apply some reverb or something, because reverb helps the singer perform better. Because if their voice sounds really dry as like they're monitoring their voice, they may not perform as well. But when you apply things like delay and reverb onto their voice as they record, it can help them perform better. Because that tail is there. It doesn't sound so dry. So how you want to set that up in FL Studio is it was gonna press f two and we're gonna say Ah, recording. Okay. And just give it a color again. You want to make sure that you're enabling your microphone on this one. Now, what you want to do is you want wrote the recording to a mixer insert. Okay, But you want to disable it from the master. So what's happening is this is what's being recorded. This is the dry signal. Okay? And that's what you want. You don't want the effects on the recording. He just want the dry signal. But if we go to 22 now and again, if we follow the cable, you could see that 22 is going to the master. So on 22 let's just say effects, Okay, you can apply reverb on here, So, for example, you can apply it directly, or if we just disable the reverb on the effects. You can also be used in, like, sends and stuff like that, too. If you want to go that approach and again they come saying so as the person is recording, this just might help them perform better. So just to go over that one more time for you. Okay, so here is the recording channel. This is where you want to enable your microphone, but you want to disable it from going to the master. Okay, this is so that you don't hear it. Okay, But since we have clicked into another insert and I just labeled it effects if we go to 22 now, we're hearing the vocal, but we can apply effects on. But this isn't the channel that we're recording because, as you can see, there's no microphone. Okay, so on the recording, we have insert one. You want to come down here, and if you want to record either with Edison, you can press control and e Edison will pop up. And then, you know, with Edison, it's just a matter of clicking recording. You're good to go. You also have different options again. You guys can always hit F one and a possible will appear all abo Edison. For example, the recording options. You can click this and learn the difference between these different options as you record. Or if you are gonna be recording this way so I'm going to right click. And if I'm going to record So imagine our song Name was Hello there. Okay, So I would label like this I'd go hello there and then Verse one. And that is how I would record. And then what's gonna happen with FL Studio is if you do another retake, another retake, it might just start going, like two and then three and then four. But it's still like that Verse one. They're just different takes. But again, by putting in this acronym beforehand, you're going to prevent that missing file issue that I've been telling you about all along and it just a matter of clicking save. And then with this record enabled, And then with this record enabled and you click play, you will then be able to record your voice. And in this case with effects And also, one more thing I talk about is just the audio Late NC. Okay, So, again, when you're dealing with audio agency, especially when it comes to recording your voice, it's very, very troublesome If you have your buffer size set very, very high and now, depending on how busy your song is, so again in the very, very beginning of the track. Typically, you can be adjusting this buffer size very, very low, such as like the 5 12 Typically, I wouldn't go any lower than 5 12 Fl. Studio tells us that it's just unnecessary CPU. It's unnecessarily stress on the CPU. Ah, 5 12 You're going to get pretty much unnoticeable, Layton. See, it'll be like a little bit, but not enough to throw you off. Okay, but what's gonna happen is as your song starts getting busier, you're gonna have to increase your buff your buffer length here. And if you're at the piss stage where you have already created your beat and now it's time for someone to record what you can do in that case is take this song exported just to MP three. Open up another project, and then you'll be able to record at a lower buffer size. Okay, that is just a really handy trick that I've learned over the years. And then I'll also include one video in this course. I'll put it like it. Like the bonus section. It's about using a mixer to totally bypassed audio agency. Because, like I said, audio agency is a problem in music production. It's something that you know. Eventually, I believe we will overcome when CP has become more powerful. But right now we're at the stage where it is still there, and it still is a problem. But there is a way to avoid audio agency 100% by getting a hardware mixer. And if you watch that video, I break down how to set it up and how it all works is. And again, it's kind of like a funny video kind of making fun of the companies that promise zero late Insee. But it doesn't exist yet, okay? 17. 5-3 - How to Install a MIDI Controller/Keyboard in FL Studio: All right, This is just gonna be a really quick video showing you how to enable your MIDI controllers NFL studio. Okay, so the first thing you want to do with any of your devices in regards to audio is you always want to install the driver before you plug it in. OK, so for example, that is going to the actual manufacturer's website downloading the latest driver, install it and then you can plug it in. That's the best practice. Okay, once you've done that NFL studio to simply have 10. And in the Midi tab, which is the first tab, you'll see your device in here. At least you should see it. And as you can see, I've just clicked. Midi and I went enable and that's it. And that's all I need to do to make Memeti keyboard work in FL Studio. Now, depending on the type of media keyboard you have, fo studio has set up some default layouts. In my case, I'm using an axiom. So in M audio axiom, it's an older version of an M audio keyboard, But the oxygen the layout works perfectly for my keyboard. Now, the biggest reason why you want to set up a template. You know, try and find one that applies to you. Like if you like the acai. I know FL Studio sometimes isn't the best when it comes to midi controllers and compatibility like it's always gonna work. But what I'm trying to say is, sometimes these Midi keyboards, they come with tons of different features that FL Studio sometimes doesn't take advantage of. Okay, but for the most part, the transport controls and that is your stop your play, your fast forward, you record. Those are the most important things that you want to be able to use NFL studio. So, for example, I'm just pushing up from my many keyboard. Or now, like, if you look up here, you know, I'm pushing Stop and you can see the button hitting. I'm hitting play. So and Russell pauses. Okay, I'm any record. So this is this really important? Because you're midi keyboard is like your main hub. When you're producing beats, if you don't have those transport buttons enabled, you're always gonna have to go to your most come appears. Select it right when you're in the zone of beat making you can literally just kind of keep your hands at your keyboard. Come up here. Hit Stop, hit record hit Play, You know, and you will be good to go. Also, if you hit record here in FL Studio and a pop of appears asking you, what do you want to record? I would select everything. Okay, So that's how you set up a midi keyboard or a MIDI controller. NFL studios to matter of hitting f 10 coming here, enabling it and then selecting. Ah, template, which suits your keyboard controller. The biggest thing is just making sure the transport controls again stop play record are mapped to the correct things appear OK. 18. 5-4 - Best Export Settings in FL Studio [Get the Best Render Quality!]: I always like to use shortcuts. NFL studio. It's the fastest way to do stuff. Okay, so if we go to file and you go to export, you can see that, you know, control ours for a wave and shift control ours for MP three. So if I go control are you know it's gonna pop up a window saying, you know, where do you want to save? I'll just cover these quickly, though. Okay, So wave is your high quality. This is what you're going to be using to upload to something like Destro, kid, if you want to get your musical like Spotify iTunes, all that kind of stuff an MP three would be if you want to kind of share it, make through email to a friend or something kind of more of like a rough mix case. So this is what the actual export setting looks like? A. So you have the option to export the full song. You can also go pattering. And that would just be like the actual pattern you're on at that moment. Um, the tail. So with FL Studio, an awesome way to learn is literally hitting F one. So as you can see here. I just have one in the window there, and it's gonna break down everything for you. So for every day use I would leave this on leave. Remainder, The other two options are more for a hifter sound designing loops and stuff like that. Next you have your option for do aren't wave, which is like high quality do on MP three, which is a compressed version, and you can actually export multiple versions of that track, which is really, really cool. So in this case, we're just going to keep it on wave. Now it's up to you. You could select 24 bit or 16 bit. I personally go 16 bit, 44.1 kilohertz, and so that 44.1 kilohertz is what it's called your sample rate and assure you about that in a second. It's actually you set that in your settings, so now I don't hear in the quality you want to set this at 5 12 it's gonna take a little bit longer to render, but it will give you higher quality results again. It explains that in the F one, settings have high quality checked off for all plug ins for my readings. It seems like this is more geared towards native FL studio plug ins. However, it also said some third party plug ins may benefit from this too. I also select disabled Maxim polyphony. This is just to do with the amount of notes that can play at once. And we want all the notes to be able to play like when you've actually played them dither. So this is always a tricky topic. I'm not gonna get to in depth in it because it's really like a whole article on its own. But what happens is when you change the bit depth. So FL Studio is in 32 bit floating point, OK? And when you change the bit depth to the 24 bit or 16 bit, you're gonna want to dither. Okay, Now, depending on if you have a limiter that allows you together, you know, so you don't want to dither twice. So let's say you don't have a limiter that allows you to dither. You were just like dither here. Okay, so now when you exported toe wave, you've did there. Now you can upload, it's good to go and what dithering is. It's just that, like the very, very bottom of your audio, like the very, very quietest levels is to do with quantum ization air, that's all say on it. So in simple terms, when you are exporting to a different bit depth, you're gonna want to dither. Okay, a simple is that down here in the miscellaneous section, I just leave these three checked off so trim PDC silence from reading the manual. This is a little bit confusing, but it's to do with plug in delay compensation. That's what PDC stands for, and it calculates the delay and stuff like that. So I just leave that enabled it actually comes default like that, and you get you guys to read that in the help manual. The next two sections are super easy to understand. So first of all, you know, if you fixed your song with effects and everything like that will, obviously you want them on. And if you've mastered the song with, like, EQ compression on that kind of stuff, well, you're gonna want those effects on two, and then it just a matter of done, you can export and you're good to go Now. You use that high quality way filed upload again to like Soundcloud, Districted, all that kind of stuff. Ah, for the MP three, I typically would not go lower than 2 56 Or you can put it to 3 20 Okay, so that's probably where I'd go. And if you're gonna work on anything other than that, then I would just go wave now to talk about O G and ah, flak file. So these are kind of mawr. Newer types of files Wave and MP three have been like the standard for a long time. Over the years, MP three had, like, patents on and stuff like that for my readings on Wikipedia. It seems that the patents are now gone. And so that's where Ogi kind of came in. It was more of an open source format, which means that, you know, there's no patents, there's no copyright. So anyone who wants to use this Ogi file format is not restricted to these rules, right? Another difference I learned through my readings from writing of this article is MP three exports in a constant bit rate. So what that means is that if you take a file, a song here, and you make it like 33 minutes long. It doesn't matter how much information is in that song. It's always going to be the same file size, but O G is variable. So what that means is that even if there's not much content, then it's gonna actually reduce the file size, which is kind of cool. So the main difference between a wave and A F l A. C compared to an MP three and Ogi these air what you call lossless and what that means is that it's not actually removing any information from the actual data file. Okay, so when we listen to an MP three, what's happening is in order to reduce the file size, it's actually taking out frequencies from the song. But through scientific research there, just removing certain frequencies, which are ears, are not that sensitive to. So by removing these non sensitive frequencies, it allows them to remove them and make the file size smaller. However, that's what you call lossy, and it's actually damaging. You know your audio because it's removing the fidelity of it. So if you choose wave, this is a lossless file format. However, the file size could be like 40 to 50 megabytes. Now, F l a. C is actually a compressed lossless file. So what that means is that it still has the fidelity. However, the file is actually just compressed and the file sizes smaller. But you still get the high fidelity now, Like I'm saying so F l a, c and Ogi. They're kind of newer and compared to MP three and wave, so they may not work as well on certain audio players. But over the years, these have become way more popular. That was more kind of in the beginning years, but that's just something to be said about them. But for myself, if I was gonna export my audio to put it up to, like district kid, you know, to make it on Spotify, iTunes, all that kind of stuff, I personally just go wave 16 bit. You know, that's high, high quality CD standard quality. So 16 bit 44.1 and I'm good to go. If you hit F 10 and you goto audio, you're going to see this sample right here. So this is where I was saying 16 bit. 44.1 kilohertz. That's it. Right here. If you want to adjust it to the 48 K then you can adjust it right there. Um, again, FL Studio will ask you to restart. Okay? And that's it. So that's how I export my audio again. I use the shortcuts it would be control are, and then I can save it somewhere else to say again, like my desktop. Now I'll also say one more thing. So the thing with audio is that it's super simple and compared to look, let's say, exporting video like video. There's a lot of stuff to know when it comes to exporting high quality video with audio, we actually have it pretty simple. It's just a matter of do you want high quality wave or do you want just like an MP three and that's it. OK, 19. 5-5 - How to Use Automation Clips in FL Studio 20: all right. Hey, what's going on? Everybody gratuitous here and in this video, I'm gonna be talking to you Everything you need to know about automation. Okay, so I have actually written an article. It's called The Ultimate Guide to Using automation clips in efforts to do 20. And what you guys can do is you guys couldn't click through these to navigate to the article. And I just described to you all the different ways how we could be using automation with an fo studio. So let's get into the tutorial. Okay, so the first thing I want to talk about with automation clips NFL studio is if you're using third party plug ins, you want to make sure that you're using VSC three versions of them that will allow you to right click on the knobs within third party plug ins. If you're using third party plug ins and their V s t two versions, you'll find that you aren't able to right click to create this automation clip. So what you'll have to do is just tweak the knob. You come up here tools, you go the last week and then you can create the automation clip this way. Okay, Just make sure to test Sometimes the VSC three version makes fl studio crash depending on what vendor you're working with. But in my case, I'm using fat filter. The VSC three plug ins work great. And now I'm able to right click and treat this as if it were a native fl studio plug in. Okay. And first of all, what is automation? So what you do with automation is you set it up beforehand, OK, so in this case, I have this filter here and I have pre programmed this. And now if I click through the song, you're going to see that it automates okay. And what it's doing is it's building that tension, preparing our listener for what's next in our track again without audio painting stuff. So with fo studio, there's a couple different ways that you can approach automation. Okay, so there is with the playlist which is right here. There is the piano roll, and that's to do with, like, event data. And then there's also within the step sequencer and you click up here and you can affect it this way. And if I click the drop down here This is how you can access your automation clips. In addition, you can also click all but I'm just gonna go unsorted and we're just going to click a sound here. Okay, let's just click this course here. This is just a guitar. How I like to create automation clips in fl studio. How a lot of people do is they just simply right? Click like the volume knob here and local create animation clip. And what that would do is I'll show you It creates the automation clip for the whole song. And me personally, I don't like that. I'm gonna hold down control, right? Click and zoom in here. I like to highlight the area I'm working with So you can either hold on control and left, click or you can hold on right click to do that too. And now, without highlighted. When I created automation clip and you can create an automation clip with anything, it could be panning volume. If you get into here, you can just like the attack or whatever you know, a great animation clip. So just to keep it simple, let's just automate this volume Not here. I'm gonna right click and go create animation clip. Now you can see that it's created the automation clip just in this area because it's like I only want to work with the automation clip in this area. Otherwise, it's just kind of annoying. Now, if you're working with a sound which you are affecting throughout your whole track, well, then, yeah, like, you know, I would create the on a mission clip for the whole song, and then you can kind of tweak it. Throw now, with this automation clip created, I'm going to zoom in on it again. So what you can do is you can just right click to create a point. And that's so simple, that is, You guys could click in between here and you guys increase and decrease tension. You can also right click on a point and you can select different curve types. For example, feel like stairs here. And if we increase this, you know, you can, uh, a just like your stairs like this. And then if you want to delete a point, you just right click and go delete. Now really cool. Pro tip is just kind of copying and pasting. So, for example, Let's just put these two single curves gay. Now let's say I want to have another point. The same value is this. So, for example, there, right click here in Alison's like, Oh, well, now they're not the same. So you can right click. You can go copy the value, and you can right click and paste the value. And this is a really cool pro tip for you guys right now if I click on this point here and if I hold on shift, Okay. So right now I can't go up and down, So this is a really nice thing to know, So it locks the vertical. Now, if I left click and hold on it first and then hold on, control. Now you can see I can't go left and right. And I could go up and down so it locks the horizontal. Okay, again, this is just a nice thing to know. So again, control locks, horizontal shift locks, vertical. Okay. And you first want to hold hold down on it first before you do that. And as you can see right now, like it's following like the snap. So, for example, if I try to drag it over to the right. It's gonna drag it to the next bar here, for example, like this, right? I can't go in between. If you want to go in between, you can hold on, Ault. And it overrides like the snap and you confined to knit wherever you want to go. So this kind of shortcuts. Now I'm gonna show you a really cool pro tip here. Okay? So up here, you'll see that there's an automation clips tab. Okay, so this is like for audio clips, automation and patterns. So I'm gonna click on the automation tab, and this slide here is a really powerful tool. So right now, with slide being off, I can drag this point indirect anywhere within the automation clip. And it's just going to stay like this, which is, you know, typically, how you want your automation clip to be. You want to be able to do this so you can edit. But if you enable this, what's gonna happen is if you click this, it's going to grow or is going to shrink this endpoint. Okay, so watch this. Okay. So sometimes if you're working with your automation clipping like you don't know why it is doing this on you again. This is really annoying cause they if you just want to extend this, it's a little bit. And now, almost like, Oh, I want to be there. And then you come back here you like. I want to be there and go. You know, it's just really annoying. So just disabled this slide. And now you can actually control your parameter just like that. Super, super easy. Okay, so now I want to talk about an automation clip after you have created it. So what happens here is again fl Studio takes like a snapshot of the default value. So I right clicked when create automation clip, and now it has literally stored it. So if I scroll up here and if I go to patterns, okay, I'm in the current projects patterns, initialized, controls. You can see that these air, the automation clips that I have created it's kind of confusing how fl studio approaches thes automation clips right now, if I'm before the automation clip, OK? And if I turned down this beginning point, you'll see that the volume is still staying at that default value that we initially created the automation clip for right. But now, as soon as I go to 89 you're going to see that this volume knob goes to this value right here. OK, but if I go before it, you see it goes back and it's just like wall. Why is it doing that? Because my automation clips down here now, you might be thinking, Oh, well, it's because you're automation. Clip ends high. Okay, well, let's turn this down. Okay? What are the exact same thing? So I'm gonna click on 89 here. You'll see that it's brought down in value, right? But now we go before it. So the way around that is, once you have adjusted your value like this, you don't understand. Click there. And let's just say this is how I want the automation clip to be. And even if it's before, I want this this volume knob to be at this value right here. Right? So what I'll do is all right. Click and you go a nit song with this position. Okay? And what that does is it kind of overrides that initial snapshot it took when you created the automation clip. Initially Okay, so we'll click that now. Again, I'm gonna go back to save 88. You're gonna see it stays there. Okay, but now watch this. If I increase this crazy, you're going to see that it stays. And as soon as it going 89 again, you're going to see that the volume is gonna be at Max. Okay, Boom. Okay, so if I go all the way down to zero, it's the same thing. But now I watch if I go before you're going to see that it goes about halfway again. Now, the reason why I'm telling you this is because it can get annoying when you're mixing your track, all of a sudden you'll notice, like sometimes the automation clip is in the right state. And then sometimes it's like, Why? Why is it all over the place? And the reason is just because of this. So you go to the beginning point right here. You're just gonna go right click, and you're just gonna go in its song with this position before we move on. I still want to talk about a few cool things that you guys can do with automation clips within the playlist. Okay, so right now, if I click on this automation clipper here has it highlighted. Now you can click on this a palpable appear. And now what you have is you have a men and a max knob. So if your automation clip if you find it, it's a bit too aggressive. You can dial in a min and a max, and this just allows the automation clip to kind of be, like, less sensitive so that, you know, you could be more aggressive on your points. You don't have to be so finicky here, but you can kind of dial in like a bottom threshold and a top threshold to say It's like I don't want this parameter to automate anymore than in between here. That's a really cool thing to do this on and off. This is just a matter of turning it on and off here. So it's the same button. Okay, there's an LFO. This allows you to kind of get repetitive sounds over and over. As you can see, I'm just kind of ah tweaking this right here like that. You know, if you choose to do that now, this is a really cool one that a lot of people are unaware of. If you click the arrow here, you can go toe articulator, okay? And you can copy the state. So if you want a copy one automation clip toe another automation clip, you just go copy. Here you go to the other automation clip, and then you would you don't school paste and super, super powerful. There's also some other tools here you can use for creative purposes. You can also like, flip this, for example. You know, that's kind of cool. Okay. And now we're gonna talk about the piano roll. How this works is down here. This is what you call event data. OK, so it's not so much automation. However, it kind of is because as the song actually plays, you know, you can automate. He's different sounds as you know, as it placed it out the pattern. So what you can do is down here, you can right click, and you have all these different properties. Now there's two different columns. They'll see here. There's no properties, which is what you're seeing right here. This is how this would look so if I would go to like, Let's say pitch, you know, you can adjust the pitch of all of these notes. You know, all these notes would be affected by pitch, but in the channel controls what you can do. I'm gonna go, like, pitch here. And so what happens is you can actually, like, draw in like this and this allows for a little bit more flexibility. I personally don't really like this approach. I kind of find it kind of messy. And the way how you delete this stuff is all you have to do is you just click the delete and you can actually just you click and highlight on it. So if I just left click, you'll notice that stuff isn't deleting. So you actually have to hold down and highlight, and it will start deleting stuff. But even still, you know, just I personally don't really like this approach, But like I'm saying, it does give you some more fine tuning. For example, you can actually, in our case, that say, let's say, panning you can actually pan a sound like halfway through the note. Whereas if we go to know properties, let's to say panning. You know, you could only pan the one sound and that's it. Like if I want a pan this right? You know, I'm just looking up here in the top, and now we're going to go left. So, you know, you could only pan the individual notes, Whereas when you're here, you can actually pan in between you know, so like like this just, for example, and one really cool thing I want to show you here. So what you can do And here you can go note, find pitch, Okay. And if you right click and hold, you can actually increase it goes something like this And if let's say you had a snare role , this is how you going to get a really kind of cool of buildup for that rising kind of sound . Let's just go to velocity for a second. I'm just gonna show you a few more things. So what you can do here if you want to highlight multiple sounds So you just hold on control and shift, and you can like, you know how that multiple and you kind of click or de select. So in this case, what you can do is hold on all now and the scroll wheel. And now you can increase and decrease the volume of just these these notes on Lee. OK, if you click right here, just left click. You're going to affect the velocity of all four of these sounds here where you can actually hover over individual notes to and you can do that too. Okay. And the last way, how you could be using automation without full studio is within the step sequencer. Okay, so when fl Studio 21st released, they didn't have this option is to the graph editor. But I guess because of community feedback, people wanted this back. I felt it was really, really great that way. They listened to their users, and they actually implement features that their users want, you know, super super great company that way. So first of all, it's gonna click on the sound, okay? And a murder telegraph editor, And now you can affect each individual notes. So in this case, you can affect velocity. Uh, here's like the pitch, the panning, and this is even swing. So, for example, the swing right here. So just nudges a note so you can nudge this one kick by Ah lot in comparison to the other notes, whatever. So lots of flexibility there. I kind of find that when I use this many times, I forget that I affected a sound using this. So just kind of be aware of that. Especially if you're working with old projects and Alison, you go back to work on them. Whatever. And you're kind of like, How did I tweet that sound like I can't find out, you know, it's like, Was it with my plug ins or something like that? Okay, so those were just different uses of, you know, using automation as well as event data within FL Studio. So again, that's the playlist. That is the piano role as well as here on the steps we concern with the graph editor here. Now, some common ways of using automation volume panning filters with I can eq you and stuff like that. That's that's really, really powerful, you know, for example, in this case, I'm just using this geeky right here. I created a high cut, you know, highlighted the area, and in this case, I would click this, um, right here and I'm going to right click, and I'm going to go create automation clip. And now this. So let's just dial it down and you're going to see that this high cut filter it here as a song progresses, it filters it out. And you know, that's really, really powerful for transitions and what I call audio painting. OK, It just allows ah, communication to our listener that, like a change is happening. That build up is happening and we're just preparing them to get ready. Now, I just want to share an important pro tip here with you guys. So if you're ever putting these like filters and stuff on your actual master track, I highly recommend that you turn it all the way off the mixed knob, okay? And you're gonna right click. You're going to create the automation clip and not right here. This is like the mixed level. So in this case, I would move it over one. I would rate clicked to put a point, and I'm gonna moving over one as well. And I'm gonna right click to put the point. OK, so if the filter was happening right here, I would automate the mixed knob to turn on only when I wanted to effect because since this is like the master track, I only want that filter to be on when I'm automating it when I want the sound that way, it's not affecting like my overall master sound or or whatever. Okay, so I just find that this is a pro tip that I've kind of learned over the years, especially if you're using plug ins like gross be, You know, things that really are really aggressive. You know, tons and tons of manipulation to your beat. Automating the mixed office Super, super powerful. Another way you could be using automation. NFL Studio is with, Let's say, a vocal. Okay, So instead of using that compression to help level out a vocal, you can actually be using volume automation to help that vocal on certain words that aren't standing out. You could just kind of turn them up, and the benefit of doing this is it sounds a lot more natural. Then compression, because if you're too aggressive with compression, it can have negative artifacts. Okay, so you know, you can kind of use this volume automation in hand with some compression cause compression can kind of glue it together as well as have its own kind of characteristics. But if use volume, automation and compression, you can kind of get best of both worlds there. And finally, this is probably one of the biggest tips that I can pass on to you. I personally never liked to automate the mixer fader. Okay, if I was gonna affect volume, for example, like we're talking about the vocal with volume automation, how I would approach it is I would click here, Let's just open up like, let's say, Ah, the fruity limiter. Okay, so here it is, fruity limiter. And how I would approach this is this ceiling I would put all the to the top, and I would actually automate this gain knob. And the reason why I would do that is so then I have full control over this mixture Fader still, because as soon as you start creating automation off of these mixer feeders, it kind of handcuffs. You okay? Assumes that your song starts getting bigger and everything like that. It's in my opinion, it just kind of gets annoying. So I would automate, you know, a plug in like this. It doesn't have to be like the fruity limiter. It just has to be like, you know, any plug in that you can really use gain Ah, in a transparent way, I would personally recommend this way And, you know, pushing your middle scroll wheel here and I would go gain came So I would rather open up a plug in use this gain knob as my automation. Therefore, I still have full control on if I still wanted, maybe boosted up a little bit louder. Whereas if it was a vocal, we used volume automation. This is help balance out the vocal. But if I want the actual vocal to be louder, I still have control over that volume. Okay, so that's everything to do with automation. Here again, you guys can come check out this article. You know, it's a really in depth article just breaking down everything about automation with NFL studio. If you guys have questions, if you guys want to see a different video, just leave it in the comments below. I'm gratuitous. Thanks for checking out the video 20. 5-6 - How to Use Copy and Paste in FL Studio [Very Useful Information!]: Hey, how's it going? Everybody gratuitous here and have written an article on how to copy and paste in fl Studio 12 I break down how to copy and paste like from the step sequence, Serve the piano role in between veces automation clips with the mixer as well as how to copy and paste in between projects. And if you click on these, it just brings you rate like the section and a breakdown. You know, best practices how to copy and paste. So when copying and pasting within the step sequencer how it works is steps will copy two steps. So, for example, I've had it all these four sounds I press control and see. And if I just go to a new pattern I'm gonna press f four for that. And I just hold control V now, as you can see it pasted in the steps. Now, if I go through an instrument of mine, I'm gonna come up here and I'm gonna copy this and four again to go to new pattern. You'll see that if I paste it in it pastes midi notes. Okay, so within the step sequencer steps copy Two steps and midi notes copy to Midi notes. Okay, Now, before moving on to the piano rule If you want to highlight multiple sounds, how you can do that is you just hold down, shift and click. OK, so now I can click, however many sounds I want. And again, if I press control and see it's actually going to copy the sounds. And in this order, if I click on these with holding on shifting clicking, you can also pushing your middle scroll wheel. That's another trick. Or you could just click and hold in drag. If you click and hold, you can't get us fine tune. So I'm gonna hold down, patrol and see. And now you can list to say, Select any of these sounds of What's gonna happen is it's gonna paste it in the exact same way you've copied it. So there's going to be a space, a space and a space. So if I just click here right which I am and press control V now it is put spaces there. So if you want to go to a new pattern, for example, like if you want a copy like these ones, you go copy and then your new pattern and paste. Um, that's the way it's gonna paste now to open up the piano roll. You can either right click and go to piano roll. Or you can just click degree notes and open up the piano roll. So if you only want to select certain notes, there's a couple ways to do it. Okay, so you can hold on control and quick left, click and hold, and you can drag what you want. But as you can see, it's like it doesn't give you so much fine tuning like You can only highlight the upper notes now and you can't really access the lower ones. So you can maybe highlight. You know, all that the upper ones like this. And then let's say we just want this bottom note. You hold on control shift and then click, and that's what you can do. You can also de select sounds too. Okay, And then now, if I go control, see, you'll notice if I go to the step sequencer and try to pace these in is not going to paste . And so how it works is the step. Sequencer data is the step sequencer. Okay, so again. Steps copy. Two steps and the Midi notes Copy committee notes within the step sequencer. But the piano role is kind of a separate thing. As you can see, I've just went control. See, on this when Control V and it's not pasting. So all that have to do is right. Click. Oh, piano roll. And now, cycle control V. It's gonna pace those exact notes in the exact same way I've copied them. OK, so that's how you copy and paste within the piano rule. Now, I want to talk to you about copying and pasting values. Ah, about V S t knobs. Okay, so this doesn't work just for V S t knobs. This is also flick automation and, you know, even mixer inserts and stuff like this. So right clicking on a knob allows you to copy the value. Okay, So for example, let's say we move this knob, we go right click, and we can copy the value right here. Now I can go on pace that value into any knob, and you know, for example, that say, we were on the mixer and let's say, you know, I was working with the drum right here and turn it down, and it's like, Well, I want this dream to be the exact same volume is this one? Go copy and you can go pace. Okay, so that's a really, really handy thing, Especially once you start working with automation clips and stuff like that. So, for example, I'm just gonna right clicking this cretin automation clip, and that's gonna create it for, like, the whole track. Typically, when I created automation, clip, Hold on Control left, click and highlight, and then I'll create the automation clip within that area. That way, I'm not stuck with this automation clip. That's the whole song when I only want to automate like a certain area. But if you are working with automation, clip and if I right click and a great click and right click and let's say I want, ah, this point to be the same value as this point, So I'm going to right click go copy value and right click and paste value, and that's just really, really awesome shortcuts so that you know, you don't have to hold on all to make the and scroll wheel to zoom in and like, you know, it's like it's super super finicky right now. If you want a copy effects over from one mixer, track toe another how fl studio approaches it. So right now I have Ah, let's say this gate, which is on this insert right here, this drummer here. But as you can see on 15 I don't have that gate. But let's say I want the exact same V S t. And I want the exact same parameters just to be copied over. Okay, so all you have to do is click the arrow. Ah, you go save preset as but you don't click it, you have to click and hold. And it's important because now you can drag it. And this is how efforts did you approach is called being and pasting effects. Okay, so we all have to do is just drop it onto there. And now you can see I have two instances of pro gee, And if I go to 14 you could see I approach E if I goto 15 and have pro G. So that's how you copy and paste effects in FL Studios mixer. Now, if you want to duplicate an actual mixer insert, for example, that Say this one are here to do that. You right. Click on the actual mixer you go file. Here's save mixture State as you're gonna click and you gonna drag so pretty much the same thing. Um, again, that one is just copying a mixer insert the one before was actually copying on effect. Now the final thing will talk to you about copying and pasting in this video is copying and pasting in between projects. So there's two ways to do it. One way is the quick and dirty way. So, for example, how I used to approach this back in the day, let's say I had meet old like this pad here, and it's like, I really like the cords. So let's say I wanted to bring this to another project. You know, you could just go control, see on this, open up the other project, go to a sound and use control V to paste it in. OK, that's super simple. But when you're wanting to actually start working with multiple sounds and you know you want to kind of work between multiple projects, that's where you gonna want to use project bones. So if you click file and you'll export Eagle Project bones. And the default location for that is actually in Ah, it's in your user data folder. So if I f 10 here and if I go file, you'll see a year. You have a user data folder. Now, I personally really don't use this folder. However, when it comes to the project Bones, it works really, really good, because when you save it in their default location within right here, it saves it within this browser. And it would be just under project bones. And now when you go to project to Project, you can literally just open up this folder. Here, you can go to your project. You can go to get your step sequencer, and I believe it also saves like mixture states and and everything, and you can literally just click and drag everything over whenever you want between projects. So that's a really cool way to do it. That is the easiest way to do it. As with Project Bones. One other thing I didn't mention is you can also be used in like control X to remove a sound. So, for example, like cutting really comes in handy if you're wanting to break apart of patterns. So, for example, like let's say I don't want to snare in here so I would click that Argo Control X and then in this case, you know, four to go to new pattern and you can paste it in. If I just go to the pad here and click this. If you want to delete all the sounds, you can literally just press delete. Okay, so that's just a little shortcut there, too. Okay, so that's everything to do with copy and pasting again. Check out the article. It's a step by step guide about everything with FL Studio when it comes to copy and pasting with the step sequencer with the playlist, with the pattern as well as the piano. 21. FL Studio Beginners Course - OUTRO: All right. So I guess that wraps up our course on FL Studio. So, you know, we've covered a lot NFL studio When it comes, Do you know the step sequencer? The playlist, the mixer, the piano roll again? Just doing the shortcuts is really, really handy. And you could just find those by looking up here. So you know this one Here is the playlist Shortcuts at five. Again any window you're on, you can always f one probable appear, and I'll take you to the online manual. That's extremely helpful again when you're learning music production. There's a lot of reading that you're going to be having to do. But as long as you know where to find the information is going to speed up that process for you a lot. So I hope the best with your productions again. When it comes to sounds and stuff like that, just be careful. Don't fall into, like, gear lust and wanted to buy tons and tons of equipment like, obviously, yes, you're gonna need certain things. Ah, you know, like your sounds and V ST's. So I didn't go so much in depth in terms of how to use thes certain tools like e que and compression. If you do want to learn these other tools like e que compression and all that kind of stuff . I have created courses on each of these topics. And if you are part of my membership on my website, you guys can sign up and you guys can get access to all of my courses. Okay, so, you know, hopefully this'll video is up and running for you. Okay? Now, you kind of have an understanding of how to get going with FL Studio. I've showed you a lot of shortcuts that I wish I knew when I started up. Just the color, according takes a little bit of time, but I'm telling you, it's the difference. Winter track starts getting bigger. OK, so I'm gratuitous. Thank you so much for taking the course. And I will see you guys in future courses of mine.