FL Studio For Complete Beginners 2022

1. 00 FL Beginners Course Overview: Hey everybody, welcome to the course. I am John marathon bone to produce. And you are going to learn to make music and FL Studio by actually following along and making a track yourself from nothing right through to the final mix down. The whole course is over 5 h long and you can follow along in any version of fL. So let's check it out. Before we look in more detail or what you're going to get out of this course. It's important to note that you're not only going to learn how these FL Studio and its instruments and plugins. And you're not only going to learn music production techniques, you will also learn the complete start to finish song making process and how it all fits together. Now that's really important because it means that when you start to make your own music, you'll be able to apply the knowledge you have learned in a much more organized, constructive, and usable way. So let's take a look in greater detail at what you're gonna be doing in the course. Say straight away you will be bringing in your first sounds whilst learning how the interface NFL works, how it operates with the channel Rack Patterns and the playlist. You'll also learn to use the basic tools needed ten minute video or sound editing sounds, how to make beats, and how to apply basic effects to make it all sound good. Once you have a basic beat, you'll start making a baseline and melody for your track. You don't need any music theory knowledge for this, you'll learn how to take a melody that's in your head and get it into FL Studio. When you have that basic structure, you will use this musical foundation to build more musical parts like leads, an arpeggiated FL comes with some really powerful instruments and plugins. You will learn how to use the GMS synthesisers to manipulate sounds, to make your own custom white noise effects sounds and other lead and bass sounds, along with post-processing. To fasten them up. You will learn all about how to correctly use EQ and compression in your mixes, even going into side-chain compression to give the low end of your mix some super clarity. Now, before we get a singer and you need to arrange your track, say here, you will learn how to structure your songs so it takes the listener on a journey, have ups and downs, intense sections, relaxed sections, just like a good story. This is achieved not only through correct song structure, but also through the use of special effects, sounds and automation to give a real sense of tension and release and movement throughout the arrangement. Now that we have the full track, we can get the singer into record. You will learn exactly how to record in FL Studio. Now this is actually really simple and we will guide you through the whole process from Mike positioning. So you setting up FL for recording. You'll learn how to take multiple recordings and make one really great performance out of it using timing and pitch correction along the way to make sure it is absolutely perfect, then you'll process the vocals to give a nice, airy, bright and dynamically consistent performance. Just a quick note, you don't actually need to be able to sing in order to complete this tutorial or have access to a singer, we provide all the recorded audio so you can follow along with what we do. Finally, you will learn how to mix this all together. Now mixing is a vital skill, but it can take time to master. Here you will learn what mixing is and using the tools available to you in FL, you balance the whole mix, add the final touches to make the track come alive and have crystal clear separation between the elements of your track. This is followed up by final tweaks at the mastering stage. And lastly, you will render out your completed track so you can share it with the world. Everything on this course is shown with step-by-step guidance, so you can follow along. More importantly, this means that you can easily repeated when you're making your own music. And by making a track from start to finish, you gain the knowledge in a much more usable way than if you're just listening to someone talk about it. That's it from me. I'm going to play the final exported track that you can make if you get the tutorial. Thanks very much for watching. I hope to see you in the course 11. To be sad. I will barely. When I say, sadly. 2. FL Beginners Lesson 01 Making A Beat: So this is what you see when you first load up f l am very quickly. We're just going to go and check the audio settings. So we're just gonna go to options at the top, go to audio settings. And under device, we can just pick what driver we want to use for FL Studio. So your list probably won't be as big as this if you have a different sound card, but that's fine. We're only really interested in these ones down here under audio devices. So if you haven't got a dedicated sound card, then just select SEO for all V2. And if you do have a dedicated sound card like I do, then I've got the fire phase drivers. So just select that as the best option. But if you don't have that just selects as E0 for all. So that's it for the settings. Now I know this interface at first glance can be a little bit overwhelming when you first open it up, but rest assured, we will be looking at an mastering all of it as we go through this course. But we want to get making music straight away. So let's look at the browser. On the left-hand side. If you can't see the browser for some reason, you'll just have to expand it out. So just bring it over and expand that and you'll be able to see the browser. The browser has three tabs at the top, you're only interested in this one on the left. Don't worry about the other two for now, that's fine. Browser is where you find all of the media like audio samples or plugins are instruments that you can then bring into your projects, is not the only way to bring things into our projects, but for audio specifically, it's the most commonly used. So what we want to do is navigate down to where it says pax, click on it to expand it. Now, in the packs are many different types of audio samples that come with fl Studio. Now let's just click on drums and then click on kicks. Now, all of the samples in this particular pack, this drums pack, or what is known as one-shot drums. So they just singular drum hits as you can here. And you can just click on them to audition. Or they sound like, say once you picked to kick that you like now I'm going to actually just expand this a bit so you can see all of the writing. And I know which kick I want. I want the monster kick, o62. Nice fat basic thing. And all you gotta do is bring it into the projects, is literally click it and then drag it up. And I'm actually just going to drop it on top of where it says Kick, just to replace the current kick that's in the project. There are many other types of samples. Of course you've got loops and all sorts of things, but we're gonna get to that later in the course. For now, we understand where we can actually find media in FL and we know how to bring it into our projects. But first of all, I want you to focus on two things. The first thing is the channel rack, this thing here. The second thing is how patterns work in f l. So let's start with the channel rack, which you can actually show or hide by clicking this button here or hitting F6 on your keyboard. The channel rack shows every single item, also known as elements, as they're basically the building blocks of your track like the kick the hat, the clap. Or it could be an instrument playing a lead or whatever, that all elements. So FL Studio always opens up with four different elements. Loaded the kick, which you've actually just replaced with orange cake. We replaced with this one, the clap, the hat, and a snare. And if you want to actually hear what they sound like, you can just hold Control or Command on your keyboard and then click it. And you can audition the sounds that are loaded into your channel rack. So if you just left-click without holding Control or command, it will actually bring up the channel properties and we'll be diving into these later. But for now we can actually just close it. And next to each element in our channel rack is this thing, and this is called a step sequencer. So we really only use the step sequencer for things like drums. So we can program in beats as it's shown here. The step sequencer represents 1 bar. And if I add a kick to the start of each beat, them will have a standard house beats, so it's 1 bar divided into four beats. And it will just play like one-two-three-four, one-two-three-four. Like so. You can play what patterns you're working on by clicking this little speaker icon up here next to channel track. Or as long as you've got it in passive mode. So not song but pattern mode. You can hit the play button or you can hit space on your keyboard to start and stop it in the channel rack, I can just click with my left mouse button to add a step. But if I put something in, I don't like, I can just right-click it to delete it. You can actually draw in multiple just by clicking and holding and the same with deleting as well. Apart from that, the controls, we have the volume with this dial here. And if you change the volume and you don't like what you've done, you can always just hold Alt option on a Mac and then just click it and it will reset it back to its original value. And then we've got panning, which means you can pan it to the left speaker or the right speaker. And again, if you don't like what you've done, you can just hold Alt or Option and click it to reset it. But the controls as they are absolutely fine for now, we've got our basic kick pattern, but at the moment it's just a little bit too far. So I'm going to change the tempo of our projects. At the moment it's at 130. I can just click there and drag down. And I'm just going to set this at 124 years about the right speed. So let's add a clap in a club in almost all genres, but especially in house music. Goes on the second and the fourth beat, like sounding good, but the cup is just a little bit too loud, so let's turn it down using the volume control over here. So we don't want it too loud. So drowning out the kick like it was originally, but we also don't want it too quiet, so it's like hard to actually hear it when it plays. Say somewhere about there is. Okay for now, we're going to be mixing this later on in the course, so it doesn't to be completely perfect right from the start. Now, really important point to remember here is as you bring new elements into your projects, you always want to turn down the new element so it's balanced with the kick. Don't do the opposite and turn the kick up to be as loud as the new element or what's going to happen is the volume level of your whole track is going to get louder and louder and your projects will basically become really hard to handle. Okay, So let's add r hat now the hat in house music, or at least the main hats because you can have multiple patterns, but the main house almost always goes on the offbeat. So I'll just draw that in and say That's basically halfway in-between the kick. Okay. Sign, I'm pretty good. Maybe just turn that down a little bit. And that's sounding pretty decent so far, although we definitely need to replace the hat. So let's just do that now. Let's go back over to our browser window, just going to scroll up, minimize the kicks. And instead of using this drums pack, I'm going to go into the drums mode, audio bank, go to hi-hats, and then I want a nice short hats, something like that. Attack hat O2 sounds pretty decent. So I'm just going to click it and drag it and drop it on top of my existing hat. Actually not too keen on that. So let's actually use this. Sounds a bit nicer. So let's just drag that over the top. That sounds a bit better. It's just turn it down again a little bit more. Okay, that's cool, but we now need to put a nice chunky hats in there. So let's find one of those. So if we scroll down, you'll find attack. Oh, hat's over open. Just means it's kinda like a longer lasting hat. Quite like that one. So let's drag that and we'll replace the snare. That's fine. And again, we just need to add in a hat pattern for that. Way, way too loud. So let's just turn it down. Just balancing it roughly there. One thing I do want to do that because it's quite boring at the moment, just being very, very repetitive. So let's just mix up our patterns a bit. So you've got attack A6, which is the short one. And if I want to listen to this on its own, so solo it, I can right-click on the little green dots and click solo. Now I can just listen to that on its own and then I can right-click again and just tick solo again to un-solo it. So what I wanna do is let's just try deleting that one and adding a hat there at the end. It sounds okay, but I'd say I don't want that to be full volume. I would like that to be slightly quieter than the other hats. It's just a bit too obvious at the moment. So what I'm gonna do is just make sure that this is highlighted green, just the attack hat O6. And then click on the little graph icon up there. And here we go, we can see basically the volumes for each of these individual hits. So this last one, which is going to turn it down a bit, just play it. I'll just play it how it was as well. So it just kinda softens up that last hit that. So nothing too crazy there. And then I can just click the graph again so you get rid of that. There we go. We've got a slightly more interesting, slightly funkier how speed? So let's get this into our arrangement and then in the next lesson we'll actually get to making a really cool baseline It's ago with our drumbeat. But first, you really need to understand how patterns work. So everything that we've just done in the channel rack is gonna be part of passing one. We know it's going to be part of pattern one because that is what's showing here. If I click the little plus icon and just hit Enter, we can see that we're now in pattern to, and we can see that our channel rack is now blank. So e.g. if I go and just draw in another drum pattern, say e.g. just a constant load of hats. And if I play that, that's what's in person to now, if I go back to pass in one, you can see we've got our original beat that we just made. And again, if I go back to the pan too. So these patterns, once I select it here in the past and picker, I can then actually draw that into our Arrange window, also known as the playlist. Say it's draw things in either want the paintbrush tool selected or the draw tool. Probably easier just to use the paintbrush because you can draw multiple items in one go. And then I can just draw him, say 4 bar e.g. of pattern one. And if I select pass into, I can draw in pattern to note as well, just like in the channel rack, if I want to delete something in the arrangement day or just right-click it, will do it multiple times to remove it. And then I've got my two different patterns loaded into the arrangement. Do now really important if I just hit Spacebar at the moment to play the track. It's still in passive mode up here. So what I need to do is either change this from passive mode to song mode. And then when I play, you can see that it's actually playing in the Arrange window. Or I can play what's in this window by clicking the little speaker icon here as well. If I just want to go back and listen to an individual person that's in the channel rack, e.g. pattern one. Then I'll just change this again from song that's opossum. Say there are two different areas which you can play in FL Studio. You've got the episode of patterns that you make in the channel rack, and then you've got whatever's in your Arrange window. So let's just quickly recap what we've learned. So we have our channel rack, where we have all the individual elements that are going to make up our track. Obviously there are only four at the moment, but we'll be adding many more as we progress. Then we have patterns which can be made up of either single or multiple elements from the channel rack. Then we have our playlist or Arrange window where we draw in patterns. And this is where we actually build the structure of our track and make it into a complete song, I'm ready, That's how FL Studio works. But don't worry if this isn't sinking in right away as we progress through the course, we're gonna be doing this over and over. And you're gonna get a much deeper understanding of how this all works as you progress through the course. Okay, so that's it for the first lesson. In the next lesson we'll be adding the baseline. Thanks very much for watching. I'll see you in the next one. 3. FL Beginners Lesson 02 Making A Bassline: Hey everybody, welcome back. Alright, so in this lesson we're going to get making the baseline. So they say far, we've only used drum samples, but in order to make a baseline, we want to use an instrument to create a musical pattern for the baseline will use pattern to now at the moment pass into, of course has r hat pattern that we put in there more of an example than anything else. So we can actually just go into pattern to make sure you've got this selected. And then we can delete all of the notes just by right-clicking and dragging. And you can see the pattern over there is now empty. And we can also just delete those as well by right-clicking and dragging over it. So you can add an instrument into FL Studio in a couple of ways. One is to go to the browser, remember to click the left-hand tab and then just close packs for now. And then we can go to plug-in database and then generators. And then you've got various different options for sense. So it'd be under synth classic. You can see the instruments down here will actually be using GMS, but there's another way as well, which is probably the slightly more common way of guessing instruments into your track. And that's by clicking the plus button and then just scroll down to GMS. Click that. We can see the GMS instrument that's loaded. So the GMS instrument, which comes with fl Studio, is what's called a synthesizer. And it's capable of making all sorts of different sounds from leads to bass sound effects sounds, and pretty much everything in-between. So we're not going to get too much into the actual synthesis side of things as this course really is for beginners. But as with most instruments, the GMS comes with loads of readymade instrument patches that we can load and then tweak if we want to just say no, if you have this button here highlighted, you can actually use the keys on your typing keyboard to audition the sounds in the synth. So most of the keys on your keyboard can be used, but bear in mind this really isn't for playing melodies in, I mean, you can sort of the basic melodies on it, but it's more as a way of just auditioning the sound that's coming out of GMS. Know, if you have a midi keyboard all Shea, very quickly how to set that up and literally about 15 s. But just be aware that you don't actually need a midi keyboard for this tutorial as we're going to program all of our melodies in manually. But I know it'll be important for many of you to know how to set up in fL. So I'll show it very quickly here. So as long as it's a USB midi keyboard, you can pretty much just plug it in and you're good to go. What you do need to do in FL though, is go to Options, go to Midi settings. And what you wanna do is select your keyboard from the second list here and our minds, the impact G X6 one. And normally this will be unable to say, you just need to click Enable and then that's it. You're good to go. Midi keyboard is set up. Now you can just audition or play a melody on your keyboard. Just make sure that you do have the instruments selected. If you have something else selected like the hat e.g. then that's what you'll trigger. So just make sure that you've got the instrument itself. And you'll be able to play in whatever melody like this sound is a little bit nasty and not at all what we want. So we want to pick a different instrument patch. So just come down to where it says bases at the moment. And this brings up our preset library and has many, many different patches like I've said. So these are all the base ones and you got leads and since pads and textures and loads of different presets and each one. So for now we want a base and we want to scroll down. And I want one called Scully t0. So when you click on it, it will load the patch and you can see that the instrument behind us just updated slightly different settings. And now when I play it, so again, I can just use my keyboard to audition the sound that's playing. And that's a nice plucky sort of bass sound that's going to suit our house track nicely. So what we need to do now is actually make the melody for a base on, but we can't obviously use the step sequencer here for you. So programming notes, it's just going to say, and a bit weird because it's all monotone, it's just playing one singular note. So what we want to do is just come over to where it says GMS, we're going to right-click and click on the piano roll. And you can see here it down the side of this window. We've got all of the keys, just like on a piano keyboard, e.g. and then in this window we can actually start drawing in notes. So just click once just to add a note. And again, you can just right-click to delete those notes. And if I want to hear what I'm actually making it, I'm just going to set my playhead at the beginning there. For now, it will just loop round. You can also change the length of nights by clicking at the end of the midi notes and just dragging that to make it longer or shorter. So this is gonna be a simple house track, which is going to have a basic musical structure. So it's not super necessary to have any music theory knowledge in order to be able to do this. And you might be wondering, how should you come up with a melody? And there are of course, many different ways. Now the way I'm going to do today, and this is actually the way that I came up with this specific melody when I wrote it. And that is, I just had the beat made like we have an HMD, various different melodies until I had something that I liked, then I just transfer the notes, like hummed to the piano roll. And hey presto, you've got a melody is not rocket science, but it is really effective and actually do this process quite a lot. So I'll just close this window for a second and I'll play the beat. Now just a quick tip, if I click in the timeline in the Arrange window, it actually activates song mode. So it means that this area will play. Okay, so I'm just going to quickly Hm, and please excuse my humming, but I'm just going to hover over the top of this or sort of show you the idea that I came up with something like this, that they did it at that did it did it, it read it. Then it's just sort of repeats from there. Now, I've got to do, I've got my melody and I would just need to transfer it into f L. So I'm just going to again go to the piano roll. So dentin, dentin did it. It did. Select the first 2 bar. And if I just hit play by hitting the little button here, it will just switch to passive mode so I can hear what I'm doing. Now, one thing is here that I really need a beat behind this so I can actually program in the correct rhythm of the melody. So he's not very much good if I just have this Anita beat behind it to be able to sort of tell where I should be putting notes. But of course, in passive mode, I can only hear this pattern play or I can hear the drumbeat. I can't hear both at the same time. So there's a couple of different options. If you just want a very quick fix, then just click on the metronome button at the top. And now when I play it, I can start programming in my melody now because I've got a bit of a beat. So I'm just going to show you this way first, but really needs to zoom in a little bit. So zooming in, in either the piano roll or in the Arrange window is exactly the same. So this bar up the top here, this allows you to scroll around. And also, if you click on the end there, we get a slight double ended arrow. You can actually use it to zoom in as well to any points on the track. Or you can hold Control or Command on your keyboard and just use the mouse wheel to zoom in and out as well, which is probably the easiest way of doing it. So we're going to zoom in a little bit just so we've got the first bar here. And I think my melody, which is the dentin, then it's gonna be something like this. There we go, Perfect already. Just going to shorten those. It's really easy to edit these notes and everything. So I wanna make this longer than just 1 bar. It needs to be 4 bar long. So I'm actually going to close the piano roll just for a second and then make sure we got patency selective, which it should be already. And then I'm going to draw in just 1 bar here, and then I'm going to drag it out. So it covers a full 4 bar. And you can see there we've got our pattern. And I can also click here to switch this to song mode. Or of course you can just do it up here if you want. And then when I play it, now we can hear it with the beat. Now I've got the beat behind it so I don't need the metronome on anymore. I can just turn that off. If I want see Edit pan, so I don't have to come over to the GMS now and go to piano row because it's already in our projects, I can just double-click it. And our melody or baseline melody is already there. So let's carry on and get this sorted. Then dependent and did it that night there and she needs me out a bit longer. Not quite right. Perfect. Dan Dan the next night, Dan dan dentin that it did dent that notes. So I know the next line is going to be in G5, but I think he's got the same pattern as what? I've gotten the first bar there. So I'm actually going to select multiple notes at once by holding my control key or command key on a Mac. And then you can select multiple events. And then if you hold Shift and then click and drag them, it'll copy them over. Now I've got them over here. I can then drop them down two semitones, so it's now on G. And one thing that might actually be quite helpful for you at the moment, you can see the keys over here and just labeled C to C, which is one octave. And our melody starts in A5, but the keys over here on labeled, so you can actually label these, just go to the drop-down menu here, go to View, and then under key labels, select all notes. And then all of them are just labeled. It might make it a little bit easier for you if you're not familiar with the keyboard. So just copy what I'm doing at the moment, that's fine now. So at the moment my melody is starting in A5, which actually is a little bit high for baseline rarely, we probably want this to be down an octave, so I'll move it down to A4. Sounds a bit more sort of house, basically in that key. So I've got two different ways of moving it down. So again, I want to hold Control or Command and select all of the notes. Or if I want, I can actually just hit Control or Command a to select all. And of course I can just drag them all down, just down and not save like that. But what I can do is I can move all of these and Octavia at a time by holding Control or Command on my keyboard plus the down arrow key. And it just shifts it down a whole OK, Save. Okay, That's fine. Good stuff. And I just want to carry on making this. So let's just zoom out a little bit there and just finish off our melody. So got Dan, Dan, Dan, dan did it, they did the dentin. And then Dan, Dan, Dan, Dan, dan. Something like that. So let's just play that. There we go. We've got a basic baseline melody, which I just hummed and then literally just transferred. You got to figure out what the notes are obviously. Then dent and copy the notes over from what you've hummed. But this is probably the most basic, but also one of the most used ways of actually getting a melody into your track. Okay, so that's good. We've got a baseline melody and let's just close the piano roll window. And I can just for now close my GMS as well. That can just be shut off. It's still there, of course. I'm just sort of hiding it from view. And there's one more thing that I want to do and that is in the channel, right? You can see these numbers 1234. Well, these tell us which track in the mixer, this window here that we haven't actually looked at yet, those numbers refer to these channels here. So 1234, if I play it, you can see the levels moving on tracks one through four. Now what I wanna do is just go to the channel rack and then we're going to change GMS. If you just click on that and drag it up. And you can see there, you're basically choosing the channel in the mixer. So I'm just going to choose Channel five because it's the next in line. So we've got all of our elements on a different channel in our mixer. Now, that's all I'm going to discuss about the mixer for now. We don't actually need to talk about it until a couple of lessons time when we start getting more into it. But just know that as we're adding elements to our channel rack, we pretty much always send them through to a unique channel on our mixer. For now, I can actually close the mixer if I want or I can use this button here to hide or show the mixer. We don't actually need it ready at the moment, so we can just leave it hidden. That's fine. Tidies up our environment a little bit. We're almost at the end of this particular lesson. Now, I'm just going to show those of you who have a keyboard how to actually record in a performance in FL Studio. So if you don't have a keyboard or you're just not interested, you can actually skip on to the next lesson where we're going to make a lead melody for our track. And don't worry, nothing I show in the rest of this particular lesson is actually going to be relevant to the rest of the tutorial. So you're not going to miss anything. It's just for those people who are interested in recording their keyboard into f L, and it's only going to take a couple of minutes. So providing that your midi keyboard is enabled like I showed earlier in the video, then you can easily record into f l. Just hit the record button. It's going to ask you what you want to record. Say here. We're not looking to record any audio. We just want to record notes. So just select notes and automation there. Now with that done, you can see that the record button is now sort of highlighted. That means it's armed and ready to record. Whenever you next hit play and start tapping keys on your keyboard. So again, bear in mind, we're not actually going to be using any of what we're doing right now in the rest of the tutorial, I'm just doing this for an example. So you know how to do this. A couple more things before we actually try recording. Now is you can activate a counting if you like, by selecting that button there. If you've got record enabled, I'll just play this for you. So what's going to happen is, again, you can see the countdown timer there. I can also change that if I want a longer counting, I can right-click on that button and select 2 bar. Just gives you more of a chance to get ready for your performance. Also, another important button is this one here, which is blend recording. She can either have it turned on or off. If I have it off, when I stopped playing a midi Passing, I'm going to actually end up rewriting whatever I've got in there, say e.g. if I play it now, when I stop, you can see that all of the notes over here of being overwritten now I don't want to do that. So I can undo by holding Control or Command, Alt or Option plus z. You can also undo from the Edit menu up here as well. If I blend selected, then of course what's going to happen when I play and then record? It's just going to add the notes to that particular passage. When I stop it, it doesn't delete any notes. You can just see we've got both sets of notes there if you like. So again, Control or Command plus Option or Alt and Z to undo, because we don't want to have any of that. We just want to keep our same original pattern. And then when you've finished recording, you can then unarmed the Record button. And then of course when you play it, you won't have that counts in again. Okay, so that's it for this lesson. I'll see you in the next one. 4. FL Beginners Lesson 03 Making A Lead Melody: Hey everybody, welcome back. Alright, so in this lesson we're going to make the lead melody for our track. But before we get going, There's just a couple of things that are really worth knowing before we actually get into making a melody. Now one of them is that what we're doing here is kinda what I loosely refer to as being in content creation mode. And it's how most people start and they make attract. So for instance, we mess around, we come up with a few ideas. We've got some drums, we've got baseline, will have a lead, maybe a vocal, and maybe a few other elements. And then we'll take all of that content and then we'll make it into a tract. So we'll arrange it into a structured song, like verse chorus, verse, chorus, et cetera. The best way to think about it while you're in content creation mode is to always work on the sort of main structure of the song, or work on the part of the song which will become the chorus. So the main section and is also the most energetic section of the track. And you're going to see how all of this unfolds as we progress through the course. So you know how to do it in your own tracks, but it's important that you understand the bigger picture here so you know exactly where we are in the process and how we're going to get it to become a full track. So the second thing that's important here before we get going with our lead melody is just that we want to do a bit of housekeeping. Sounds boring, but believe me, when you have a truck was say 37, 40 different elements in there and they're all called pattern 12345, etc. And they're all the same boring gray color. You can get lost really easily and it's just going to slow you down. So we're going to quickly organize this project. So let's start at the element level in the channel rack. So it's very simple to color and rename things. So just right-click on my monster kick and I can just rename color and icon, just going to call this kick. And I'm going to click on this little colored tab at the end and select a color, save my drums. I generally have a sort of yellow color. So anywhere around there is fine. And I do advise that you copied the same coloring. So as you're going through the tutorial, everything is the same as my projects. There's going to be easier to follow along, just click Accept. And then very importantly, instead of just clicking off it, you do have to sort of confirm this by hitting Enter. Then we can see our kick has been renamed and it's being colored. So that is how you color in a singular element and rename it at the same time, but you can also color multiple elements at the same time. So if I just click drag down to select multiple, then if we go to the little drop-down arrow here, Go color selected. Now I need to select gradient, although actually want all of these to be the same color. And with the first box ticked, just select our previous color. Now this little palette down here contains all of your recently used colors. So it's got my weird yellow, green color. And then I'm just going to select the last box and select yellow. That means the gradients basically the same color all the way through. And then I'll just click Accept. And you can see they've all been colored in. So I'm just going to quickly rename the hats. So the first one is a closed hat. That's fine. Enter. And then I'll just quickly rename this one as well. Open hat, hit enter. And then we just got our baselines go, say let's right-click, go rename and color. So I'll leave it as GMS, but we're going to call it GMS base top. Because as you'll see in the next lesson after this one, this is going to be the top part of our baseline. And then I'm going to color this in, and I'm going to select a pinky red color scale for something like that, pale violet. Whatever. No prompts, hits accept and then hit Enter to confirm it. And we can see we've got some color now in our channel wreck, as you can imagine, when we've got more sort of bass sounds and lead sounds, and they're all the individual colors. They're going to be much easier to identify when we're looking through the channel. So now let's do the same for our pattern section. So obviously we've got pattern one here, which is just drums. So I want to color that the same and also label it appropriately. So just right-click, Rename and color, just going to call that drums. And I'm going to select our yellowy green color from the color palette. Click Accept, and then again hit Enter. And there we go, we can see our drum pattern is now yellow and it's also no yellow in our Arrange window whenever we draw on that path and n. Now let's get a pattern to this is our baseline. So let's right-click Rename and color. Call it base on top, make it red color except, and then hit Enter to confirm. Okay, great stuff. Now, the next step isn't 100% necessary, but it's just to make it even tighter, you can actually do the same for these tracks as well. Just for the sake of neatness, I'm gonna do it anyway. And the same with our baseline. Okay? Enter. And there we go. Everything is nicely color coded. Okay, So sorry for the delay in getting started, but now we're going to finally get on to actually making our melody. So we won't see add another GMS instruments say, I can either add it with the Plus button or I can go to our GMS instrument here and just click and drag it to the bottom of the channel rack. And again, we're just going to use a pre-made patch for this. At the moment, we probably will be tweaking it later, but that's fine. We'll get to that later. So we're going to click on where it says bases. And then we're gonna go to paths and textures. And it's actually called ghost t0. So just click on it once. You can see the GMS instrument is updated. Now we can close that window. And if I audition it, That's the sound that we've got. And again, I'm just using my keyboard here with this button highlighted so I can actually play it on my typing keyboard. Okay, so we've got the sound selected. I can close GMS for now. I'm just going to quickly color this is well a name it, so I'm going to right-click, go to Rename and color. I'll call it GMS, lead a one just in case we add another layer to this later, just so we can differentiate, but that's fine. Click on the color. Let's go for another pinky color. Make it slightly brighter. Except, and then Enter. And now of course, we want to program in our lead melody, but it's super important before we start programming the lead melody that we want to make a new pattern. If I forget to make a new pattern and I still have a base top pattern selected. And I right-click, go to piano row. You'll see here that we've got all these grayed out notes. I can't do anything with these notes. They're just in the background. And anything that I add while I'm in here will be added to the base top pattern. You don't want this as it's going to make life really confusing and frustrating. So a helpful rules to follow is you want to use individual patterns for each element. Pretty simple, unless you are working on drums, which will have multiple drum elements to make it one pattern that's fine. But if you've got a baseline, a lead or whatever, always use a new pattern for that new elements. So let's just close this window and remember we got these grayed out notes here. That's because we're in a pattern that's already being used. Say if I create a new pattern by going up to here where it says Based top click Plus. I'm just going to label this while we're here. Call it lead a one. And I'm going to color it the same pinky color that we just made. Click Accept, and then Enter. And now my new pattern is selected. When I go and right-click, go to piano row, you'll notice that there are no grayed out note, so that's a good sign. It means that I'm not in a pattern that's being used by anything else. Now actually, before I go any further in this window and start programming in a melody, I want to actually work out what the melody is. So again, like before I just listened to what I've got and I'm just going to hum along with it or whatever, just kinda play around with notes and my head come up with a melody. And this is what I got so far. I apologize again. Okay, so pretty simple, but it's a nice little melody. And while I'm here, I'm just going to quickly change this color, pink. Just say we fully there, we know where we are. Ready to go. I'm just saying now you can actually put any pattern on any other track. It doesn't matter, it will still play exactly the same. The only reason I'm coloring these n is just we're going to keep all of our drums, e.g. on one track, all of our base top on one track. It just keeps the whole project neat. A note as well that when you click on a pattern here, it actually activates that pattern. So if I went and started going back to the piano roll again, you can see I've got all these grayed out notes again, which I don't want. E.g. if I click on one of the drum patterns in the Arrange window, it activates the drum pattern, which I don't want. I want to make sure I'm in lead one, right-click row, and then let's get an R melody. So it's like Dan did it, did. It does have a play. Now I've got my first note in there. I can go back and close this, go to my playlist and just draw that first bar in and expand it. So it covers 4 bar and then go back in. This just means that now I'm going to be able to hear the beat over the top of it. Scroll to the end. So it's a bit long. So it was a good day that it didn't get the timing right here. Dentin. Alright. Well that sounds right, Nazi bad at all. Quite like it. Very simple but very effective. But it's going to get a bit boring if it's just repeating over and over and over, just the same. So we will actually expand this and repeat it, but we're going to make a variation to our second repetition. They worry, this will all become clear in just a sec. First of all, what I want to do is copy over our drums and bass top. So I want that to repeat. So I'm going to hold Control or Command on my keyboard and select all of those. Then hold Shift, and then click it and drag it to the side. Now we've got a repeat, and then I'm going to just extend my lead so it's covering the full 8 bar. Now, double-click it to edit it. And I'm gonna do the same in here. So I will hold Control or Command, highlight everything. Or again, you can hit Control or Command a to select all and then hold shift. And I'm going to copy that across. It's repeating from the second repetition. Now we've got this red line at the top. You want to get rid of that, just double-click in the timeline, and let's just play that through. And I can also select as well where I want it to play from just by clicking in the timeline. Now it doesn't actually show you when you click on it, but you can see this little thing move up here so you know that it has actually moved. When you play. It will play from that point is a shame. They haven't got like some sort of visual representation to tell you that you are actually going to play from there. So let's play it from the beginning because I want to again, I'm afraid. Just hum my last little change here. Then did it it did. That's what I got in my head. I've got to get it out. So I'm gonna zoom in. I'm just using my mouse wheel and holding control. So good. Okay. I think that's right. So just a couple of different, sir. So right. Yeah. Right. So sorry for my having a really do apologize. Okay. Super simple but really effective. Thus fine with them with that. For now, let's just close that window. So I'm very happy with how this is progressing. We've got a decent drumbeat, got nice sort of baseline so far though we're going to make that even fatter in the next lesson, I'll lead is sound nice. And although we've got a long way to go before, it really sounds like a proper track and it's pumping and got tension release and it sounds really amazing. We are definitely on the right track. Okay, so that's it for this lesson. In the next lesson we'll be adding a sub base to our baseline, layering it up. And we'll be getting into some basic effects to make our track work together and sound. Good. Thanks very much for watching. See you in the next one. 5. FL Beginners Lesson 04 Adding A Sub Bass Layer: Hey everybody, welcome back. In this lesson, we're going to do what is called layering. Now, why would you want to layer sounds together? And layering is where you really make one sound outs of using two different sounds. Now why would you want to do that? Well, using this baseline as an example, and let's just solo that for a second. So siloing in the Arrange window is almost the same as soloing things in the chat Iraq. If you remember, over here we right-click, then we go solo. In the Arrange window, you literally just right-click. And then you can see the other tracks have been muted and just this one's playing. So with this base, I mean, it sounds nice. It's got really nice attributes, but the actual bass part of it, this sort of very low frequencies are really lacking. There's not much of them is certainly not filling me with that nice warm base kind of feeling that you get when you listen to a nice baseline. So what we're going to do is use this as one layer, and then we're going to add another layer to the bass, playing exactly the same pattern, but that's going to provide all of that nice warm sort of sub bass. You can do layering with almost any sound like drums, leads, bases, as we're going to do here. And it can help you make bigger, better, and more unique sounds. But just a quick caveat before we get going. The more low frequencies I base, and especially sub bass frequencies that are in a sound, the more you need to be careful when layering sounds together. I'm kinda throwing you into the deep end here by layering to bass sounds together. But by the end of this lesson, you'll understand the process and you'll be able to layer any bass sounds together that you like. The other sounds, lame drum sounds, lead sounds actually a lot easier to do. So I'm just going to un-solo our top again by right-clicking just so you know as well, I didn't mention it, but you can just mute attract by left clicking. I want to, that's fine. So let's add our other layer. So I want to add another GMS since I'm just gonna come over here and I've still got my synth classic folder open. So I'm just going to drag in another GMS. I don't want another bass sound, so I'm going to click on bases, go to analog, one, TE, let's just play that nice sound that now one small change I'm going to make in the GMS synth is on. The decay. If I play it. At the moment, is very plucky. Some just raising up a little bit, just a bit higher than what it was originally to give it a slightly longer, less punchy kind of filter it by setting it to 0.39%. And then we can just close the GMS instrument for now. And of course, before we start programming in a bass melody again, what we need to do is create a new pattern. So we come up here, click plus, and I'm going to rename this bass sub n. I'll color it in all same pinky color so we know it's part of the baseline, sorry, the red color, I beg your pardon. And click Accept, and then Enter. And now we're in our new base subpattern. I'll quickly just rename this as well. Color it. Accepts Enter. And just so you know, if I want to move this up or down, I can just hover over it, hold down the Shift key, and then use my mouse wheel to move it up and down. Same applies in the patterns tab as well. So I can hold my shift key and then use my mouse wheel to move that up just so they're all nice and organized. And just for the sake of neatness, let's just do the same in our Arrange window. Color it accepts. And then again shift and then use my mouse wheel and as neatly organized. So what I want to do, of course, is not programming that whole base pattern again, I just want to copy this one and then add it to my bass sub pattern. So I'm actually going to go into an edit my bass top pattern scroll to the left and then scroll down. And then I can just go Control or Command a to select all. And then what I want to do is copy it. So I hold Control or Command plus c. I can close this window again. Make sure I go to my bass sub pattern. And then right-click, go to piano roll. And then just to make sure that it pastes it at the right place, I'm just going to click. At the one day he doesn't do anything when I click, so I have clicked there. And then I'm just going to go Control V or Command V to paste it in. And then I can close the piano roll editor and I can just draw in my new base sub layer with its new base pattern or a new base pattern or copied base pattern. And I can just hold shift as well and copy that across. So let's just say they are new bass sub. And in fact, I'll un-solo that and I'm just going to mute the lead, meet the drum. So you've got a bass top and our bass sub playing at the same time. The moment it doesn't sound right? So because we've got a new base sound and it's got this kind of growled to it and all sorts say, obviously this isn't working, but the bass sub does have a really nice low end to it, or listen to it on its own. And I just listened to the low frequencies part of the sound. It sounds nice and big and warm. Say that's good. It's going to unmute or other sounds. Of course at the moment it's just going to sound a bit messy because these two base sounds aren't working together. So what we need to do is we need to remove all of the high frequencies from the base subset. All that growl and just leave the sub bass. And from the top, I need to remove any of the very low frequencies. And then they'll sort of combined together. To do this, we need to jump into the mixer section. So again, we can show our mixer by clicking on that button there. We're gonna be looking at the mixer in more depth later on at various points in this tutorial. So don't worry if we're kinda glossing over certain things here. What's important to know here is that these numbers in the channel, right? We've got 1234. And then our other channels haven't been assigned a number again, but as I've mentioned in the previous lesson, we're just assigning these to a mixer channel and just know that wherever the kicks on one. So if I, again solo channel one, here is the kick. If I say the channel to just hear the clap, et cetera. And of course, again, I can meet these if I want. Now, the moment it all looks a bit confusing as we just got grade tracks and they're not named. So you can, if you really want to select the channel first and then right-click, go to Rename color icon and you can do it all in there. So I could type the cake and change the color to yellow. And I'll just right-click to cancel that. But there's a much easier way. So if I go to the channel rack and select all of these, then go to my mixer. And then from where I want these tracks to go, say, I want this to be from channel one because that's the kick. So I go right-click channel routing and then I want to select route selected channels starting from this track. There we go. We've got our mixer, and it's got all of exactly the same colors and names as what we've already got in our channel rack. Just a nice, easy way of transferring the colors over. And it means everything now is completely color-coded throughout our projects, right? So onto what we're doing, which is layering two sounds together. So we've got our base top Sounds. So I'm just going to select this channel. And then over here on the right-hand side, we've got our slots or inserts for this particular channel. So I'll just make it a bit smaller so we can see the menu and I click, and then I click on slot one and select the fruity parametric EQ to. So all these Insert slots can have different plugins on so it doesn't have to be an EQ light. What we're going to use, it could be like delay or reverb or distortion or something like that. And you can put them all in the order that you want. And this will affect just this one channel, just our base TOP channel. E.g. if I want to add an EQ, which we will eventually, but I'm not gonna do it now, but just e.g. if I want to add an EQ to our bass sub channel and I click on it, you'll notice that the slots are empty again. And that's because we're now on the base subchannel. And these slots pertain to just see whatever channel is selected. So if I go back to the top, we can see our fruity parametric EQ to. Okay, so let's just make this a little bit bigger so you can see what we're doing. And let's also just solo by right-clicking on GMS based TOP channel. Say what you're seeing here with all these red lines and everything and the purple lines is the frequency, or more specifically, the fundamental harmonics of the sound we're not gonna go into. Harmonics are right now. Don't worry about that, but just know wherever you see lines, that's where you've got sound. So an EQ is really like an advanced volume fader. So with a volume fader, when you turn it up, you'll sort of turning all the frequencies up or down. Equally with an EQ, you can actually choose which of those frequencies you want to turn up or down. And this enables us to do many things like make sounds brighter, e.g. or you can correct issues with a particular sound by removing certain frequencies. And just say note. Once you've moved the point, you can right-click and just go reset. Put it back to its original position. And in this particular case, we're actually going to remove the low frequencies from this track. Now we don't want to use it as it is. So this is what's called a low shelf. So it's kinda like a literally a shelf. It goes down to a flatline. We didn't want that. We actually want to cut. So you want this curve to continue on down and completely remove the low-frequency. So to do that, which is right-click the point, go to type, and then we're going to go to high-pass. And you can see that we're actually now cutting all of the low frequencies and only let in the high-pass, or sorry, the higher frequencies through. But it's not really steep enough. So again, make sure we got 0.1 hair and just right-click, go to order. And we're going to choose steep eight sets like the steepest curve that you can possibly have. So let's just play our sound and we're going to cut any low frequencies out. Just bear in mind that when it comes to low frequencies, you really want either a decent pair of studio monitors, as in speakers, or you want a decent pair of headphones. Most headphones will be able to produce the low end. So you should be at a here. What I'm doing here, as you can hear, the further I move it up, the more low frequencies we're removing from the sound now we don't want to write you remove all of the low frequencies. Some of it is quite nice. So you want all the mid-range body of the sound. We just want to take out any sort of bass sub frequencies. Say somewhere about there is, I think perfect. Don't want to go too far and also don't really want this sort of slow dip here. I want to have that more of a almost like a right angle. So I'm just going to grab points to now. Don't worry if this isn't making amazing sense right now, we'll eventually don't worry. But as you can see, what I'm doing now is just making that curve a bit neater. And while we're here, let's just brighten up the sound. So I mentioned that we could Bryson it. So we're going to use 0.7, which is set as a high shelf. We're just going to give it a bit of a boost. So let's just play it. So I'm just going to bypass this. That's without any of our processing, our width. I can here, we've basically removed any of the sub bass, sort of muddy frequencies and just brighten it up a bit more. Even brighten it up a little bit more. Just copy what I've done there. And for base top, That's absolutely fine. Now we need to go to our other layer. So we're going to close that. Go. Select bass sub in the mixer, and then again add another fruity parametric EQ to. Again, Let's just make this a little bit bigger. This time we're going to do the opposite. So we're going to cut, but we're going to cut from the high-end ON. Let's just close that for a sec. And I want to un-solo my GMS based up and solo my bass sub sum, only listening to that, then I can just click on the F0 parametric EQ to bring it up. So we can see most of the frequencies are some concentrated down the low end here, sort of more dense colors. So what we wanna do is take 0.7, right-click, go to type, I'm okay to low-pass. And then again, we want to make this quite steep. So we're going to right-click again, go to order, and then steep eight. Hannah's just play. So you want all that nice base and a sub bass frequency. But only that. They want any of this sort of more mid-range kind of sound. Save about those, perfect. Now let's, he's bands here as well just to I think that all a bit more consistent. Say somewhere about there is perfect. So I hope you can hear that properly, but you do need sort of half decent headphones or speakers. We had Herat say, let's just close that and let's un-solo this. And let's just mute all other sounds for now because I want to hear just all based top and our bass sub together. So I'm going to start with just the base top. So everything is now muted apart from our base top. Then I'm going to add up a sub. And you can hear it just adds that warmth to our base top. So let's just now bring in the rest of our sounds. Okay, so that is how you lay it two sounds together, or specifically to bass sounds. Like I say, most other sounds are a bit easier than that, but you can definitely give yourselves a pat on the back if you manage to follow that all through properly, because it's a fairly advanced process. Layering two sounds together like that. Now, again, don't worry too much if this isn't all sort of sinking in straight away as you progress through the course and as you work on your own productions, all of this sort of thing will just start to slot into place. It's just one of these things that can take a bit of time for it all to work. But don't worry, it's all good. We're here to guide you and we're going to get you through this. And you're gonna get making amazing music. Okay, so that's it for this lesson. Thank you very much for watching. I'll see you in the next one. 6. FL Beginners Lesson 05 Layering The Lead: Hey everybody, welcome back. Alright, so in this lesson and the next lesson, we're going to do two things. One is we're going to thicken up this lead a bit by adding another layer to it. And secondly, we're going to add a bit of variation to the lead melody, which will be kind of like making a delayed up pattern type thing. Just unmute my lead. The nice lead sound that we got, we're going to just lay that up in this lesson. And it's much easier to do this rather than doing the baseline as there's not really any base frequencies that we need to worry about. And it's really just about picking the right sound. Okay, so first off, as always, let's create a new pattern by coming up to the plus button. School is lead layer. And let's choose our lead color from the color palette except, and then remember to hit Enter. Instead of dragging in a new GMS from the browser window, we can actually just clone the lead layer GMS instruments say if I just right-click this and go to clone. Now this is basically like duplicating the instruments. So you can see that you've got original GMS lead and now we've got another one underneath, which is just labeled with hashtag too. And it's basically duplicated the instrument and it's kept all the same settings, the same lead sound. And also it's kept the color we've chosen. Now let's just rename this quickly. So right-click Rename and color. Just call it GMS lead layer answer. Now we want to copy the lead melody, so we'll click on the lead O1 pattern to select it and make sure it is highlighted over in the pattern picker. Let's go into it by double-clicking. Let's make it a bit bigger. Zoom out a bit, and then I'm just going to go Control or Command a to select all, and then Control or Command plus C to copy it. You can also, by the way, I didn't mention it before, but you can also come up to the Edit menu and you've got your edit options here so you can with it all selected up here and go copy. And then later we can paste it as well. Say that's fine, we've copied it. Now it needs to select my lead Layer Pattern. Right-click on my new instrument, the lead layer, the GMS, the layer, go to piano roll and then go Control or Command plus V. Or again, you can just go Edit and then Paste. So now that we've got our lead Layer Pattern duplicated, we want to just make sure it's selected again and then we can draw it in in our main window. Let's just very quickly rename the track and color it pink, except ends. None were all sorted. Now we can hear it, although obviously it's going to sound the same because we've cloned the instruments as playing the same patch as the lead. As you can hear, it just sounds like it's louder. And if I solo that you'll hear it again as well. It's just playing the same thing at the moment. Now we want to change that to a different sound. So let's just click on our lead layer to bring this up. By the way, if you want to stop this from disappearing every time you click on a different window, you can actually click on this little drop-down menu here and just tick detached. You'll see now it's properly text not gray ticks are now when I click off it in any other window, it just stays at the forefront so it doesn't keep getting lost behind Windows when you click off it. So now what we're gonna do is basically pick a nice sound that suits the track and works with our original lead sound. Now, bear in mind when I say works with our original lead sound. I mean, it should complement it and not detract or overpower the existing lead. So it really should just work well with the existing leaders, shouldn't be so different that it just kinda clashes. So let's just mute everything else at the moment, Apart from art to lead layers. So sorry, our lead O1 and our lead layer. And then we're gonna go through and select a different sounds again on the Presets Library, I'm going to go into leads. And since now I already know which sound I want to pick because I've already done the experimenting. But just be aware that it's not really like this in real life where you just sort of know exactly which lead is going to work with another lead. You have to experiment and try different patches that are going through the process of trial and error. And it's important to know as we're obviously just kinda going through and picking sounds. And it seems like they will just work together. But that is only because I've already gone through the process of triangle the sounds out. So when it comes to making your own tracks, they'd be put off. If it doesn't work out right away, it does take a bit of time to find the right sound for the job. Anyway, I know which one I want. I want super saw. Scroll down a bit. It's super small t0, so I'll just click on that and it loads the patch and answers. Just play it. As you can hear. It's a lovely thick sound, but it is a little bit too loud and it needs probably tweaking a little bit. So let's just close the GMS instruments and let's just balance out the volume a bit. So I'm just going to use a volume control here. Just to turn it down a bit. And let's just play it with the rest of the mix. So I'm going to unmute the rest of the track. And I'm just going to mute it a couple of times just to hear it with and without the new sort of elements that we've just made. So it's a nice, lovely, thick sound, but at the moment it really is kinda making the mix sound a little bit on the messy side. It's kind of like a bit of mush that we're adding to the middle of the track or the mid-range frequencies of the track. And it's somewhat masking the other elements that are already in this track like the baseline, particularly the pluck the baseline is making that will just sound a little bit messy, which we definitely don't want. The simple fix in this case, is that I can just raise the pitch of this up so it's higher up a whole octave. So let's just go and try that. So I'm just going into the new lead layer and then Control or Command a to select all. Then hold control or command and hit my up arrow to move it all up and Octavian, and let's just play that. So now I've raised it up. It's lacking a bit in volume, so I'm just going to turn it up again. And you can hear that the baseline, everything in the mid-range of the tracks or stays nice and clean, nice and crystal you can hear it very clearly, which is exactly what we want. And the lead layer is just adding a bit of thickness to the other lead. Now I'm just going to bypass it a couple of times so you can hear without so it's not like he's making a massive difference, but it is just thickening up that lead layer and making it sound just a bit nicer, a bit thicker, and it fits really well with the rest of the track is not masking anything. It's not taking anything away from anything else in the track. That is what we want. Okay, So that's it for this lesson, pretty easy one there. The next lesson we're going to do a similar thing, but we're going to create our own kind of like arpeggiator pattern to add a different texture to the lead sound. Alright, thanks for watching guys and girls see you in the next one. 7. FL Beginners Lesson 06 Making A Lead Arp: Hey everybody, welcome back. Alright, so in this lesson we're going to make an arpeggiator kind of pattern for this track. Just add a bit of variation. So we are still obviously in content creation mode at the moment. But in just a couple of lessons, we'll be starting to actually arrange our track into a proper song. Now very quickly, a bit of an oversight on my part, but I haven't actually mentioned saving your project. They probably figured it out already. But obviously to save a project, just go File, Save As pick wherever you want to actually save the projects on your computer. If you're just being lazy about it, you can just save it on your desktop, e.g. just go create new, make a new folder. Fl beginners touch e.g. go into and then just call it whatever you want really to be fair. And then click Save. And then from there you can just go File Save whenever you want to update it. You can also save a new version which basically leave your original save alone and create a new version just in case something funky happens with a project like it corrupts or something. And then you need to actually go back to a different save. But for now, just saving, it is absolutely fine. Okay, right, let's get on with it. So I'm going to try and start to just speed up a little bit here just while we're going through the same process. So again, we're creating another bit of content. So you want to add a new pattern lead up, and let's color it in a slightly lighter pink this time, just to make it a bit different. So there we go. Plum accepts and then enter again. So again, Clone, the last since I made the GMS lead layer. So right-click clone, rename it. Lead up, and I'm just going to change the color so it's that new sort of light pink color. Enter. And then also, I'll just quickly do this. Lead up same light pink color. Except Enter. Again to copy, we want the same, almost the same pattern. We're going to modify it a bit, but we want to select the lead layer or the lead one. Actually it doesn't matter. Go into that midi and then Control a to select all command a if you're on a Mac. And then Control or Command C to copy it, which I've just done. They're not going to make sure that I've got my new pattern selected. Lead up, right-click on the GMS, lead up, good at piano, roll and Control or Command V to paste that. And then I can draw it in because I've got this selected, draw that in. There we go. So what I want to do is just change the sound that's being played. So I'm going to click on GMS, lead up, go to the GMS instruments, go to my patch bank or my presets library, I should say good or leads and since and again, I know what I want. I want to have one called crunch, crunchy TE, sounds. Sounds like that. I'm going to close my instrument again because you've got the patch selected. Now I'm going to go into this lead arcs at the moment is just basically playing the same pattern as everything else. So I'll just play it quickly. Solo it. So let's go into this and modify it a bit. So first of all, it's just a little bit too high at the moment. So I'm actually going to just control a to select all and then hold Control or Command and my down arrow on the key or you can just drag it. I'm lowering it from A6, A5. Nice little plucky sound. Let's just zoom in a bit because we're gonna be modifying this now, just say no, you can actually zoom in vertically as well if you want by clicking and dragging on this little control point up here, that helps you sort of just remain a bit more focused. It's a bit less confusing sometimes when you're really zoomed in like that. So what I wanna do is just modify this a bit. This have the, not just the lead up playing, so I'll un-solo that. And then I'm just going to mute the leads and leave the rest. Say I can sort of make the pattern with the rest of the beat. So let's double-click on the lead-up to go into, again, scrolls at the beginning. Say I'm just going to mess around and create what I think it'd be a nice pattern. So again, shorten this one. So it's just a bit of a variation. We're not really doing anything groundbreaking here, just slightly changing the rhythm of our lead melody. And it's obviously got that plucky sound rather than aka constant note like the other team leader. Say, let's just carry on. Do the same thing. And again, let's just copy the same sort of thing what we did in the last repetition. Say, that's pretty good, we'll leave that like it is. So nothing too crazy. I just want to change this last one I think. Did it ding, ding, ding. Let's try that. Okay, so we've got a nice sound, but we want to thicken it up a bit and make the delay just a little bit longer. On its own. Unmute everything. Actually keep the leads off for now. Tidy up a little bit as well. It sounds nice. It's not so bad, but it's a little bit weak on its own. So we're going to thicken up. We're going to make that delay that's on there. You can hear that when I solo it. It's got this kind of delay effects on there. I don't want to make that a bit longer and a bit more prominent. So the delay that you can hear on there at the moment is coming from the actual GMS instruments. So what we want to do is we're gonna turn that off and we're going to use a dedicated delay plug-in, which comes in fL. So let's just turn off the one in the GMS lead first. So let's click on the GMS lead up. And you can see over here we've got these different effects. So one of which we want to turn off is echo. So if we click on that, it brings up the Echo parameters. And all we gotta do to turn this off is unhighlight glue. And you can see the little light underneath it is now turned off. So if I just play this so you can hear the delay has gone, but there is a bit of reverb on there as well. So let's click on reverb and unglued that as well. Okay. You can hear it's completely transformed. It's very, very dry at the moment. Now, don't worry, we are going to be sort of reapplying these effects by just needed to turn them off first in the GMS instrument. And now we're going to add them as separate plugins. So let's just click on our mixer to bring it to the forefront, which is gonna make it a little bit smaller. We can see here we got up to channel seven from the channel racks. Say I'm just going to select these last two. So my mixer and then click on insert eight, right-click and then go channel routing and then route selected channels starting from this track. Now we go, we've got 78.9 and it's automatically change the routing number as well. So whenever against channels 8.9 in the mixer for our new instruments. So we want our lead up. So click on that, then we come over to our Insert slots. And of course there's nothing there yet, so I'm just going to make this a little less wide so we can see the menus. And I'm gonna go slot 1.2, the delay, I want fruity delay two. And again, we can stop this from hiding behind other windows by clicking the little drop-down arrow here and then selecting detached. Now it won't disappear. Let me just quickly play that. You can Harris adding loads of delay. So we don't quite want that much. Am you also want it to have a sort of stereo effect. So one very quick way of actually just getting this to work is go to Presets, click on that, and then just click stereo effect. And it just makes it a lot more fun and nice to listen to. And it's been panned left and right. Okay, that sounds cool. Let's just play it with the rest of the mix. So let's just go to our mixer window and unmute. I should just leave our leads mediated and just unmute the drums and the bass. So that sounds pretty cool. We might want to change this slightly so if you want to reduce the amounts of delays, so again, I'll just mute the rest so you can concentrate just on this, but we can change the amount of the delay by changing the volume in the feedback setting. So I'm going to just turn this write down e.g. and you basically only get one delay. As I turn this up, you get more and more delays. So be careful if you go all the way up, it's going to keep delaying for ever basically. And it will just create as big fee Becky sort of mess. So we want somewhere probably around about the 38 per cent level. You can actually see the percent up here in the hints panel as well. Just say no and that's the same with any setting NFL, whenever you're changing it, it will actually tell you over there what you're changing it to. Alright, so let's go for about 30, whatever, 36, 38, We'll try that for now. Let's just close that. And now I want to thicken the sound of this up a bit. Now when we say thicken, we really mean we're going to change the tone or the Tambora of a sound. Now, you can only go so far with this, but there is a great plug-in in F L you can use to do this called a destructor. So I'm just going to load that into slot to say, let's click again. I'll just give myself a bit of room. Click on slot to go to distortion and go to destruct. Or again, we can stop that from being hidden by going to detached. Say destructor is basically what's called a multi effects, meaning you can have multiple different effects changing the signal at any one time. So in this case, the initial presets that loads up when you first load up the plugin is a distortion unit followed by filter, followed by a chorus effect, followed by a speaker effects. So let's just play that. And you can sort of hear it in modulating the sound. And if I just cycled through the presets, you'll be at a sort of see this update, two different variations of different effects. All sorts of funky stuff there. And you can hear that it really changes the Tambora or the tone of the sound by adding this sort of level of distortion and other effects mixed in. But one thing to note here is that it's really badly affecting the delay. So we've added a delay and that's before destructors. So basically what's happening is we've got our original signal from GMS, then it's going through a delay plug-in. And then that original signal with the delay is going through destructor. And because the structure is kind of squishing the sound loads, it's really affecting the delay in a negative way. You can hear it afterwards and stuff like that. So in fact, let's just click on here and it selects agro. This is actually the preset we're going to use. One thing that I want to do though, is just turn down the outputs of channel one a bit. Alright, so come down here, turn this down. Turn down the output of the second distortion unit as well. Now you can hear there. Obviously. You can hit the delay clearly. And it sounds really weird. It's got that weird sort of buzzy kind of thing going on now that we don't want. So what we need to do is we need to change the order of these plugins. So we need the distortion, this destructor to come first, and then we delay that signal. Then we won't be negatively affecting the delay. We can just change the order very simply by hovering over it, holding Shift on your keyboard and then using the mouse wheel and just move it up one, and then it just switches places. You can do it with the fruity today if you want, you can just hover over it, hold Shift, and then use your mouse wheel to change the order. So now let's have a play. Just changing the premises very slightly against say, sound in pretty decent. You can hear that delay now sort of sounds much better. You've got that initial screech, but that's only part of the initial sound. So that's fine. Let's just go back to our playlist and let's unmute everything and have a little listen to. Just meet leads though so we can really hear what's going on. So one thing, that initial kind of scratchy sound that we've got on here, just say that by right-clicking it. I think we can probably get rid of that by going to the GMS lead up. And then once we're in here, we will just turn down this releases, okay, just a little bit. It's going to help, not completely get rid of that scratchy sound, but it will help quite a bit. And then we'll also again see change the decay amount. So just mirror this. You can really hear that it's changed the tone of the sound. So let's just close that for a sec and un-solo it meets our leads. Sounded much better. Say that's fine. It's just turn it down a bit so it's a bit loud now. Okay. So we've got our lead up pretty much sorted. I would say I think that delay amount sounds quite good. Possibly be a bit longer, but that's fine. You can have it a bit longer if you want to in your track. No problem. But for now is sounding pretty good. Alright, so that's it for this lesson. We've got most of the content of our tracks sorted. We've obviously got quite a way to go. We got to record some vocals to go in there, and we need to arrange it and add loads of SFS sounds and all sorts of stuff like that, which we're going to start doing in the next lesson. Thanks very much for watching guys and girls See you later. 8. FL Beginners Lesson 07 Bare Bones Arrangement: Hey everybody, welcome back. Alright, so in this lesson we're gonna get the sort of bare bones arrangement dump now very, very quickly. Before we get onto that, I just want to show you something quickly. I probably should have shown you at the end of the last lesson, but completely forgot. See, so I'm going to show it to you now. And that is when you're in the mixer and you got your track selected here, we just added a destructor plug-in and we've added a fruity delay. So obviously at the moment, let me just say this as well. In the mixer with it selected, you can actually bypass these effects if you want to, you to hear what it sounds like without them, without the destructor plugin. And then with. So you can just hear the difference between what it was, which is fairly weak sounding, and then with the distortion, which is obviously a lot fuller sounding, of course, you can bypass any plug-in that you want and have it without any effects. And so just a quick one, you should know that because it's important to check whether the effect you've added is actually doing something positive to your mix rather than something negative. And that's how you do it. You just bypass the effects. Okay, moving on. Okay, so let's talk a bit about arrangement because it's super, super important. And it's much more than just putting things in a verse. Chorus. Verse structure is not enough. Keep the listener's attention. You need to create what I call a dynamic arrangement. And by that, I mean, it has to have ups and downs and energetic bits, relaxed bits. It has to have tension and then release from that tension. It needs a sense of progression and always moving forward is just not enough. If you just have a verse and then you have a chorus and then another verse, et cetera, although that is an important part of it. And the first stage which we'll do in this lesson, but it's much more about how you join those sections together. What you do in each section to make it stand out, how the energy changes and moves throughout the song. And from section to section. If you break this down, there are really three stages to making a dynamic arrangement. The first is getting the right structure, and that is the verse chorus verse thing that we're gonna do in this lesson. But that structure won't have much movement or feel very alive until we have completed the next two stages. The second stage is adding ES effect sounds like cymbal crashes, rises, impacts, scenarios, et cetera. Which will help us transition from section to section and provide some tension and then release and also a sense of progression. Then the third stage is using automation to help the track evolve and change over time. And it also plays a part in creating tension and release as well. And that sense of the tracks sort of building in energy and evolving. So let's start the bare bones structure of our track and I'll explain more as we go. So an important thing to know when it comes to song arrangement is that most things happen in sort of blocks of 8 bar or 16 bar e.g. are section that we've been working on, which will end up being our course, is 16 bar long. You just un-solo that. Zoom in a bit, just holding Control or Command and use my mouse wheel. And we'll talk about more about why that is important in a second. Just going to start arranging the track though. Let's just give ourselves a little bit more rooms in our playtest window. Let's just make that a bit bigger so we've got a bit more space now I can still access my channel rack or the mixer if I want to just by clicking on them to bring them to the forefront. And then I can just click with a right-click and then empty space. Otherwise, I end up drawing something in the playlist to bring that to the forefront. So we don't want to start with the most energetic bits of our track, the course. So let's move this over and we'll add a verse and a pre-chorus to it. Now I've only got this in my projects at the moment is I could hit Control or Command plus a to select all. But if I want to select multiple events, I can actually hold the Control or Command key and then click and drag. And that will also select whatever I draw the selection box over. And I'm going to zoom out a bit. I got my 8 bar selected, and I want to move this along. So let's just kinda move it full bars, sorry, 8 bar at a time. So that would be 16 bar in and it's just move it another 4 bar. So it starting on bar 21, a KNN. As I mentioned, this is the chorus section right here with everything going on. And we want to start off the track a bit more gently. So we'll start it off with a verse with just the base top playing. So either click on bass top here, the actual pattern in the Arrange window, or you can click on base Topsy select that person. And I'm just going to draw in four blocks of my base top pattern. So that's kind of how the song will start. Opposite needs effects and it's going to have a vocal in there and stuff later, so it will fill it out. As I said, we are getting the bare bones of the arrangement, just sorting out where everything's going to go. But as I said earlier, we all just sorting out the bare bones and just figuring out where everything's going to go. And let's just remove this red loop region by double-clicking in the timeline up here, I'm going to have this first 8 bar, say from bar five to 13 at the moment as my first verse, and then 13-21, the next 8 bar is going to be a pre-chorus. So diverse in a song is really used to sort of set the scene and provide the listener with some kind of context about the theme of the track. And it doesn't matter whether it's wrapped trap, hip hop, EDM, it doesn't matter. It does not need vocals to be averse. It could be purely instrumental and still, it will sort of provide the context of how the track is going to go. Now a pre-chorus, as you'd imagine, a sort of lead into the chorus. Say, depending on the type of track, this can differ. So if it's dance music, e.g. this would be where you have the buildup section and pop. It's usually where you have some sort of energy buildup kind of section and a variation or a repetition of the vocals. And there's like 1,000,001 ways of doing this, but those are just to sort of rough. Examples are chorus at the moment is only 8 bar. So let's actually select all of that by holding Control or Command. And then we're going to hold, Shift, click it and drag it over. So now we've got a full 16 bar. And again in the playlist or arrangement window, to de-select something, you just want to right-click anywhere in the blank space rather than left-click in, because otherwise you end up drawing in lots of stuff that you don't want. Of course is 16 bar are first verse is just 8 bar, and our pre-chorus is 8 bar as well. Now as fine, you can mix and match the two amounts, 8 bar and 16 bar. You could also have averse, which is 16 bar. A pre-chorus, which is 16 bar, is totally fine. You can do that. It's just in this track. That's how it's going to be. We've got slightly shorter versus than our course. Again, there are 1 million different ways of arranging your tracks to get maximum emotion or dance for energy or both. Here we are covering the basics and of course, enough to make this song. So as mentioned, the verse is just going to have this sort of top being played in it, like with the vocals and some sounds and stuff. And in this pre-chorus section, which is here, I won't see start bringing in the drums, but I don't want to actually have the full drums coming in like so. I'm going to delete those, but what I do want to do is just have the kick coming in. So rather than making a new pattern from scratch and then just programming in the kick, what I can do is actually duplicate the drums pattern or cloner, I should say. So again, right-click and then clone. And I'm just going to rename this. Just kick, and I'll just color it slightly differently. Let's go for a more orangey color. Tan. There we go. That'll do. Hit Enter. Now with this pattern selected, I'm gonna go to the channel rack. And obviously it's got the same pattern as our original drum loop. So if I draw that in right now, it just sounds like the normal drums are playing is not, it's our new kick pattern, but we do need to modify it. So we're gonna go to the channel rock again. We're just gonna get rid of the claps, get rid of the hats, and just leave the kick on its own. And I want that for 4 bar, okay, and then once we get to the halfway through the pre-chorus section, I want to actually change this up again and have my kick and the clap, possibly the small hat. So again, I'm going to just select the drums pattern as this one with all of the drums, I'm going to right-click. I'm going to clone it. Then I'm going to right-click and change the name of it. Call it kick clap hat. And again, let's just change the color again to something a bit different so we can know what it is. Hit Enter, and then with this selected, we can just draw it in here. And then we're gonna go to our channel rack and modify it. So again, you got the full drum pattern. I want to take out my open hat. And let's just play this, see what it sounds like. Okay, so as you can see, we're sort of gradually building up the energy of the track just with simple techniques like choosing when to bring in drums. We start with just the kick on its own. And then halfway through the pre-chorus section, we bring in the cup and the small hat. Then of course goes into the full track. Which of course needs balancing and stuff. But let's just zoom out a bit actually. And I think we'll select both of our lead ups by holding Control and then clicking and dragging. And I'm going to move them over so they don't start straight away. So when we start here. We've got our full sub base coming in and we've got our leads coming in. And then later on, we've then got our lead up coming in as well just to make things more interesting. So let's have a look at what's going on. I had to say every single 8 bar, we have a change. So we've got our baseline or base top for the first 8 bar. Then we've got our drums coming in. And then another 8 bar along. We've got the full chorus coming in. And then 8 bar after that, we've got the lead up coming in and then 8 bar after that we drop everything out apart from the lead up. So you can see a change every 8 bar. So basically the rule is this, you have some sort of change every 8 bar, but every 16 bar, you have a pretty major change. So here you can see that reflected in for the first 16 bar, we've got just the base top, we've got the drums coming in. But really the big change happens when the chorus hits. So that's a big change. And then 16 bar after that, the course ends, everything drops out. So you have a much bigger change every 16 bar and a more sort of minor change every 8 bar. Now one thing I'm gonna do is I'm just going to duplicate this. Lots say I'm going to select everything, but I will hold Control and just select this lot, say minus the lead up. I'm gonna hold shift on my keyboard and click and drag this over. So it starts are repeats again from this point here, bar 45. And then I think we'll just make this last section a little bit longer by selecting from bar 69. So that's just like the last 8 bar of the cross-section hold Shift again and just duplicate that over. So we've got a slightly longer chorus section that time. Just for visual representations. So you know where we are in the track. I'm going to add a marker track. And to do this, you hold Control or Command plus t. Now you can see that this sort of extra spaces appeared underneath the bar numbers. And I've got this auto marker here, which I can move about by clicking the left-hand edge. When you get a double arrow, click that and you can move it around. And I can also right-click it and rename it. I'm just going to call this verse one and then move it to the very start of our track. And I'm just going to quickly add in these markers just so we know where we are and what's going on. And to add a marker, it's really simple. I just right-click up here, good at marker, pre-chorus, hit Enter, and then we've got another marker. Again, I can just click the Add Marker. Course one should really be pre-chorus one as well. And all I'm gonna do is go through and label the sections so we know where we are. Then there we go. I've just labeled everything so we know we're not talking about verse one, we know we're talking about this section. We're going to talk about the pre-chorus one, we're talking about this section and so on and so forth through the rest of the track. Okay, so it's all neat and tidy. In the next couple of lessons, we'll start adding some movement to this track by adding SFS sounds. Thanks very much for watching guys and girls see in the next one. 9. FL Beginners Lesson 08 Adding SFX: Hey everybody, Welcome back. So in this lesson, Let's add some more movement to our track and make it a bit more exciting. So FL does actually come with some okay SFS sounds, so I'll just show you those quickly. So under Packs, SF x. Here we go. We've got all of these sounds here. And some of these sounds are okay, but they're not also completely Great. So what we're gonna do is for a lot of the sounds, we're going to use samples from our very own house tools one and a club tools one sample pack. Now, don't worry, you don't actually need to buy them. All the samples we use in this tutorial are included in the workforce that come with this tutorial. So to get to the work files now, I presume you've actually already unzips or uncompressed the files. Otherwise you wouldn't be watching these videos. So when you go into that, you have the main BTP FL beginners tutorial and you really want to drag that entire layer on. But like I say, you've probably already done this. And wherever is the IV extracted your workforce to now I've just put mine on my desktop just because it's easy as an example, what was the you can put them wherever you want, no problem. But once they are extracted and onto your computer, then we can go to FL. What we need to do is actually specify where they're going to be. So at the moment we can see that there's not really any way to find the files NFL. So what we need to do is come up to this little drop-down arrow here and go to configure extra folders. And this is gonna give us the option to actually specify where our audio samples are. So I'm going to click on an empty box there. And I'm going to go to the desktop. I'm just going to select a BTP FL Studio beginners tutorial. That's fine. And just click, Okay, now you can see this is just updated and we now have our BCP FL beginners tutorial folder there. So I can close this. Now when I click on it and go to the workforce and the audio folder, and we go all of the samples that are in there now again, that'll be bigger in your version because I haven't added all of the audio samples to it as we're only halfway through the tutorial. But then worry, that's fine. Just say, you know, you follow the same process. So let's say you've got audio sample somewhere else on your computer. You can just go and configure the extra folders and just add as many folders to fL as you want. And then it'll be listed here in the browser. So we're going to start with BCP H t1 crashed 15. Now it's really important to note here you have two ways of playing audio samples. Nfl. You can either literally just drag a sample into the Arrange window or you can use patterns like we've been doing for the drums. And it then becomes playable, which means that you can use the step sequencer, e.g. to tell it when to play and you can play it on your keyboard. So it's mapped to the Musical keys on your keyboard as well, like I showed earlier. But when you drag audio directly in to the Arrange window, it's not playable, meaning it's just one hit and is not playable on the keyboard. And you also don't trigger it using the step sequencer that is kinda like the sample or whatever the audio sample is stuck and it's natural pitch. You can't really change it easily. Well you can, but that's for another time. So why is that important? So some sounds like s effects sounds don't need to be playable. You won't need to change the pitch, and you don't need to use a step sequencer to make a rhythmic pattern out of them. So we can just make things easier for ourselves by literally just dragging them straight into our projects and not have to bother actually setting up a pattern and all the rest of the pillow lava that goes with it. So note, when you do drag something in, it actually creates an AudioClip. You can see here, this is the pattern pick and I normally you see this which is all your patterns. And then if you click here, you see your audio clips. So these are separate from patterns because they're not using a pattern to trigger it. And note that it works in the same way as in the pattern section. So in the patent section, I select a pattern and then I can draw that pass in n. Well, it works the same way in the audio picker or the audio clip picker. You select it. And then I can draw in multiple versions of that same audio sample. And of course I can just copy it by holding shift if I want to, like you can with anything else in the Arrange window. So one thing I'm gonna do first, because that's gonna be really loud compared to the rest of the track. So I'm just going to turn that right down. Still a bit too loud. Say something like that is kind of a k. Now, what I wanna do is basically have a symbol pretty much every 8 bar. So I'm just gonna kinda draw them in. Probably don't want one there. We're gonna put a different sound in there. Saying just drawing these in pretty much every 8 bar apart from the start and the end. And as I say, we're going to have a different sound here, like an impact sound. So what a crash cymbal really does is it just adds impacts to the start of a section. Obviously you can do other things with them as well, but that's sort of like the main purpose, especially in sort of like pop and dance music. And it just really helps the section stand out, especially as you'll see in the next lessons where we start adding movement and rises and what sort of thing. Once you get to the end of that, you built up all of this energy and then you need a nice big release. So that's what a symbol really helps with, or cymbal crash, or I should say. So you're going to have energy building up and up and up. And then it's going to crash. Just really adds impacts of that section. So it's one of the sort of read basic but really powerful tools that you've got at your disposal, just literally using crash symbols. Okay, So that's pretty much where I want all of my symbols at the moment. That's fine. So let's add in the next sound. Let's go for a riser. Now, I can just make this a little bit bigger for a reader to read all the text in the browser. So let's just add this one. This is the BCP H t1, which is that finished FX riser 16. Okay, let's just drag that in. Stick on an empty track and we'll just stick it near the beginning. Say let's just zoom right in. And that's about perfect. I want it to basically finish there. So this is gonna be like an intro to the actual track. And let's just shorten this off by 1 bar of four beats as well. And again, let's turn it right down. It's tending it down a little bit more. Okay, So that's fine. Now we will make that a bit smoother in the next lesson where we add all summations this because obviously it's sort of starts quite abruptly, but didn't really want that. We want that to have a more of a gentle fading. But that's fine for now. No problem. Okay, so that's cool. Let's add in another crash. This crash has even more impact than the other one is quite nice. I'm just dragging that in again to an empty track. And just for the sake of neatness, I'm very quickly going to go through and color my SF6 sounds. I'm not going to bother renaming them, so I'm just gonna go and change color. I'm going to select a sort of green color. I don't know why, but I always use green for my special effects sounds do the same for all of these. And then we could just change the color of these as well as well. Make it all neat and tidy. Okay, good to go. So let's have the crush O9 at the beginning again as turnip puppy down. It's gonna be really it out otherwise. Still way too loud. Now let's have another riser for long riser O3, just going to drag it in. Let's just quickly color it as well, green, except I don't want this sound cB the main. Sorry about that. I think a couple of the other times that I might have done the change color, I think some of it was off the screen there, so I apologize for that, but all I've been doing is selecting the color and then hissing, except pretty basic stuff. So I want this long riser O3 to basically be the leading for the chorus sound. So again, let's just turn this right down. So let's just zoom in a bit and just get the placement of this, right. So I want it to end actually two beats before the very end there. So I'm just going to put my play head to mark where I want it just before chorus one starts, two beats before chorus one starts and I'm going to drag my ending. Now at the moment, it's keeping it relative to where it started from, which I don't actually want. So if I hold Alt and then click, it just basically turns off the snap. So I can do much finer increments and bring it right up to where I want. That's perfect. That's gonna be like this. But what I wanna do is have everything stopping two beats before the end. So let's just make this particular base top pattern smaller. And let's zoom in a bit as well. And I'm gonna make this smaller, but I want that last kick to play there. Say I'm just leaving that last one visible. We've got a nice little pause there before the track kicks in. And we'll put a nice little snare fill in there as well. In fact, let's do that little snare fill right now. Okay, so, so far we've been putting in just straight audio into. Projects for our SFS sounds now the snare row, we're actually going to trigger it. So we're going to need to make a pattern. I'm going to use the channel rack step sequencer to program that in. Up here under the menu, I'm just going to go to all. So it's showing every single elements I have in the mix at the moment or in the channel Act, I should say. And then I'm just going to drag scenario three. Just drop it on there and I'm going to create a new pan. Cool, It's snare fill. And let's just color it green or just a slightly lighter as well, just so we kinda go some sort of variation there. Hit Enter to confirm. And now I've got my snare, fill patents. I'm just going to draw that in quickly, change the color of this, actually rename it as well, Snare Fill Color, it's our lighter green color, except enter that debt at it. That's kinda what I want. So let's just figure out that and how it's going to look. Just going to turn this down a bit. I think probably that nice. Okay, there we go. That's right. Sounds okay, but it is a bit robotic at the moment, so let's actually play around with that a bit. Make it sound a bit more natural sounding. Sounds way to just did, did it a robotic and horrible, just quickly. I'll color that as well. Except the first thing we're going to change is the velocity of these particular hits. So make sure you've got just the snare highlighted here in green. And then we're going to click this little graph icon up here, and this shows us the velocities of each hit. So I'm just going to leave the sort of first and third elaine, I'm just going to change the velocities of these two just to sort of give it a bit of variation. So let's have a listen. So already sounds a little bit better. A bit louder. Sounding a bit more natural, like it's actually being played by someone. Not just programmed in, but it's still not quite perfect. I want to add a little bit of what's known as swing. So it's basically messing with the timing of the snare. So it's pretty simple to do. Now. It just right-clicked off that to go back to the Arrange window. Now I can double-click on the snare fill. And if I scroll up to find my snare hits, so these represent my snare hits. And there's only one I want to move, and it's this one here. Now I don't want to just pull it like this. I want to hold Alt again and then click it and just drag it a little bit to the right. Always like one is cost as swing, but it just adds a sort of slightly funky field to it. Now we can mess with the position of the other snares as well a bit. I'm just holding Alt again or option on my keyboard. Just a mess it up just to make it sound a little bit more natural. Now I don't want to change the snare hits that are really falling on the beat. Because it's quite important that it keeps the specific timing you can mess with it. But in this case, I don't really want to. And it's better if you can leave the ones on the offbeat alone as well. And I know I've changed that one slightly, but it's the ones that are on the 16th, so it's a little bit hard to see, but you got your beats. So from here to here is one beat. And then obviously that is the offbeat and then a 16th of that is there. So the 16th are the ones that you can really play with to bring out that swinging, funky feel. Okay, that's fine. That's sounding okay, Let's just close that. Turn up at such. So not too bad. It could do with a bit of reverb and stuff like that, but we're gonna get to that later. Now I've got that. Let's just copy over what we've made here. So all of these elements hope control on the keyboard or Command on a Mac to highlight all four elements. And I'm just going to hold Shift and copy them across. So they're basically repeated in the second half there as well in our second verse pre-chorus two and course two. The one thing that I need to do though, is just change. We'll shorten the base SOP. And again, the drum pattern just so it stops there. So again it's doing the same dropout. And there we go. And this is a basic track, so I'm not going all out on making loads of different riser sounds or anything. For a basic tutorial, we're just repeating the sections, although we will add some slight variations to them as we go. But I do want to keep this relatively simple As far as sort of arrangement goes. Now one of the sound I want to put in there is an impact. That sound again, just going to drag it straight in, turn it down. A little bit louder. And again, let's just quickly cover this. So it's changed color green. And again do the track k sorted. So that's that. And let's just put that at the end of our track as well to finish everything off. So I'm just going to make sure it's selected and I can draw it in the end as well. And let's make this a little bit more interesting by having crashed 09 halfway through the last course or a third of the way through, two-thirds of the way even. And let's take long rise. I'm going to shift to copy that across, zoom in a bit. So here, of course it hasn't got the last two beats him because we shortened it on the other versions. Now, this one, I'm just going to actually extend it out. So it goes the full length. And that's basically gonna be the end of the track. In fact, let's just shorten that because it's a bit of a long altro set gonna be something more like that. Again, we're gonna be adding automation and stuff to make that a little bit smoother. Zoom out again, I think we're pretty good for SFS sounds. Let's just play it through now because we haven't really listened to the truck in its entirety. That was still not really anywhere near ready. Obviously, it needs completely mixing. It also needs automation and stuff like that. But I think it's good idea just to have a listen three, so you can see really where we are with the whole track. And then we're going to end the lesson and we'll go on to making some automation in the next lesson. Thanks for watching guys and girls. I'll see you in the next one. 10. FL Beginners Lesson 09 Intro To Automation In FL: Hey everybody, welcome back. Alright, so in this lesson we're going to basically have an introduction to automation. Automation can be used to change the parameter of a control over time. In the most basic example, which we will do first, we can use basically the automation to add smoother volume fades to some of the effects sounds we've just added, but it's not just volume. We can automate. It can be the controls of a plug-in or a synthesizer. And we will look at those in the coming lessons. For now, we're just going to add some basic volume automation so we can get to grips with how this process works in FL. Let's start at the beginning with the first riser sound. So just zooming in a bit, holding Control or Command and use my mouse wheel. And all I'm going to do is click in the top left corner. So you see my cursor turns to a hand tool. So just click there and then go to automate and then select volume. So you can see we've got this sort of gray overlay on top of the audio sample. And it's got this extra line here with some grabbed points at either end. That bit that we've just added is actually like a separate thing to the actual audio itself. So this is called an automation clip. Now you can just leave it so at rest over the top of the audio sample. But I don't recommend it because it can get a bit confusing. So we'll actually drag this onto an empty track. I'm just going to actually zoom out a bit and make sure this is an empty track. Yes, it is Good, good, good. Okay, say zoom back in and let's just move this so it's under our FX riser. So holding Shift and then using my mouse wheel just to scroll up. Now our automation track for the FX riser is underneath it, makes it much easier. So we're going to make it a bit more visible by changing the color first, let's just do that quickly. So I'm going to change the color escape for a sort of blue color for automation. Why not? And I'm also going to right-click and then go group with above track. So as you can see, it's basically added it to the top track. And now we've got this indentation and it just makes it a bit easier. Now when I move this track, if I go to Move track eight by holding Shift on my keyboard and using the mouse wheel, then actually moves the automation clip as well. Because it's been grouped, as you may have noticed in the picker window, we're now in the automation and clips part of the picker. We were in audio before and before that we were in patterns. So automation has its own clips picker to every time you add automation is going to appear in this window here. And of course I can right-click, rename and color it with, I think I'll just color it, that's fine. The same blue, don't really need to label it. Enter. So just note that the sample and the automation clip for it are considered two separate things by fL. So if you want to move them at the same time or copy them, then you got to make sure that you are both selected. So e.g. we go control, which is going to zoom out to actually then hold shift and you can copy them both at the same time. I'm just going to undo that by going Control Alt plus z. Let's actually also make this now say what we got is this. Just make this a little bit bigger. You can see we've got these control points. If I pull on this, you can see It's going to change the volume fade. So obviously it's too much, we don't want that. So if I want to add a point, I can just right-click and add zero point, which I can then move around. Now be aware that it does change the end position because it's sometimes whenever you move a point left or right. So it's best to make sure you put the point in the correct position. I'm actually going to delete that and put another one in there. I want it to be full volume. Basically this is the volume curves, so it's going to go slowly up and then it's going to be at full volume from this point onwards. I can make that smooth or by playing with this control point as well. It can make it more sudden towards the end or more sudden at the beginning. That's just make it a little bit more gentle at the start. Okay, So that's fine. That's all we're gonna do for that. Just make that a bit smaller. And also what I'm gonna do is we've got other instances of this sample where I also want automation. So I'm going to select my automation. Then I'm going to hold Shift and I'm going to copy it across. I think that's the only two instances. And now it's gonna do the same for this audio sample later on as well. Okay, so that's good. Now, let's go and add some more automation to our long riser because I want to make most Jen, so it kind of rises up a bit too quickly. So I'm going to make this a little more gentle in the same way. So he find where your cursor turns to a hand tool on the top left corner, click it. Automates volume. Again, we've got another automation clips. I'm going to drag that down, stick on a separate channel, hold Shift, and use my mouse wheel to drag it up. Again. I'm going to color this the same blue for automation, and let's do the track as well, change color. So again as offscreen a bit, sorry, I was just selected blue and click accept. And then I'm going to right-click and group with above track. Okay, now for this one, let's just have a gentle fade. So I'm going to grab the left-hand control point and just move that down. See what that sounds like. Actually, I want to do something a bit more funkier this because I kinda want it to start early. But when it gets to this point, I want it to kind of balance out because it gains too quickly in volume. So I'm going to add a control points, Let's say there. And raise that up. And then this one, I'm going to give it more of a linear curve to combat the sharpness of the rise of the audio. Don't worry, just copy what I've done. That's fine. I've only added one control point. And then we just messed with the curvature of the automation. Okay, That sounded pretty decent. And again, I've got two more instances of this long risers. So I'm going to select my automation clip, hold Shift, copy it across. And again for that last one as well. Now G1 effects sound, which I had completely forgotten to put in is our rise and fall O2. So let's actually grab that and stick it in on a blank track. And I want it somewhere around there. I'm just gonna make this a bit smaller. I don't want it to kind of lead in to be part of the breakdown here. Turn it down. So clearly that's what a rise in full sample as it rises up and then it falls back down. So it's kinda like a riser and a downfield are all built into one sound. That sounds about right where it is. Let's just quickly do the honors by coloring it. As this is an SF Exxon or color it green and also the track color that green accepts. And again, we're going to create an automation track. Drag it onto an empty track. Again, do the owners color it? The track and group with above track. Now, this one's gonna be a bit different. I want a control points or add a point in the middle there. That's fine. And then we're going to drag the two end points down. And we'll just give it a bit of a face or I should make that a bit bigger ready. So you can see a bit clearer what's going on. So it's just a bit more gentle. She's not really needed in the last half to be completely honest because it's got a nice gentle fade anyway, but the first half definitely starts a bit too suddenly. Okay, sign-in, pretty good, right there we are. Very basic introduction to automation in F L. Now we will be adding some more automation to other parts of the track. So that's it for this lesson. In the next lesson, we'll be making a white noise riser using the GMS instrument. So we can sort of like Custom, have our own rises and falls throughout. And you'll see why that is important in the next lesson. And we'll also going to add some automation as well, or some filter automation specifically to our bass sound. Just to give the track a little more movement. Alright, thanks for watching guys and girls see in the next one. 11. FL Beginners Lesson 10 Making A White Noise Riser: Hey everybody, welcome back. Alright, so all of our effects and stuff is great, but I really want something in the background to sort of tie it all together. And for this, we're going to make our own white noise sound that will act as both a riser and a down filter. And it's a really useful tool to have in your music production arsenal. Again, we're going to use a GMS, So let's just create one. So we'll come over to the channel rack, select all. Then I'm just going to go to plug-in database generators since the classic and just drag in GMS, just drop it in an empty space. Put that out of the way for a second and I'm going to create a new pattern. Call it white noise riser. Color it green. Hello again, Let's change the color of it. Scope darker this time for no particular reason. And of course hit Enter to confirm it. And then in the patch lists, the Presets Library, once again to use special effects, and I want to select noise one. So this is what it sounds like. It doesn't matter which key I'm pressing and I am pressing different keys on the keyboard, but it makes no difference as the noise is basically what we call atonal, meaning it doesn't have a musical center, so it's not playable. Now a couple of things before we go any further, I want to turn off the echo or the delay. So I'm going to click on the echo tab on glue. And this just sounds like also wants to turn off reverb. This TR nc is actually what's causing it to oscillate up and down like as being side chain. And if you turn that off, you just get a constant noise. So we'll stick with a constant noise for now. Maybe we'll come back and turn that on later and just experiment a bit. But for now, that's fine. So what we want to do with this is actually draw in basically one long note which goes through the entire track. And then we're going to use the cutoff filter. Actually let me demonstrate what that sounds like. So when I play it, so if we modulate the cutoff filter, we're basically going to be doing that but bit slower just to add these build-up sounds and breakdown sounds. So what we wanna do is draw in one long note, which is this going to mean that the synth is playing just one constant note of noise all the way through. And then we're just gonna use the cutoff filter to modulate. When it comes in and out very quickly. It just going to re-color this GMS noise that's colored green as well, the dark green Accept. And then let's go to the piano roll. Ftr, say, well, let's first of all just note the end bar there. So we're actually going to sort of bought 85. Say Yeah, go to my piano, roll, zoom out, and then it's drawing a note. I beg your pardon, and zoom in so you can actually make that bigger. Then we're going to drag this out. So I guess the bar 85, take a little while, say borrow 85 and we'll extend it to bars beyond that. Okay? So it's literally a note going from the very start of the track at bar one all the way to the end. Okay, let's close that. And I'll just sort of draw that in. And I'll just color this as well. Let's rename it. White noise riser, that's fine colored, dark green. Excepts and enter again. So at the moment it's going to sound pretty Genki. It's just a constant note of white noise. So obviously, we want to automate the castle filter. So let's just bring up our GMS instrument by clicking on, by clicking on it in the channel rack. And then all we gotta do to automate a function is to right-click it and then go creates all summation clip. And the same applies for any the premises in here. You can do the same with anything you want or any dial, at least. Now we've got our automation clip. We can then stop playing around with that. Say, first of all, let's do the usual, which is just quickly color this change color blue accepts, change color. Blue. Except and then group with track above. Say that's fine, right? Now, let's just have a play around so we could do things like this sort of stuff, bring things in gently. I'm just going to delete that and I'm going to zoom in a bit so you can see what's going on. So first of all, I definitely want it to build up to this point here because that's where our course starts. So I don't know how high I want it yet, but it's gonna be something like that. Now, I also want to have a sort of mini build-up to the pre-chorus, let's say. And then dipping down quite suddenly afterwards. I'm just going in here and changing these control points to make things a bit steeper. Let's say something like that. Let's have a listen. One buildup and then build up starts all over again. Obviously we need to just play with it here. So actually when a point in there, and then that point can be lowered right down. And we'll just make sure this is really nice and tight. So I'm going to add another point. Pull that right down. Really wanted to stop suddenly. When it gets to the two beats before the course starts. Perfect. Then it's habit building up a bit. So then basically let's put in the points where we're going to want it to be a riser. So obviously I want one at the start, that chorus two. So it's going to want to have built up again and again. I'm pre-chorus to sort of do a similar thing as what we've done there. Just making sure it's all nice and smooth and they're gonna wanna point. I don't want a point right there as well. And let's see what's going up a bit higher. But here I want it to kinda grade down a bit more gradually. So I'm going to add a point roughly in the middle there and then add a bit more of a sort of gentle fade out because this is like a downfield apart. Okay, so all sounding pretty decent. It's just this last section that needs sorts out. Say let's have like a sort of mini buildup. Every 8 bar. I'm just adding in the points. And then we're going to add in ones before that sees sort of turn everything right down. So just bear with me when I do this. Can be a little bit confusing to follow, but all we're doing is drawing in points and just tweaking it so you can just copy exactly what I've done. I've gone a bit too extreme with those. So let's just bring these back up a bit. And you need to end that right there. So if you really need so you can just copy that. If you need to delete a point, just right-click it, go delete, and try not to move these sideways because when you do, you end up moving everything in front of it, which is really frustrating and can get a bit annoying and fL, so I'm just going to scroll to the end now and just get this a little bit sorted out here. So I'm just gonna add a point there. Re, shape that this point can go right down. We'll have it fading out pretty quick, just like this. Say one thing about this though, is that it's when it goes low, when the filter cutoff is going down, is a little bit deep and bases, so we're going to actually remove some of the base or the low frequencies, I should say, from this white noise riser. So let's find a white noise, GMS noise there. Let's make sure in the channel right, that it's selected. I'm gonna go to my mixer and I'm just going to add it, say right-click channel routing, route channel to selected channels. I'm not worried about routing. All of the other effects sounds to the mixer. I don't really need to, to be honest, at least not yet. We might come to that in a bit, but that's fine for now. We're just going to effect the GMS noise. So we're going to add a fruity parametric EQ to again. So I'm just going to make it a bit smaller. Okay, It's just make this a bit bigger. And again, we're gonna be using band one, so we want to remove any low frequencies. So we right-click, go to type, and we want a high pass, meaning only that's through high frequencies above this point. And we want to change the steepness. So it's the order of eight steepness. And let's just see, Let's just have to play around a bit. That's probably removed a little bit too much. Okay, that sounded pretty good, so absolutely fine. That's all we need to do with that. Now one last thing that I want to do is just awesome meets this baseline a little bit or the filter cutoff for this baseline. So let's select in the patterns picker. Let's go to our top. Sorry, in the channel rack, bass top. So click on the GMS instruments. And let's just quickly have a play. Just need to make this so it's detached. We've got our cost off here. This is what we're going to automate again. So let's leave it at its final resting point. So that's where we want it to end. We're just going to gradually build up to that. So again, I'm going to right-click, go to Create all summation clip. And just something to note in F L is a couple of ways of getting automation. And so when you right-click a parameter in a synthesizer or in a plugin and you create automation clip is going to create one that is the full length of the track. Now, this might not be what you want. You might actually not want it to create something that's the full length of the track. You might only want it to create a small section of it. So in order to do that, you can do what we gotta do is set a loop region. So I'm actually just going to, for the sake of Example, going to delete that automation clip and I'm going to remove it from the automation picker. I'm going to go delete. Yep. And then let's go back to our GMS based top instruments. And instead of right-clicking and going all create automation clip, we're going to set the loop region over the area that we want and we only need automation over the first section, diverse and the pre-chorus one. And then we can actually just copy it over to verse two and pre-chorus to say, I'm going to click, double-click in the timeline and then drag to the right. So it covers this red bar, sort of covers that section. Now when I go to the GMS and I right-click and go create automation clip. You can see is only created an automation clip as long as the loop region. Now I can just double-click to get rid of that sort of red area. That's fine. And also, I want to drag this down and find an empty track for it. And I will move this up. So holding Shift and use my mouse wheel and stick that under the bass top layer. And I can see I've got just a nice automation clip over the section that I want much more handy than having it over the whole track. So very quickly, let's color it and group with above track. And okay, so let's just have a look how we want this to sound. So this is the resting pitch. So I want it to be like that or like full power, I should say like that pretty much halfway through the pre-course. And then we're going to just drag this first point down a bit and I'm not sure how much it needs yet. We're going to experiment and we definitely want to much more gentle rise in cutoff filter than that. So let's raise it up a little bit. And you can hear it just makes it a bit more gentle sounding. We can have a little bit more than that, I think should be about finds that it's just hold shift and copy that across. So it's the same for our second verse and pre-course as well. And it just starts everything off a bit more gently. Again, it's all helping to just build up the energy and create that movement within our track to keep things exciting and interesting. Okay, so let's just make that a bit smaller. And I think that's it for this lesson. Well done for following along because it's starting to get quite advanced ready. This is much more than just beginner level stuff that you're doing here. So definitely be happy with how it is progressing. Alright, thanks for watching guys and girls see you in the next one. 12. FL Beginners Lesson 11 Recording Vocals In FL: Hey everybody, welcome back. Alright, so in this lesson, we're going to look at how to set up and record in FL Studio. Now you don't actually need to follow along in this lesson. So if you're not into recording, and even if you are in the recording isn't actually necessary to follow along as we supply the recorded vocals in the work files, which will be impulsive in the next lesson. In this lesson really is just sort of information on how to record and what the process is, and what sort of things you got to watch out for when you're recording vocals and all that sort of stuff. So if you're not into any of that, you can skip on to the next lesson. Just be aware that recording is not possible in the basic version of fL, so you need the producer version at a minimum to be able to record. So again, if you have the basic version, you can either watch this and see how it works anyway or you can skip on to the next lesson. The second thing to say quickly is that if you do want to record, obviously, you'll need a microphone to be able to record whatever it is that you're recording. And if you have a microphone, you will need some way of getting it into your computer, like an audio interface with XLR inputs or alternatively a USB microphone. The microphone, if we're using an XLR connection, will be plugged into usually the first inputs on your audio interface, which is input channel one. But of course you can use any input you like. Now yours is going to probably look different to that interface, but the actual connections are the same. So it's pretty straightforward. Plug it in. Annual microphone is connected. Just note there are two main types of microphone. If you're using a condenser microphone, your sound card will need to have the ability to provide phantom power, which is a 48 volt power. So most sound cards or audio interfaces that have XLR inputs will have this built in. Some have a button on the sound card itself, a physical button, but some like mine. You actually have to activate phantom power in the mixer software that comes with it. If you're using a dynamic microphone like e.g. an SM57, then you don't need a phantom power, just plug it in and you're ready to go. Okay, so that's the short version of microphones. Obviously there are many different types within dynamic and condenser, all sorts of like cardioid patterns, which is the pickup patterns. So whether it's directional or omni-directional or whatever, stuff like that. But we really don't need to get into that now, if you've got a microphone, the chances are that it's going to be a directional or cardioid microphone just pointed at your face and you'll be alright. So when it comes to actual mic setup for a singer, it is really quite simple. You want to deaden the sound as much as possible, that is the room sound. So you're minimizing the amount of reverb from the sound bouncing around your recording space. And then getting back to the microphone, say acoustic absorbers, like these are best. And if you want to know how to make these on the cheap type in bone to produce home studio. And just click on the first video is an introduction to home studio acoustics part one. Now that is the quick and dirty guide to making acoustic panels for your studio. They aren't particularly ugly, but they aren't particularly pretty, but they are super cheap and super easy and most importantly, super effective. But even hanging up blankets and DVs to make a little vocal booth would be better than nothing at all. Secondly, you want the singer to be positioned about ten to 15 cm away from the microphone. Not really any further and not really any closer. Or the best way to ensure this is to use a pop shield and place it 10 cm away from the mic and just ask the singer to stay as close to that as possible. So that is the very quick studio setup for recording vocals. Now onto how to set it up in FL Studio. So NFL, you can record in two ways. You can record directly into a plugin called Edison, or you can record directly into the playlist. Now recording directly into Edison is really only if you want to record in a short clip and then be able to edit it straight away when you're recording vocals or an instrument like we're doing here, you will be doing multiple takes and the recordings will be longer. So recording into the playlist is a much better way of doing it. The first thing you want to do is actually go to the mixer and pick a channel for recording on Zoom. So I'm just going to pick 15. Really doesn't matter as long as it's like an empty channel. I will actually just right-click and change the color of it to read. Indian red. There we go. Click Accept. Now just read. So I know that it's a recording channel. Now if we go to what we've used as the Insert Panel before, up here is the input section, so we can just click on that, select an input. Now as I mentioned, my mic is going into analog one on my sound card. So that's what I would want to select, but not from this top menu because this is the stereo interface. So that's not just analog one, that's also analog to as well. Say if I had a two mike setup, then I might want to record in stereo. Perhaps if I was recording and I can acoustic guitar or something. But as I'm recording a singular microphone, I want to record in mono. So I need to come down to this second menu here. So you've got five face USB mono, because it yields will say something different depending on your audio interface. And I just want to click on Run. And you can see it seems I have clicked that. We're actually getting an input signal into f L. And you can also hear that sloped sort of almost like a chorus effect on my vocalists because we're actually hearing what I'm saying through my headphones. So if I want to stop that, I can just mute that channel just temporarily. But as you can see, this is gonna be the channel that we're gonna be recording through. The channel that we set up is automatically armed for recording. That's this little record button down here. So obviously if I turn it off, then the next time I go to record, it's not actually going to record anything, but if I have armed the next time I go to record and then play, it will actually record audio. The next couple of things, Our playlist, so we're almost ready to record. Now I just want to turn on the metronome. So we've got more of an obvious beat when the singer singing, I'm going to turn off the countdown because I'm actually going to have this playing and looped from 2 bar before the actual track starts. So we're going to start from this point here, and we'll get to that in just a second. We can turn off blend recording for now and we want to have it loop recording enabled. So remember before we set up a loop by double-clicking in the timeline, but holding on the second click, like so and then dragging to the right. And I want to loop up to the end of the pre-chorus one, set up chorus one. And like I mentioned, we're starting from 2 bar before the actual track kicks them. This is just so when it loops around, the singer always has this initial 2 bar to prepare herself when she starts singing. So just very quickly, let's talk about loops, recording, and why it's so important. It's important for two reasons. One is it, Let's see, really hone in on the performance of that particular section, rather than getting distracted by other sections if you're recording the whole track in one go. So you can really focus on getting the best possible performance from the singer for a particular section. Secondly, it will give you more consistently sung vocal performances. Now why is that important? Because later we will be using multiple vocal takes and layering them together to get one really fat sounding vocal. And the key to getting that to work well is getting very consistently sung vocal tracks. Now, we're going to see more about that later. So I won't go on about it anymore. But just know that this is really the go-to way of recording. If you're doing like a whole song, just hits it averse at a time or a course at a time, whatever, get that nailed and then move on. Now there's nothing to stop. You. Say maybe the singer needs to warm up a bit. So the first set of recordings isn't so great. You can obviously always come back and do some more recordings for the first section that you record later on, whatever, that's fine. But using loop two recordings is really the way to go. So again, we can come up and hit Record and it's going to ask us what we want to record. Now we don't want to record into Edison, as I've discussed, we want to record into the playlist as an AudioClip. Say that's fine. Don't want to record straight away, so I'm just going to hit stop. But now every time we hit Play, it's going to start recording as long as that button is enabled. So now what I wanna do is make sure that FL Studio when I hit Record records onto a specific track in the playlist. So how you do this is just right-click an empty track. Let's just make sure yep, that's definitely not got anything on it. Right-click, go to Track mode, audio track. And then we want to basically link this to channel 15 in our mixer, which is now labeled recording, because that's what we're using as record. So you can see that it's got a little microphone symbol. And if we go to our mixer, That's awesome. Massively changed it to that. And it does that whenever you hit the record button, as soon as you enable recording and you've got this armed, it will automatically change this, add that little Mike symbol, and cool the track in the mixer or EC for recording. Okay, so now we've got that. I'm just going to very quickly show you what it looks like. So I'm just going to loop, just say this 1 bar section at the beginning. And I'm just going to hit play and then record my vocal, which you can see that it's coming through. So every time it loops around, it creates another track and it just adds it or groups it to the first, initial recording track. And now I've got all of my recordings down there, so I'm just going to quickly undo those. And now we know that is what happens when we loop record. Okay, so let me just set up my lip region again. So we're going from bar three, at least in this arrangement to bar 21 at the start of course one. So we're all set up. The singer is ready and we have acoustic baffles to deaden the room sound as much as possible. Let's get recording now I'm not going to show you the whole process as it will be pretty boring. But we're basically going to go through and record five to ten takes in total for each section. Then we'll go through and get some sort of ad lib takes, which is really where the singer just freestyle some bits and pieces like oohs and ahs and sort of just free styles with the chorus vocal and stuff like that. Just to see what we can come up with, maybe we'll get something really amazing. Sometimes it doesn't work at all, but yeah, sometimes you can get vocal gold by just free styling or getting the sanity, freestyle and decent bits and pieces. So it's well worth doing. So I'll just quickly show you one recording of the vocal. Say, we're ready to go, Let's just unmute our track. Say we're ready and now the senior can do her thing. I'm just going to play it and that Heracles, the first verse. And then we'll skip on an end this lesson. Thanks very much for watching guys and girls see you in the next 1212. 13. FL Beginners Lesson 12 Bringing In The Recorded Vocal: Hey everybody, welcome back. Alright, so in this lesson we're going to carry on with our vocal. Say in the last lesson, if you didn't watch that, we just set up FL for recording. So don't worry, you can ignore this track here, but let's just delete that from the projects so you don't have this track, that's fine. And I can just double-click up here to get rid of my loop regions that don't need that anymore. So when we recorded, we recorded all the different sections, many different takes in one go ended up being a little bit on the messy side. So there's about probably 12 different takes of just verse one and the pre-chorus, and about the same again of the chorus and what sort of stuff? So what I did, I've just taken the liberty of making it a little bit simpler. So now when we bring in the audio, it's a bit easier to understand what's going on. So we're going to drop all of our new audio onto these tracks here, so just make sure that they are empty. Yep, So we're gonna go from track 20 onwards. And if we go over to our work files, so I've already set this up. We're going to go to work files audio. And in here we've got BTP FL beginner Vox recording. Oh one. So let's just click and drag that into our projects. And we want this to be positioned 2 bar before the start of verse one. So if you copied the same timings and that'll be on bar three, then we're going to drag BTP FL beginning of Vox recording O2 and onto the track below it. And then again with Vox recording O3 and onto the track below that. Now let's just quickly set these upset or works properly. So let's just right-click Rename changing color. Just call it Vox O1 and its color it. And let's go for the red up here like Indian red, whatever. It doesn't matter as long as it's close. That's what we're going for it and then hit Enter. And I'm just gonna do the same for these as well. Cool that Vox O2. And again change the color to red. Except I want to group these together just so they are kinda like is if we recorded them into f l. So I'm going to right-click that one and go group with above track. And I'm just going to do the same with this one as well. So that all grouped together. And what you can see is if I zoom out, we've got basically verse one. We got V2, and then we've got our course as well. Now as I said, we recorded all of these separately, so we recorded the first verse separately from the second verse and all that, but I've just consolidated them to make this lesson just a little bit more understandable, but this is what we record it. So let's just have a very quick listen to what we've recorded. So I'm just going to mute the second to Vox tracks and just play the first one. So what you might have noticed straight away is that it actually sounds hours of key. Well, what happened basically in the recording process, and this is why recording can be fairly fluid. Process is that when the singer came in, we haven't done any sort of tests, recordings or anything like that beforehand. As soon as she started singing, it just sounded a bit too low in pitch for her voice wasn't really getting the sound that I wanted. So what you actually did in the recording session was pitch everything up by three semitones at all of the audio. So we're gonna go through and do that. Now, this arrangement hasn't yet been pitched up, so we are going to do it and you can follow along. This is necessary for you to complete the tutorial, so definitely do do it. So first of all, let's just go to our first pattern, which is musical, which is the base top pan, double-click it and whatever we don't need to zoom out, we just need to go Control or Command plus a to select all. Then hold Shift on your keyboard and press the up arrow three times to move this base top pattern up three semitones. So now the root is in C five. Okay, Now we're going to come out of that and we're gonna do the same for the other pattern. So let's go to our bass sub. Double-click it again, Control or Command a to select all then hold Shift and press the up arrow three times, also known as every. Of course you can just drag it up to see, close that and onto the next part. And this won't take long, don't worry as any three more things to do. So we're going to lead a one double-click Control or Command a to select all, then shift and the up arrow three times to move it to see. Again, we're going to just repeat that with lead layer Control or Command plus Shift, plus three presses of the up arrow. And again, the very last one lead up, select 0, up three semitones. And then we've got our entire track is three semitones higher. Now note, of course, that we didn't change any of the other stuff. So we're not changing the drums or anything. That wasn't unnecessary, just the musical parts of this track. And of course you don't need the metronome anymore, so let's just turn that off. 111, you'll be sad. Okay, So that's the first verse. Then we've got the second verse. I just played his quickly, just say no what is going on with them? The way if you want to just move everything along in the arrangement, you can actually press the middle mouse button or your mouse wheel and you'll get this hand tool and then you can just sort of move it wherever you want. I didn't cover that earlier, which is a bit of an oversight business easy way of just scrolling along just by using the center mouse wheel button. As you can hear, it's all very raw. Vocal, just pure recording. I haven't done any processing to ASL. It's just as it is when we recorded it. And we're gonna go through the whole process of making this better pitch shifting, time stretching to get it to fit with the absolutely perfectly, and just improve the performance as much as possible. And here's the chorus vocal. I'll just play this very quickly as well. Thanks very much for watching guys and girls seeing the next one. 14. FL Beginners Lesson 13 Comping The Vocal: Alright, so in this lesson, we are going to look at comping. So comping is the process of taking multiple different performances of the same parts. So we're going to look at the first verse here, and we're going to use these three different versions that we've got to basically get one really good performance out of it. If we like, say one phrase which has been sung very well in box recording. Oh one, but we don't like the second phrase. Then we'll look at books recording O2 or O3. To sort of take a different phrase from there, I will just patch it together, but don't worry, I'll show you all about how that looks and how it works. But comping is one of the most powerful tools you have at your disposal when trying to get the best vocal performance possible, or for that matter, any kind of performance. So it could be piano or guitar or whatever. Alright, so let's just make these a little bit bigger so we can really focus on this section. And let's zoom in. Alright, so first off, let's select the slicer tool from the toolbar menu and it's very easy to use. So if you want to slice something, we're going to just cut off this very start of the vocal. So I'm just going to click and then drag up. And you can see that we've got to cut. Then if I just hold Control or Command and click to drag to select that these first three bits, I can just delete them. And what we're gonna do is basically go through and slice up all of these different segments. And then we're going to go through and select which ones we want. So we're going to start in an easier way by just muting two of the tracks. I'm going to mute that track. That track can leave just Vox O1 for now. Then let's grab our slice tool. And I'm just gonna go through it and you can hold Alt or Option on your keyboard to not cut on a grid line. So if you want to cut halfway in-between, you can just hold out like so. And then just click and cut wherever you want. I'm just going to basically slice this up into sections like so. Let's just try and make it even bigger so we can really sort of see what's going on. And you can see where we're just slicing it up. Let's do the same for this as well. Basically what you're aiming for here is just to cut it wherever there's basically no audio signal. So you wouldn't want to cut it right in the middle of a word, that'd be a really bad place to cut it. Because when we switch between the different performances, it will sound really, really bad to say the best place to do is where there's very little audio. If anything, a tool say someone like there's just about a K. Just quickly do these. Okay, so let's just start on that. I've just done basically the first verse, but not the pre-chorus yet. And now we're gonna go back, grab our mute tool, the pink one up here with the x. And what it can do basically is listened through. So if I start the beginning here, I'm just going to listen to each one basically in turn. So I'm going to mute and unmute that and then listen again. Which two do I prefer? Facts? I say what? Let's just turn these upper bits so we can really hear them over the rest of the track. So this is turn these right up to full volume. That's the three vocal tracks. Let's have a quick listen to make sure we're not going to blow our eardrums. That's much better. And of course, if you really want to, you can mute the rest of the track. Or at least Let's just mute these effects here. They bought one. And I can just go through and try all these different bits out. So I'm going to basically mute, as you can see that too muted on one playing. That's how it should be for all of these. Say, let's just go through and you'll understand what I'm doing as I go. They all sound pretty similar to me. So let's try the next phrase, which at the moment is the only active one is Vox O1. These two are muted to the ball. The ball. Okay. Let's go with that for now to one. So it sounds pretty alright as it is. But let's just try a different vehicle for one's soul. To one quite like that soul, how that's sung, but I'm not too sure about the one. Say let's try a different one. Now. Hopefully you can understand what's going here and literally got three vocal tics that we can choose from. We're muting two of them and always leaving one unmuted. So we're basically picking and selecting the best bits of each one to one. Too sure about steel. So we're going to mute that and try the first one, Ball one. So you can see what we've done there. Now let's just carry on. So I'm going to grab my split tool because I need to split up these segments a bit more finer control. You can either zoom in a bit where you get more grid lines. And just, oh, that's already done at she better not do that. Just snipping up there. Let's carry on. Always picking a place to slice wherever there is, basically no audio signal. Here, I'd say there's the best place. I'm going to be a little bit finer and hold Alt or Option, click and drag up, say let's just do the whole first verse. I wouldn't bother doing the pre-course is fairly obvious what I'm doing. I believe so that's fine. Say again, select the move tool and I'm going to mute that one. Try that one bit breathy for that one, but let's just try Vox O3 as well. Yeah. I like that heart. Say it's probably going to use that lumbar. I'm just going to check. Yeah. So for the first 1212. Yeah. So basically what we've done is we've gone through, obviously, we're selecting what we think is the best sort of phrase or whatever from each one. But what we're looking for really is a amalgamation of a few different things. So the emotion behind the performance is paramount. That should be the main focus fuel decisions on whether you're keeping a bit of the singer's voice or not. Secondly, obviously we're looking at the quality of it. So if it's like really badly out of qi, or there's way too much warbling in there, or too much vibrato. And then lastly, timing. Performance is the most important one. So that should be like say, 60 per cent of your decision should be based on whether it's a better performance or not. And then a very small percentage, say 20% allotted to the pitch, whether it's in key or not. And then same again for timing. So what we'll see in the next couple of lessons is that you can actually do pitch correction. It doesn't mean it's perfect. You can't take something that's really badly sung and then make it sound amazing. It can't do miracles, but it can sort of just, you know, something's just a bit flat or a sharp or whatever, then you can put that back into pitch or the correct pitch. I should say, when we're doing this comping process, we're not concerned too much by pitch a little bit if it's really bad, but not too much. We're mainly focusing on the most emotive performance. To say, I like the heart's not too sure about the one though. So let's try a different 11. Very directs and let's just see what the last one sounds like. One. I like. Actually, I'm not sure. Let's just keep this one. I definitely like the more direct sound of the lower two takes. That's fine, but don't like the word here. Not really got the impact that I want. So let's try a different one. Better, maybe a little bit over the top bar C. Nope. Okay, So definitely that one is the best for that. Let's just move on. So I'm gonna go through now and basically do this for the entire. Vocal. So this is the entire vocal here. And I'm going to go through and literally do that for every single one. Now, that might seem like a crazy thing to do. It's quite time-consuming, sure, but if you want properly professional sounding vocals, this is a technique that you're going to need to employ, and it depends on the type of track. Now obviously here, you've got quite a, it's like one phrase sung distinctly at a time. In some songs, it might be much more consistent vocal. So you might just separate it into longer phrases and then just pick the best overall phrase that each particular section, that's absolutely fine. You might not separate as much as what I'm doing here, but you might find that you need to as well as there's no rule, one size fits all approach. You will have to treat it independently for each vocal performance that you come across. Okay, say, I'm going to wave my little editing magical wand and we'll come back to this when it's all done. Okay, so there we go. We are all clumped together. So what we need to do now is actually select all of these individual little snippets that we've decided that are going to make up our main vocal take and consolidate them into one audio file so we can then further process it would pitch correction and timing correction. So unfortunately, NFL is not the most easiest thing to do. So we're gonna go through and select every single one. So you do this by holding Shift plus Control or Command. If you're using a Mac on your keyboard. And you can go through and just select all of the bits of audio that we've used. Decided to select, I should say, for our main, What's gonna be our main vocal take? So I'm just going to go through quickly and do this for the entire track. Make sure we get everything. All GO left behind. No non-mutated ODA left behind, I should say. Now, once we got this selected, this is quite an important step because if we just go Consolidate now, it will consolidate what we've selected, but it will also mute all of that audio. And actually we want to leave just the muted audio behind. So we're just going to zoom out a little bit and I'm going to drop our selected audio onto the tracks below. So if you just look what I'm doing, make sure it is lined up. So we want to make sure that that is absolutely at the start there. So it is, that's fine. So as you can see, what we've done is we've basically separated all of our chosen audio, which is gonna make up our main vocal take. And we've separated that from the audio that we had before. So all of the muted stuff is what's leftover. Now, why is that important and why we separated it. We could have just consolidated it where it was, but we don't wanna do that because we want to make extra takes out of what's left over. So we're basically going to repeat the process of unmuting audio and getting another two vocal takes out of what's left. Don't worry if it's not completely sinking in right now, that's fine. What I do want to do is hold control and select all of this audio. And we're going to go up to the drop-down menu here, go to Tools, go to consolidate playlist selection, and we'll just do from selection start, that's fine. Just click that. And it's going to give you a couple of options for rendering this audio. It should already be set up as web and 16 bits. They shouldn't actually have to worry about as an image is going to hit Start. And then we got our consolidated audio, which is all of this lot. Just consolidated down to one audio track, which I can now actually delete all of that. That's fine. So that's our first main vocal take that we're gonna be using. And this will be the one that takes center stage. So this will be panned right down the middle. And then the remaining vocal takes that we're going to make now are going to be panned hard left and right. And there'll be used to thicken up this main vocals so there'll be complemented. So let's just very quickly show you how to do that. Say, I'm going to meet that vocal track. And then let's go through and select our next load of vocal sound and a slightly meet tool again. And to be fair, it doesn't really matter this time which bits you pick, because these vocals are always like backing vocals are going to be a lot quieter. It doesn't matter if they're so perfect. So really, we can just go through and select any of the vocals. You can be a bit more precise about this if you want, but I'm literally just going to go through and select this lot. We don't actually have to audition it. They're all half decent vocal tics. So I'm just going to go through and get it done. So in fact, what I could have done is just selected that rather than unmute it. But that's fine if you want to have a quick listen through. One. Okay, so, so good. Now we're just going to go through and select this again. So again, holding Shift and Control or Command, just going to go through select all of this stuff. Now I've got that, I'm just going to drag just a little bit smaller, so it's a bit more workable. I'm just going to take this selection and I'm going to drag it down, say actually I'll just select my normal selection tool to draw. So I'm going to drag this down. Doesn't really matter where it moment as long as it's on some empty vocal tracks. And with it all selected, I'm gonna go to my drop-down menu, go to Tools, consolidate, play the selection from selection starts. Again, you can just click Okay or start. And then we've got our second vocal. Take. Again. I can select all of this lot, delete it, and then we're left basically with just a load of muted audio, which will make up the very last take. So you can just use my move tool and just literally unmute the lats and then select them by holding Control. Don't need to move them because there's no other audio there. So I can just go and consolidate them. Again. It starts. There we go. We've got our final vocal tape now, I'm just going to grab my normal selection tool and actually just move that down, says underneath. So we know that this first one, this one here is our main vocal take. And I can actually select all of that and delete it. And for now let's actually just delete track 20 because it's grouped tracks here as well. We don't need that also, we can just delete it yet. That's fine. And it's left us Volkswagen Box2D Vox three. So I'm going to select those and drop them on our three vocal channels or tracks, I should say in the playlist, that's fine. Now if I mute the second two, we've got our main vocal take. Ball, nice and consolidated. So that might seem like a bit of a mission to be fair. I understand that, but that is how you get the best possible vocal performance and also getting the second and third takes is really important because as you'll see later when we start to use these in the track, it really helps thicken up the vocals are really awesome technique, so it's definitely worth doing. Okay, so that's it for comping vocals. In the next lesson, we're going to be looking at vocal pitch. Gretchen, Thanks very much for watching guys and girls seeing the next one. 15. FL Beginners Lesson 14 Vocal Pitch Correction: Hey everybody, welcome back. Alright, so in this lesson, we've got our consolidated audio and we're going to now edit the pitch of the performance. So before we get into that, I just want to tidy this up a bit. So we've got these three recordings now, which you can see are these lower three here. Now we don't actually need these for vocal clips in here. So I'm going to just select one hold Shift and then click on the top one. So we've got all four selected. And then I'm going to right-click and go deletes. Yep, That's fine. And we're just left with our three vocal tics. So I'm just keeping everything nice and tight. So we want to have a look at pitch correction. So pitch correction is only really properly possible if you have a plugin called new tone, which comes with the signature addition of FL Studio or above. Now you can actually buy it separately. I believe if you really want see by going to help and then purchase FL Studio upgrades and plug-ins, that is completely up to you. Now, there are other third-party plug-ins like Melodyne, e.g., which you can actually use as a plug-in in FLT correct vocal pitch. But that also again costs money. You tone is fine for pretty much all pitch correction tasks. So don't worry, if you don't have new tone provided in the workforce or the fully corrected and processed vocals. So if you don't have the new term plugin that don't worry, you can either watch this lesson and see how it works and see if you actually are interested in guessing it. Or you can just skip on to the next lesson where we'll bring in the processed pitch corrected vocals, right? So for those of you who do have new tone, let's carry on. So to load up new team first, let's just double-click on the audio that we want to pitch. Greg, say that's our first vocal take and it brings up the sample settings. And then we can just right-click down here and click on Edit in pitch corrector. So it's just going to analyse that first and then it's loaded up so I can close that window is a little bit bigger. And again, because it's a new window, let's change this so it's detached and then we can't lose it. So the controls work in here, fairly straightforward. So again, if you want to zoom out or you can use Control or Command plus your middle mouse wheel, your scroll wheel, you can scroll left to right by holding Control or Command. And using your mouse wheel, you can scroll in and out by holding Alt or option and using your mouse weird as well, so you can zoom right in. We can get a good look at what's going on here. So let's just go to the beginning. And as I zoom in, you'll see this like kinda squiggly line. And so as you can see, we've got our keyboard down the side now you can't press it is just a reference. And what you're seeing here is a couple of things. So this actual line, the squiggly line, is representing the actual pitch or the absolute pitch, I should say. So the vocal is literally doing this in pitch, up and down and all over the place. It doesn't necessarily mean it's bad or anything. It's just that, that is what it's doing. And the sort of segments is what FL sort of presumes are like single words or at least a good chunk of a word. Hey, so people has been split into two and it's got the first bit, P is a bit higher and then it goes down in pitch pull. And as you'll see, we can change this later on if we want, we can split these up into finer increments. No problem. Say very quickly, just make sure if you come up to see where this is all art and click on the little drop-down arrow. And we're just going to have snap to grid, set that to one for just so we got a nice amount of control or fine control in the grid lines. So what you can do it, it's very simple to change a note so you want to come to the middle of the segment and you'll see you get this double arrow when you get it in the middle or thereabouts. And you can literally just grab it and change the pitch. Now at the moment it's not centered, right? So you can see that it's slightly flat, slightly lower than the center of the notes. Say, if I want to center it, I can literally just right-click. It's when you got the double arrow and it will just snap it exactly to the grid. Or you can hold Alt on your keyboard and then you can freely move it around. So this is the more, slightly more the preferred method if you're moving a whole segment because you can be with it. But bear in mind that these segments represent the median pitch of what is happening in that segment. And the line represents the absolute pitch. So sometimes not all the time, but we will see it as we go through the vocals. Sometimes you'll see that the segment or the medium pitch thinks it should be somewhere. But actually if you look at the pitch line, you will see that it needs to be sort of slightly up to make it as medium pitch as possible. But we'll get to that, don't worry, that's fine. So in the new editor, you have these controls up here. So these are global controls. So if I turn sensor up, you'll notice that everything snaps. To the center of the note. But I will tell you straight away is not always a good idea to come in and just go whack. It seems like a nice, easy way of sorting out the pitch of a vocal. But from experience I can tell you it's not always the best thing to do. So e.g. let's look at this note here. And you can see as we zoom in that it starts at one pitch and then it slides up to another pitch. So it's actually wants to really be, if I hold Alt and just move it up, really wants to be about there. So it starts halfway or in the middle of d, and then it slides up to the middle of E flat. If I leave it how it was and then go sensor, does it, drags it. So now it's actually trying to start really off the key right in-between two notes. So D and D flat or C-sharp, whatever you wanna call it, and then slide up to right in-between D and E-flat, which definitely is not what you want. You want that to the absolute pitch line to be as central to the notes as possible. So this will be much more accurate than having it snapped to the center. So that's why it's not a good idea to use the global center control. Can experiment with that. Of course, it's very, very tempting because it just centers all the pitch and you might think that's better, but it's not always the case. Now that might seem a bit laborious, but it's the same as with comping the vocal. It's much better to do these things manually. You will end up with a much more professional level vocal in the end. But anyway, I won't say anymore about that. That's fine. Then you've got the variation global control. So let's just look at this note again. So you'll see as I reduce the variation, you're basically strengthening the pitch. It's going to sound a bit weird one. And it gives it that sort of nasty Over also tuned sound to it as just not very good. And obviously if I increase the variation than it just makes everything way more pronounced order the pitch changes. So again, it's not really, it's not really actually useful controls to be perfectly honest. So you can just reset that by holding Alt Option and clicking it. So we won't be using global variation. Then you've got the transition dial, which basically will smooth transitions between notes. Again, this is another one. It's not really super useful, I wouldn't say, especially not when you're editing a long vocal like this. You really want to approach each word on its own merits. Now all of these controls, center, variation and trans you have basically on the micro level as well. So if you double-click a segment, you will see that you get these extra controls now around each one. This is for every single segment. Again, I'll just zoom in a little bit. So these extra controls are divided into three sections and just allow a much finer control, the opposite using a global control. So the top section here is really to do with volume. So if I grab the top line, you can actually change the volume of the entire segment. If I grab the end parts, you can change the fading of the audio sample or the fade outs at the end there. Now if I grab it in the middle section, this is going to move it up or down, so that hasn't changed. If I grab the end, I can actually move the audio in time back or forth. And if I grab it right at the end, say where you got the double arrow, you can actually shift this in size and you can hold Alt as well to make it finer control so you can make it longer if you want. Now, I don't want to do that at the moment. But you can use it for correcting small or minor timing issues, which will probably look at in a bit. The same goes for the end as well. So you can change the end, starts or length if you want, that's fine. And then down the bottom you got variation. So if I grab this, it's just exactly doing what the variation does, the global variation dial. But on a micro level, say we can just do this one. Note. We can actually change it later, it's reversed. So that's getting the opposite of what it is doing is I go up in pitch now it's going down in pitch. So you can do all sorts of fun things with that. Said, let's just leave that where it was at 100%. There we go. And then the n controls here, you've got, say if I bring this in and then change it, this is the sort of fade in pitch if you'd like, or the ramp in is it says so I can just have it starting higher in pitch. And this controls that are whereabouts. That happens if I set it right over here and I change it, it's going to change, this amount of pitch will be up. So you can do all sorts of crazy stuff like that. Or I can make that much shorter, even bringing it right to the front where it doesn't do anything. And the same at the back here. So this is just the sort of ramp out. So again, we can have that gunned down in pitch. So all sorts of interesting things you can do here with the pitch. And of course, the same applies for any note that's here. You've also got split tool, which we'll be looking at in more detail soon. So you can choose to split up the audio like so. This is actually one of the good techniques that you can use to straighten up words. Now this particular word is not going to work because we are where we want that glide to happen from one note to the next. That's how it's supposed to sound. But on other notes you might want to straighten out the pitch and actually cutting it into smaller segments and then flattening them out. A really good way I've done it. But again, we're going to look at that in just a sec. I'm just undoing one of the control which is worth noting is the formant shift. So just get rid of my slice to go back here. And over here we've got foreman shift. So if you click where these blue and red arrows are in the center bits on the right-hand side, you'll see that we got as formant shift thing. So let me just very briefly explain what format is. So you know, like what it actually does, what it's important. So pitch and formant combine naturally in sounds. So with voice, when you change the pitch of your voice as you are singing, the formant also changes. The format is basically the dominant frequencies, so they actually will change. They will get higher as your voice raises in pitch, and the former lowers as you go lower in pitch. But this change between the pitch and foreman is not linear. So when you pitch something up or down digitally, the pitch and forming a kind of locked together so it can sound a bit unnatural. So to fix this, we have a separate form and control and what we can do with this. So if we are, say, e.g. changing the pitch of this vocal chop, Bye a few semitones and it really needs to be more than one or two semitones for it to necessitate using the format control. But if you're changing this by quite a bit, then it was going to sound a bit unnatural. So what you can do is you can come in and change the formant and raise that up a bit, a little bit more. So what we've done is making it sound a bit more natural. So by being able to change the format, you're kind of in a way, bringing back that kind of natural characteristic of as the pitch rises, so does the format, but at a different rate. And of course it's the same in the opposite direction. Say if we were going to lower this in pitch, then it might sound a bit unnatural. Therefore, we would also lower the formant a bit to at least keep a bit of sort of natural sound to the vocal. So I'm just going to undo that. There is another really cool, useful format shifting. And that is just to make it a bit more creative or you can use it creatively, I should say, as a vocal is playing, you can tweak the formant. Shifting a bit more. On the extreme side sees sort of make it sound like it's been massive. So let's just move. We'll do this a little bit higher. Get that kinda like pitched up sound. Now that might not sound too particularly nice on its own. But if you use this in the right way, it can actually be quite nice, which we might well look at in this video. I'm not sure, but either way that is formant shifting. So what we're gonna do is we're going to start at the beginning. We're just going to listen through and correct any errors in the vocal performance pitch-wise. And we'll just see how you use new tone as we go. So it kinda sounds right, but it's a little bit wobbly. I'm not massively keen on the last half of this vocal. Wobbles a bit too much. So I'm going to grab my split tool. I'm just going to do this to the last parts of it. I'll turn off my split tool and I'm going to snap these by right-clicking the center of the notes. Sounds better already. So that's fine. Just go on April. So again, just a little bit too wobbly this last part. So I'm just going to split that. And I'm actually going to then change the variation, say, make this less and just see if we can get rid of that war Bolinas by doing that. Sounds better, good. 11. So it's always there. It just wants to be a bit more central, just getting them as medium point for that central pitch line one. So again, as we want it to be about there, so it starts off in the middle of the night and ends in the middle of the night. And this is why, again, the global control is just not going to work. So that's fine. Scroll along again here we can see that we've got this looks like it's right in the middle of those nights. But when you look at the actual pitch line, you can see that really it's just a little bit out perhaps. She sounds okay, so I want to leave that as fine one. So again here we're starting lower in pitch rights in the middle of two notes, which is not what we want. So let's just raise it up a bit. One. Say that's much better, It's fine. Let's carry on. One you one. You say, that's fine. Ready? One you. So I'm just going to tidy this up a little bit. Just really be very precise with what it wants. You. Want you to be. Be free. To be free beside me. So I'd want to see if it works. Be free beside me. Say that sounds a k. This words a bit all over the place beside me. To be free, beside me. And centralized E, really I'm not having to do much apart from just tighten everything to be free beside me. And like a coat that sound in nice and tight vocalize. So really that's all I'm gonna do. Go through and do that, are going to carry on and get on with the rest of the vocal. So you can either carry on and do it yourself or a course. In the next lesson, we're going to load up the pitch corrected vocals anyway that I've created in this lesson. I'm just going to go through and quickly do this. Okay, so that's pretty good. So what we can do now is we can get this in C, the project, and a couple of ways I'm just dragging this down a bit. So we still got our controls here. So what we can do is save the way fall. If we really want to, we can drag the selection. So I'll just do this e.g. sake. You can actually drag it into the project's window wherever you want or if you want to, I'm just going to undo that. Or if you want, see what you can do is just replace the existing vocal. Say if you're super happy with the changes that you've made and you think it's going to work, then you can actually just delete that vocal and then go down here and go send to play list. And you can see it's just going to replace or add that new audio to the playlist. So let's just play that. Now. It's timing is a bit off, so let's just get that correct. So then before HE closing new tone, I don't want to close it. I just want to go through and make sure that we're happy with all of these changes. If not, we can bring up new tone again and change it. So don't close the window yet. That's fine too. Hey ball 111b. Say, sadly, just listening to these sections now to make sure that 100% happy with it. Then we're going to copy the vocal from earlier, the pre-chorus because it's exactly the same, so we'll just copy it in a coming lesson into that slot there and then just make sure the chorus vocals are okay. One of them, because some sort of weird audio glitch going on here. What was that all about? 16. FL Beginners Lesson 15 Vocal Timing Correction: Hey everybody, welcome back. Alright, so in this lesson we're going to look at timing correction of the vocal. Now, if you didn't follow along in the last lesson because you don't have the new time plugin, but you want to follow along in this lesson, you can drag in the pitch corrected vocal that we created. Now if you followed along and did your own pitch correction and did all of the vocals, then that's totally fine. You can obviously just carry on using them. But if you're really unsure, then It's best to just use the audio provider because I've already gone through and pitch corrected at all. Just incase, just have a little look under the audio clips section of the picker. And just make sure that we've got only this audio in here at the moment. If we've got any extra bits and pieces down here, like audio bits, then you can actually select whatever is there and delete it. If you're bringing in the new audio that's provided, say let's just bring that in. So we've got this one, BCP, obviously firstly, navigate to where this is. So in the BTP beginners work files, audio folder, and then we've got beginner Vox pitch corrected O1. So I'm just going to drag this in and just get it lined up. So that's where the first word should hit something like this one. Okay? And then we bring in too as well, not O2 and O3. And then we've got all three pitch corrected vocals in. Okay, So the timing correction plugin is available in the producer addition of f, l and above say if you're using the basic version, you won't have it. So you'd have to do your timing correction in what I call a manual way. Say let me just quickly show you what I mean by that. So let's just zoom in a bit. Vox O1, say, let's say that we want this to just mute the other two vocals for now. That's a little bit too early. So what we could do is we can grab our split so we could take out a little bit of audio here. Then I can grab this and then hold the Alt key and just move that to where I think the correct sort of starting position is much more accurate. So if you don't have the timing correction plug-in, It's called new time, then this is how you will have to go about actually correcting the time of an audio performance. I'm just going to undo that because I'm going to go through with new time. And really it's as simple as that. You just go through and make cuts and then just adjust the vocal however you need to to get it in time. So obviously I'm gonna show you in a different way. I'm going to show you with new time, how to timing correct. This particular vocal. Okay. So let's just double-click on it again like we did for the Pitch editing, and it brings up the sample settings window. Then we can right-click where the waveform is and go edit in time warp, new time. This is the time shifting, more time warping plugin. And this really is the superior method of time stretching or rejecting the time of a particular vocal. Or it can even be used for beats to add swing to sort of like an audio loop, all sorts of things. This is actually a really powerful plugin, very worth having. But obviously we're just going to look at this in a basic way, just using it to correct the timing of the vocal or tighten up the timing of the vocal. And again, before we go any further, let's just make this window detached. Just so we can't lose it behind all the other windows. So f l will detect where it thinks the starts of words. Or in this case, obviously if you've got a beat in there, we'll try and define where it thinks the starts of like beats, like the kick the hats and all that sort of thing starts from and it does a pretty reasonable job of that owed say we can see that it's pretty much got the start of every single word. Sometimes it doesn't get it absolutely perfectly. So you might need to readjust some of these markers. So if you want to add a marker, literally just double-click and you'll see you get a new marker point or warp marker. I should call it the warp marker. You'll see when you run your cursor over it, you get this sort of left and right arrow, which means you can just drag it left or right. So you can obviously see them changing the time of the vocal, making that too very much more stretched out. I don't actually want to do that, so I'm just going to undo it. And if I want to get rid of that marker, I can just double-click it again, which will remove it. Now, no, you see the play head moved, but you can see the marker is actually disappeared. Now that applies for any of these. So if I want to change the start of this one, e.g. so I'll just move my cursor over until I get the double arrow and then I can double-click. And it removes that marker as you can see. And then if I want to, I can re, add one right at the very start of that particular word. So it's just a bit more accurate now it also, every single time you click, it moves the play head as well so it can look a little bit confusing. So if I add a marker, it also moves the playhead, which kind of confuses things a little bit, but don't worry, that's just sort of part of how this works. I'm just going to double-click that marker to get rid of it. And then what we can do now, tighten up our vocal so I can snap that to the grid, or I can hold the Alt key and I can move that freely and much finer increments. Okay, so one really important thing to do when you are time correcting a vocal or anything for that matter, is to actually play it with the rest of your projects. Otherwise, how are you going to tell whether it's like really in time or out of time. So what you need to do is first select this button here, which is slave playback to host. Now unfortunately, what you'll find at the moment if I come out of here, we need to actually mute the original audio. And then if I play it so you can hear that something's not right there. Okay, so the vocal is not playing in time with the actual projects. So what's gone on is in new tone or new time. Whenever you load it up, it starts from the very beginning of loads the audio in as if it's starting from the very start of the project. So you can see that as like bar 1, bar two by three. Whereas in our actual projects are tracked doesn't properly start until bar five. So what we want to do is hit Control or Command plus a to select every single slice the vehicle has got in new time. And then we're going to move this. So the first word two is starting on bar five right there. Just to make sure we do is accurately actually, I'm just going to add a point right on the first bar where it should start. And for the ease of everything else, I'm just gonna get rid of that first marker just to make sure I'm definitely going to get this in the right place. At the moment. That's where it starts on the grid. Now I'm going to go Control a, makes sure every single thing is selected. Yes, it is. That's great. Zoom in a bit. And then I'm just going to move this. That marker is now on bar five because that is where the start of our projects is. That's where it starts in verse one. Now I can just mute my other audio and then when I play, hopefully one. Okay, Fantastic, So it's playing okay, now it's a bit of a Genki way of doing things because unfortunately, every time I want to play, what's in new time, do you need to actually click on the window here to hear it in time with the actual beat. Okay, so that's fine. Let's go through now and timing, correct this a bit. So let's actually I'm going to get rid of my point that I added in. I was literally just to line this up correctly with the start of the song. Just say no as well. We've got this thing, this green market is a downbeat marker. We don't actually need to worry about this. And you can make any marker you want into a downbeat marker. We're actually going to get into this at the moment. We don't need to because it's actually unimportant for correcting a vocal. But basically, we're just saying the starts of the beat starts there. It's not to do with cracks in vocalization, don't worry. You will just find that sometimes that will appear when you right-click a market, okay, so just don't worry about it. That's all it is. Okay, so let's get rid of that first marker and I'm going to add another one in right there. So we can then snap that to the grid. Maybe it's just slightly too early. So I'm gonna hold Alt or option and just move that slightly. Let's hear that with the rest of the tracks, I'm just going to click in the playlist C. Activate. Playing in the playlist. That's kinda sounds all fine. I would say looking at it, it looks like it's very slightly early. So he could be super anal and just sort of hold 0 or Command and just drag that in. The second word is falling almost exactly on the offbeat. So that's fine. Let's play that again. What are we trying to do is just really make this nice and snappy. Some words might need correcting, some might not see that one's absolutely fine hair. Let's just have a little listen. Because it's got such a gentle lead into it. The word soul, that's absolutely fine. Not going to worry too much about that. Again, it's just a little bit early, so I'm going to just say no as well if we don't want to elongate the previous word when I'm correcting this. So say e.g. obviously at the moment it's changing the word before it as well. So if I don't want that, what I can do is actually just add another warp marker in by double-clicking there. And that means that anything before that warp marker won't be affected. So I can just hold Alt and move this wherever I want to. Actually sounds a little bit late like that. So perhaps that was actually correct how it was just going to change that a bit again. That sounds fine. Okay. The soul starts just a little bit too early for my particular tastes. So I'm just going to move that a bit over. In fact, let's just undo that and I'm just going to put in a warp marker here, just so I don't affect the other word. Let's just try that. Maybe just a little bit too late. One. Perfect. Now of course you can use warp markers here to actually elongate the word. So if you are unhappy with the length of this, if you wanted to extend this word, you totally can see what they sound like. So I could just grab this warp marker here and just literally move that all the way along. Or I could add one, get rid of that one here. Make this much longer. Not saying that's what I want to do. I'm actually going to undo that, but just saying that's what you can do with this new time correction plug-ins. Pretty powerful. Okay, Let's move on. I'm just going to enable this button here, which is follow or scroll with cursor. Not bad, but I is just a little bit off, so let's just find where that was. I say, Okay, again, I'm going to drop mark or even beforehand and just snap this right onto the grid? To be sad me. Yes. All sounding pretty good. I'm just going through it and this is what we're doing, just literally tightening everything up as we go, saddening. So the truth is a little bit off there, I think. Where are we? You self be true. Keeps jumping back to that point. That's been annoying. So this new time plug-in isn't 100% perfect. It's not bad though. So we're just going to tighten up this last little phrases here. It's mostly okay. At a point in there. Can I just snap that to the grid? Just tightening everything up as you can see. It's just play that back. Okay, so there we go. I'm gonna go through now and do the rest of the vocal as I've done before with all the other bits. So the second verse and then the chorus vocal. But I just wanted to show you how to do it in the first verse, but literally has already doing going through tightening it up, making sure everything's like really bang on the money. So I'll go through and correct the rest. And I will also do the same with the backing vocals or two extra takes, O2 and O3. So I'll go through and timing correct those as well. And at the start of the next lesson, we will then import the consolidated and final corrected vocal where we can then start actually mixing it into our truck. Alright, so thanks for watching guys and girls. I hope that was helpful for you. I'll see you in the next one. 17. FL Beginners Lesson 16 Vocal Mixing: Hey everybody, welcome back. Alright, so in this lesson we're going to get into actually mixing the vocal. So we've done all of the correction phase. We've corrected the pitch roof, corrected the timing. And if you've followed along, then obviously you're going to have already your own vocals in here, the final vocal, if you like. But if you skipped over the last lessons or you just want to continue on from exactly where I am with the corrected vocals that I've done. Then, follow along now and load in the final vocal bits. So we're gonna go here to the work files against the audio folder. And we want the beginner Vox timing corrected O1. So just gonna click and drag it into our projects. It should start from the very beginning of this time. And we'll just do the same with the last two as well. Fantastic. And one other thing that we want to do is go to the mixer and the channel that new times and new towns have been loaded on C. And we're just going to click these, sorry, click the little drop downs and go delete. Yes, and then delete new time as well. We didn't need them anymore. We're all done with that. And there we go. We've got our final vocal in the project. We gotta do now is actually mix it in. So when I talk about mixing the vocal at this point, I'm not really talking about finally mixing it into the rest of the track, but I am talking about guessing it ready so we can mix it into the track. Now what we need to do to get it ready is to apply any corrective EQ, like removing any unwanted low-end frequencies. And we want to level out the volume. So dynamically it's much more consistent. So as you can see at the moment, if I just expand this and zoom in even just to the first verse, you can see that a lot of these words have quite differing volume levels. And the chorus where the singer has sung more powerfully, it's quite a bit louder sort of thing over there. So all of this needs to be leveled out. Now the reason it's bad at the moment and the reason you want to level it out is because when we mix it with all of the other elements, the quieter bits of the vocal can get lost, and the louder bits can suddenly jump out. So getting a consistent volume level is vital to getting a good and big sounding vocal as one of the keys to getting a decent sounding vocal inner track. And this really does apply to pretty much any recorded material, whether it's acoustic guitar, double bass, or whatever, all going to need to be just tweaked slightly on the EQ to make sure that there's no unwanted frequencies and they're going to need to be leveled out so they will sit in the mix much better. In this lesson, we're going to concentrate on the main vocal. In the next lesson, we will actually look at mixing these doubled takes. What we're going to concentrate first with the main vocal is the EQ. So very simple. We're going to go to the channel rack as you bring it up on Mixer quickly, just want to see where we've got an empty track. So track 11, Let's go a little bit higher just in case there's anything else we want to bring into our project. So I'm gonna go from foreseen to 15. So again, all I need to do in my channel is select those three channels. In fact, the table, sorry, let's quickly color these and we'll go with our red that we've been using, except for all of these as well. Just so when we transfer this to our mixer, it's going to be the color and everything. So again, we'll select those three vocal elements and then we'll go to our mixer right-click channel foreseen. I'm going to channel routing, route selected channels starting from this track. And there we go. We've got our vocal in the mixer. And I'm only leaving a gap between these and the rest just because it kinda helps me find my place when I'm in the mixer. If I've got a little bit of gap between the main elements and then the vocals. And then we might have grouped channel tracks, laser, which will go further on. But that's fine. It's just an organizational choice really more than anything else. So we are on channel foreseen, which is going to be our main vocal. So in fact, we could just change that very quickly. Just the name main Vox. Hit Enter. Just make this a bit smaller so we can see what we're doing. So a fruity parametric EQ to, and again, this is gonna be very simple. I'll just quickly detach the window so it doesn't disappear. And we want to remove any low-end, unwanted low-end. So let's play it. In fact, let's just say it as well. One. But if you look closely, you can see where the main bulk of the frequencies are. We've got the denser lines. But you can also see down here, this is kind of almost looks like noise. There are unwanted frequencies there. We definitely don't want anything in that frequency range. So we're going to do the same again, right-click band one. Go to Type and we're going to put this to high-pass. And then we're going to change it again from the order too steep eight. And we're just going to move this up until we start to hear that we're taking something away from the actual vocal and then we're just going to back it off a bit. So let's just play that one. Say right about here we can start to hear it starts to thin out the vocal a bit so we don't want to actually affect it in any negative way. We won't see, let all of the good stuff through and just cross out any of that low-end rumble that's going on there. So I'm going to back this off a bit. One. So one thing that we can just use, band three, they're just grabbing that I'm not doing anything special, just grabbing him, bringing it up just so we've got a nice smooth curve here. One. So that's the ROI on the limit. I could choose to just back that off slightly more. But that's absolutely fine. We're just removing anything basically below 100 hz. So any sort of base or sub rumble that might have been picked up perhaps from a computer fan that was in the room when we were recording. Or it could be sort of like rumble from distant traffic or anything like that. That's sort of Rumble in the low end we just want to get rid of because when we compress this vocal, which we're going to do next, that compression is going to bring up that noise floor or the quiet stuff in the background. Compression is going to bring that out. So we really want to EQ as much out of it as possible. Okay, so that's it, fine done. And now we want to add into slot to a compressor. So we'll just load up the fruity compressor, Again, detach it, and then it won't disappear. So before we go any further, let's just talk about what compression is. A compression is the process we use to level out the volume or to be technically succinct the amplitude of the audio signal. So again, if we zoom in, we can really see the variation in volume. So we've got some louder bits and really quiet bits. And volume wise, it's kind of all over the place. I mean, it sounds okay when you play it, but when it comes to actually mixing this and you really need that to be much, much more level. So what compression will do? I will just give you a visual representation of what it's gonna do. And what we do is we set the threshold. So this function right here, if you can imagine it as an actual line, as we bring the threshold down, anything that goes, any part of the signal which goes above that threshold line will basically be turned down. So all it's doing is making the louder bits of the signal quieter, which in turn basically means the volume is much more level or consistent. And then all we do is we use the gain to turn it back up again. There's a couple of other settings that we're going to go through now, but that's basically how a compressor works. It just turns stuff down. Anything that goes over the threshold level is gonna get turned down. Now the amount that it gets turned down by is set by the ratio. So if I turn this up to three to one, e.g. anything that goes over that threshold level will be turned down by a factor of three. So usually on vocals were talking 3-4, a ratio of 3-4. I generally tend to go a little bit harder, so the upper end of three, but really you can sort of mess around with that. But we generally wouldn't go any higher than 4.5, five to one, or any lower than three, unless there's any sort of special circumstance. But I'm just going to play this quickly so we can hear because actually doing anything, he bought one. So you can hit, it's really sort of squished the vocal. And I'm just gonna use the gain to turn the signal backups. That's a bit louder. Hey Paul. And all her breathe the sounds of really light coming out. That's what I was talking about when it's making the quieter bits like any noise or anything like that, it makes it appear much louder. So we don't need to have the threshold at that level. We're just going to bring this down until we can hear it being affected one to one. So what I'm going to do is I'm going to click this little cog icon so we can then bypass the effects. This is without a ball. One. We can, if you listen carefully, you can really hear the difference in volume between two people. And then 11 definitely sounds quite bit louder than the first two phrases. Let's just put that in. One. But with the compressor on a ball one. So it sounds much more consistent. It sounds like it's the same volume level and that's exactly what we're going for. The other settings that we need to worry about when we are looking at compresses, the attack and the release. Now as we are pretty much just leveling the vocal out, I think we're going to need to worry about the attack so you can turn that to zero. And the release probably say about 200. Hey Bob, 11. So actually just experimenting a bit there. So it sounds better with a bit of attack, or the attack does, is kind of a bit of the initial signal through before it gets turned down by the compressor. And the release is just how quickly it goes back to its normal volume after the signal has dropped back below the level of the threshold. Now, ready? Don't worry about the technical aspects of this. If you're doing vocal compression in FL, you can use these exact settings. The only thing that we need to change is the threshold, because that's the bit that will depend on the volume level of the original volume level of your vocal or whether it's guitar or whatever. But apart from that, you can actually go ahead and pretty much use these settings. I'm not saying you should always do that and that's what you should do for the rest of your career. Obviously, if you're going to learn about compression, you'll start to know when to tweak these different dials. But as a very general starting place, you can use these settings. And that's it. We've leveled out the volume of the vocal, so let's just give it a quick listen through and also listen to the chorus parts of our track as well. Papal one. So you want to say it is getting a little bit to breathe E. So I'm just going to back the threshold off a bit, which means raising it up. Just checking it with verse again. April 1. So still actually quite breathing. One. But we're starting to hear some sort of stronger volume variation their site. I will actually leave that down as fine. We can deal with the breathiness if we really need to. But at the moment I think that's absolutely fine. Okay, so that's sounding pretty good. Now the next thing I want to do is add a delay. So we're going to add the fruity delay three this time. Let's add this fungus is a bit more advanced than the other 111111. So again, we can go to the presets. We can pick Ping-pong. It'll give us like a stereo effects. First of all, what you need to change the amount of the wet signal. So that's what we do here. Say this just basically changes the mix. So if I turn it right down, one, pretty much all you hear is the dry signal. So you can just raise this up and we'll hear more of the delay. One. So now it's time to actually hear it with the rest of the track, of course. So you need to make sure this is working so un-solo it. And we'll just mute for now, are backing vocals. Just going to go to our mixin, bring up the fruity delay again and make it detached. And what I wanna do is dim those delays a little bit because they're a little bit too bright. So what we wanna do is turn down the cutoff of the delay. So again, I'm just going to say do this quickly. Hey ball one. I think that sounds like, Hey, let's just un-solo it and listen to the rest of the track. But basically we're just dimming or taking some of the high frequencies off of the delays. To be sad. Okay, So that's fine. I'm pretty decent. I'm happy with how it is at the moment. Let's just check it in the course. Okay, So sounding fine, maybe we'll tweak that a bit in coming lessons, but that's pretty much in the ballpark of where I want it. So the last thing I want to add is a reverb. So we're going to add a reverb specifically for the vocal. Now, in one or two lessons time will actually be adding a reverb as a send. So that means that we can just have one reverb unit or even a reverb and delay unit. And then we can send any elements in our projects to it to get reverb or delay on it. But because the vocal is such an important part of the track, we're going to have a separate reverb unit on, say if we just click to bring up into the slot and we'll gates to the fruity reverb to say it when I place is probably going to sound a bit crazy. I want us just to touch that quickly. And solo vocal. Saying here it's got loads of reverb suddenly added to it and it's controlled by the wet and dry up. So if I turn it down, will only hear the delay as I turn it up. Now, if I want see bypass this and listen to, I'll just click on the little cogwheel and then I can turn this on and off or bypass it as I'm playing without width. So that sounds pretty good summary about that. I'm not changing any of this at the moment. A really nice, it sounds pretty decent and it's sort of stock settings. We're just adding that extra bit of space to the sound, making it a bit faster. So that's absolutely fine. And again, like I say in the coming lesson or two, we will actually add reverb to the other elements of the mix as well. Alright, so there we go. Let's un-solo our vocal. And in the next lesson we're gonna be working on the two backing or doubled vocal tracks. Thanks for watching guys and girls see in the next one. 18. FL Beginners Lesson 17 Mixing Vocal Double Takes: Hey everybody, welcome back. Alright, so in this lesson we're going to see process the doubled takes here. So I'm just going to mute the main vocal. So we've got these two to process, just going to expand that a bit. And we're going to do much the same thing. In fact, some of the processing we can actually just steal from the main vocal, but we are going to do relatively the same thing. So EQ first, then compress. Now before I go any further, we're gonna do the most obvious thing with this vocal which is panned. Hard left and hard right. So over in our channel rack, these two are the sort of backing or doubled, takes some just going to pan. The first one hard left and the second one hard rights and then want to play it. Okay, so you can help see they're just pan, but it gives a nice big wide stereo effect. So what I wanna do is add the same processing, see both tracks. Now, I could literally have them on separate channels like we have at the moment in the mixer. So one is going to channel 15, the other is going to channel 16. So 15.16 and I could add the same effects to both channels. Or I could potentially create another group and actually route both of these tracks to another channel in the mixer and just add effects to that. But the sort of quick and dirty way of doing it in f l is literally to route both of these to the same track. So I'm just going to change the third vocal takes. It's going to channel 15 as well. It means this track here is now defunct so much I'm going to right-click and just go reset selected tracks to default. Yes. So that's fine. So basically you got to vocal tracks. I'm just going to rename this so it can stay the same color. And I'm just going to call it doubled takes, hit Enter. And now we've got both of these being routed through this channel. So if I say no, it's one as you can hit, Okay, so that's fine. Now, any effects I add to this will be applied. Obviously it's a both tracks because as both signals running through channel 15, say first off, I want to get the EQ that I have on the main vocal. So I'm going to select the main vocal track. Come over here, and that's just click on the little drop-down arrow. And we're gonna go to Save Preset as all we do is literally click and hold that. So left-click, click and hold and then drag it. So it's now hovering over our other vocal tract double takes and let go. And there we go. You can see that it's now been added to that trap. So we now got EQ being removed and we're going to also do the same thing. So we're gonna go back to our mixer track. We're going to, for the compressor, click the little drop down arrow. And then where it says Save Preset, going to left-click and drag it and drop it on our doubled takes track. And again, we've got the same thing. You can hear that obviously it's being compressed now. Fantastic. So let's do the same delay. We might want to change this a little bit, but it's fine, is pretty much set up how we want, so we're just going to copy that as well. So let's click the drop-down arrow. See priests as drag and drop. Okay. Now with the backing vocals or the double takes, I should say, we can actually add a bit more space to these, so we can actually turn up the West amount. So increasing the amount of delay just because they're going to sit a bit further back in the mix. Now, what this does is you've got obviously the main vocal, which already has a little bit of effects on it. So it's sort of sat a little bit further back in the mix. But having even more depth on the double takes is going to create a sort of nice, big, lush vocal sound. And you'll hear that as soon as I bring in the main vocal again and we tweak the volume. But just for now, let's just add a bit more wet to that, so that's fine. Again, we're going to get the reverb as well. So once again, go back to our main vocal, drop-down arrow, save preset as click and drag and drop on double takes and reverb. So let's do the same thing here. So we're going to increase the wet just a bit. Say that sounds okay at the moment, I'm just going to close these plugins. We didn't really need them open anymore. And I got to turn the fader down for the double tape. And I'm just going to go to our project window and unmute main vocal tics. Now let's just play that and see what it sounds like. The, you can hear that nice thick vocal sound, but the double takes just a little bit to doubt. A nice mixing technique feces when you're trying to get the balance of something right is to turn whatever it is you're mixing in right down to start off with. And then just gently bring up the fader until it's getting the sort of effect or the balance that you want. So let's just play it now. They can hear there, That's obviously the track with just the double takes and you can hear the sort of level of volume that they are at. And then we bring in the main focus as well. So I'll just play that. One. Can really hear. It just adds that extra dimension to the vocals, making them a bit more plush and nice. So that's fine, a pretty good as they are now. And let's just test this in the core section as well. So definitely add some, just bypassing it there in the course section just to check it what it sounds like without them and obviously with them. So that's just what I'm doing there, but it actually sounds pretty good. Just adds that extra thickness to the vocal. Very nice. So we've got the option now of just choosing where and when we want to add those backing vocals. So do we want them all the way through the track that literally right from the beginning everything is just doubled all the way through. Or do you want to use them more as an effect? Perhaps we only use them in the chorus. So e.g. if we just shorten these and the main verse vocals, just a plain main vocal on his own. Jordi sounds nice on its own, but then in the chorus, we got the doubled vocal tics as well. So adds a bit more sort of impact to the course. You've got many different options that we can go with, that we're going to be a little bit more intricate with our choice. So I'm going to have the double takes playing just these longer words in the verse, say like soul and that sort of thing. Let's just play that quickly. And then this word here. So let's just do that quickly as just shorten these. Get my arrow or you go to the beginning and then just shorten that. Then get my split tool. Zoom in a bit as well. So it's just going to split those two there. Get my normal selection. So making sure that I grabbed the right bits. So that's all fine. Just want to make sure you can see there's a little bit of audio. So I'm just going to choose to not snip that in half. I'm just going to try and find a nice low volume patch at the point where I'm cutting the audio off and again, grab my slice tool and it's just slice down there. That's fine. Selection to say you can see what I'm doing. It's quite sort of basic ready, so they just those two words. Now let's just, before we go any further, let's just actually make sure that actually works. One that can probably be turned up a bit now we're just using them as one-off words. So I'm just turning up the sorry. That was a bit quick but I'm just turning up the doubled takes a volume a bit there. That's nice. Just adding a little bit more impact to those particular words. So that's a nice trick to do and will do the same in this second verse as well. We still got a bit of editing to do because we are missing the pre-chorus vocal in this section, but we'll get to that in just a second is fine. Save, I'm just going to do this here as well. Let's just check what we got. So it'd be this word. Say, let's just show some these off. Ease my slice tool. Actually going to undo that. And I'll zoom in a bit so it can be a bit more accurate. There we go. Yes, perfect. Selects my normal selection tool and Just leave that last word there. Here we go. Let's just play this. Then. I want you say Let's just quickly do that as well. So let's get our split. So I'm going to split all three audio takes right down the middle there and right at the end of fantasy, zoom in a bit so you can get as nice and close. Go back to the normal selection tool and I can just delete these big gaps. And let's go and see the beginning of our track. And here splits. So again, we're just going to split this just a little bit before it actually starts. And at the end there snippet as close to the end as we can. So that's fine. And then what we're gonna do is I'm going to select again our normal selection tool, hold Shift. And just drag that across and zoom in, just make sure that is actually on the right point. So that should be fine. So let's just play that. Sadly. Okay, say sounding pretty good. I think we could, if we wanted to sort of mess around with this a bit more, we might even want the doubled takes to only start sort of like say, halfway through, perhaps. Just going to test this out very, very briefly. We will actually do something like that. I think that kind of works, but we're going to mix this up a bit because our core sections or loss for three repetitions of 8 bar. So what we're gonna do is we'll select, sorry, I hold Control and just select those two. And we're going to move this to the end. And then we're actually going to duplicate the first half of the course vocal. Hope this isn't too confusing, but if you just follow along, it'd be fine. So we're going to just have this first eight-bar section up to here. So let's split it right there. Scale split to split it, That's fine. Zoom out a bit and I just want to shorten. So normal selection tool, I'm just going to shorten this up as much as possible. That's fine. I just need to jig this along so we're going to have that last part of the course starting there. And this one's going to be repeated. So we're going to hold down Shift and just copy that across. I think that's right. Just messed up and not put those in the right place. So let's just select them and move them up. Okay, so if you've followed along, basically all we did was just make the chorus vocal longer by chopping it in half and then repeating the first part of that twice. Say from here to here is the first repetition, then the second repetition, and then it goes into it. Second part, if you'd like. And we've also got the doubled vocals. I'll just play the whole thing just so you can actually get an idea of what I just did before I play it. Just so you know, what we're attempting to get here is just a buildup in energy. So obviously we've got the chorus vocal coming in for the first time in the track, or at least in the proper course section. And we've got 8 bar into that. We've got the lead up coming in. And then in 8 bar after that, we've got the doubled vocals coming in as well. So it just sort of builds up and up and up throughout the course section. It just keeps it a bit more interesting. Let's just play that last section so you get what I'm talking about. Hello. Okay, So you can kinda see the three stages throughout the three different eight-bar section of the course, just booting up and up and up. So that's that one last little thing. I was playing around with the idea of putting the chorus vocal actually in our breakdown here. So let's just try that. So let's first of all, we just need to cut snip or slice this vocal here. So let's just cut up there, and let's cut it at the end as well. Normal selection tool, delete that, and then I'm going to copy over the first repetition of our course. So again, I can just hold Shift. Copy that to the start of the breakdown. Say they're just see what this sounds like. Okay, So I think it actually sounds half decent. I'm going to let the track plate through from start to finish now just so we can get an idea of where we are with the arrangement. I think it's pretty good. In the next lesson, we'll start looking at either side chaining the base, which is super important to any track that you make. Okay, So I'm just going to play through now from start to finish just so you can get an idea of where we are with the arrangement and how it all sounds at the moment. So that's it for this lesson. But in the next lesson, we will be looking at soil chaining the base. So the kicks and the base. So thanks very much for watching guys and girls see in the next 11111. Right? But I want you to be sad. 19. FL Beginners Lesson 18 Side Chined Compression: Hey everybody, welcome back. Alright, so now we are starting to get to the end of the course. And this is really where we start to actually mix the track properly. So we've looked at a few effects already, like compression, EQ, and we'll be using these a little bit more through outlaw sort of mixing process. But the next thing I want to look at is an incredibly important thing in guessing the low end of your track to work properly. So we'll unpack this as we go. But basically, we're gonna be using side-chain compression to help the kick work with the baseline. So when it comes to side chaining, you can use so chaining sort of in a creative manner, which we may do a bit towards the end of this lesson. It is also one of the most powerful mixing tools when it comes to the low-end frequencies of your mix. This track we've been listening to, and I haven't felt the need to actually side chain it yet because it doesn't sound too bad. Now sometimes when you have the kick and the bass playing at the same time like we do up secret. If I zoom right in, you can see our kicks are playing on every beat actually. So on these points. And also our baseline is playing at some points at the same time as the kick. Now that's where you get problems with low-end frequencies. You didn't have to understand the science behind why that is. But basically, low frequencies are harder to mix, or at least they require more attention and more precision than mixing, say mid-range or high range frequencies. But it's simply to get the kick and the bass line to work together. You need to make sure that there is no, or at least very little overlap between the two elements. So very briefly to explain why it's important, what happens when the kick, which obviously has a lot of basins, sub-basins energy plays when that plays at the same time as the baseline, which of course also has lots of sub bass energy. When they play at the same time, the base from the baseline will interfere with the base of the kick. And what happens is the kick kind of loses its definition. And this leads to an inconsistent kick playing throughout your track where you want it to be really nice and tight and punchy. But it kind of having them play at the same time has this kind of destabilizing effects on the mix between the kick and the bass, which ultimately leads to a messy, muddy and, or boomy low end. So how do we get the kick to have all nice bit of space around it and then still have the baseline playing. To do this, we use a process called side-chain compression. Now we already know roughly what compresses do. We looked at that and the vocals mixing lesson, they basically just turn the volume down when the signal goes over the set threshold level. So all a side chain compressor does is it allows you to use another source to activate the compressor. So we'll put the compressor on the bass line channel. And we'll use the kick as the side chain inputs. And what it will do is every time the kick plays, it will turn down the volume of the baseline, thus creating space in your mix. Again, don't worry if you're not following exactly. This is, I wouldn't say an advanced process, but it's certainly not really a beginner level process. However, it's so important to every mix that you make, It's really worth covering from the very start of your music production journey. The first thing I'm gonna do just so we can really get to grips with what's going on here is I'm going to mute all the elements of our track, apart from the drums and the bass sub k. So I'm going to mute the leads. The lead UP can stay. It's not really going to interfere where we are at the moment. And the effects can stay and that's fine. We're just really in fact, so I'll just set a loop region as well. So just by double-clicking in the timeline and then dragging to the right and our mute, this one crashes. Well, let's go to our channel rack and go to all. And I'll just mute the clap, the clays tap and the open hat. Okay, So obviously we've just got the kicked playing now and the bass sub, just so we can really get to grips with what side-chain compression is doing when we add it to our track. Just going to make a channel or a bit smaller. And let's go to our mixer. So you've already got the bass sub coming out in this channel here. If you've copied me, then it will be channel six. And of course we've got a kick as well at the start. In order to side chain the kick to the base subunits. The first select the kick channel and then on the basis of channel. And with this little arrow, we're going to right-click it and then go side chain. Track. Sorry, that's a little bit cough, I apologize about that, but it says side chain to this track and you can see this little green wire has appeared. It just means that now the side chain is linked. Thanks, turn this up. You don't need to, that's absolutely fine. Just leave that with no green bar, leave it at zero effectively. And then on our bass sub channel when we select it. And just a quick note as well. Obviously, as I click on a different channel, that green wire disappears. But when I click back on the kick track, you can see that it appears so it's just tidies up the mixer by not always seeing these green lines. So just say no, it's still there. When you click off it, go to the base subchannel. We're going to load The fruity limiter. There is a quick, easy way of doing side chaining, especially when you're using a four-by-four beat like this. But honestly this is the much better way to do it using the fruity limiter. Okay, So just made it a little bit bigger and let's also detach it. So the first thing that we want to do is change this to comp mode. So at the moment is unlimited mode and now it's in compressor mode. And we're going to come over to the side chain group and click on that. So I right-click, I beg your pardon, and just select the kick. Now, the side chain is basically fully set up and it's just a case dialing in the right settings. So I'll give you the basic settings which can be used in almost all kick and baseline. So chaining scenarios, just remember the threshold. As we learned in the last lesson. That is the one that will always needs to be dialed in for each track that you're working on. It will very rarely ever be the same from track to track. The release which we'll get to in a bit can be modified to change the response of the side chain compressor. But let's go through and we'll get to that. The settings that will practically never change when your side chain is the attack wants to be as low as possible. So basically have that as zero. And the ratio, We, generally speaking, I would have it again, 3-4. It really isn't going to make a huge amount of difference. I usually go for somewhere around 353621. So that's fine set and forget that. That set, well, we gotta do is dial in the threshold level and the release time. So for now I'm just going to set the release down a bit. So normally, when you talk in side-chain compression and you'll talk in sub 100 milliseconds. Now remember that the amount is actually displayed in the box up here, Hint panel. So I'm gonna change that you can see. So generally speaking, you're looking at less than 100 milliseconds, but with the fruity limiter, you want to be a little bit careful if you go to shortly, actually add distortion to the signal, which is a bit of an odd behavior, but that's what it does. And in this case, we didn't want to add dissociates. That's fine. That's just play it and see what happens. We're going to bring down the threshold. You can see that when we start getting the light blue, this blue line, we can actually start to see that some level, some volume is being taken out of the baseline. So if I bring it all the way down, makes it much more obvious. And you can see that the purple bits in here is actually what is being removed from the baseline. So obviously it's a bit too extreme. You don't want to take out that much. We just want to be dipping the volume. So let's just back off the compressor a bit. We can see here that purple is just where the volumes being dips and that looks pretty good. So we're not completely removing the sub bass line, but we are dipping it quite a bit whenever the kick hits this up here, That's the kick hitting. You can see now the release, as I've mentioned, it's actually set about right as it is right now. So about 77 milliseconds. But I'll just show you what it looks like when you raise this up a bit, you'll see the response time gets longer. It will take more out of the baseline, or at least it will take out more of the baseline for longer. I'll just show you what I mean. So you can see that before our releases, nice and tight, just taking out the base until about halfway through the beat. But with the release right up, you can see that it's got a much gentler response to it. So it's taking out more of the sub bass, so we don't want that, that's fine. We want to leave that sub 100 milliseconds. So put it back to where it was, which is about 77. So what you'll find is some tracks really benefit from, so chaining and some might benefit less, but I guarantee that it's always worth doing the site chaining. So it's just such an important thing to do to make sure that the low end of your track works together and as always sorted through Psi chain. Okay, so that's it for this lesson. Thank you very much for watching guys and girls. I'll see you in the next one. 20. FL Beginners Lesson 19 Intro To Mixing: Hey everybody, welcome back. Alright, so in this lesson we're going to look at mixing and we're going to look at the overall approach to it. But first, I just want to quickly unmute some of the bits and pieces that we've emitted in the last lesson. So we are then ready to go in the next lessons, go to our channel rack and re unable the drums should be everything, right? So in this lesson, we're going to talk about what mixing is and why it matters so much. And I'll tell you how you can line yourself up for an easy mixing experience. There's no practicality to this lesson. We're not actually going to do anything. I just want to give you the overall sort of viewpoint of a mixing engineer and how you can apply that in your own mixes. Mixing can be broken down into a few main parts. Balance of the elements in your track, separation between the elements of your track and the clarity of those elements. Say first and foremost, mixing is about balance. You can have the best clarity and separation in your mix, but if the balance is off, then it will never sound right? This is why we generally start with a volume mix. So when I say balance, I'm talking about the levels. So whether one things louder or quieter than another thing. So we start with a volume mix of all the elements first. And the key to successfully doing this is understanding what the most important elements are in your track and making sure that they take center stage in this track. Clearly, the vocal is the main element, closely followed by the leads, and then the base, and then the drums sort of thing. So it's just a case of selecting what is the main element and making sure that that always remains the focus of the attention when you're mixing. The process of mixing, believe it or not, actually starts at the very beginning of the creation process and involves picking the right elements in the first place so that they all work together and compliment each other. So you wouldn't want e.g. every element in your tracks to be like short and stubby and plucky. It's just not going to work. You need some elements to be short and stubby and plucky, and then other elements to be more drawn out. So in the case of this track, we've got the lead, which has much more longer drawn out notes. And then we've got the baseline, which is more sort of like a consistent plucky rhythm behind it. So those two elements can work together quite easily. Now that's just one example, just to illustrate my point. But it's not just about picking elements with a strong rhythmic pattern and some without a strong rhythmic pass. And we also need elements that work together on a frequency level and also on a tumble level as well, or textual level. Say frequency, it means picking the right elements that are not too close in the frequency ranges. E.g. if you have a singer with a really high pitched voice, than you might want, a lead that is not too bright and high-pitched. Otherwise the two can be trying to like conflict at the high frequencies. And you can lose that sort of definition of the vocal because some of the frequencies are being masked or overridden by the lead sound. And in this example, you would just pick Different lead sound, would change the existing one so that it's not so high pitched or has less frequencies, whatever. There's many different ways of going about sourcing this thing out. Now I mentioned Tambora, which is also another important factor in mixing and therefore important to consider when picking the elements of your tracks. Say Tom Brett refers to the tone or the texture of the sound. How some sounds have a pretty hollow quality, or they might sound really dense or airy. Well, that's the Tambora of the sound. Now why it is important is that you could have two sounds that sit together in the same frequency range, but they may still sound quite separate as they have very different Tom braze or textures, if you prefer to call it that. So if you've got a really light airy pad, but it's very high frequencies. You might also have a very dense sound like a hat or something that's very high frequencies. But because it's hombres so different, they actually can work together quite nicely. So all of this, I just ways of helping you visualize how to get a better mix. So if you choose the elements that generally have different time, because if you can put that together with the frequency range and a balanced mix, then you're pretty much going to have a nice, easy mix and it's going to sound good. Then, as you'll see in the next lesson, it's really all down to the final volume tweaks, adding the final sparkle with some effects and making sure that the mix is balanced. But really the most important part is actually having the right elements in the first place. Because if you've got elements that just don't work together, it doesn't matter how much mixing, technical knowledge you throw at it. It's always going to sound like a bit of a mess. So that is the absolute number on keys. Again, good mixes, picking the right elements to start off with. Now I know this is a lot to take in if you're new to making music. But in the next lesson, I'm going to show you how to mix this track. So you'll get to see this theory puts into practice. So that's it for the theory. Thank you very much for watching guys and girls. I'll see you in the next one. 21. FL Beginners Lesson 20 Adding Reverb To Your Mix: Hey everybody, welcome back. Alright, so in this lesson we're going to actually do the spatial part of the mixing first. So we're going to add reverb. So when adding reverb or a spatial effect like reverb or delay, you basically have two choices. You can either add a reverb plug-in to each and every track that you want to add. The effects too, like we did with the vocal track. Or you can just set up a channel in the mixer with one reverb plugin on it, and then send the signal of each track that you want to add reverb to that track. So this has its benefits as you only need one or perhaps two reverb plugins per projects as opposed to potentially over like ten. If you've got ten trucks that you want reverb on. So we're going to add reverb to the clap sound. First of all, let's just bring up our mixer. That sound. We're going to add reverb to first. Now the best way to really understand how ascend works is just for me to go and set one up and then show you as I go through. So you can use actually any channel in the mixer as a Send to Bus. So we're going to use channel 17. It's just an empty channel not being used by anything else. So quickly I'll just rename and color this. Cool it reverb send. Not that the name is important. And let's go and we want to select like an orange color for this. At least that's what I normally pick for an effects send, hit Enter. And there we go. That's our channel that we're going to use now the next thing we want to do is add reverb to say, we come over to our Insert slots. We want the fruity reverb to just going to detach this. And just for the sake of quick setup, we're going to use a preset. So I'm just going to click there and click on large who? Now we will modify the settings of this in a bit when we've got the snare coming through, but at the moment there is no sound coming through to this, so you won't hear anything. But one of the most important things that you need to do when you're using a spatial plug-in as a sender effects on ascend bus is you need to turn the dry all the way down and you want to turn the wet all the way up. This means that you won't be hearing any of the original signal. What will come out of this channel will only be the reverb signal. Okay, Don't worry, that'll become more clear as we go. So that's fine for now. We can close that. And now in order to send my clap through to the reverb send, so I'll just un-solo that for a second. I'm going to select my clap channel. Then come over to my reverb send and just literally left-click that little drop-down arrow at the bottom. And as you can see, it's just created now a link between the two. And this here is now the sort of level that I'm sending through to the reverb. Send groups. Again, I'm going to solo my claps. And as I bring this up, you'll start to hear reverb being added to the clap. So having a send like this doesn't affect the original signal. That's still, the clap channels still there and it's still being sort of directly rooted. The output channel, all we're doing is basically taking a copy of that signal, sending it over to this channel here, which has obviously a reverb plug-in on it with 100% wet. And we're just choosing how much of the signal is being sent through that reverb plugin. So let's just have it up a bit more prominently. Now it's a bit chunky and big the reverb at the moment. So let's go to our reverb send and actually set up the reverb. So I'm just going to click it to go into it. So the main controls really are the decay. So I'll just let this play around. You can hear what happens when I change them. So the decay, the, shortens, the reverb. Massive reverb if you want. Now, I'm going for what is a typical sort of technique which is having the reverb. You want it to be long enough that it lasts until the next hit of the snare. So you can sort of hear it just tailing out by the time the next snare plays. Perhaps just a fraction shorter. That's fine. Then you have damped, which basically just removes some of the high frequencies from the reverb signal, but it doesn't in a linear fashion. So it will start with more high frequencies, but lose those high frequencies quicker overtime. Sort of has that kind of deadening effect on the reverb. That's fine. Then we're ready, we need to change that seem much. The high cut has a similar sort of things. If I cut the high frequencies. It has a similar effects, but it takes all of the high frequencies out of the reverb rather than with the dampening that over time, the high culture takes it all out. That's fine. We can just actually leave that up. Now the low cut super-important for a general reverb like this, because we are gonna be putting lots of different elements through it and we don't want any extra low-end. If you notice here as I change the low cut, you'll see up here the frequency amount that we're taking out. Anything really. So I usually set this to about 250 odd hurts. And it just means any sort of sub frequencies that might be there. In fact, let's just take out a little bit more than that as guts about 300 ish. Say when we add reverb to the kick is not going to be adding reverb to those really sub-e frequencies, which could end up making the mix a bit muddy. So just a very small amount of low cut, which is generally what you want. The only time that you would want to actually have reverb on the low frequencies is perhaps when you're adding a singular reverb to like a big drop kick or something like that, something that has an effect. And you want to reverb those sub frequencies. Brightening up a little bit by adding a bit more of the damp. The higher that is, the less dampening effect there is. So don't want it to super bright, but something like that sounds pretty decent. The size changes, but the perceived size of the reverb is now actually think it's fine as it is, but I'll just show you what that sounds like. It sounds more like a, in a very small drum studio, something when the size is down. That's fine. No problem there. So the main controls, the ones that you really want to look out for, the ones that really have the biggest effects on what the actual reverb sounds like. You can add modulation to the reverb signal as well if you really want. We're not going to add any of this, that's fine. And I think we're sounding pretty good. So one last control I'll talk about is this is the early reflection level. So early reflections are supposed to represent the first signal. So it has, a sound is being produced, a shout in a room. The earlier fraction will be when the sound has gone from your mouth to the wall and bounce straight back to your air. That's the first reflection called the early reflection. And then all the other reflections are counted as just the reverb tail. This slide, you can choose whether you want early reflections or not. Not really making a massive difference in this case. So that's fine. No problem. We'll just leave it where it was and I think we're pretty much set up. So let's send some other elements in our track through this reverb group. So next one up or just un-solo that. Let's add it to. Let's do the kick first actually might as well. So I'm going to select my kick channel, go to my reverb send group, and then left-click again, set up. And it automatically sets it at quite a high level. That'd be way, way too much. As you can hear that slight really gasoline is just solo that. So we want a really small amount on the kick, something like that, really, really tiny. We want the kick to remain as upfront in the mix as possible. So that's fine. Let's move on. Let's do the closed hat. So close hat, on solo the kick. Make sure my clothes hat is selected. Click on the reverb send, and I'm just going to solo this. So let's just listen to this in the track actually so un-solo that I'm not going to play from here because this is where the clothes hat comes in. Saddening. Why may say something like That sounds pretty nice. Just adding a bit of reverb to it, giving it a bit of space. And let's do our open hat next. So I'll just forward it onto there. So open hats selected, click on reverb, send left-click. Let's just choose our mountain or let's just say to that person, we don't want to add tons of reverb to that just a little bit, just to give it enough space, that's fine. Un-solo, just check in the mix. That sounds pretty good as it is fine. Now I want to add a bit to the base top. So let's select our base TOP channel and left-click. So somewhere about there actually sounds pretty decent at the moment. We may want to change that in the next lesson, but where we get into sort of mixing and adding EQ in a bit, distortions are some of these elements, but for now that's absolutely fine. Don't want to add any to the sub. Of course that's no point adding any reverb to that. Say, let's just have a quick look at the leads. So think the leads generally have that one's got quite a bit of a delay on already. So I don't really need to add any reverb to that. So does that one as well. So no need to add anything to that. Let's have a listen to our lead up. Just turn off my loop by double-clicking in the timeline and just solo this track. Definitely, it's got delay, but it definitely needs some reverb. So let's just find that. So that's our lead up channel. Again, left-click. And let's just see what it sounds like. It's just listened to that in the mix as well. Okay, so just getting a slight balance there between it being nice and forward in the mix, but also having a bit of a sense of space around it. So that seems about right to me. And let's just listen to the vocal. I think I might want to just change this a little bit. Yeah, It's got just a bit too much reverb on it. So let's go to our mixer. And he got our main box. Now this is different. This wasn't a send effect, so we're just going to go into the main Vox channel, go to the fruity reverb to, and let's just turn down our wet mix. So let's just play it first. So what I'm trying to get here as we want it to have a sense of space. And it has got that with the delay and a little bit of reverb, but we really want to keep the vocal nice and upfront in the mix and having too much reverb on it or just experiment a bit. And I'll show you what I mean because having too much reverb will sort of put it too far back in the mix and it just won't sound right to me. It's just kinda loses a lot of its power and its presence. So we're going to just have that turn right. Much better. That's fine. While I'm here, actually, I'm going to just slightly turned down the doubled vocals. I think that just a little bit too loud when they come in here. Just a little tweak there to the doubled takes volume level at one last thing I will do it in this lesson are they really should belong in the next lesson where we're mixing all the bits, but I will just pan these leads where we got our leads here. Rather than them being panned both hard down the middle, I'm going to come in here to the channel rack, and I'm just going to pan the first one, just say like 20% to the left and then the one underneath it, the layer 20% to the right, or something like that. It doesn't have to be precisely accurate as no problem. And they'll just give them a little bit of Stereo Separation and just helps make the track seem a little bit wider. Just a bit fuller, which is nice. Sounding good. Got the reverb on there. We may, again, like I say, tweak that in the next lesson, but I think we're pretty good. So we will get on to the E queuing, tightening up things and everything in the next lesson. So thanks very much for watching guys and girls see you in the next one. 22. FL Beginners Lesson 21 Track Mixdown: Hey everybody, welcome back. Alright, so we're in the final mixing lesson and we're going to get all of the bits and pieces done that we need to make this track sound nice and fat. So the volume mix actually is not too bad. There's only a couple of things I really want to change on this. Some things like the kick and the sub bass might want a bit of tweaking. But actually, as we've been mixing this, as we've been going through and changing the volume levels, it's pretty close to where we want it. So the first thing I wanna do is go and just tweak the kick a bit. So her plate here, the tail of the kick is just a bit too long. So I'm just going to go to the channel settings and I'm going to left-click on the kick. And we've got a channel settings here. Now you can tighten up the kicker bit by turning this up, but it's not really the best way to do it. So what you wanna do is come to the envelope settings and will activate the envelope. Now the first thing you wanna do is just, in fact I'll just solo the kick so you can hear what's going on here. So at the moment the attacks up, we want to make sure that's at zero. We can turn that sustain all the way down. And all we're gonna do here is play with the decay and the holder. So at the moment I'll turn the decay down. We're going to just tighten the kick up a bit so we're going to remove a little bit of the tail end. So you can hear that's way too much. It's just turning it into a little tiny hits kind of thing. Maybe just a little more tricky than that. So somewhere around 15 per cent. Just going to turn the envelope officer can bypass in here what it's doing. A little list to K. Problem is if you have too little decay, you get that clicking sound. Which obviously is not how it's supposed to sound. I'm just going to attach this quickly. Will turn up until we stop again, that nasty sound. That's fine. About 21% of the decay and the hold. Just have that at 14. When I bypass. You just hear hopefully you got good enough headphones to hear that, but it's just cutting off the last part of the tail end of the kick. So just tightening it up. Very slightly, not massive, but just a bit. Okay. So that's fine. We can come out of there while we're on the kick. I think they're just going to un-solo. It will go to our mixer so we can get to the mixer by pressing that button there. And I think we're just going to turn it up a bit. So this really is the onetime. Now we're right near the end of the mix that you can actually turn up the kick without fear of the whole track becoming too loud. That's fine. And it's just a little tweak anyway, so no problem, That's great. And let's add an EQ to this because I want to try and bring out the mid-range punch a little bit. So with our kick channel selected, we'll go to slot one. Just means a bit smaller. I mean, you want the fruity parametric EQ to just make this a bit bigger. Say, I want to bring out the mid-range punch of this kick. So we're going to be looking to EQ somewhere around the high hundreds, 23 or 400 hz perhaps let's just have a little play with this. And I will actually just solo the kick as well in a mixer. Just right-click it. Somewhere about there sounds pretty decent. But they won't sue really be affecting the low-frequency. So I want to change the curve or the steepness of the curve of this. And to do that, we come down to the band that we want to affect this dial down here. Well, actually change the steepness he kind of at a much finer. So we'll go for something like that. Just going to use a little balance between. So really just listening to where I want it to be, just trying to get a bit more of a rounded mid-range feel to the kick. So let's just play again. I'm going to bypass the EQ so we can hear what we've done. So without them with just gives us a bit more mid-range present. So that's fine. But we will want to actually probably turn that down just a little bit because you've actually boosted the volume of it. Let's un-solo that and listen to the rest of the track. Sadly, that sounds pretty decent as it is. Great stuff. So that's the kick sorted. Let's move on to the snare. So if we click on the clap, again, the same thing here, we just got, this is a little bit too long. Let's just say that again. We're going to go to the envelope, activate its, turn the attack right down. Again, sustain can be turned down the decay a bit and we're going to tweak the hold. So again, it just makes it a bit tighter, but we definitely want to listen to this with the rest of the mix. We're also going to turn it up a bit. Just going to play with the controls. So got the hole there. So it's making it quite tight and snappy, but I'm just going to bring in a bit of decay. So it allows a bit of a tail out. So it's just tightening up again. I hope you can hear that properly, but let me just say let's just say you can definitely hear what's going on with the envelope and then without just tightening up slightly, that's fine, but I do want to EQ this a bit as well. So I'm just going to on solo that. And let's go to our mixer again with the clap channel selected. Let's go and add fruit eat parametric EQ two again. And here I want to remove any sort of low frequencies from this. So let's right-click type to high-pass and then steep eight, the order of steep eight. So just removing any low frequencies from this, That's absolutely fine. I don't need to do that anymore. And I want to add or disease band seven because it's already be set up as high shelf. And I'm just going to boost the brightness of the scenarios. That sounds nice and crispy. Little bit too much. So with all that being boosted, I'm just going to turn it down a little bit. That sounds pretty decent. I think. Let's go to the closed hat. So the closed hat or wants to, I think brighten this up a bit. Let's have a listen to it. When it first comes in, in the pre-chorus 11. Yes, That could do. Brightening it up a little bit, so that's fine. Let's add, make sure it's selected in our mixer and add the fruit eat parametric EQ to. And I'll just ease band six here because this will be just a normal bell curve type thing. And I'm going to also just loop this little area here. And I'll detach this window so we don't have to keep finding it. So observe just brightened up a bit. I think you can hear that, but I'm just going to bypass it as well so we can make sure that it's definitely doing the right thing. Why? Do you say fine, just adding that bit of fizz, see the hat, That's fine. I like it. Is it too loud now let's just double-check little bit. So it doesn't want to be too super loud when it comes in. Why? That sounds absolutely fine. I don't need to change. That's just get rid of the leaf. That's fine. It kinda chugs away in the background. There may be, may be just an upper fraction, but really a tiny, tiny bit there. Literally gone up to 101% instead of 100%. Massive, massive move. Okay, So that's fine. Let's just get the vocal completely sorted now because obviously if vocals like super, super important parts of our mix, so let's just start from verse one, that's fine. And gates on mixer, just scrolling across so you get to the main vocal. I don't think I want to make it any browser. I think Laura's voice is actually naturally quite bright. Plus the microphone that we use, the Neumann TLM one-two-three actually has a slight sort of high-end bias as well. So I think it sounds alright. Okay, I lied, I'm giving it a little bit of high-end shelf there. And let me just make that a bit bigger so you can see what I've done. So just a little bit, nothing too major, that's fine. I'm going to leave it at that. But what I want to do is make the vocal sound a bit more crunchy, which is a very modern thing to do in production. I'm going to hold Control and just use my mouse wheel to drag the reverb down and the delayed onset open up slot three, I'm going to click this. And under distortion we're gonna go to fruity blood overdrive. Let's just make that detached and let's just play around with this a bit. So we're just going to use the pre-empt to boost this up, but we'll probably need to turn it down when we start doing that. One. Sadly, taken here. Hopefully that that's just adding a bit of grit to the vocal would like a little bit of distortion. This is Malika, what you'd classes or saturation plug-in. So it's kind of adding musical harmonics to the signal is not just crushing it, and it's more gentle way of doing things, but it's a really great way of sort of thickening up the sound. And it's, it really is used in almost every modern track that you listen to. The vocal is being saturated. So let's just play this in the course as well so we can make sure we're definitely happy with it. Almost sounds a bit dim without sits and just very plain. But with it, it just crunches that up just nicely, just enough. Probably go a bit more extreme if you want to, that's fine. Up to you. Obviously this comes down to personal taste as well. Some people like the really over driven sound. I tend to not want it to over driven, but like I said, this is really a personal choice. You can have it however you want. Just remember it's always balanced by turning down or up the post gain, just so it's not like much louder than the original signal. Okay, I think that's sounding pretty decent. So let's just leave that how it is done with that. So that's the vocal pretty much sorted now in totality, I think now I do want to add some distortion to the white noise riser that we've got there. So let's go to our mixer because we got there is the GMS noise, I believe. Yep, so this channel here, let's just add distortion to this. Distortion will use destructor and we'll use preset fuzzing. And I'm just going to bring up the detailed settings. And I'm just going to turn the mix of this down because we didn't want it to have a really crazy effects. So just changing the mixed level there, which just means that we're having less of the distorted signal coming through. But assigns a round about right, but it's just thickens up slightly, so just bypass it so you can hear what's going on. Let's just going to change it to about halfway or 50 per cent ish. So it's not affecting the signal as much. Now, you can hear that just adds a bit of extra tonal quality to the sound. So that's absolutely fine. That's all we're gonna do with that. It's just, just modifying the noise sounds slightly, just to make it a bit more interesting. So great stuff. One thing I want to do actually is go to the very end of the track. And we've got impacts a four here which you've kind of shortened. This is how the track ends. Then it's suddenly cuts out at the end. So what we're gonna do, we're gonna go to impact a4, click on the little waveform, get to automate. And we'll go. Volume has given us this. I'm not actually going to create a separate automation lane. There's really no need. I'm just dragging it down. So it's underneath. We'll just modify it slightly. So it all ends a bit more gently. That's perfect. No problem. So we'll just leave it like that. Okay, So let's go on to the base. The base sounds nice, the subs, okay, but it just is a bit quiet, I think. So let's go to our mixer. Let's just turn up of sub. So somewhere around there. So definitely turning up quite a bit there just to make that sub nice and warm in a bit more prominent. And the base top, well there's a lovely sound. I think it could actually be thickened up a bit. So let's just make sure bass top is selected. And let's add destructor to it again. And we'll see if we can't get some sort of nice sound out of this. A good preset is stereo suffers with a space in-between. Probably once you turn this down a bit, that's a bit crazy. So we'll probably want to change the mixed level as well. So let's bring up our settings. So that's it without any of the effects of, so I'm just going to mix the effective. Okay, that sounds good. It's much more impactful. Say without them with although I must admit I think the reverb amount is now a little bit too much. So with GMS based top selected, scroll along and we're just going to turn down The send, the signal that's being sent to the reverb sensor, which is going to modify this. That sounds about right, I think anything that's too much. So happy days, we've got our base sounding much faster. It's just check it from the beginning of the song as well. Maybe even a little bit loud. Sad me. So I'm just going to go into the parametric EQ to, and I'm actually going to just remove a little more of the low end. Just sounds a little bit. In fact, much as he's banned two there that we've used just to reduce the low end a little bit. Why? It's like that system this or muddy. Doesn't need much reduction. Just a little bit. Yep. So it sounded much better. Bit tighter. That's less muddy as good. So we're fine there. Because as you can see what we're doing radius going through, just tightening up every little aspects and whether any sort of conflicts or something's making something a bit muddy, we're just dealing with it then and there and making sure it's okay. So I think we're pretty close now. So I just want to have a listen through from start to finish. Then we'll make any final adjustments one to one. To be sad. I was barely see. Sadly. Hey, okay, So you're not sounding too bad. So just a couple of minor tweaks. Oops. I want to make just turning this symbol up a little bit. And the other cymbal crash 09 or just turn that up a little bit as well. So I've listened. Still could do being just a tad allowed to sign. Okay. But we are sounding pretty decent, I think. One last little thing I want to try is let's go to our mixer and on the base top layer, scroll down, find that we've got destructor there and I think it does sound good, but I want to tweak the EQ after the structures beans. I'm actually going to add another parametric EQ to, just to give this a little more high-end presence. See, sadly. So actually sounds much better already. So I'm going to leave it exactly like that. Nothing else to do there, but I do want to turn it down now because I've just given it quite a good boost. So let's just play it and get the balance right. To be sad. Okay, sounded pretty decent. Let's leave it at that. I think we're pretty much done mixing. I think we're okay now. So what we're gonna do is we're going to end this lesson. And in the last lesson, the next lesson, we're going to just give it a quick master. So it's just like a quick limiting of the volume to make sure we're getting a maximum loudness out of our track. Maybe an EQ, we'll see. And then we're going to render the final track. Thanks very much for watching guys and girls see in the next one. 23. FL Beginners Lesson 22 Mastering: Hey everybody, welcome back to the very last lesson. Okay, so in this lesson we are going to look at just giving the track a very, very basic master and then we'll export our final work. So the first thing I want to do is just try a bit of EQ on the master out. Now you don't have to do this if you're really happy with the mix, there's no sense in adding compression or EQ if you don't think it needs it. I'm just a bit concerned. I think there's a little bit of a lack of mid-range frequencies in this mix. So we're going to try just adding a bit of that. So what we wanna do come to the mixer and you want to select the master channel, which is this one. On the far left. It's already got a limiter on there, which we'll be using in a bit. It comes pre-loaded, all the channels and facts come preloaded with the fruity limiter, so that's fine. But we're going to add just a parametric EQ to, as per usual for our E queuing tasks. Let's just make this a bit bigger and let's just start off with, let's just detach it quickly. And then we'll start from chorus. In fact, start from course to wherever you've got all of the vocal in there as well. So it's not too bad. So just kinda try given the midrange a little bit of a boost. But we won't see, have this much more gentle and it won't be as high as this. I'm just doing this e.g. sake say on the band that we want to change, that's come down and just make this really as gentle as it can be. And we'll just be looking at giving it a really tiny boost in the mid-range. We'll see if this works or not. And of course, incredibly important as always, to always check this bypassed. So we are talking teeny-weeny increments here. And this is one of the things about mastering is if you're going to be adding effects to the entire track, you really want to be incredibly subtle with your movements, not like massive changes or big boosts or dips or cuts here or there. I mean, they'd have to be something really wrong with your mics if you had to do that sort of thing, in which case, really should sort out the mixed level like we did in the last lesson, not at the mastering stage. So we're talking very, very subtle moves here, say a tiny, tiny boost to the mid-range frequencies and a very, very tiny boost to the high-end frequencies as well, using that high shelf there. And it's so subtle that you'd be forgiven if you can't hear the difference between when it's bypassed or not, as you get more experienced, you will be able to hear those differences. Just gives up, midrange a little bit of a boost and a teeny, tiny high-end boost. Absolutely fine. Okay, So that's no problem. Let's just go onto the fruity limiter. So I'm just going to click that to open it. Let's make this a little bit bigger. And again, we'll go from the same section because this is the section where the most stuff is happening is the chorus. So you've got everything going on plus the vocal as well. So it's literally the loudest point in the whole track, which is why we want to use this when we're gauging how much we can push up the volume of the mix. So it's very simple to use. All we're gonna do is hit Play and then we're going to turn up the gain until we start to see it actually having an effect. And I'll explain this as we go. So as you can see, what's happening here is this is basically that yellow line is the volume line. And the signal, we're basically boosting the gain of the signal until it starts to reach this line here. Now, anything that goes over that line is gonna be reduced in volume. So it doesn't go over that line basically. And you'll see that reduction sort of mirrored. So these dips here is where it's being turned down. That's how much it's been turned down by. And this is the level at which it's gonna be turned down. So what you basically don't want to do is really slam this is going to sound awful and it will start to distort the entire track of and really mess up the dynamics. Like say it's just way, way, way, way too much. So what we're looking for is really about here. So most of the kicks are at full volume. And only occasionally they're sort of going over the threshold line and needing to be turned down. The standard settings, the attack and the release, actually fine. I wouldn't even mess with them for this job. And basically that's it. We're basically there. You can choose to push. It may be a fraction more if you really won't see, but you start to get into the area of diminishing returns when you try and boost the level up even more, but it just ends up squishing the mix. So you've got to be careful with how far you go somewhere. Like what we got is perfect. So that's it. Fine. We're ready now to actually render out our entire track. Say let's set our loop region. So I'm just going to double-click and then drag to the side. And we're going to set this over the entire track. Then all we gotta do is go to File, Export, export, an MP3 file. So this will actually be the MP3 that I use in the promo video that you will hear and also the file that will be in your projects file. So it won't have been changed in any way. This is the final render, so I'll just stick it in the Work folders directory. And let's just name it one soul because that's the name of the track. And final Master, just because that's what it is. Okay, Save, then we've got the settings yet. Mp3, we want a maximum bit depth, say 320 bps KPBS, I should say, that's fine. Let's go and start. There we go. It's going to render out our final track. Okay, So that is it for the course. I really hope that you've learned a lot about FL Studio. You can always reach out to me with questions or John at bone to produce.com and we'll try to help you as best we can. So thanks so much for sticking with me for that massive tutorial. There's going to be loads more of these tutorials to come say keep your eyes open for them. It's been a real honor teaching you. Thank you very much for watching guys and girls see in the next one. 24. Fruity Edition Users ADDITIONAL Lesson (coming from lesson 8): Hey everybody, Welcome to this extra lesson for the course. So this is just for the NFL, fruity addition users. So the most basic version of fL. So when I made this course originally, I was actually not aware that you can't just drag audio into the Arrange window, which is a bit of a bummer. I thought that was just a given that you'd be able to do that. So my apologies for the oversight on my part. I do apologize about that. But don't worry, I'm going to show you how you can still bring it in these bits of all j, we just have to do it in a slightly different way. What you can see here is what happens after Lesson eight is completed, and we've looked basically dragged it in all of these audio samples. And all these are like special effects sounds. I'll just quickly say we've got risers and crashes and all that sort of thing. Now, you won't be able to follow along exactly with that lesson, because you can't just drag audio into the project's window. So let's do it a different way. So I'm just going to zoom in and I'll leave these in here just so we got a reference of where they're going. We'll be seeing your projects. This will be blank. There won't be any of these green objects in there. So first things first, let's create a new pattern. Cool, it rises 16, and let's go to the color options and we'll just pick a green color, which you can get to by clicking over here and just raising it up a bit. This is fine. So click Accept and then Enter to confirm. Now we've got a rise of 16 pattern. Great, That's fine. Rises 16 in the work files and the audio folder. So there we go. Effects risers 16. I'm just going to drag that in to the channel rack. And let's just turn it down a bit because I'm sure it's a bit too loud. And all we gotta do is literally just click the first step in the step sequencer and then we can just draw that in. So what's going to happen at the moment if I play this, I'm just going to meet that one. Obviously, you don't have to, you won't have that in your projects. But just drop into the same position, which will be bar for, I'll just zoom in a bit so you can hear what's happening. There is the riser is playing, it's been triggered. If I double-click to go into the middy, you can see that at the beginning we've got that little mini block, doesn't matter what size it is. If it's bigger or smaller, That's fine. And that's triggering it to stop. But the problem is, as you can hear, is that it carries on past where the actual start of the track is, kind of ends there. So what we need to do is just double-click to go into the settings for this sound. And what we can do is change the start position as this SMP start. If I raise this up, we're looking somewhere around there now this is a bit trial and error. Unfortunately, you have to just make an adjustment and then try it. Say I've just made that adjustment, Let's play. Not quite there, just needs to be a little bit shorter. So literally just changing the start position of the sample. Let's try it again. Almost, not quite a little bit shorter. And that's about perfect. So you can hear there. Lovely, No problem at all, that's fine in the next lesson or so will actually be adding automation to this to give it an even smoother fade-in. Say, that's fine to leave that as it is. Now, let's just go on to the crash 09. So at the moment, obviously we've got this crash playing. Now again, you in here that crushing your project is not there at the moment. So I'll just mute that out. And then we're going to create another pattern, crash 09. Let's give it the same green color except then hit Enter to confirm, and then it's fine, crushed 09 in the audio file. Drag it in to our channel rack. And again, we just click the first step in the step sequencer. And then we've got our symbol. It should be as simple as that. Much, much too loud though, of course. And of course we can change the color of these as well. So it's all neat and tidy. So we've got the start of the song is now sorted already. Just tweaking the volume of that riser just to turn it down a little bit. Okay, so the next one that we got to do is BCP crushed 15. So that is in a form there. I'll just play it quickly. So you know what we're going towards. So just a nice little crash cymbal. Let's meet that now. And again, create a new pattern. Crush 15, color it green except then Enter, and then it's find it over here. So that's drag it into the channel rack. Turn it down a bit. Again, hit the first step, and then we can simply draw that in. I mean, we can, if you really want to, you can put these on the same track, although I advise keeping them separate because then we can kinda keep an eye on where they all are. Let's just play. That's perfect. Okay, So the next one, this long riser. So let's again make another pass and cool it riser O3, color it green. Excepts and then enter, find it in our audio files, drag it into the channel Rock, Turn it down quite a bit. And again, we're gonna trigger it. We can draw it in so we know the start position. Let's just meet that as well. Actually inherit building, they're just turning it down. So you can hear it goes on for longer than we want. We want it to actually stop dead right on this point here. So this is where it gets a little bit fiddly and it's a bit time-consuming. Doing it this way when you can't bring in audio into the projects, but it's fine. We can still manage this situation, no problem. So left-click to go into the riser settings and then we can change the length, like so. And that's just going to have to be a bit of trial and error here. So let's just play it from this point. Probably that it's actually perfect first-time crazy. So there you go. You know, the length of it is based to be 64% exactly. And that just fits nicely. So that was good. So we're going to actually do is just drag out this bit of midi. So it covers the full length of where the riser is, just so we can differentiate between where it is. And it will say make that crash a bit longer because it doesn't actually matter. I'm just doing this for pure visual reasons just to match the length of what they are in the audio files as well. So you know, when they start and where they end. Now one thing to note is that if I start playing from say, halfway through the riser, we're not going to hear it at all. Okay? It's just literally not playing because you have to play it from the very start of this segment. So unfortunately, this is a bit of an annoying work around, let's say, for the limitations in FL Studio. I'm really sorry about that, but unfortunately, there's just no other way of getting around it if you're using the fruity addition, this is what you're going to have to do because you can't have a song without SFS sounds. I mean, it would just be awful. So this is what we gotta do. Okay, Let's just carry on and get the rest of the sounds done. Say let's just do impact quickly. So again, let's create a new pattern, impacts though for color it green. They need to do that. Let's just select the green color and then Enter to confirm, find it here, drag it in the first step, and then add that into the projects. I'm going to meet my audio version of it and turn it down. Maybe not quite that much. Okay, So it sounded good and simple as that, for that one, now we got the repetitions of these samples. And just while I'm here, I'll just very quickly color these as well. Sorry, I couldn't see. The last one is off screen. I apologize. I just selected the green color obviously, and I'll just move the audio version of the impacts out of the way there. That's fine. So let's just copy this over. So I'm gonna hold control and select all of these events. And I'm going to hold Shift and then I'm going to drag them across. Say they're in the same position, say the second repetition of this level start from bar 44. So I know obviously you won't have the audio in your project as a reference. It's fine. Now they will be in that with respect to the Snare Fill and changing the arrangement slightly to accommodate that, you want to go to lesson eight. Go back and watch it. But you can start at 09:50, 9 min 50 into the video. And I will show you how to do this quickly and add the snare fill obviously with respect to the other bits, we've just covered those, so that will already be done for you. And then at the end of the project, there's just one last thing to do and that is one of the impacts there. Sorry, I'll just drag these out of the way. And our impact is there. So I'm just going to copy that to the very end of the projects. Okay, so that's it for the S effect sounds adding them in the sort of slightly convoluted, an annoying way. But again, it's just a limitation of FL Studio. What can you do? So the last thing I wanted to discuss is the vocals, which unfortunately is even more annoying actually, because if you've only got the fruity edition. Then dragging in audio samples also isn't possible. So we've got to do it the same way that we've been doing here. So what you wanna do is go to the audio files and we want to find the BTP FL beginner Vox timing corrected final, say as long as it's got final in brackets after that, no probes. So I can just drag that into the channel rack and make a new pattern. I'm just going to call it Vox O1. And let's make this like a sort of orangey red color for recording. Let's go Indian red, that's fine. Except and then Enter. And again, we're just going to tick the first step in the step sequencer. And then let's just make sure we've got a blank track here and we're going to draw this in right from the very first bar. And I'm going to expand that doesn't make a lot of differences, purely only visual, so it covers the whole track. So we know that the vocals effectively is supposed to be over the whole track. Now, the problem we've got with vocals is that every time you start playing, if you don't start from the very beginning of the track, you're not going to hear any vocals. They're simply not going to be there. You have to literally go from bar one, hit play. And unfortunately because there's a bit of a gap there. But you will hear them eventually. Also bear in mind. One. Say if you play it like that, then as you just saw that once you press Stop to stop the track playing, the vocal still carries on playing. And to stop it from playing, you need to actually hit the stop button again, not space, just hit the stop button. Otherwise, every single time you play from the beginning and you stop it halfway through the vocal is going to carry on playing. It's gonna get very annoying. One thing to note as well is don't actually add the vocals at this point in the tutorial, when you continue from less than eight, you need to wait until you actually, you've gone through the vocal recording lessons because we actually change the pitch of the whole song. We raise all of this up by a couple of semitones just to make it a bit higher in pitch. So at the moment, if you add the vehicle, the vehicle won't fit with the rest of the track is going to sound out of qi, which is at the moment until we change the arrangement later on in the course, all of this would have been fine if you could just drag audio into the arrangement. Of course, alternatively, you can actually just completely ignore the vocals if it's too much of a problem. But that's a bit of a shame to waste it. Now, just in case you're wondering. So if I double-click into the vocal, zoom out, find where it is. Say e.g. if I make this note much longer so it covers the entire track, e.g. and then let's say I play from halfway through the project, I'm just going to play it so you can hear what happens. So what it means, I can go to press Stop again to stop the vocal. So what happens there is that if you've got one long notes for the vocal, if I start playing the track at any point in the middle of the track, e.g. then the vocal starts playing a fresh from wherever you started. So don't do that. Just keep the notes short as it was originally after you've added the first step. Just say you can only play the vocal from the very beginning of the track. Otherwise, it'll just get really annoying. But at least you know, there. It's going to work when you do actually play the track. Now that is going to make working on it a bit more tricky. Later on. I'm really sorry about that, guys and girls. It just is limitation of f l and there's no other way of doing it. If there was OB shown you how to do it, say you've effectively got two choices. Either carry on as I've shown you, and still have the vocal in there and still sort of figure out a way to work around the fruity addition of FL's limitations or for now, until you're happy to upgrade, you can of course, ignore the vocals completely. Don't have to have them in there. But the effects, of course, essential for any track. So you definitely want to get those in. And now you can go back to the time that I pointed out, which was 9 min 50 into less than eight and carry on. They'll be where I'll show you how to do the snare and everything. And then just follow the tutorial on from there. Just remember, when you get to the vocals lessons. Once you get to after the vocal who's been timing corrected, you can then add it exactly the same way that I've just shown you there. Alright, thanks for watching guys and girls See you later.