FL STUDIO: Music Production Masterclass In FL Studio 20 + Mixing

1. Future Bass Introduction Video: Alright, so you might be new to music production and figured out that it's pretty hard learning how to use the software, you know, dealing with plugins, figuring out core, arranging instruments, and most importantly, mixing the scrap that you've just created. But come on, let's be real. There is nothing you can't load if you just decided to put in the work because this class contains everything you need to produce your own music, use any software, create chord progression and all that good stuff. I'm Joseph, and this is our fl Studio masterclass. After years of working inside the music industry, I was able to pick some of that best teaching techniques and apply it on loads of students and eventually thank it into one course where I can share with you everything you need as a beginner to get started with music production, I made my first strike back in 2018. And other time I had no idea what I was doing. I just made music because I found it fun. And I learned a lot along the way is through lots of trial and error, like any other producer, things started off slowly, but after consistently making songs, I was able to create a track from start to finish without having any problem in any of the core progression, mixing, compression, mastering chord progression, melody, and all that stuff. Now, this might seem a bit complicated, but I'm telling you, you just have to start by the basics. All that popular DJs let you know they all started from 0 or just like you, we're going to cover lots of soft, including what type of music you can make, mixing your song, creating your own quarter progression, importantly, vocals, automation. Could you use a $200 plug-in or a free plugin and twos EQ, reverbs, side-chain compression, and even making your own sounds using vital. And the way I'm going to teach you all this stuff is in a very step-by-step fashion as you are with many tracks from scratch and do everything, figured out what type of music to me, what plugins to use and making your tracks sound really, really good using high-quality free sample back. So if you're interested in that, I will be happy for you to dive into the class and I'll see you on the other side. Bye bye. 2. Vid 2.1 - Exploring The Patterns: Alright, let's get started. So usually when you open FL Studio, you will see something like this. Of course, without the swan, we can delete it and it's fine. So when you open a file, you will see something like this. And what we need to do, simply understand what a pattern is, what a channel rack is, and what a plugin is. So let's start by the very basics. Alright? So we need to create a note in the piano. So I need to generate a sound from the piano. What I do is first create a pattern. So this plus button right here, as you see it, it's called pattern. So when I press plus, take a look at the hand panel right here. So every time I do something, I want you to take a look right here. When I go over this, when I go over this button, as you see in the hand panel, it's written new pattern. So when I press plus, I create a new pattern and I can call it piano. So I want you to take a look at me and how do I do it? So I call it piano and press here. As you see on the hands panel, right there on the left, you can see when I hover over this, it says accept. So from now and then every time you lost somewhere, you can simply take a look at the hand panel. For example, what this button does, it says close. What this button does. It says presets what this button does, it says accept. So I press Accept. So right now I created a pattern. I create a new pattern of piano. So I need to fill this pattern. I go here in something called that channel rack. And this channel rack contains everything of the piano. So I'll repeat. The way FL Studio usually works is it works in loops. So there is a loop that keeps repeating itself, 123456, that is loops that keeps on repeating themselves. Nfl, should you works like this. From here. When I press here, I create a new loop or a new pattern. They are the same thing when I create a parent or a loop, they are the same. I need to fill in this loop. So inside that pattern. So this is the loop. Inside the loop, that is instruments, that is piano, there is violence. There's many things that is drawn, that has everything. Now, how can we get access to those instruments? We get access to them using that channel rack. So this is the channel rack. And inside that channel rack, we can get access to that piano. So our press on here. And as you see in the hand panel on the top left, you can see that this is that channel rack. So I go over here and I press plus. Then add a plugin called f L keys. So I press on f L key is, and I will have a piano in front of me. Right now. Let me give you some context of what's happening. I created a loop. Whoops. I created a loop that's called the piano. And inside this loop, to access this loop, how can I access this loop? I go on that channel, drag. That channel rack is the portal between this loop and I. So I can access the loop or the pattern through that channel, right? And inside the channel, like as you see, I added a piano. It's called f L key is that we will explore in the next lecture. 3. Vid 2.2 - FL Keys: Now that you've created a piano inside of this loop or inside of this pattern, we want to insert some notes inside of the piano. So f is the same as saying, for example, piano. Okay, but f is the name of the plugin. So I put a plug-in that generates is sound of the piano. So this plugin orogeny called f L keys, I'll rename it, generates the sound of a piano. If I simply press on it, simply tried to click on it. And you will see that piano in front of you. Okay? So right now, we need to insert some notes inside of deaf alkynes. So we need to put some nodes inside of this plugin. How do we do it? We arrived, click on here and we choose piano roll. So when I choose piano roll, I have this tab open in front of me. That shows me everything. So here I have that piano. I had this piano in front of me that shows me all the keys that I can insert inside the piano. So I can put nodes randomly. Try to left-click normally and press the space bar. You'll hear nothing. Why? It's for some reasons that we'll discover in the next lecture. But so far, what I need you to know is that if I need to create a new pattern, for example, I'll create a new pattern. Let's do it again. Let's read this. Delete. Oops, I press clone, you saw what it does. It cloned it. So I press Delete. Then I press this one more time. Here we go. If I integrate everything again, I press plus, then call it a piano, then press Accept. Then inside here I go, press Plus, create a file keys. And here I have the F keys. Never mind this because it was already created. So suppose that was created by these are the steps to just create something. What I need you to do is do the same steps as I did in front of you. So we can move on to the next step. 4. Vid 2.3 - Pattern VS Song: Let's eat everything. Or if you want, you can do it from the beginning. So let's go to File New and you're not save changes. So we create everything from the beginning. So let's repeat the steps plus piano. And then I go here and go to a falcon years. I press right-click, I press something wrong. So I go to Keys, and here I have it in front of me. So what I have to do is right-click and I find that piano roll. So as we said that we need to insert some notes inside it. If I answered some nodes, let's put them randomly. And I press space bar. It plays. But did you remember that in the first place when we tried to play it, it didn't play. So in the first place. And the lecture before this, we tried to play it and press Spacebar or press Play. This is play. And you can press space bar is the same. We tried to do it but it didn't play. Did you know why? Well, it might play for you because you had this two buttons different from me. So let me explain what are those two bones. Are you seeing what I'm trying to do? I'm trying to make a song while I'm explaining to you everything in this way, you don't get bored and we don't dive in too many theories. So what is the difference between pattern and song? When you press this button and pattern, it means that you will only hear that selected pattern. For example, let's go and create another pattern that's call it piano. Alright, how do we access this? Be NO2. We go on to that channel rack. This is the channel rag where you see those three rectangles. And let's press plus and add f l kids. There is already one f L keys that was created from the previous pattern. So let's press right-click Piano Roll. Let's add some nodes. So here I'm adding notes. Let's try to play it. I'm hitting those notes. So if I go here and select this piano, this is the first pattern that you created and try to press Space-bar or play. These are the same buttons. We can hear that it only played the pattern above because we have the button patterns selected. But if we press on that piano tool and press play or space, we can hear the notes. And if we pressed here, we can hear the noise of the first pattern. So the button pattern, this one, when it's selected, it lets us listen to only the selected pattern. You remember that I told this is a pattern or a loop. So it lets us only here to the selected pattern. But when I play song, it lets us here everything that is happening here. So for example, if I press Play, nothing is happening because there is nothing here. And said, let's try to derive this and drop it here. Rag this, and drop it here. So I'm putting them one under another. If I press Play, you see, as you see, there's some mass. So let's try to change that. Let's try to add, for example, some other nodes. As you see, it's a bit messy. So it's a bit messy. And so what we need to do is simply delete this. Okay, Let's see It also this pattern by pressing Delete. And what we need to do is simply like create another pattern, call it piano three. In this pattern, I go to that channel rack. I also add in a valid key is let's add some other notes. Instead of adding this node, the C5, let's add this node that is right below this. That's at times. And so we have derived now how can we listen to only the spatter repress song? Of course not, because if you press song, we will only listen to what's happening here. But we need to listen what's happening here in the panel three. So what we do, we select it and select pattern. So right now we are going to listen. Dan, Dan, what's happening here? But let's start with them one over another. So let's try put it here. Put it here. Piano, piano three. Right now, I'm asking you that question. You can pause the video and try to answer this question. How can I let FL, you play piano two alone? Pause this video and try to answer this question. I want to play the piano two alone. It's right. How you have to do it is by selecting this and make sure it's on that pattern mode in order to let that pattern called the piano to play alone. Right now, another question. How can I let a falsehood you play the pattern to the piano and the piano three together. 5. Vid 2.4 - Correction Of Challenge: So the answer to this question is simple. You either select song. So when you select song, FL Studio will automatically understand that, hey, I need to play everything that is in here. So if I put it here, Let's take a listen. I can listen to everything that's happening here. Or let's put it in the initial position, which was pattern. I can only hear that 11 of it. I can hear the second pattern. Or if I need to create or I need to play what's happening here and in the song. So finance, for example, to play this instead of selecting song and playing it. What I can do, Let's put it back, is simply putting my mouse here. You see automatically it switches. So if I had parents selected and I put my mouse here, it automatically switch. So this is the trick that I always use. I don't often use to match this to be honest, because I always, for example, directly press this. So if I need to select you to hear a specific pattern, what I do is press pattern and I can hear it. But when I need to transition into hearing the whole song, I just press on here on the beginning and boom. It happens. 6. Vid 2.5 - Some Info: One final thing that I need you to know before getting started is that instead of also selecting patterns, so instead, for example, if you want to listen this, instead of just pressing on this than putting patterns, bench pressing space bar. Or you can do, if you have it here, you can right-click on here. So exactly here. When you right-click on this small green button, do you see it? When you right-click on it and press here directly here. So for example, let's say you have bunch of pianos, so let's say piano for whatever. And I add here f L key is, I'll just do it quickly. So to demonstrate to you my theory. So I have this and I had this. So I just put the piano. Let's put multiple pianos. So multiple nodes, I mean, then I want to drag it and drop it here. So that's here. If I need to listen only the piano fee, instead of pressing here, pattern than play. I can simply go and right-click on that piano three and select the song mode. So in this way, instead of starting the song mole, so instead of FL Studio playing all of this. So all it does is know that I only need to play this one. I only need to play the piano three. So I'd actually paid that play the piano three. So I can also select the piano for by left clicking on that piano for. So in this way I'm selecting something called tracks. So I am putting those together. Maybe I only need to play piano too. I right-click again on piano too. If I need to play the piano for I right-click on can afford. But if I need to select like an additional one, I left-click on piano three, then lastly, compound for. So, as a rule of thumb, you can take it as if you need to play one thing at a time. You just right-click on it. For example, piano for. But if you need to add something with this piano for, you can press left-click. I want you right now to stop watching this video. Try to pause it and go try it on your own. Create three patterns of piano. You can create those nodes. So this is the first pattern. It contains this node, C5. The second pattern contains this node. It's right below the C5, so it's not below the S5. Or you can end, you can create this third better. It's called the ear. So C, It's called like this. You can just create them and put them together. Now it doesn't matter what type notes you added because to be honest, you didn't learn music theory yet. And it's not a big deal if you didn't know how you put the nodes. But the only thing that I need to get to make you know, is that you can only right-click, left-click. How you can have ability into creating bedrooms and in patterns as bulky, etc. Now, the next video are going to create a real song, because right now we have enough knowledge to just create this very basic song. 7. Vid 2.6 - Creating Notes: So let us create something cool. But first, we need to either delete all of them or create simply another file. I go to File. I can press new basic airways with limiter. Do not save changes. And I'll have something new like this. But what I can also do is go to File New from Template and head onto minimal. Then go to empty. So as read in front of you is there is many templates. So for example, if I press over this, for example, it will have this template. If I go over here, File New from template basic with limiter, it will go over like this. It will have some limiter in the mixing and the mixer. So it's all about some templates, but I don't need to worry about that because templates are ready to use projects and FL Studio and we don't need to worry about that. Every time you need to create something new, you either go to File New. And as you see you have this template like with cake, hi hat, and snare. Or you simply go to File New from template empty. So in here you have nothing sampler is like it's the default thing that comes into FL Studio. And don't worry about that. It's like nothing. Okay. So right now, let's put it back here. It was here. I don't know why. Maybe I'll press it by default. But for you, you will have something like this when you start fl, should you, from the beginning. Right now, I need to create a piano. So how do I do it? Again? Press Alt key is, and then I have this panel plugging in front of me. By the way, Let's say you don't know how I've alkene sound like. What you do. As you see what I did is try to press a random key on my keyboard. So in my case I just press N. I'm just spamming. And I can hear the sound of f L key is I can hear the sound of this plugin. For example, for you, you can make sure you have this selected. I have this one selected and press a random key on your keyboard, for example, this I'm pressing random keys on my keyboard so I know what is it? What does it sound like? If I press all of them? I'll hear nothing. If I press a random key on my keyboard, for example, the lateral end, I'll hear nothing. I need to press only this. So this one highlighted in green thing. I'm, I'm able to hear it. So if I press on it, I will see you in front of me, the plug-in. And it has all these buttons that we don't need to worry about. Or I can go here, right-click piano roll. And in here I can start putting some notes. So for the beginning, let me just guide you through what we need to do. We need to create a simple four nodes, then add some pads, then add some base nightmare, just a basic song just to get started with fl Studio. It will not be our big projects are big project will come next to this. But we will only create a very basic song. So I need to just go down a bit onto C5. So this is the node called C5. By the way, don't worry about the notes. We will learn all the notes later. But let's add a note on C5 by simply pressing randomly here. As you see, I'm randomly pressing here. At the beginning, you'll have a node that looks like this. So I press on here, then this node, then this node, then finally this node. So I'll repeat what I did is simply press this node here, then went to this node here. But I need to press it asked for it so I can put over it. Because if I put it over it, they will pay together and said, If I put it here. So play one after another as you see it. So what I did is simply put four nodes, one over another, one after another. I mean, if I put them like this, they all sound like this. You'll sound altogether. But the piano roll is like recruiting one after another. And as you see in front of you, that is those small lines that are separating them. So from here you see those more four lines. So 123, those thick lines. I'm sure that you are able to see it. For example, here, 123, I'm just creating a node on each line, so 1234, that's it. So right now, what I needed to do is going in front of you and try to create the same thing that I did. But this time tried to do it on your own without looking at what I did. 8. Vid 2.7.1 - Changing Rhythms: Let's learn a bit about rhythms. So if you start by playing this, you'll hear that It's pretty fast. So what can we do about it? Is something interesting. Let's press X here. And also here, Let's close everything. And by the way, if for you you will have something like this. Because at the beginning you will see something like this. Because most people I teach have something like this. So it will start to file suit like this. What you can do is simply press X plus X. And to make this bigger, you can just press this Maximize button. You see on the top-left, take a look here where my mouse is and the hand panel. When I hover over this, it says maximize. So I can press this. And boom, I have everything open in front of me. So let's play this pattern again. Oh, I can simply put it here to see where it goes. So why can minimize, or I can downgrade or I can decrease the tempo or the rhythm. Tempo is just an Italian reward for the rhythm. So I can decrease the rhythm from 140. You see here the arrow here, the double-sided arrow here. I just drag it in my left hand, mouse, left finger, mouse, same finger. I mean, then drag it down to 120, for example. It will become slower. Let's try to play it. Let's try with it a bit slower. So let's put it on 120. Alright, so by this, it's a bit slower. And you can also change those. Those are like the very small changes for the rhythm. But to be honest, you don't need them, so don't try not to mess with those, but it's just good to know. So also, you can do using your scroll wheel. You can scroll the rhythm down. You can scroll up. It depends what you're comfortable using. So you can drag your mouse down, up and down. Or you can use your scroll wheel up and down. You see what I'm doing is crawling Maria, It's easy. Right now. Another good thing to know as how to zoom in and how to zoom out. So how do we zoom in and zoom out in FL Studio? I'm sure you're solving many times. Zoom in and zoom out from here like this or like this. So I'm going to teach you how to use this horizontal zoom like this. What you can do is hold control or command. If you're on a MacBook or control if you're on Windows, you can hold Control. And N your mouse wheel or your trackpad, you can zoom in, zoom out. So let's say you're on a trackpad when you're on track, but you have to press control. And using two fingers, for example, your second and your third finger, or your third and your fourth finger in the right hand, I'm saying. So you hold control in the left hand and third fourth finger and the right hand. You just hold Control. Drag it up, drag it up, drag it down, drag it up, drag it down. So it's a bit more complicated on the trackpad. But under mouse, if you have a mouse and you're using it right now, you can simply hold Control and just put the scholarly up with a square root down. If you want to zoom out here, isn't out yet. If you want to zoom in, for example, here, you just hold Control and put your mouse over there. And it will zoom in as you see in front of you. But I want to do it right here. So I zoom in right here. So in the next lecture, we are going to change the rhythm of those nodes. Those nodes we are going to change their rhythms from here. 9. Vid 2.7.2 - Changing Note's Rhythms: Here we are. We changed the rhythms. Right now let's try to change the rhythms from the nodes. So let's learn some basics before doing this. So if you can add the node, can add the nodes and delete it using your right mouse or a trackpad or on a mouse it's the same. You just have to press left, right-click. When you hold left-click, you see this arrow changes. So you have the symbol of canceling. And you can go over this. It automatically remove itself. So I repeat, if I have multiple nodes, I can just hold right-click and go over each of them. They all delete, as you'll see. So I can add them back and delete them. Right now. If I need to bring them back, I simply press Command Z or Control Z if you're on a window. So what if I want to bring the previous nodes, for example? Let's see it all of them. I add random notes. I add random notes. I just wanna go back. Alright, I press Control Z. It deletes. I press Control Z, and other time it goes back. So let's take a look on the top, right, what's happening? On down piano roll? Radon can rule. So if you want that control Z is like going back and forth. So for example, if I want to use Control Z, you can go Control Z. You can take a step back. But if you press Control Z, again, it will simply take a step forward. This will go like this. And then you press Control Z, then press Control Z. So it's all going into the same thing. I'm sorry. So what I can do about it, if I need to go back to the previous ones, all I have to do is press Control. Alt Z. I go back, back, back, back, back, back, back, back, back, back, back. And here we are. So I'll repeat, Let's create multiple nodes. If I simply press Control Z to go back and go back again. So we'll go forth where it's going back and forth. But if I press Control Alt and press Add, then I keep holding Control Alt. Okay. I don't remove my fingers from it. So I keep holding Command or Control Alt, then press that again. Then Control Alt, Z, control Z, control Z. I keep holding Control Alt. Then press that zed, zed, zed. It keeps going back. And as you see here, it opens up in front of you a history of software that you made. So here this, the history of stuff that you made. Have this, this, this, this, this, this, this history of stuff that you made. So it's not important. You can find here in current projects than history. But the important thing that I want to tell you is simply that you can just press Control Z many times and go back. Just press Control Alt Z, put it many times and it go back. Right now. Let's go back to our thing. So we learned that if we have multiple nodes, we can hold, right-click the DOM or press Control Z and go back with them. But that's not what the important thing. The important thing is that clear. I created those four loads. We can copy those formulas from here. So it's C, then D. Then ask them again, don't worry about the nodes, will learn them later. But what I want to do is try to extend those nodes. So do you see how extend those nodes. So they are like this. Let's take a listen. But we can extend them if they become like this. Sand each one of them. Can you hear how each node is like right now holding more? So let's try to make it a bit faster. Not faster, but make them a bit like 10101010 instead of I Omega tan, tan, tan, tan. Let's put them back. I this. You see how they are like pum, pum, pum, pum. We can also make them more like here. For example, let's eat this. Let's say this again. I don't know what's happening here, but yeah. So this is what's happening. So this is how we do it. I want you to pause the video and try to do it on your own. Try to delete everything, tries to read my notes, try to extend them. You can extend like this. We can do it like this. Try to pause the video and mess with this. Alright, so another thing that we can learn also is that we can put them or we can change them all at the same time. So I can select those nodes who's in control. And left mouse you see. Then drag it down. So I will repeat. Let's zoom out a bit. Don't worry how I zoom out. You'll just learn it later. So what I can do is simply drag this using control. And my left mouse and my left click. Drag it like this. I simply drag it. I hope I helped control and drag it up or down, whatever the thing it is. And from any node, maybe the first one, the second one, the third one. I just put it smaller. I just drag it. And they all do does at the same time. I can put it like this. You see the small arrow? This is the same. So let's put that back using controlled sad. I can put it like this, so drag it and drop it. So they will sound something like this. This feature is so cool because I can also select this. So let's say I want to make it, make them smaller. You can see like this. For example, select three of them. By the way, if I have something selected and you need to unselect it, you just press right-click somewhere else. Here it is done. So you can see that for example, three nodes. Just put them here. So you can do whatever you want. It's like free selecting. You can just try to do this by your own. And let's put back as with baggie this I put it back. Here we are. Easy, isn't it? 10. Vid 2.8 - Duplicating: So now that we created those notes, how to duplicate them? How can we, for example, have those nodes? But the same notes after them. So I want to have, for example, four times those nodes. Do I have to all the time? Put it manually? Of course not. Let's delete all of that. So to read them, I can do it manually like this. Or let's press Control Z, simply control, then left mouse, then press the Delete button on the keyboard. You can do it as you want. This is also a new technique. So what I can do is three methods are either select them like this, then use Control C, then Control V. So it's like I'm doing copy and paste RAP. I select all of them. Use Control C. Then here at the same time, maybe I can press here, press control V. So I have those red ones. I just drag them to the right. And here I have that. I can do the same thing. I can select all of them. Control C, I am copying, it means copy. Control V, I'm pasting. Then drag the right, and here we have them. But there is a faster way. Let's delete all of that. Delete. That faster way would be to also select those. Instead of pressing Control C, control V, I can simply press one key, which is Control B. So by Control B, I simply duplicate them, duplicate them directly without using control C, control V. Then I can move them like this. Let's try the same thing. See them all control B. Boom. I had not like this. This is another way. I want you to pause the video and try the two ways right now in front of you. I'm waiting for you so you can try them and go back to this video. Alright. Hope you tried those two techniques because they are a bit confusing to memorize. Right now, the final technique, which is the technique that I use, the most honest, I never use the Control C, Control V. I rarely use the Control B. But I do use this final technique that I will show you right now in front of you. So this is the easiest technique and the fastest one. I just select those. Hold Shift. Click on my left mouse or double-click on the trackpad. So if you have a trackpad, you double-click on here and drag it to rides. Or if you have a mouse, you also see like Did you just hold shift? So in both cases you will hold Shift, then drag it to the right. So I'll repeat. If you have a trackpad. If you have a trackpad, It's Option one. You just press Shift. Plus, you double-click, you click two times. So it's like this. I select those and shift. Double-click, drag it to the right. Right now, if you do have a mouse, which is the option to you just press Shift, hold Shift. So in both cases you will hold Shift and K S1 you will hold Shift. While in case two, you click one single click. In case one you just double-click on the trackpad, you double-click on the mouse, you click one time. So let's like this. I select those Shift, click, Go here, and here it is. I can do the same thing for multiple things, so I can select them all and drag them down like this, easy. By the way, the same thing can be applied to the patterns. So let's say I have some, something here. I need to duplicate this one. I can either select it Control C, Control V. And as you see, I have a duplicate from it right now. I can put it here. Whoops, I can put it here. Or I delete it using the right-click. I can select it, press Control B. Here, this. Or I can also do simply press Shift and drag to the right while holding shift. You can remove shift, but it's better to hold Shift because for some PCs it works like this and it's better for you to recognize it. So here we go. I can also do it again like this. I just can move wherever you want. It's just a duplicate. And it's just play normally. 11. Vid 2.9 - Adding Bass Line: So what is a plug-in? As we discussed in the first lectures, a plugin is something that generates a sound. For example, if you want a sound of the guitar, we have to go and use a plugin that generates the sound of the guitar. If we want to generate the sound of a piano, we have to go and use a plugin is called the **** is that generates the sound of a piano. If you want to dress, for example, a sound of a base or a guitar bass, we have to go and open a plugin that generates the sound of obeys. This plugin is called boo base. As you see, it has the sound of a base. So first let us close this. Let us close this, and let us focus only on this. So this one, as you see, it generates sound of a base. I can press a random key. Because I have this selected, as you see, I have this one selected. If I have this one selected, I generate the sound of the piano. But if I want to generate the sound of the bass, if I need to know what does it sound like, I press on here. It has the sound of the bass. And so what I want to do is create another node. Alright? I want to create another nodes in this base. So let's go back to the basics. How do we add some stuff? How do we add like an instrument? How do you add another sound? Again, we do the same thing. We go here. And we are creating a new loop or a new pattern. We call it base. We can call it whatever you want. Like we can call it, obeys. We can call it in the name of the plugin. But usually a good practice would be to just call it and the name of what it is like. If it's, for example, violence, we call it violence. If it's vocal, we call it vocals. Here it's called base. You can also, by the way, go right-click Rename and color, and just name this piano. So I call this base. Right now I go to the channel rack. Boom, this is empty. But if I go here, something I call piano for no reasons, so I need to spell it, try it. So if I go here, that's repeats. There is nothing in the f of k is. But if I go over here and I press on the channel rack, you will see that the F, F keys contains something. Why is that? It is because you created, you just created another pattern. You create another pattern from here, from the base. And therefore, it's not applic, applicable here. So you only have the base inside the base and the piano. Take a look. There is F keys inside the piano. When you switch patterns, you still have the instruments, so the instrument is still present, but there is no nodes inside the instruments. This is how I felt should you works. Now, if this didn't make sense, don't worry. There is many, many, many, many, many examples that I'll give in the next lectures. So you understand it. So here let's review for a final time. You have the piano. There's FR keys inside the piano. There is also the BU base, but it's empty. Also the base here. If you go here, the base, It's also empty and it's also empty. So we need to create, right now we are going to create some nodes in the base. So how do you create some nodes? We also go right-click, as you know, general. And we want to add the same notes as the piano. The piano. We added something like this. Let's say, by the way, all those duplicates because we don't need them. It's only for demonstration purposes. So we add those notes. See? Those? We want to add the same notes in here. Oops, I closed everything by accident. Do you know how to open it up? Just go over here, search playlist, view, playlist you see here on that hint panel. I hover over this and it says view playlists. When I press on it, boom, I can see my playlist. So let's go here on debase, channel rack, right-click camera roll. And I can put my piano roll. So I need to put the same notes. I put those notes here, for example, on the C5. I also put them on the lines. You see those lines right here. So the lines here at the beginning, then it should be here, then it should be here, then it should be here. But I messed up. So it should be like this. So if I hear it, I can't hear nothing. If I press space or if I if I press play, I can't hear, you know why? Because if I press here, let's put the play this back. I press here. There is nothing to play. We need to go back to the base. And if we need to hear this one way to go on pattern, pattern, and then we can, here we go. What if you put song? We can do nothing because there is nothing on the playlist. But if you put pattern, we will hear this pattern. And here we go. Right now, let's try to change this. I want to as a challenge, I want to, to move this one and move it down. So it becomes like this. I want you to move it down. So it becomes like this without pressing each individual nodes. So try to find a way to move it down from here to here without pressing individual nodes. And I will correct this in the next lecture. 12. Vid 2.10 - Using Ctrl and Shift: Where are you able to do that? Let's see. At the beginning it was something like this. Let's copy it, paste it. By the way, I don't use this copy paste too much, but it's effective in some ways to demonstrate to you. So it was like this. Let's delete them all. So I had the baseline here and I needed to put it down. I'm sure you tried copy paste, maybe you tried something. But what I do usually is easy. Select this control. Alright. I have many options. I can use Control V, for example, then drag it down, then delete it. That's an option, but that's not very fast. There's another option. Select those redshifts, drag it down normally. So Shift, drag it down easily. But there is also a better option. So instead of pressing Shift, selecting this pressing Shift, dragging it down. By the way, if it doesn't drag down with you while pressing Shift, you can press Shift, then removed shift, then drag it down, and then delete it. Like that works. But what about choosing this method? What about using the method of putting the nodes? So I put the notes. So that's the notes. Let me put it again. I select those notes, use using Control and select it. And simply hold Control on my keyboard. And put that down arrow, like this. Easy. So I repeat, it was here. I make sure I selected them. Then press Control or Command. If you're on a MacBook, then press like this. So control and down arrow. So I will type it in front of you. So Control plus this down arrow on your keyboard. If you simply oppress them, you will be able eventually put it down. So for example, if I need to put it up, I press Control and up arrow up. It keeps going up. As you see. We don't want this much easier. There is another method which is, but it's slower. Let's put them out. We use shift and my down arrow. It keeps going down one step-by-step. Like this. I can put it up. I can put it up. So what I'm doing is simply holding Shift and my up arrow. So this tricky is, is it a shift that moves step-by-step? And there is control that moves octave by octave. So the Shift, it moves step-by-step, or this control that moves octave like this down. So the distance between this, let me repeat that. So the distance between this and this is an octave. Why? Because as you see, this is almost the same node. So this node has a similar design to this. So if you need to pull it down, if you need to put it down one octave from here to here, it's called an octave. And so use Control S like this. You will not use it too much usually, but it's just good to know because maybe later on you will face this problem and you just want to do it using Control or Shift. 13. Vid 2.11 - Adding Ambience: So let's play all of that again. Again, maybe it was on pattern here. So I play only one pattern. But what if I want to play them all? I simply can click on here. Boom. I think it's too fast. So let's try to put a slower. I drag this and drop it down. Let's try maybe 90. I think it's worked for me. It's fine. Right now. We need to add something called pads. Pads or like something smooth. Pads are not like a specific instruments. Pads are something like it's smooth to make the song smoother. So to add some pads, all we need to do is simply first make a new pattern, right? We need a new pattern. We call it pads. Right now, inside this pattern, there'll be nothing. They will only be the instruments. So there'll be at alkenes and the boobies. But of course they will not be like the piano roll of it. They will not be the focus of it. Only there'll be the instruments with no media if you want inside without piano roll inside it. So what do we need to do is put another instrument. This instrument, this time would be the violin. You know the sound of the violin. It's like if it's smooth and especially if it's in multiple violence. So let's go here to packs. It's here packs. We go to packs, then go to instruments. Here it is. And then inside instruments, you will find this section is called orchestral. So this bass, guitar, keyboard, whatever orchestral here is the orchestral part. Inside this, you will find somewhere called strings section. So this time we didn't press on the plus button and go to find, for example, a random plug-in. We went in a different place. It's called the strings section. You go here, drag it, and drop it right here. I wait a few seconds. And here this it will open something like that in front of me. Right now. Try not to mess with those. We don't want to use those. We don't want them orange to do. Let's close it again. Don't worry about all of those. All you need is start listening. What it sounds like, how I know what it sounds like. All I have to do is press a random key on my keyboard. So as you see, I'm pressing wonky and I'm pressing also multiple keys, so I make something that sounds good. But anyway, what we'd worked with it is simply drag this and drop it right here. So you can just drag, for example, the string solo. Let's drag it and put tried here. And let's hear the difference again. Don't mess with those. Just press X. Let's say the difference between strings section and strings solo. So strings section. Think solo. So as the name suggests, shrinks. Solo as an individual string is like individual violent, violent or strings in English, they are the same. So let's delete that. We don't need a string solo. This was just for demonstration purposes. I go onto the string section. And from here, I want you to pause the video and try to add nodes, which sounds good in the song altogether. So take your time, try to be creative with it, and try something out. So what did you do? Let's try it out together. So we have the song. You know what? Let's try to make it a bit slower. Like, why not like this maybe. Alright, let's add the same nodes and the string section. Now have a challenge. Do you know how to add the same nodes from the piano in the same section without manually putting them. Rfp it I could have easily go and when put them manually. But do you know how do you know how to put it through copy and paste. So by the way, before we do this challenge, if you want to access the piano roll of this pattern, you can just double-click on here, or double-click on here. Or you can also easily go to the channel rack and then go to F LK is right-click. You will find the piano roll, or go to here click you'll find that piano roll. So there's like four ways to access the piano roll. They are so easy, but I have to just tell you, right now, you're had the pads. On the pads. We want to add some violence, some strings. So how do we add the nodes of this without manually putting them? So how do we add them inside of the pads? Right here? The simple answer would be to either copy them. So like this, easy. Or the second answer would be to simply go here and that piano or the base, because they have the same kind of role so far. Double-click on it. Clf control a. So I see them all, or by the way, I can see like easy to like this, so drag them all. Or I can press Control a, that's literally the same thing. I can unselect by tapping, double-clicking here, for example, that being somewhere else. So these are all the same. I can press Control J, Control C. So I copy it. Press X, Let's exit this. Then go to here on the pads. Open that channel rack, right-click, snakes section, piano roll. And guess what I do, Control V, I have exactly the same notes. And to prove that, Let's listen to both of them. So I put it on pattern mode. Let's hear this out. Let's hear that pads. And if you put them together like this, Let's see how they sound like. Or I could have selected, select them all. So control a, if the same, control B, they will all lead you to the same place. So how to get rid of this? I double-click somewhere else, like here for example. So as they need this, I could press Shift, duplicate this, or Control B. They all lead to the same place. So of course, as usual, tried to stop the video and go do this on your own in front of you. 14. Vid 2.12 - Adding Kicks: Now let's add some drums so we need to make it exciting. That's this intuitively last time. So what we need to do is simply try to add some drums. So what are some drums? Is the cakes and snare, for example. To add some drums, especially because we are using FL Studio default. Spac are using that rums that are included. Nfl studio. We need to go to drums, go to kicks. And from here we want to find a good kick around to find like a kid that fits and then mix. For example, this one. Oh, it's, it's, it's kind of ugly. You can put your headphones on, on your inner ear from zone so you can hear the difference. For example, those memos, minimal kick seems good. So let's try one. I think this one is very minimal and the best that suits us. So let's drag it and put it right here. So what you are doing is simply putting something here. So right now, if I play it, why not try to add the same kick here? Why not try to drop it, drag it and drop it here. So why not do it the same way? Alright, great. But there's another way also. Lets the two of them. And let's say we close this. We don't want to search it up again. We close all of this. How do we do it? As we said earlier, we can hold Shift and drag it. Hold Shift, drag it, hold Shift to drag it. So it becomes like this. Easy. Or there is another way. Oops. I don't know what I did. So what I did was just zoomed n i this by holding Control and right-click. Then zoomed out. So this is what's happening, what happened, or it's zoomed in too much light, too much. So I just press Control, right-click and zoom out. This is something we are going to learn later on. Don't worry about that. So let's play it again. Okay, so let's delete them all. I can press Shift, drag it, then select both of them, then shifts. Then drag it. Then select all of them. Then Shift and drag it again. But there is one that is sounding more aggressive than the other. I think because we put a two times two times of this. So you see, I'm pressing right-click two times and it's not deleting. So right now it delete it. Let's read them all and put them in the beginning with like this, like this, and the same thing. Of course you have to do it in front of you while I'm doing everything. Easy. Right now, we need to add the snare. And I want to go to back. Then go and search for some snails. So you can go into drums. That is some snares here. You can go into drums mode audio. It's the same thing but just different tags. You can go into snares here. I just want you to take your time, be creative. Try to find your own snare that sound good. 15. Vid 2.13 - Adding Snares: Let's see what you got. So let's go and choose a snare. So I went into drums. You see here. So it was backs originally than drums. Then I choose snares, know, other than snares. And let's try through some snares from here. I find that those grooves, snake labs are pretty decent. For example, this one. You see this one. Let's put it as a choice. Let's put it here as a choice that stretch through something, something else. I don't find something good. I don't find something attractive in here, except this one. This one is like very minimal and alike something that is minimal. So that's right here. So let's listen to this track. Alright, let's try to put some of the claps or the snares. Let's try to put them here. By the way, you can, for example, put one of them here and then click on it. And then it automatically have this brush tool. Do you see it? This one. You can put like this. Here we go. Let's take let's take a listen. I think it's too disturbing, right? Let's try to delete the ones between them. Maybe here, maybe here, here, here. So we have something like kick, snare, kick, snare. You see what I'm doing? So all I'm doing is simply have a systems of gig, excuse me for my handwriting. Then snare, then cake, then snare. So let's eat them all. So I'm trying to have a system again of kick and snare. So we have kick here, then snare here, get here, snare here, gatekeepers scenario. Finally kick here, snail here. We could try another snare. So let's delete this. We could try this snare. So let's put it here, then press on it. I automatically have this brush tool, which is like this. It's called paint TO easy. I think it's fine as long as I combine it with the other one, like this. Press the brush tool. So I could have, for example, don't like this shift. Duplicate it. Then together, shift, duplicate. It becomes like for me I think it's fine. Before I end this lecture, let me just clarify some things. I can. For example, take this or this one. Maybe this one. I duplicate it. I can press shift and duplicate it. I can press this and duplicate it. I can press this and duplicate it. So this shift method wasn't an option. Okay, It's a great option. But there's another option. Why use this option if there is another easier option? What I can do, assembly, Let's delete this is for example, select this. When I see that it automatically, I will have this Paint Tool selected. I can draw on here. I can put as much snaps or snares as I want. What I can also do is select this tool and press Shift, duplicate it, or select them. But Control, be whatever I want. They all work. What I want you to do is go and experiment that different methods on your own. 16. Vid 2.14 - Rolling Bass: The more we advance NFL studio, the more we realize that we can do some advancement or music. So for example, we went and created some snares. We didn't know that we can put two snails together. Maybe if we put one snare, it will have sound ugly. Maybe if we put the other snare, etude also sound not complete. It sounds good, but what about adding the two snares? Maybe you only like one snare. Maybe like the second snare, maybe like Boston there. But what I want you to know is that there is something called layering. In music. It's a common practice to simply put two snares, three scenarios, sometimes for snails together in order to make that snare sound fuller. But right now, this is not the most important thing. What's important is that I want us to make a song. And when making the song, learn the basics of FL Studio. Right now, we learn how to put a cake, how to put this near, how to put piano roll, etcetera. Right now, let's do a small change in the base. I'm thinking of making a rolling bass. What a rolling bass means. First, let's take a listen to this base. I want the base to be like no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. I don't want it to be like dun, dun, dun, dun dun, dun, dun, dun, dun, dun none, none, none, none. So can you pause the video and try to do it by your own? Alright, let's do it. So I want something like dun, dun, dun, dun. As you heard, there is four nodes. Instead of one node. I want, I want something like four nodes. So let's try to cut it out. You see those lines, those lines right here, 1234. I want to call it out. I want to put it right here. So I'm dislike this. Then like this, and like this, then like this. So finally we have a result like this. Here we go. We can do the same thing for the one above. We can cut it out. And instead of manually putting them one by one like this, we can do something easy, which is selected control B, control B, and Control B. So also what we can do in the last one is also the same thing. Control B, control ViewController be, but there's an easier way. Why not jagged all of this huge shift. Drag to the right, then drag it up a bit. So I'll repeat those four options. To duplicate a note, you have any options. We have a note like this. We can duplicate it manually by bringing the nose like this. Or we can select it. Press Control V, for example. Again, control B. Control B while holding Control. Or we can, what we can do if we want to create another node, for example, is selected shift to the right. Then select them shift to the right. If you want to create another node, like another, like for nodes like this, like this, what we can do is select this shift, put it up, easy. So that's finished. This one. Here, this. So let's listen how it sounds like in the whole song. How do we put it? Either press song or we can just put our mouse here wherever, wherever we want and play it. I feel like it's pretty legit. What do you think about this? 17. Vid 2.15 - Arranging: So what do you think, how this class, I think that really the good advancement we started by knowing nothing. Right now we know how to use that channel rack, the piano roll, and in cakes. And he says that everything. If you think you enjoyed this class, I would really appreciate if you just leave a small review, since it can help me on that platform, the more you use I have, the more students I can reach. The better course is I can make the higher-quality of course I can make, therefore, leads to more students learning from my work and learning music production FL Studio. Maybe it's some other softwares. At some point, there is many exciting courses that are coming in the future. But all I need from you is just leaves me a small five-star review describing how is the course describing how is everything so far, since it can help me out a lot and can help other students find that my course is valuable. So it can help me build more trust and quality courses on the platform. If you're still not sure whether my course deserve an excellent review or not, just message me so I can help you out in something or just resume watching the course, since there's lots of valuable information. I really appreciate that. And let's continue. Why not make a small arrangement in our song? One I've tried to start by something, for example, piano, maybe, then continue with other things. Let's try to add, for example, the piano in the beginning. So let's drag them, all of them using control and my left attract bed or my left mouse. Let's put the right without pressing Shift. Let's maybe add the pads with it. Let's maybe add some base after this. So I duplicate those interval a, b. And then what I do is put it more and more time, but this time with a loop. So it will become like this. Pretty good, I think. So what I will try to do is just put this FLP file. So I'll save it, then. Put it in the Dropbox file that I will link it this lecture or in the description of this lecture. So you can get access to this FLP and see what I did. And the problem is that only if you have the same version of F L pseudo than me, you can access the FLP, the same or newer version, which I don t think you have a newer version since it is the latest version. So all you have to do is simply go to the description if you want to access this FLP. Flp means this file that contains piano, bass beds. And just download this file if you do want, and if you find yourself a bit lost, if you do want some help and just find the FLP, the file of this music. 18. Vid 2.16 - Mixing: If we try to hear this part, the part that starts with piano base pairs, whatever. We can clearly hear that it's not mixed well, it's not well-mixed. And so it requires us maybe decrease the volume of the base because it's like too obvious, decrease the volume of the cake. So the piano and the pads can stand out a little bit. So let's try to do this. Let's try to go and mix them. Now there's two ways of mixing them. There is an easy way which is going to the channel rack. And that is a bit harder way, a bit, just a bit harder, slightly harder, which is the better way using the mixture. So we're not going to learn how to use the mixer right now. We will leave it till the next part. But what we're going to do is to learn how to mix using that channel rack. So how to mix mixing so far. And what I need you to know about mixing is just about the volumes. So if you have good volumes, for example, you lower the volume of the base. So it sounds a bit normal. You will lower the volume of the cake and then you lower the volume of destiny. Or for example, maybe you increase the volume of that piano or whatever it is, this is mixing. So let's try to mix debase. We want to lower its volume. So I go here. Of course I select the base, go here to the channel rag. And whereas the plug-in of debase responsible for the base here, this I can turn down this volume until it fits in the mix. So let's try to turn down the volume until it fits in the mix. By the way, you can see the volume right here on the top-left, on the hand panel. So let's try to lower the volume. Oops, let me repeat from here. I'm pressing space bar, then Spacebar again. I feel that this is pretty good at 52%. As you see when I'm hovering over this, you can see on the hand panel that it's on 52%. Never think of mixing the base alone. Because if you're just mixing the base alone, how can you hear if this volume is good in that mix? Like RR to turn down the volume. But how do you know if it fits well the mix? And so you always mix when the whole song is playing. You never mix when the song is not playing, you always mix when the whole song with the whole instruments are playing. So let's do it again. This is too high. Let's put it a bit lower. Anyway that any way that it is here, but it's not here. So the second thing that I want to do is lower the volume of this kick. It is too loud. So I go here, double-click on this cake assembly. Let me repeat it. I simply double-click on this cake. And here I have the volume knob, it's in front of me. Last Mexico. Diane. I think that this is a good balance because this much is too much. And this much is not. We can't hear it too much. So I want to do it like this. Maybe I'll go like this. Right now. Let's make those snares. I do, I get to this snare and do the same thing. To be honest with you, I'm not being able to listen to this nerve very well. So this near as being, this one is the main snare and extending out. This snare is not really necessary. So I would go for deleting it at the beginning alpha that it's making it well. But hey, we can change our opinions based on new mixes. Right now. I change the volume of those. Therefore, I might change my opinion about the volume of the snare. So I removed it. So let's remove the other snail. But before then, repeat what I said. Because right now I change the volume. I started feeding that this snare might not be essential. And so why just put it and put extra things? Why not remove it and just focus on this snare? So I just did because the previous snare was for demonstration purposes. And so right now you know that you can layer some snares. Let's go here. And for me to learn that, hey, let's keep things minimal. So let's go here and start to change the volume of this. I still feel that the volume of the base is too loud. So let's put it down a bit. It's all about finding a balance between the drums and the bass and the old instruments. Right now, the violence or the pads, let's lower the volume. Here they are. String section. We can lower the volume from here even if you don't have that path selected. Because take a look. If I go to the base, then channel rag, turn down the volume of the string section. Let's Play. You'll note here that strings, and take a look at the volume. It's 17%. Take a look at the hand panel. So it's 70% owns the base pattern. But if I go on that pads, it remains the same. And so we can lower the volume even if we have selected different channels or different pattern. I mean, but you can change the piano roll of course, because here it has the midi or can enroll in here. And here. It doesn't. It only have for the base. So let's go and start changing the volumes. Okay, let's lower the volume of that piano right now. Let's start with the kick a bit. Alright, right now I feel that all the instruments are equally heard. Maybe you have something different. Maybe you want the base to send out more. So we put it louder. So this is how we do it. And yeah, this is a just quick mixing. Again. Usually mixing doesn't have her from here. It happens from here. But it's a quick way to just get your ears sordid. And I prefer if you do all of this using an earphone or headphones and not the laptop speakers. 19. Vid 2.17 - Sendind Track To Your Friends: Maybe at this 0.2 are pretty interested in what you can do so far in FL Studio cylinder very beginning, my friends were still are scratching the surface. But what if you wanted to send this to your friends or family and show them what you can do. I'll teach you how to export your songs and an MP3 file or we AVI file and just send them through WhatsApp, maybe any social media platform. So you go to File and simply press Export. And you choose as an MP3 file. So we AVI file will have higher-quality. But since right now quality doesn't really matter. I advise you to use MP3s since it's supported in Most messaging apps. I press on epithelia. And it will ask me where I want to save it. So you just select, for example, your desktop. Select somewhere that you want to save it, and you save it. So I'll choose my desktop for example, or I can choose anything. I press Save. And why you press Save, you just don't mess with those. Just leave them as they are. And press start. And as you see, it will give you the sound. Means it already exported. You can go right now where you saved it, maybe on your desktop, whatever the thing it is, then send it to your friends. 20. Vid 3.1 - Searching For Vocals: Perfect. So we did many things where the piano bass pads, we don't know how to use the median or the piano roll because this is media and discipline role, they are the same thing. We don't know how to add kicks, drums, whatever, snares and everything. Right now, it's time to move on to a new song. In this part, we're going to start our very new song and it will be a very professional sound. I mean, a very professional song. And so this is why we have to go and have some vocals. So what I need you to do is simply press File New from template empty. Of course you go to minimal an empty. So we have nothing and that channel, right? I want to save the changes, so I keep it for me. So I need to have a vocal. I need to have like a vocal for the song. Then put cores on it than drums and effect, etcetera. But before doing all of this, I always advise all my students to always create a big FL Studio folder on their desktops. So I go on my desktop, simply tried to create a new folder. And let's call it FL Studio. So in this folder there will be everything like sample packs, vocals, plugins. So you will install everything related to FL Studio third party things inside this, because in the future or in the next few hours of the course, we are going to install some light plugins that doesn't take so much to install. Going to add some sample bias, are going to add many things. And I need you to create all of this inside this folder. You can create it on your desktop, you can create it on your external disk. You can create it wherever you want, as long as you know how to access it. Most people, I advise you to put it on your desktop since it can facilitate things to you. For me, I don't want to put my folder on my desktop since I already have one. In other places, I put it in my hard drive. And so this is something that computer, but again, you don't have to worry about that. Just create a big FL Studio file on your desktop for me. Don't worry, I created it somewhere else because there is lots of stuff that I have to store N. So let's get started. You have to first go to website called Looper man. So let's try it with a looper man.com. It's called like this. After you go to this website. So let's start. First. We have to go to a website called Looper man. It's called Looper man.com. Whenever you go to this website, you will see this in front of you. Let's go to acapella has, so this is a free website. Therefore it has some ads. Don't worry about that. After it finishes loading, you go to acapella and wait for it to go. Then here you have multiple acapella. What are acapella has? Acapella has our lives vocals with no instruments behind it. For example, if you want the lyrics or the vocals of a sound by a popular artist, for example. For example, let's say do Alibaba is a popular artist. If you want the vocals of her song without, without instruments, you go to the Internet and say, I want the acapella of the song. It means that you only wanted the vocal of this song with no instruments. The same thing applies here. But this time it starts with popular songs, since we don't want to get copyrighted. What is copyright? For example, I'm not allowed to post on YouTube my mix of an acapella of another artists. For example, I can take the vocals of dwelling HIPAA, which is a popular artists. You can search it up. You can take her vocals and just mix it and post it on YouTube as your own mix. Otherwise, they will demagnetize your video. But what you can do is simply take a vocal of someone that gave you this vocal for free, as we are going to do in this website and use it as your own ways to rephrase that. How explain this. Again, you can take a vocal of a popular artists and publish the song in your own name because it's called ceiling. But what you can do is have this vocal and mix it and publish it not in your own name. Just send it to your friends and family. There's nothing illegal with it. So what we're going to do in this website is just fine vocals of other people that have free commercial use means that you can post it on YouTube. And there is no one that's stopping you because those are free commercial use. The ones that commercial license required. You can post them in your name on YouTube. But the one that are free commercial use means you can use them as you want in your name, whatever it is. I hope this makes the point. And by the way, none of the artists that I will choose, the vocals are affiliated to me or something. I just choose it because it seems fine to me. And this website is cool. It's contains many low-quality vocals, to be honest. It contains many stuff that doesn't sound good. You can try to explore it. But if you take your time and just search it up, you will find some good Vogels. For me. I took my time, tried to search for some vocals and I found something like this. First, this filters. So because there is like hundreds of thousands of vocals, there is lots of vocals and so you can search it up one by one. This is why you need to filter this up. We can filter starts filtering by genre, wheat and electric music or electronic dance music, EDM. We can just write EDM and you'll have it for the type. We want. Any type, any date, you don't have any problem in the date. Male or female. Let's keep it. Anything. Vocal style? We don't want to wrap. We don't want to bootstrap and thinking. We just want to singing usage. Most importantly, for you, you can search commercial license required because you will not sell the song like you are just going to mix it. But for me, because I'm filming this course, I introduced something free commercial use, commercial use that I can't make money out of this song. If I use free commercial use. Than the owner of the song is legally telling me that, hey, even if it is my vocals, you can put it in your name. You can, for example, put it in your course. You can put it in your YouTube video. But if it has a commercial license, It's like the artist is selling me. You can use my vocals. You can remix it, do whatever you want, but you have to take my permission before posting it somewhere. In your case, you can choose this. But if you choose this, you will not be able, for example, to post it on YouTube and have hundreds of thousands of views on it. Maybe they will, they will stop the video because it has lots of views and you don't have the commercial license. For example, when you go and search for vocals by yourself and want to remake something, we can choose commercial, commercial license required. It's not a big deal because you will not become popular overnight from this. But for me because I'm filming this course and I have to take care of their copyrights. I have to choose free commercial use to avoid any illegal issues. So choose with me free commercial use. It means that you are going to search for a vocal that is free for commercial use. Auto-tune. We dont mind and order by downloads. It means that if we just search, search it up like this, we will find random results. We just want to order by downloads to see vocals that are the most downloaded and downloads from the top. So if you order by downloads, we will see this vocal is pretty much download like many people downloaded, it means it's good. So as we choose genre EDM, and choose vocal style singing only uses free commercial use, Auto-Tune, don't my order by download. You press F9 acapella. And here we are. Okay, let's start to listen one-by-one. You see here it has 12 thousand downloads, means it's something right? So let's listen to it. As create more density, sparser into psi. It might not fit if future bass song, let's search the second one. By the way, I've already searched it up before finishing this course, but I'm just trying to refill how the process of thinking is. So let's listen to the second one. We met in school for the first time, crust Yards grace and allows him fire and flames. Far along. With that sparkling. We can start to full routing it. Okay, it is fine. So we want to download it. By the way, if you don't want to go to this website or anything, I will link the vocal and that Dropbox file that I will leave the link in the description of this lecture or in the description of the course. So what I will do is simply press login to download. After I press login to download, they will guide me to put my e-mail address or password. If you don't have a previous account, all you have to do is press register account. You put your username. For example, Joseph is not available, so put Joseph underscore, underscore maybe or maybe Joseph to 12, whatever it is. Just try to put a username, then email address, country, city, password. I'm not a robot and you'll be able to download this song. By the way, if you don't want to go through all this process, again, I will link this Dropbox file so you can find the vocal in it and simply download it using a simple click. But if you just know how I did it, this is a process. And maybe for example, in the future you want to sign up this platform, all this website, just to have some vocals and remix them as we are going to do during this course. So just put your username and just download the thing. 21. Vid 3.2 - Adding The Vocal To FL Studio: So after you download this phone call from the website, I want you to drag it and drop it in the folder, that big FL Studio folder that we created. So don't leave it alone, don't leave it in the downloads. Maybe if you're on Windows, whatever, just drag it and put it in the big FL Studio file that we've just created. Then from this FL Studio file, drag it and put it in FL Studio. So first you downloaded from the website, okay, Now for that website, then you put it as a big file. Then from the big file, you put it in FL Studio. Now you will ask me why I didn't directly drag it from the website till FL Studio. Well, because maybe at some point you delete the vocal from here. Maybe you didn't. You didn't. Be careful and deleted the vocal from your downloads folder. So it will automatically be deleted from FL Studio. But if you just put the vocal inside this big FL Studio file, you will know that I should not download it because it seems that I made a project out of it. This is why always everything you use, just put it in that big FL Studio file, then simply use it from this FL Studio file. So in my case, this is the big FL Studio file that I just created. I didn't create it on my desktop. I just created it on my hard drive. But don't worry about that. Was it hard drive and soft just create on your desktop. Here it is, It's called FL Studio. And from here, remember from the big folder, you drag it, boom, and drop it to FL Studio. Right now we have the vocal, and in the next lecture we are going to learn how to process this vocal. 22. Vid 3.3 - Rhythm Problems: Before starting this lecture, if you had trouble downloading the vocal or whatever problem it is, I linked a Dropbox file and the description of the course or in the description in the previous lectures. So all you have to do is just go to this file and you'll find everything. It will facilitate your life. I promise. Let's start. We have this vocal. By the way, this is the patterns and this is the part for audio clips. This is the part for automations that we'll learn later on what our automations. I want you to go here and try to drag. Simply double-click on this if you're on track pad or if you are in mouse and just drag it and drop it. Here you have the vocal. We listened to this first part. And if you want, you can listen to the end part. Not worry about that. First. The first and main problem that we have and vocals is the tempo. For example, you have this vocal. We met in school for the first time. The problem is that if we go to the Internet, we download this vocal. Let's go back a bit. Where we download this vocal. Here. This is called heart. If we go down, we can see that those tags, we can see that it has 128 BPM, EDM, 2.72, etcetera, etcetera, etcetera. But we don't see the importance of this one. So 128 beats per minutes or those ads. So we have 128 beats per minute. But here in FL Studio, we have one for TB, it's permanent. In other words, this vocal is technically slower than the default vocal, than the default rhythm that we have right here. So if we try to play the metronome, by the way, this is the metronome. The metronome will be much faster than this vocal. So let me delete this vocal so you can hear the metronome 123412341234. So if you put that vocal on this, Let's start from here. For example, we might ask, in school for the first time, let me go down the hall in gray. Fire and flames. Far along. As you hear, the metronome is not one per cent sync with the vocal. We need something that matches the vocal. So let me repeat the case scenario. We have in the first place, we have the vocal, which has 128 beats per minute. But we also have the default fl should your tempo, which is 1 fourth beats per minute. So in each to match them together. What we can do is one, try to lower the rhythm of FL Studio. So it was 140. It should become 128. In this way, it matches the tempo of the rhythm. Or solution number two, which is better and better practice, is to have the vocal of the temporal order them of the vocal one twenty one, twenty eight, and match it to the rhythm of FL Studio. Or in other words, just speed it up. So we can either transform the rhythm of FL Studio from 142218128. I mean, so it matches the vocal or what I can do is speed up the vocal. Instead of slowing down the FL Studio, I can speed up the vocal. So S matches FL Studio. What do you think I should do? Let's think about this and tell you in the next lecture. 23. Vid 3.4 - Fixing Rhythms Issues: Let's learn how to fit vocals to the temple. We don't want to fit the tamper with the vocals. Since if we just put it on 120, the track will become a bit slower. And for this specific course, I want to create a genre that is a bit fast in order to teach you the future bass drum. So again, we can put the tempo down to 128, but we'd rather speed up the vocal because I personally during this course, want to let all the students create something fast so that they can learn a genre called Future base. So here what I'll do is split the vocal, which is 128 BPM. I want to fit it to become 140. Now the word, I want to increase the vocals speeds. So how do I do that? I make sure, step one, I made sure that I have the tempo that I want on the FL Studio. So for example, if I want the Vogel to be on 130, I just make sure that tampa FL Studio is on 130. If I want the tempo of debacle to be on 200, I don't know. I just make sure it is on 200. But right now I want it only on 114. So what I do is make sure step one, it is on 140. Then go and press this small button right here. You will find in any vocal. So this small button when you press it normally, like left-click normally, you will have all those options. I want to search for an option called Fit to tempo. You press fit to tempo. Boom, here to, here we go. You search for somewhere called type in VPM. So what we did is I repeat, made sure that we won't like, for example, what do you want a vocal of 150? Then put it on 150. Regardless of how this moves, it's still the same thing. So don't worry. Put it on 150. Then go to here. Fit to tempo. Okay, but we don't want it on 1 fifth. You just wanted worn 14. So we go here to tempo. We're still not done yet. We have to press type in BPM. After I press it. I'll have something like this. So lots of people make the mistake of thinking that if you type in that desired BPM. So in our case, we want the VPN to B14 to write. If you write 140, things will work. But this is not the case. When you press, I'm sorry, it pressed by default, so I press X, although what I know what, I don't know what happened. So let's repeat again. I press here to tempo, di and BPM. I should write n, the value of the current vocal that I'm working with. So the vocal has a speed of 128. How did I know is from here 128th. So I type in the speed of the vocalist, I have 128, and it will match to that desired vocal speed. 128 is the speed of the original vocal. When I type in the speed of the original vocal, it will automatically match with the desired speeds, which is 1 fourth. This is why don't make the mistake of typing here 140th because you want the vocal to be on 40, you write 2128, the speed of the current vocal. You press here. And right now you have both vocals fit together. So what we are going to do in the next lectures is just cut this vocal in a way that fits rather them. So we start, for example, cutting the unnecessary sound. Anyway that fits in our song. 24. Vid 4.1 - Why We Need Music Theory: So right now that we have the vocal, we have it all together. Right now it's time to add some base. For example, we need to add some nodes. We need to add some instruments with this vocal. For example, let's take a listen right here. But we met in school for the first time. Crust Yara. Alright, so what we need to do is press Plus, go to piano. Let's add the small piano. And from piano, go to F L keys, which is also a plug-in for the piano. I go to a key, is normally, then try to discover the scale. But we mess. We met in school. The first. So let's try to create a small base like this. Maybe here. So we go down, maybe let's go down like this. So it's created a bit. I drag it here in schools, father first, then here in school. Maybe through date. We met in school for the first time. Trust your grace and allows him fire and save far alongside. With that sparkle in sheer size, we can start to fool. Knows. She's too far, it Stay safe to say. So I am sure your first question was, what is this guy doing? Like how your design to add these notes or the other knows like how do you cite due to all of this? Well, there's a common myths and music production that you don't need music theory. You can just drag and drop and everything is done. But unfortunately, this is not the case if you just want to create your own music. So if you'd want to create loops, maybe create some b is some easy beats, then you definitely don't need music theory because, well, who does need music theory and drag and drop techniques. But if you do want to create your own music, your own melody, maybe at some point, right? Music and create rhythms, create the chord progressions and Melody than music theory is essential. Now, are we going to go through a ten hour music theory course? Of course not. I will just give you the very essential for music production, the one that you really need in order to produce music by your own without worrying about any music theory later. Then. After that, we will continue our track. But keep in mind that are not only just show you lessons in front of you and slides and everything, I'll be as practical as possible to help you out, see examples in front of you. But in the meantime, welcome to part four and welcome to Music Theory for producers. 25. Vid 4.2 - Notes C And E: Alright, so let's start by some basics. We know that on the piano there is seven keys, the C, D, E, F, G, a, and repeats. So always on the piano, we have seven nodes. We have them like this. We have a, B, C, D, E, F, G, which should appear in front of you of the screen. So those nodes repeats themselves. So this is the a, this is B, and this is the C. It keeps repeating itself until we hit what node we had denoted G, which is right here. So if you take a look, we start here by the node a, B, C, D, E, F, G. Then repeat to the node a, C, D, E, F, g. So let me give you a small quiz. What is this node? This node is the node C. Why does the note C? That is true. Reasons why this is the node C. The first reason is that, well, obviously this is the node a. Then there is fear. Then I'm going to see, alright. So this is the first reason. The second reason, which is C, is located at the left of the two black kids. So you see those two black keys right there. The note C is located right after those two black keys. So for example, if I want to know where are the node c all over the piano, all I can do, whoops, I'm sorry. All I can do is go and locate the two black is let me clarify. For example, I need you to pause the video right now and give me two other nodes. E is on this keyboard. Other than this node, see what node c can you find me on this keyboard? Try to pause the video and go find the answer. So obviously that is true. Other Cs, that is true other nodes C, How do we know where are those nodes C? We go and search for that to black keys. That is true black keys right here. That is true black kids right there. And there's two black key is also right here. So where are the node C? Obviously, the node C can be found on the left of those two black keys. So we have this, see, we have this C, which we demonstrated previously. Then finally, we have this C. So again, don't forget that the alphabet is from a all the way up to G. After F finishes, it always repeats itself. So after G, there is a than B, C D a, B, a, B, C, D E, F, G, then repeats. So it's a cycle going on and on and on. The same thing applies here. You can take a look in front of you. You can take a look that this is the note C, which is on the left of the tube-like keys. Then C, D, E, F, G, a, B, C. Then repeats all the way up. So can you spot it? Now, another question. Where is the node E? So I need you to pause the video and go and find me the node E. Node E is the right of the two black keys. So we have tube-like years. And from those two black keys, we can spot some differences. So at the left of the two black keys, we can spot the node C. And on the right of this tube-like here, we can spot the node E. The same thing applies with all the scales. We can spot the node c from the left of the two black key is right here. And we can spot the node E from the right of the two black is the same thing applies exactly at the right. We can spot the node C on the left of the two black keys. And we can also spot the note E on the right of the two black keys. So right now, whereas the node D, we will leave it in the next lecture. 26. Vid 4.3 - Notes D: So where is the node d? Obviously, like if we have the node C, which will be here, the note E, which will be here. We do have in the middle of the note D, because we have a, B, C, D. And so whereas denote D. Well, obviously the node D is right there at the middle. So can you pause the video and try to spot to others node D? Well, we have a node D right here. And you also have another variety and other node D right there. Why? Because they are right in the middle of the note C and E. So here's the note C, and here's the node E. And D is in the middle. And here is another node C, and also another node D. I mean here. So here it is. Now we know that, that is three nodes that we can directly recognize. Which are the node C, which is supposed to be at the left of the two black key, is the node E, which is supposed to be at the right of those same two black years. And finally, the node D, which is supposed to be between the node C and E. So if you have trouble using this, I encourage you to pause the video, reply the whole lecture, and just understand this before we move on into other nodes. The other nodes will be F, G, Then a, and obviously be. So how can we know those notes quickly? Like we all know that if we want a note hike, we can directly just count through the beginning. We can start counting C, D, E, F, G, a, B, C. I get so easy. But that challenge for most music producers, actually knowing it then note from the beginning like before they look at it. So they do not have to count like a, B, C, D, E, F, G, and go through all this hassle. They only do have to simply boom, recognize the note who quickly. So for example, if I give you a node, I need to boom, recognize it quickly. If I give, for example, what is this node? I needed to know it quickly. What is this node? Now let's quickly, what is this node? This is another note which we are going to do. What you are going to lower. I mean, this is sharps and flats. So this is the challenge here. This is why in the next lecture, we are going to try to learn most of the nodes so you can spot them directly on the piano. See you in the next lecture. 27. Vid 4.4 - Notes A & B: So here we go. Let's start with the other nodes. So we obviously learned that we have nodes C, we have G, we have E. Right now, you have to focus with me because it's a bit complicated, at least for the beginning. Right now, we still do have those nodes. What are those nodes? Well, if we take a look and try to focus a bit, we can recognize the lastNode very easily. So let me make it easier for you. Isn't this denotes here, right? We know that is Tennessee, but we also do know that this is the note C2, right? Well, what? That is before the node C. So this is the right. See the node, this is the node C, right? C, D, E, F, G, a, B. Then repeats, we have the c. So obviously we have the node B before the C. So we have denotes C. And before the node C, that is obviously than OTB. So right now, if I go and show you this note after I delete everything, unfortunately, time repeat it. So if I go and show you this node here, this node, what do you think about this node? What do you think this node is? Or if I go and also show you this node, what do you think this node it is? Try to pause the video and answer this question. Well, obviously you knew that this was the node B. But why this was the node B? Because, well, if we do have here the node C. So if this is the node C, then what comes right before the note C? Well, we have the node B. So this is the node p, which comes right before then I would see what also comes before the eNode. B. We have C, excuse me for my handwriting on my laptop. Then we have B before it, then before everything. What do we have? We have obviously a. So right now, in conclusion, what we can know is that every time we see, for example, this kind of nodes, we should know that this is B. Why? Because it's this rod before the sea. And every time we go and see this type of nodes, we know that this is B. Oh, I got you. Don't you think that this is b? This is a this was a test on your iOS running to see if you're focusing on me. Right now. You know that this is the node a. Then we have the node b, then we have the node C. As a test, I will stop everything and start quizzing you. Ready? What is this node? It is a, right? What is this node? Well, it is the note B. Now, what is this node? Is the node E? So what is this node is between C and E, Therefore, it is z. So during the next lecture, I'll be trying to challenge you also more. So we can find lies and know all the nodes. 28. Vid 4.5 - The Rest Of The Notes: Alright, so let's continue. We had those nodes. I bet that they are a bit complicated for you, but don't trust anyone who tells you that. You can produce music and make your own songs, make songs and vocals everything without music theory. It's all, it's all a myth that after years of teaching, I found that really all the producers need some dose of music theory. Like of course you can make some songs was up music theory, but it will be very, very, very limited. Like if you want to make the minimum possible, like the minimum possible of justice, adding a baseline for this song like this. We met in schools for the first time. Crusts your grace and loving fire and flames far alongside. With that sparkle in years, five years, we can stop too full. Too far. First day, I mean, safe to say. So that is like there's many things that you can do with music theory. And you will have advantages over other people who don't know music theory. Because it's pretty complicated to just produce music without music theory. And here I am. I'm just doing the bare minimum. And just to see teaching music theory, this is why we need to learn the other nodes, which are the nodes F and the notes G. Let's start by the node F. So how do you know what is the node F? It's very simple. So you know that there is the node, see that there is denoted E, that between them there is denote D. And you also know that you have the node a, you have the node B. So we still have those two nodes left. There we go. Do you think it will be complicated? I don't think so. This is why. All I need you to know is that the note F. So this is the node F, which is right here. It is on the left of the three black keys. So those are the three black keys. And the note F is exactly on the left. And then obviously like the novel to g, where g, It's exactly after the note F. So, so far, what did we have? Let us recapitulate a bit. So first, we do have, or we do know that the note C is as the right of the two black is what? Papa papa, papa law. I'm sure you didn't trust me. Then I would see is at the left of the tube-like is. Second. We do know that denote E is where it is as the right of the two black keys. Third, we know that what there is between the node C and E, that is the node D, then we know that that is the node B. Here it is. Which is right before then I would see. Then fifth, can you remember what did you learn? Node a is also right before the node B. Here. This, this is denote a because of course we do have a, B, C, D, E, F, G. Then what did we learn? That we do have the note F. Here it is. It is on the left of the three black keys. Then finally, and of course, none other than the node G, which is like after the note F. So of course, I will not leave you like this. In the next lecture, I will make a test or a small quiz just to test whether you know it or not. It will be like something that you will be able to hold this for the rest of your life. Just learning how to know how to read the notes. 29. Vid 4.6 - Sharps And Flats: Are you ready? Let's get started. So what is this node D? What is this node a? Because it's before the note B. What is this nodes? That is denoted f? What is this node? Is the node B, because it is right before then I would see, let's add maybe this node. What is this node that has the black nodes that we learnt any black notes? No, we didn't do any black node. What does this node? It has also a black note. Any black notes? No, of course not. This is why we're going to dive right now. And the sharps and flats. So imagine this with me. Let's press here. Let's close this. Imagine this with me. You simply have an ODE. Imagine this as a note. Any nodes. When you go to the right, you have this sharp. And when you go to the left, you have a flat. I'll repeat. When you go to the right, you have a sharp. When you go to the left, you have a flat. So is it clear? From here? Let's start. I want you to tell me what is this node? So let's take a step back. This is the node G, right? Now when we go a bit to the right, we call that G flats. And when we go a bit to the left, so this is G. When I go to the left, I call it G flats. So I'll give you another example so you can really, really understand the concept. I have this notes. What is this note? It is the right because it's between then I would see, and then our T. Now what is this node? And this node? D sharp? Because as we said, D-sharp goes to the right. So we have this node D. So we have like d right here. Imagine this as a note, this double, double-sided arrow. When we go to the right, we have sharp. When you go to the left, we have lats. So if you imagine this, we have char. And this is D, D flat. So I'll give you a final example, or I'll give you your final quiz just to make sure that you are really, really good at it. If I give you this nodes, this is a, right. Now what about this node? This is the node a flat. Why? Because we ran to the left. And again, this is a, now what is this nodes? It is a sharp, a sharp because we went to the right. Again, this is a sharp and a sharp, this is a sharp. Now a final example, what node this is? Again, this is a sharp. But little. Did you know that it is also called B flat? So this is B. This is B flats. Again, flat is on the left, char is on the right. Chart, on the right, flat is on the left. So I'll repeat, sharp is on the left flat as otherwise, it's false. So this is false what I said. So we have sharp to the right and flat to the left. So what note this is? We can either call it a sharp because we went from a to the right, or we can call it b flat's. Because we went from B to the left. They are the same. 30. Vid 4.7 - Exceptions In Sharps And Flats: We learned everything related to sharps and flats, but there are some exceptions still. What do you think about B sharp? So we know that B flat is B. This is B flat because it is on the left-right. But we should also note that this is something, there's something called B-sharp. So what is B sharp? This is B. This is B sharp and not this. Because if we go to the true definition of sharps and flats, so sharp is the closest movement possible to the right and flat is the closest movement possible to the left. And so if want to take B-sharp, we want to go that closest movement possible to the right, which will be, then I would see. So this might seem a little bit confusing, but let's go back to the rules. Let's go back to the basics. If we need to have G-sharp, what you do from G, we go the closest movement possible to the right. Like there is no closer nodes. Then this node, this black nodes. If we go also go back to the basics. If you want to know what is B flats. B-flat is like low this movement possible to the left. This is the closest node possible to denote be. This exact same thing applies for B-sharp, for example. So this is b, and this is also be sharp and B-sharp. In other words, I'll write it down. B-sharp is the same as C. Why? Because if we put B-sharp and if we go to the right, we will have the same thing as putting. See. Let me give you another example to prove this. If I give you ionize, tell you, for example, playing the note C E-flat. So what is the node C flat? So this is C, right? This is c. What is E-flat? Is this E-flat? Of course not. What is C-flat? To know what is E-flat, we need to go that closest movement possible to the left because it's flat, right? So this is e flat's because we have C, then we put it two flats. The same thing applies with B-sharp. So this is B. And to know what is B-sharp, we go from B, the closest move impossible to the right. And so we will have B sharp. So to understand this, let's run a final quiz on you to ensure that you completely understand this. First. So what is the node E sharp? So this is the anode, ie. And to find the node E sharp, you go that low. This more impossible to the right. And it is right here. So this is the node E sharp as known as f. So we can say that E sharp, or we can write down E sharp is the same as f, right? Because if we have e to the right, the closest move and possible is simply the f. So let me give you one more thing. Final one. What is F? A-flat? The same as saying E, because here is F. And if you want F flat, we go F flat. So the draft back closest movement possible to the left. If this doesn't make sense, just make sure you asked me a question and we can continue throughout this course. 31. Vid 4.8 - Whole And Half Notes: So because we learned that slats and sharp thing, right now, it's time to develop this EBIT into more theories. Now, in this lecture, I'm going to teach you what is the whole step and what is the half-step? So let's see, on f L key is we can't make it bigger, but I think that this can make the job done. So we are not able to zoom in, in the piano, but we can see from here. So between here and here, that is a half-step because this is called C, C-sharp. So that closes movement possible. It's true that it's sharp or flat, but it's also counted as a half step. So how does this apply to other nodes? Let me give you an example. When I asked you to play that G, you plate. When I asked you to play that G-sharp, you played G and you go to the right. So this is G-sharp, right? So what is the distance between G and G sharp? Because as we have in kilometers, centimeters, foods, inches. So we say, for example, that is five meters between me and you. The same thing applies to music. We have a half notes and whole notes. We measure things by half and whole nodes. So what is the distance between this and this? It is a half-note because this is the closest movement possible to this. And other question, what is the distance between this? And this? Is it a half step or a whole step? This simple, simple answer is that it is a half-step because between here and here, there is no other nodes, we can't go somewhere else. But if I were to ask you, what is the difference between this and this, then the answer is all nodes. Why? Because between this and this, that is a half nodes. And between this and this, that is a half-note. Half plus half makes one whole note. Does this make sense? Understand more or less dive in and do another example. What is the distance? I want you to pause the video and try to answer this question. What is the distance between this and this? And why? So the distance between this is a whole note. Why is this? Because between here and here, there's a half-note, right? Like it's the closest movement possible. Does this make sense? Now between imagined with yourself, between here and here, there is a half-note. Between here and there. It is. Another half notes. Half plus half makes one whole note. Therefore, between here. Yeah, that is a whole note. Now, two final questions. What is the distance between this and this? So between this and this, the answer is half-note, will pop up. Of course not. It is whole node. Why? Because between here and here, that is half notes in between here and here, that is another half-note. Therefore, half and half combined make one whole note. Now, one final question. What is the distance between here and here? Well, the answer is easy. It is a whole note. Because again, half note, half-note, half-and-half makes it a whole note. 32. Vid 4.9 - Pitching Up In Cents: But here, as producers, we do also know that each half nodes or each half step, it's better to call it half-step equal a $0.100. So for example, if I have this node, so this node, I want to pitch it up a half step, it becomes like this. So if I need to pay this node, if I need to pitch it up a half step, it becomes like this. But all I want you to know is that every time I push it up, a half step, I pictured it up a $0.100. So I'll repeats. Every time I pictured up a half step. It's like I'm pitching it up a $0.100. So what does this mean? It means that later on during our mix, we are going to use sense. We are going to start pitching some things up. So all I need you to know right now without any practice as just knowing that a half-step. So for example, from here to here means that we pitched a $0.100. So what is the difference between here and here? I mean here. Between here and here. It is 200 sense because from here to here, we went in hundredths and then from here to here to here. And we went another 100 sense. So I'll repeat from here to here, we are at $0.100. Then from here to here, we went another $0.100. Therefore, from here to here makes $0.100. Maybe this doesn't make sense too much, but it will make sense later on. So stay tuned. 33. Vid 4.10 - What is a Scale: What is a scale? So let's start, for example, by going years of alkyl. So I can explain you what is scale? Scale is this sequence of nodes that starts with a node and end with the octave of this node. I'll repeat. A scale is a sequence of nodes that start with a node C, for example, and go all the way up to the other side. So before that, we need to know what is octave. Because if I tell you, please play me the scale of C major, you will tell me that, Hey, this is C and you keep playing all the notes until you hit the other side. So let me ask you a question. What is the octave of see? This is here. The octave of C is also the note C. What is the octave of e? It is also the node of ear. What is the octave of a flat? It is also the node a flat. What I mean by here is that if I tell you octave, It means that I'm meaning eight nodes. So octave octa comes from the word ate. So let's count together 12345678. So between the octaves, that is eight nodes. Now when I tell you play the scale, a major, you play that out between a and a, and you pay them in sequence. But does that mean that the nodes and the scale of C major, or the same as the nodes and the scale of a my a major. So for example, if you pay the scale of C Major, but if you play the scale of a major. So the scale of C major didn't contain any sharps or flats. But the scale of a major one, this is the first black node, and this is the second third Lucknow. So in conclusion, not all the scales are the same. There's some scales that differ from other scales. But what's important to know is that a scale is a sequence of nodes from here till the outdoor bit. 34. Vid 4.11 - Circle Of 5th's (1): So we had an idea of what is scale. So we know, for example, if you go here to FL keys and we tried to see a scale is something that starts from here and end up here. But of course, like if we set the scale of C, It's not the same as the scale of g. It's like this. So there's some sharps in it. Right now. How do you know what sharps or flats is scaled contains? This is why the circle of fifths comes in. So this is something that many music producers fear because they think it's a bit complicated. But the truth is that it's not very complicated if you know how to use. Let's start by some basics, the scale of C major. So this side is all about major. So this side, as you see them in big letters, they are all major if you wanna, if you wanna call it like this. So this is all major, excuse me, for the handwriting. So from the outside is all about major. So when we see this letter C, it means that this is C major. When we see is this D? It means that this is the major where we see that E, it means that this is also imager. But when we see this be this G, it means it is G minor. When we see, for example, B flat minor, this is minor. By the way, this is the symbol of flat. This is the symbol of sharp. So as she in front of you, we have the symbol of flat, which is something like this. And we have the symbol of sharp, which is something like that. So let's delete everything. I'll repeat. When you see in front of you something from the outside, like this. D major, a major, E major. Those are all major because in music, we have two types of scales. We have the major and the minor. So we have something called major scales, which are written like this. Let's try it like this. Major scales. And we also do have minor scales. The same thing applies here. You have major scales from the outside. And you have minor scales from the inside. And each major scale is related to a minor scale in some way, which we will explore later on. So, so far, I think it all makes sense right now. How do I know if the scale of C major, this one contains any sharps or flats. So if I go back to FL Studio, I can see that the C major doesn't contain any sharps or flats. So what does the scale of G major contains? So this is the scale of G-major. Scale of G-Major, as we can see in front of us, contains F sharp. So if you go here and decide to play the scale of G major, you will have something like this. But this makes sense. So let's go and play the scale of C major, rename C major. I write it like this. C major. C major contains the following notes. Let me extend it a bit easier for you to see you. And it sounds something like this. This is the scale of C major. Now what is the scale of G major? I rename it something like this. So if we disable this, by the way, what I'm doing is just enabling this one. So the second one, place alone. It contains F sharp as you see. So what about jumping into something more complicated? What do you think the scale of D major will have in sharps and flats? Tried to think about it. And let me know in the next video. 35. Vid 4.12 - Circle Of 5th's (2): So what does scale of D major contains? Let's try to figure this out. Usually, as we saw in the scale of G-Major, we can read that, hey, there is only F sharp. Easy. But what if I told you that the same thing doesn't apply to D major. So you can, in theory say that D major contains C-sharp. Well, it's not the case. This is why we use the circle of fifths because it's like historical. It goes like this and goes like this in this way. And this also goes like this and the other way. Let me explain how it goes. So if we want to know what sharps and flats that is on the D major, we simply start by counting from here. That is F-sharp and C-sharp. Let's figure this out. So this is the scale of C major, right? And this is the scale of G major. Right? Now let's try the scale of D major. So let's rename it and call it D major. Let's put it on solo. So obviously in D major, you're going to start using the right. Then go all the way up until you reach the other d. So we start by going all the way up until we reach that. So but I'm sure it doesn't sound like a scale, right? Sounds weird. This is because we didn't add the sharps and flats. So in G-sharp, G major, we knew that there were only gonna be F sharp, right? But the same thing doesn't apply to the D major. When you want to say, I want to use the scale of D major, you have to use no sharp, F-sharp, and C-sharp together. So I'll repeat by giving another example. When you want to use the scale, for example, of a major, you will say, Oh Kay, so I have to have no sharps. F-sharp, C-sharp, and G-sharp. How is that possible? Let me check, let me check this out. So D-major contains what? Contains F-sharp and C-sharp, right? Like of course the sharp doesn't count, like it's nothing. So we have F sharp and we have C-sharp. Let's go to FL Studio. We have F sharp. So this node, we make it char. We also have C-sharp, this node, whereas the C here we get char. Let's listen to it. Right now it sounds like scale. So I want to, to try and do the same thing with the G-sharp. I moved the a major scale. Can you try and know what charge that is on the a major scale and use it on FL Studio. So of course, go ahead, create a new f L key is, then name it a major, than try to write the notes of those scales. 36. Vid 4.13 - Circle Of 5th's (3): So a major, Let's open up. Our key is, as usual, try to rename it just for organization, a major. Then right-click solo. So we'd like, you only hear it alone. Then. Right-click piano roll. Like obviously a major. We're going to start by what node? We're going to start by a. Then go all the way up like this. Then go to this. Then f has no sharps or flats. So at the beginning, you just put them with no sharps and flats. Easy. Right now, it doesn't sound like a scale, like it sounds weird. So we wanna go and see how we can know what's, what sharps and flats that is. So we start going. So we have this, see this a it right here. So we have the a, obviously, right now we will start counting. We have F-sharp, C-sharp, G-sharp, F, C, G. Remember f? Whereas death, his death, it is here. Then see, this is the C, C-sharp than g. Let's take a listen. Works like magic right now as a final challenge, I want you to try and play the scale of B major. So this is B major. Be careful. Pause the video and the writers and FLT is okay, So be made, be major. So this is B major because it's from the outside. It contains no sharp, like of course, like we saw by no sharp, F-sharp, C-sharp, G-sharp, D-sharp, and finally, a sharp. So it contains literally F, C, G, D, a. So what you do is simply go here again one more time. Let's try to duplicate it, but you can right-click and duplicate this or clone. We call this clone here. Then right-click solo, right-click Rename. We want the scale of D major. So we go here. And Bybi major, obviously, if somebody here, let's go up you right now, meaning without sharps, no sharps or flats. Then you start searching for sharps and flats. We did have the F sharp. So we go and start by F sharp. We had the C-sharp right here. We go and search for the C-Sharp. C here, C sharp. Then we did have that G-sharp. We go and find that G and make it sharp. So here it is g. Then we have D and a. Research for D and a. Where does the a? So it goes like this. Easier. So in the next lectures, we are going to practice that flat part. So we practice the sharp part, which is like here. So this is the sharp. And for the sharp part, you go something like this. You start going from like this. You count in it. But in the other hand, let's change the color. On the other hand, there is the flat part. So the flat part is right here. And obviously you start counting from the other way. So instead of counting from left to right, just got started counting from right to left. But before we jump in, I just want you to try and practice those. The sharp part that we did, this one. So you are really able to jump into the flat part because it will be a bit more complicated. Let's dive in. 37. Vid 4.14 - Circle Of 5th's (4): Now we'll learn the sharp part of things. Let's try to learn that flats. So how do we know if there is something like this? So we learned that, that is G Major comes with F sharp, right? So G-Major comes with F sharp. And we also learned that D major cons with C-Sharp. A major comes with all of those, like of course, like we compound them and we put them one over another. So this is for this, and this is for this. And this is also for all of this. So it makes sense right now. What about the flats? How do we know what flattery are going to use? The same thing applies when I say that I want the F major scale. Then automatically I say that I have that B flat in it. Let's try it out. I go here. Let's create another pattern or you know what? No, let's keep on the same batter. Batter. I press plus f of keys. I want the F major. So let's try click here and call it F major. I go here. And obviously you write all the nodes from F to F. Here. Continue. I want to do it at the same time with me, please. Here it is. Right now. We have to go again and see what F sharp contains. It contains B flat. Alright, let's add the B-flat. We go here and go and add the B-flat. So whereas the B, This is Debbie, and put a B flat, don't forget the sharp, as on the right, and flat is on the left. So here I need to add that B flat. How do you add a B flat? So this year, we put it here. So if you take the lesson, easy. So let's continue. Let's try that B flat major. We have this scale called the B flat major, and also this scale called E flat major. They are called like this. For example, how do you read this one? This one right here. Really that F sharp minor. Because remember, m small m is for the minor because it's like mine or it's it's, it's not a major one, it's not the dominant one. Major is like the big boss. The M, the big M, big M here, but it's like saying C, C major, G major, D major is the same as saying M or D major. So I repeat again. How do we know what flat that is on the B sharp major? We simply go to FL Studio. B sharp major. Let's press Plus key is again, I don't want to bore you with the process, but here it is. I'll not write anymore. What's the name of this thing? So let's go here. I want B flat major. So where do I start? I started by B flat. It doesn't matter if here or here or up, like it's the same. I cited by B flats. Then continue with the nodes normally with no sharps and flats. Like this. And of course be flat because we started by B flat, we end by B-flat. And in the middle, we don't put any sharps or flats. Right now. What flat is there on a B flat major? So that is obviously, that is B flat. And there's E-flat combined together because we go like this. Did you remember at the beginning when I told you, for example, the a major, it contains the no sharp and F-sharp, C-sharp, and G-sharp. The same thing applies here. The B flat major contains this and this. So let's go back to FL Studio and put the B-flat and E-flat. So this is B flat, whereas the B flat, this is the B-flat, is obviously here. Let's put the E-flat. We put like this. So let's listen. Easy, isn't it? So in the next lecture, I want to, or I mean, that I want you right now to go and try find the scale of a flat major. Try to write it down and FL Studio and the next lecture, we will correct it together. 38. Vid 4.15 - Circle Of 5th's (5): So within the A-flat major, right? This one. How do you know what major horror, what flats that is on it? First, easy. We start looking from here. That is B-flat, E-flat, A-flat, D-flat. That's it. So all you do is literally start by putting a flat. So let's do it. All of those which are putting a flat. Then go all the way up. And of course end up with a flat. We start putting B-flat, E-flat, A-flat, D-flat. That's done. The same thing applies with all of those. So in the next lecture we are going to see what's the deal with the minor stuff. 39. Vid 4.16 - Relationship Between Minor And Major: The minor scales are straightforward. So for example, if I tell you go and search for me, what sharps is there? An, a flat, I mean, in a major, you will tell me directly that is F-sharp, C-sharp, and G-sharp. The same thing applies for this part of the minor. So this one. So if I tell you, please tell me what sharps That is, the scale of F sharp minor, because of course like those, the outer circle is major and this inner circle is the minor, right? So if I tell you what sharps is there in this F sharp minor, you will tell me that they are the same things. So for example, F sharp major and F-sharp major, that is F-sharp, C-sharp, and G-sharp. Why? Because the F sharp major is directly on the a. So for this, let me give you another example. Can you tell me what sharps that is on the G sharp minor? Of course, what you do is start counting. You start counting from here. So that is F-sharp, C-sharp, G-sharp, D-sharp, and there is a sharp. Why? Because if we take a look, B major is on the exact same line as G-sharp minor. Let's have another example. When I tell you, can you please find me? What flats is there in the C minor? So what's flask is then the C minor? Take one minute and try to answer this question. Well, it's easy. Let's say the same question was, tell me what flats there was on the E flat major. So when I asked you, tell me what flux that is on the C minor, it's like I'm asking you tell me what flashed there is on the E flat major because they are the same. They are correlated with each other. They are on the same line. So they are all on the same line right here. Can you see them right now? Let's go back. What flats that is on the E sharp major. What I do is simply very easy. We have B-flat, E-flat, and we have a flat. And so in conclusion, the C minor also have a A-flat, B-flat, E-flat, A-flat. So they are all the same. So in conclusion, we can say that all the minor stuff, or the minor scales, they have the same thing as the major scale, B-flat minor, okay? It has the same thing as the E-flat major. C-sharp minor. It has the same thing as E major. 40. Vid 4.17 - Key Of The Vocal: Now into the practical part of music theory. So here is more practical. Let's listen to this song. We met in school for the first time. So there is a key for this vocal or scale. It's like almost the same thing so far. So we need to find the key of this vocal. How do we find the key of this vocal? In other words, how do we find the scale in which the singer sang the song? Rp it. We want to find the key of the vocal is equivalent to, we need to find the scale in which the singer sang. The song. Did he sang in C major, D major, G major? How do we know this? Well, luckily, for most acapella has, acapella means simply like the part like this singing we met in school without piano or an instrument or something. For most acapella has. And here it is. We can find the key of the song. And as you see here, the key is B minor. So for most vocals, they will already be giving you the key of the vocal. So here they are telling you that, hey guys, the key or the scale of the song is B minor. So what is B minor? To know what it is, we should go to the circle of fifths. Whereas B minor, let's see, let's search for B minor. Bmr is exactly here. It is with correlation with D major. And D major contains no sharps, F-sharp and C-sharp. So in other words, B minor, if we delete everything, be minor contains F sharp and it contains C-sharp. So let's try to draw this key, or the scale. B minor contains F-sharp and C-sharp. So F-sharp, Let's delete all of this. So let's put here f L key is I'm sorry. B minor. We saw by b and we finished by B, right? But it's not the case here. You remember when I told you that the miner or in correlation with major. So when you need to know the scale of the minor, you're always translate it into major. Many people make this mistake. I'll repeat. You knew that this vocal was on B minor, right? Okay. But you never, never think of it as B minor? You always think of it as D major. Alright? This is why instead of saying the vocal is on B minor, we say the vocal is on D major. Always, it is always like this. And it's preferable to keep it into major. So if we go here, we can start drawing the scale of D major, D major source by D. We draw it. And we don't forget that we have F-sharp and C-sharp. So we search for the F sharp here, then search for these sharp, D sharp. So here we met. I mean, I should see that pattern. So, so far we knew the scale of the song. But I have a small proposition. What about changing a bit this vocal, so it sounds a bit writer. So I want to try and pitch the song EBIT up. Let's try to push it. $0.200. I'm pitching it here. Take a look at the hand panel on the top-left views. You take a look at the hand panel on the top left and you see that I'm pitching it up. So I'm simply going up using my mouse, going up and I will leave it. So did you remember how the vocal sounded like right now? They can look at what sounds something, something, something else. We met in school for the first time. Crust gray. You see it was switched up. I can put it down. And it will sound like this. But we met in school personally for my personal taste and of course for some demonstration purposes later on in the course. And for some reasons, it will sound so much better if you pitch it up a little bit. It's a common practice in music production to change the pitch of the vocals. Or the acapella has their sound more right there, sound brighter. So here if we listen to it, but we met in school. But if you pitch it up $0.100, take a look at the hand panel at the left. We met in school. It's brighter, but what about pitching it a bit more up to $0.200? Let's see here. But we met in school for the first time. I think, like this is pretty good. But don't forget that I told you at the beginning that when I go up $0.100, it means I went up a half-step. So from here to here, that is a half step or $0.100. So right now we pitch the vocal. $0.100 means that we change the key, also a $0.100. In the next lecture, I'll clarify what I said and explain everything. 41. Vid 4.18 - Changing Key Of Vocal: So the key of the vocal was B minor, right here. This we have the minor. So we made everything based on the key of the vocal is what? B minor, Let's see, Vermont in front of us. This is B minor. Okay. But we always said that we should never rely on the minor. We should always rail on domain. So in other words, we can see that B minor, here it is. It's created to D major. So we never say B minor. And sad, what we say is D major. So whenever B minor, always D-major, right now, we know that the vocal is on D major, right? So this is the major, or this, or this, the same. We know that the key of this vocal is on D major, but we pitched it up. We pitched it up $0.200. So it's simply sounds rider. Stay good. Ok, how it sounds rider, I mean, listen, we met in school for the first time, is far brighter, like it sounds better at three sounds better at least for me. So we go here. Nfl key is, we thought that it was on D major, but you pushed it up to $0.100. So couches me each $0.100 is half-step. So let's push it up. This is a $0.100. This is another $0.100. So altogether from this to this. And so they can look here. We could have pictured down. So I could have grant down, take a look at the hand panel. I could have went minus 200, sense, but I went plus $0.200. So the scale or the key of the vocal is simply change from D major, E major. So right now, instead of looking at the D major, non, non know, we should look on the E major. So let's go here south by the imager. I start by E and of course finished by E. So let's put all the nodes one after another. Here it is. Then after this. Okay? Then I go to the circle of fifths and take a look. Whereas E major, E major is right here. You see that? So from E major, how can I know what chops that is? I start counting 1234. So that is F-sharp, C-sharp, G-sharp, D-sharp. Let's start one-by-one. So F, C, G, D. So this than C, then G, Then D. Let's listen to it from here using that pattern. Because if you press on song, but not less than, because it's playing here from the playlist. We net. Instead, if you want to listen to it, you have to select better. It will play like this. Alright, right now we have the nodes of this song that is saying on E major, does this make sense? We have been oats and right now we can start playing our small game. 42. Vid 4.19 - What Are Chords: Let's dive in into courts. So what is courts? Let's read all this. You know what? Let's give it because we want the scale. So this will rename it and call it scale of D. Remember what the scale is? The scale of E major. Here. This scale of E major, right now, whilst we are going to do, is learn what is scored. So I go here so we can know what scores. I'll keep it short. Cords is a combination of three nodes separated by also three nodes. So I repeat, chords is a combination of three nodes. And those three nodes are separated by three nodes. So how does that makes sense? If I tell you, play the chord of C major, what is the chord of C major? So what did I say that I said, I said C. So I said C major. So play the chord of C, forget about the major. If I tell you play the chord of C, you start by playing this node. Then you count three nodes from this one. Then you also count three nodes from this 123. So in conclusion, we will have that the chord of C major is something like one. Then you make it smaller. You know what? Let me make it smaller. So the chord of C major is like one. 123. So this is the second node, and this is the third node. Does that make sense? Maybe yes, maybe no. For people who doesn't make sense for them. Let's repeat it again. But of course, instead of repeating it the same chord, let's try another board. What is the chord of E? I said the chord of E. Therefore, I always start by ear. The cord is here. Alright? Now, from E we count three nodes. So let me count to do so it's 12. Three. Here we are. So this is the second node. Then again, we count 123. Here is the third nodes. So in other words, the chord of E is made from denotes E, g, excuse me for my handwriting. B. Let me go and pay it. So EGB, let me go and play it right here. I want the code here. Let me change the pattern, you know what? Let me change the patterns. So I add the parent right here. So this is the pattern. And I write here chords. This is just for organization, right? So the curl of E is made from here. This is the third one, then 123. This is the third one here. So let me make it a bit longer. I select them all. I want to make the code of F. Let's see. Let's leave it this or you know what? Let's leave it and put it next to it. The chord of F is made from f, and it's made from one. So what note is this? It is the node a. Then from here we count. What does is this, it is C. C. So this is the course of a year. And this is the easy. So I want you right now to pause the video and try to play or try to write down for me the record of a. So the curl of a will go like this. This is a this is a, like they are the same. It's just that we change the octet. So I stopped by a. Then one year. Remember that one to three including the first node. So it's not that 0. No, it's like 123, including the original node. So once we have the node C than that out of here, so it's like this. So this Dakota fee. 43. Vid 4.20 - C Major Chords: But courts are not that easy. They are a bit hard. There's good news and there's bad news. The good news is that if you really know how to use them, they will become so much easier. But the bad news is that they need a bit of practice. This is why right now we are going to do some practice in it. So let's delete all of this. Boom, press the Delete button. Let's take the scale of C major, C from here and go all the way up from here. Let's go all the way up. Let's see. So from here, let's try to create the chords of the scale of C major. So I want you to pause the video and in front of you, try to put the course of the scale of C Major. I'll go first. This is the coordinate of C. So I make the call of z and this is the node d. So let's make that chord of E. I wanted to continue this all over the piano. Take a minute, pause the video and try to do it by your own. So let's correct this together. We have right now the corner me I mean, yeah, that coffee than out of here from which we are going to meet the chord of E. Then Zan, then. So here we are. I'm counting three nodes again. Do you see I'm having three nodes. Then this one tried to leave it. This one, the final load tried to leave it. It's nothing important. We don't need it. And the final one is the same. So for example, the find node, it's the same. So this chord is the same as this court. Alright, those two chord is highlighted in red. So let's hear it. If you want, you can make justice court does to fulfill this as like this, but this chord is a bit complicated. It's called seven scored, and we don't need to worry about that. It's less complicated. Look how beautiful they look. Right now, let's rename this chord of C major. Right now. I want you to take something as a challenge. Go and try it, right for me. The chords of the scale of our song. So the scale of our song, or the hue of our song is E major, right? So cords of E major. So let's go here. And from there, or you know what, let's just add another pattern. Here we are. We just add on the pattern. So what I did instead of pressing plus Valerie No, etc. I just went through my scroll wheel or through my trackpad. I just double-click on this. Went down by one, went up. I can create as much patterns that I want. So you can try it if you want. So let's try click here. Piano roll. Of course, if you want to create the codes of, if you want to find the chord of E major, we need to first try the major, right? So it's right, E Major, I don't want to do a major and try to think about it all the time. So what I do as goto pattern one, find this one like it's already written. Let's copy down. Control C. Shows this. Add a new better pattern and go here, right-click piano, roll and finish. This is the lazy mode of being smart if you want. So I go here. Right now. I want from you to create chords for every individual node. Take a look what I'm doing here. So I'm trying this and putting it there. So like this, So it, so it fits, so that always fit the whole screen. 44. Vid 4.21 - Finding Chords Of E Major: I have many students when I ask them to play or write down, if you want the cores of imager, they start doing it like this. Okay? Yeah. Then then, then like they are doing like normal thirds, you know, then then, then I put this so I can see 123, then 123. So then from here, I can also see this. I'm sorry. So they count three. I'm sorry, why? I don't like I should've done it like this. So as we'd like this than, than, uh, so here we have this. Then finally, it's like this. Let's take a listen. But it sounds horrible, right? So let's try to zoom in using control. My right mouse or my right like click and zoom in exactly on here. I'm sorry, that's repeated. So I use Control. And this thing, You see it. So I only zoom in on this specific part. So what I did is simply control. Then hold the right mouse, click and zoom in. If you'd put here, if you zoom in here, it will only zoom in on those notes. You see them. So I want to zoom in on the whole thing. So I put it like this. And boom, I only zoomed on this. Maybe I want to zoom only this. I zoom in, I have only this. So if I want to go back, I press Control and a single click on my right mouse, zooming only here. So we can only see this plan like this. Here we go. So right now I need to fix this. Don't forget that we have the baseline. We have this, then this. Then we have this at the end. So the baseline is correct. So we have the baseline which is correct. It's like this, like this, like this, like this, you go up and all of those are correct. Right. So the baseline, we know that it is correct. Are we okay with that? Because like we put it you remember, we put it from the parallel one. We put the powder one, we took this and we paste it in the parent of three. So here it is the pattern. We took it and paste it right here. Right now the problem is from the above nodes. The second note of the chord and the third note of the chord. Because remember that chord is made from three nodes, 123. So we want to make sure all the three nodes are correct. And apparently, because if we take a lesson at the code of C major, so this is the core theme, C major. They sound good, right? If we go to the chords of imagery that we've just created, they sound really, really bad. So there's something wrong. Of course there's something wrong. Didn't you remember that the a major contains F sharp, contains C-sharp, G-sharp, D-sharp. So let's try it done, F, C, G, D. So let's write that down. F, I'm sorry, I've identified down. So F, C, G, D. So we should take care of all of them. All of them. So the second we find F or C, G, D, we pitch it up. So where do I find F? So here we have F, C, G, D. I have, here is, is this an F, F, C, G, D. No, we have to find the F. Let's try it. Let's harm the Fs. We have here an F and we have with sharp, okay, fine. That's another F and other F and all that. There is no f right here. So let's count. Maybe here we should find, go and find this line that is here and F, We should pitch it up. This one should pitch it up. And here there is no Fs. So this one, we should pitch it up. Alright, let's change the color. We should pitch it up. Right now. We should go to another one. Let's haunt the C. Let's change the color of the sea. We want to go with the CIA. We should find C is here. So this one we put it up. And this one and put it up. Those are all the C's that I see. So let's go find that gene that, gee, I put it in brown. So that's fine. This one, I should put it up. There is no other, Gee, maybe this G, I should preach it up, up and up. That's fine. The D, Let's go find that. D, of course like altimetry, a method that is easier than that. But just for demonstration purposes that we are using this complex method. Let's go find that d. So you should find that the InDesign. Let's switch it up, which it up? And here we go. So let's change all those nodes. Let's go find them. I'm, I've seen. So F, C, G, D. So usually in an ideal world, we should have those notes pitched up. All the F, C, G, D pitched up. So let's go and write this again. I'll write this all over again. Did this. Because if I had to pitch it up one by one, it will take lots of time. And said, let's try to repeat from the beginning. So we have this baseline. Here we go. Okay, so we have this baseline. So we should keep in mind while writing those chords that we have, F, G, F, C, G, D. So let's try it here. But of course we have that g. So we pitch it up. Then we have those nodes. But don't forget, we have the D sharp. So then we have this than this. Okay? But it sounds bad. So there's something wrong. Don't forget that D That should be pitched up. Then we have this. But don't forget, this court is wrong because there is D should have these sharp. So we put D sharp and we do the same for all the notes. I'll try to do it by my own. The ad we would have something like this. Sounds pretty cool. Now, I want you to try the same thing. So I want you to write the base line first. So simply write the baseline of the scale, which is this one right here. You write it down, then start putting the notes up. So for example, the third note, if you put a G, say no, no, no, no, no. We have a G-sharp. Here it is. We have a D-sharp. So you go and put a G-sharp, then do the same thing for all the nodes and do the same process as I did. Then, let's come back with the next lecture to continue our course. I know this is a bit dense, but, you know, you will have much more advantage over other music producers because most of them think that harm music theory. It's unnecessary. But the truth is that if you need to mix things, you need to have music theory. You need to know some level of music theory. And this is just the basics. And so you're losing nothing. You will hold this forever within music career and you will keep this with you while producing music, making, using songwriting and everything. 45. Vid 4.22 - Chord Degrees: So now that we are good with finding chords of a specific scale, let me just teach you something before finding the core progression of the song. So our end goal is being able to find the course of the song. Then add some instruments where, you know everything and mix it up. It will become beautiful. But to make chords, and it predicts theory. And here we go, we learn music theory. So the good news is that right now we are at Nike per cent of our progress and music theory. We still have a little bit of stuff that we're gonna lower. So let's take a listen about in this. This is the core of imager. But let's take a listen at the nodes of imager. But first let's delete this because there's no reason because it's here. So those are the scale of the E major. In music, we have something called degrees. So this is the first-degree. This is the second degree, third, fourth, fifth, sixth. It keeps going up to the seventh. There is no h degree. Why? Because this nodes is the same as this note. So it's like saying the age, the degree is the same as the first degree. So our pH, we keep going up from one till seven. And then repeat from one. This is considered as the one. This one. And this is the seven. Like this. Oh, I'm sorry. I'm sorry. I'm sorry. So it's like this than like this. So it's like this Gibbs going up and up. So here we go. But let's delete all of this. Here we go. Right now. We know that there is something called degrees. So when I tell you, play the chord of the third degree, what do you do? You go and find the third degree, so 123. And find the chord off this nodes. What is this node? It's a G-sharp, right? You go and find the core of this node. So the core of this note would be here. This is the code of this note. Here. This, so the core of the third degree is this one, this chord. What is the core of the fifth degree? For example, the code of the fifth degree, we go and find the node of the fifth degree, which is in this case B. And then we find the core of it, which is this one. Doesn't make sense. So I will close here and try to write down in front of you or find in front of you the six chord of the scale of E major. So what does the sixth chord? It is right here. So we find one than two. Here we go, then three, then 456. So this is the six degree cord. So, so far, so good. We will see the next topics in the next lecture. 46. Vid 4.23 - Finding Chord Progression (1): Now that we know about the degrees, we gotta find the chord progression of this song. So this acapella right here in school for the first time, we got to find its chord progression. So personally for me, I can easily define the chord progression. So when I put it here, I put it here. Then I add some F L key is. Then I go to piano roll first. Let me drag it and put it here so I can start hearing you this. And I go to here, right-click. Kinda real. I put here like this. Like this. Maybe it put it down more. In schools for the first time. We met in school than put like this, for example, this year what I can do school for the first time. So I can do it. So how do I do it? How do I choose the core of how do I choose? I mean, the nodes that I have to put n. This is what I'm about to teach you right now. So usually, in music, you have three types of chord progressions that are like the most common. What is chord progression? What is core progression? So what does a chord progression means? And what are those numbers? A corporate Gaussian mean a progression of chords, as the name suggests. For example, you see those chords like this. Those are a progression of course, means that we have one chord after one chord, after one chord, after one another one another. Progression, of course, is simply a progression, of course, as the name suggests. Now, those progressions, so this is a chord progression in the name of one, 23456. And we continue going up and up and up. So usually the core progressions, we type it in Roman numerals and not a normal numbers. So we don't type it like this. We type it like this one. So when I say, go and find me that chord, six, I don t tell you six like this. I tell you six like this. So it's written in Roman numerals. Right now. What is a chord progression? It is a progression, of course, that has specific degrees. As we said, this is the degree number one. This is the next one, degree number 234, it keeps going up to seven, and then it repeats itself. So this is the seventh enrollment numerals. Right now. How do we know what chord progression to put in the song? We need to go and find them most common chord progressions that work in the song. So one common chord progression that works is 1465. There is many chord progressions and EDM music. For example, I could use the chord progression, whatever, three, then 44, then whatever, like five, then maybe like seven. Okay, so this is a chord progression. It means a progression of nodes. Of course, I mean, that makes it sound beautiful. So those are the most common used chord progressions in EDM music. Of course, there's other chord progressions. But for now, you just have to know that those are the most common core. So most likely in a song, you'll be finding those chord progressions. So we need to try, let's try this first chord progression. So this 1164 and five. Let's try it out. Go here. And go here. One, what is the first degree of the scale of E major? Because again, we are working on the scale of E major. What is the first degree? This is the first-degree. Hopes. You see my mistake. I didn't create a new pattern. Or maybe I didn't put my chord progression and the new pattern. So here it is. I go here. What does the first-degree? I can put it lower. For the first time, this is the first node. Then what is the second chord? It is here. So it is six. So what is the six? So 123456. I don't forget that we have this sharp. Therefore, it's like this school for the first time. Or I could put it lower. So I select it and put control, an arrow down. So I put it lower on Octave. Let's try so far. Let's continue. I double-click on this, you enter this. Then I have what degree? I have this fourth degree, the code of the fourth degree. So I go here. What is the fourth degree? 1234. So what is the fourth degree? This. So I put like this. So let's listen to it. School for the first time. After we have this fire am saying. Alright, so and after that, we finished off by this last one, which is what degree? Degree five. So what is the fifth degree here? 12345. So we've put five for the first time, cross fire, and then finally with this colon. So as you see, we have right now a basic. So as you see, we use those chord progressions in front of us. We just use them. We go, we start by this, then this, then this, then this, to put it in front of us. So right now we have denotes, so like the first-degree. Then the sixth degree. Here it is here. The fifth, the sixth degree. It was here. Let me select it. Press Control and arrow up. So I put it up an octave. This is the sixth degree. But I put it down just like, because I like it put it down. Then we use the four degree. This is the fourth degree. And then the fifth degree, because here we have the fifth degree cross John Gray also numbered it down. Also, let's hear how it sounds. With Spark colon. There's no, that's not a big deal. So here we are. Let's try to loop it. So Selected Shift, drag to the right, or I can select it controls the entire year so we can start editing. It. Wants you to stay safe to say, I think here, It's fine. Let's try. Here we are. Right now. Maybe in your case, you will have them like short notes. So you play them like this and you'll have them like this. So if you have this case, just tried to extend those nodes, like extend them, put them to measure is each. So each 1123 you see from one to three, extend them. Then from three to five, then five to seven, then seven to eight in order. So this will be, they will sound like this. We will be able to do many things starting from here. And trust me, this is just the beginning. 47. Vid 4.24 - Finding Chord Progressions (2): So maybe for you, you didn't start the panel right here. So you saw when I create the chords, I just drag them and drop them right here. You just started a bit before the actual vocal store. So you can see all of those, right? You can start a bit before the vocal source. By the way, I'm holding, as I'm holding Control. I scroll my mouse like this. But if I want to zoom N vertically, but if I want to zoom in vertically, not like this. This is a horizontally. If I zoom in vertically like this, I just hold Alt with my scroll mouse. So I do it like this. So if I put the vocal like this, I mean, if I put the piano like this, we will have the piano store EBIT before the vocal starts. School for the first time. Crust fire and alongside with Colin. And of course you put it on the loop. Now, the thing is that if we continue the vocal, the chord progression changes. So if you go here. So the chord progression is fine with this vocal and this bar, bar. We can change it a bit. Let's create another variation of chord progressions. So right-click. And we go to clone. And here we are going to change it a bit. So in here, let's try another chord progression. As we know, as you see in front of you. We have this chord progression also. We have this second one. And we have this third one. Keep in mind that there is lots and lots, like a lot of chord progression used and music like a lot. But in electric music, especially in future bass, I tried to bold, boiled down the most commonly used, which are this one? This one. And this one. Those are the most commonly used. Of course, after we have some experience, you will start seeing that there is some other chord progression. But for now, let's keep it simple. Just use only three chord progressions. I'm just telling you this because later on, when you start developing your skills, you'll find that there is more like, there's more than three options only. That has many options chord progressions. But at the beginning, it's so hard to identify as the chord. This is why I tried to boil it down into those few cores. So I tried to make it as easy as possible for you anyway. That doesn't irritate your progress or any way that doesn't bother you too much. So I could have gone into the whole chord progression thing, like explain a five-hour course on to music theory. But it will become a bit complicated for a music production course. Therefore, I tried to make only the essentials for you. Anyway. We started by this chord progression. And I've told you that the chord progression changed here. The biggest thing that shows us that the corporation changed is because the same chord progression doesn't work as good. It doesn't sound as good as the first chord progression and the first part of the vocal. And therefore, it requires us to change chord progressions. We go here, Let's try this third chord progression. Let's see if it works. So 1564. So we go here. So on. What is the one? Is the ear, 1512345. So it's like this. 15, then six. Of course sharp because we have sharps. Then four. Then here you are. So let's try it. Let's put it here on the second one and see if it works. A guideline. It works fine, To be honest. It works fine. But what about trying the second quarter, the second quarter progression? I mean, because this is a chord, this is a chord. This is a chord. This is a chord. And this chord progression. So why not try the second chord progression? Maybe it works better. So let's try to 6132, 6123456261313. So these are the nodes with the sharps and flats. If I was too fast in it. This is because for some people it's very easy to identify the sharps and flats. And for some other people they have a bit of difficulties and it's fine. All I need you to do is just go back to the sharps and flat part, where you will see that in E major scale, we have F-sharp, C-sharp, G-sharp, D-sharp. So let's try to play this chord progression on the vocal. For me, I think it works, right? What do you think about it? Maybe I want to try another chord progression. But for now, let's stick to this chord progression sense for me, after I tried to make the song, it works fine for most people. They also liked it, the people that I asked for. So here's the thing. When you want to create a chord progressions, it's a bit tricky for you at the beginning. But for EDM songs, try to stick to only those three chord progressions. I promise you, after you develop your skills, you will start finding by yourself chord progressions without anyone telling you that, hey, this is the chord progression. This is the chord progression. But for now, it's very, very difficult to recognize the chord progression without any previous experience. This is why I'm giving it to you. This is why I'm not explaining like a ten hour course on music composition because we only need to produce production. I have requests for you also. If you feel that you like the course so far, The platform will ask you for a review. Or if it didn't, it would be very nice and very appreciate it for you. Just to leave me a five-star review, an excellent review, because it can really help me out reach more students. So this is the music theory part, and I'll see you in the next four. 48. Vid 5.1 - Installing Vital: We added the course, we added the nodes, and we didn't add the course, but we added like the nose of the course. And we learn some music theory. Right now, it's the time to transform those nodes into a base, and specifically a Reese base. Now what is a race-based? Don't worry. I'll let you know how it sounds like after we install vital. So what is vital? Before knowing what is vital, we have to know what is a synthesizer. And before knowing God is synthesizer, we should know what is a plug-in. So a plug-in, as we discussed earlier, is something that generates a specific sound. For example, here and F alkene is that plugin called f L keys generate a sound of a piano. For example, in Dev plug-in Bu base that I'm hoping to get right now. This plugin generates a sound of a base. We don't need it. Let's delete it. The same thing is for synthesiser. So synthesizer or since is a plugin that generates an electronic sound. So f L keys is not conserved as a synthesizer. It's considered as a normal plug-in y because it's synthesizer only generates electronic sounds. So it has wave tables and it generates electronic sounds. I will let you hear what is a synthesizer? I go here on vital. This is the synthesized IR that we're going to use. Now let's try to press a random key on the keyboard. Has you here, it gives me an electronic sound. And we are able to manipulate this using all of those. But you are not going to dive in too deeply in this course because it's more like a sound design. What are we gonna do? Instead? We are going to simply learn how to use the preset on vital. So how to download this vital synthesizer? You simply go on the Internet and simply type like this download Bible. It's so easy. Download. Vital. I had the caps lock on. It was written like this. I go on the first one and it's obvious vital spectrum, right, warping wave table. Since I have this page right here, if you go down, keeps scrolling down, simply tell you like why bile is good and whatever. So I simply go down and keep scrolling down, keeps going down until I find something like this. So it says get vital, subscribe or plus or pro. For me, I only have the basics, so I recommend you also buying the basic until you really need to advance in it. But for me, the basic works, and especially for this course, the basic also works. Let's press on it. When you press on it, you will be asked to create an account. So simply press on Create an account. And after you do that, you put your e-mail and password for me. I already have an account. So I simply go already have an account and put my e-mail and password. But for you directly put your email and password and press on Create account. So you will have this logo installed. Of course, after you install it, you choose Windows ten, MacBook, whatever operational system you use, you just download it. And after it's finished, you just click on this. Let's double-click on this. It will ask us multiple things. So if Press yes, You keep saying I agree to everything they asked for you. So I accept the agreement next next, right now, before hitting Next, you put browse. Here. It's asking you select your VST plugin directory. So what it means is that it's asking you where it needs to download this plugin. Did you remember when I told you that you have to create a big FL Studio file wherever you want. So maybe you are kidding it on your desktop, maybe on your hard drive, whatever the thing it is. I want you to press Browse and select that big FL Studio file that you just created. So browse for me. I'll go to FL Studio here, this press, Okay. And here we go. It's done. You just press Next. And then you press Install and you just wait for it, that it's finished installing. So for me, I'll just wait for it. And as you see in front of me, an error occurred while trying to replace an existing file. So what it says is that, hey man, you already have the vital installed. Why? I will try to install it another time. So for me, I'll just press Cancel installation. But for you, don't worry, you will not see this arrow in front of you. So let's delete this and go back to FL Studio. Right now we downloaded it, but it doesn't mean that it will appear for you. It means that we have to make FL Studio search it manually. So it appears in the next video. I'll tell you how to find viral from FL Studio. 49. Vid 5.2 - Locating Vital: We install vital right now, what we should do. And by the way, this applies to every single plug-in that were installed. You go to Options, managed plugins. And from here you will have something opened up. So what it means, what all of those means? All I need from you is simply press on this small button. This one right here. It says plus. And after you press on it, you just select your big FL Studio file. So maybe you put this file on your desktop. Maybe you put it on your hard drive. You just select where you put this big FL Studio file. Maybe on your desktop, maybe downloads. I don't care where you put this FL Studio file. What's important is that you just relocate it. Or in other words, you just tell FL Studio that, hey, this is the big folder. Then after you this, you just press OK. Again. All I'm doing is sending FL Studio that hey, we have a plug-in right here. So you go and press this button, which I already told you about. And after you press this button, this one right here, you're just locate where it is. For me. I had other plug-ins that are located in this one. Fl Studio, plugins, fruity effects. I have folders that are in FL Studio. So what I do is simply go to here and see the big folder that I have it. So for instance, I select this big folder. So as you saw, I went to local disk and then to FL Studio, and then select it. Fl Studio, here it is. So I select this one and then simply press. Okay. So after I press Okay, As you see, there is something that starts to appear for me. So I start seeing this one. I see that saucy that there is FL Studio in front of me. So as you see, I have FL Studio in front of me. I have this location, FL Studio than FL Studio that contains my folder. So right now, FL Studio knows that this guy is hiding vital inside of this folder. So after you locate it, you simply press on, find more plug-ins. Simply press this button right here. And what it will do, it will start searching for your plug-in. It might take awhile. So just waited until it finds vital. When it finds vital for you, it will appear in orange. So for me I have it in white. This because I already have it. But for you, vital should appear in orange. So all I need you to do is press a store next width. So again, vital will appear in orange for you. You just press the star next to it. It will also appear in orange. After you press the star next to it, you press X. Let's open as press Plus, open a new pattern, call it base. And then from the base, I open that channel rack and press here. And vital should appear somewhere here. If it didn't appear, what you can do is simply also press Plus and go to more plug-ins. Then you search up vital here. And it should appear also here. You just put a star on all the names that you find. Then it should appear directly in front of you. So this is how you download a plugin and it's synthesizer, it's the same. Because the way that you download a plugin is the same as the way you don't listen sizer. But of course, a synthesizer has a different meaning of a plugin. Anyway, we're going to use this process a lot throughout this course. So if you didn't understand it, please can, you can repeat the lecture all over again. You simply understand what I did. And I'll repeat here anyway, what I did is simply one, downloaded the synthesizer or the plug-in. Two, I put it in a specific folder that I already created and I should always have it. Three, I went and told FL Studio from here by going to Options and going to plug in Settings. I told f as soon as that, hey, I installed this plug-in right here. Can you go and find it? So after I did that, so let me show you again. I pressed options, managed plugins, I mean, not plug-in secondary settings. I press on this button right here. I locate my big folder, and it should appear right here. And then I press F9 more plug-ins. So what will happen in the future? I mean, the next few hours of the scores is that you will install some plugins. You will put them in the same big folder. But instead of every time telling FL Studio that, hey, come on, this is the folder. Hey, come on. This is the folder. Hey, come on. This is the folder. All you do is simply go here. Managed plugins, and then simply press F9 more plug-ins. Why? Because it is already known that you are installing all your plugins inside of this big folder. So our real quickly repeat. When you install, for example, another synthesizer or you install another plugin, all you do is put it in this big folder. And then I've asked you already knows that this guy is hiding all his plugins inside this folder. So instead of just pressing plus and then relocating it, all you do is press F9 more plug-ins. So it will go over those locations. For you at two, you will have maybe one or two location only. But for me I have multiple locations. So FL Studio will go after you press F9 more plug-ins. It will go on all of those locations and search for the plug-in and it will find it. Maybe this doesn't make too much sense at the beginning, but don't worry, when we make lots of practice on it, you will directly understand it. It's nothing tricky. So I'll see you in the next lecture. 50. Vid 5.3 - What are Presets: Let's take a look at the sense very quickly. So I press here, I can press plus vital for you. You will not have it like this. You will have much more buggers. But for me, I tried to organize it because I need to quickly use plug-ins because I've been using it for years. And so for you it will, it will have a different interface if you want. So don't worry, just choose viral and don't worry if you have like, only one column like me is the same. I choose vital and then I go to here. Let's try to press random keyboard shortcut or random key. I mean. And it will not generate sound if you have this button, this button, this orange button, what it says, if I hover over it, it says typing keyboard to piano keyboard. It means that if you have it off and try to put it to press a random keyboard shortcut. It will not press. But if you have it on and you try to press a random key on the keyboard, it will generate its own. So this is a synthesizer. We can put an OCD later. If you put it off, it will not generate sound. And as you see here, this is something that is working because I'm pressing on the, on a keyboard. But if I put it on, generate the sound, I can change it like this. There is lots to do with the synthesizer. But we're not going to dive into those details button because this is not a sound design course. I will upload another course on some design so you know how to use all of those. But for this course, we're going to take what we need, as we discussed, a synthesizer as something that generates a sound. But if you need to generate a sound that you like, you need to know sound design. Sound design is little bit tricky. So how do you generate a sound? So I want a sound of a base for me. Take a look how I do it. I put it down, I pitch it down. Maybe like this. And higher than unison. And I lower that each one. Can I have it like this? Maybe I put it down also. Not, not this much. I can put a small filter. So I go here and put a filter like this. So as you see, I have a base right now. But what if I don't know what all of those button does? Do I need to learn what all those buttons do? Do I need to learn this and this, and this and the effects, etc. Of course not. This is why there is something called presets. So what are presets? Presets, for example, if someone don't want to go through all this process to learning how sounds work, learning how filters work, learning how EQ works. If you don't need to go through all this process and just want a quick sound. There is something called presets. So what are presets? For example, you come and tell me, Hey Joseph, I want to play a sound, I want to get a sound of a base. How do I do it? I tell you, okay, go to our website and download it presets. You apply this preset to vital, and then it will generate two, a sound of a base. For example, if I press on here, I go on here. Let's go to a base here. Let's press here. Maybe you will not hear it if you're not putting headphones. This is why I'll put another base. As you see, those are presets. Those are presets that are already made. You see all of those in front of you. Those are presets that someone who understands sound design made it. So he made an oscillator one, put effects on it and put all of those shapes. He made all of this, then gave it to you so you can directly use it. And instead of focusing on designing the sound, you will directly focus on WhatsApp you need to pay. For example, we will focus on the chords, you'll focus on database, you will focus on the melody, etc. So is there something wrong with using presets? Absolutely not isolated to this day now. But what is a preset and how we can download it? As we discussed, a preset sound that comes, for example, like this. This is a sound and this is another sound. Those are sounds, so those are presets. Now how do we download those presets? We go on our website and we download them. So in the next lecture, I will show you how to download those presets and apply them to vital. 51. Vid 5.4 - Downloading Presets: So to download a preset, you have to go on a website. And then let's open a new tab and put this link. So I'll put this link in the description of this course or the description of this lecture, and you press Enter. So if you didn't find the link or you have to do is simply type in link like this, playing music.com. So I'll type it again in front of you. You just have to write in clean music.com. This is in case you didn't find the link. So you press Enter and then you just wait a second until you have the website shown up in front of you. Here are their website. You simply go on free. You press on free. And then you will find multiple presets, or they are called sound banks. So for us, we are going to download this sound bank. It's called a Leonean future base. So here it is. It's called the linear future base. So before we download it, let me tell you what is this website that is someone is called cling or at least he branded himself as king. And he simply puts on his website multiple sample packs. So for me, I didn't buy any of them. Not because they are not good, but because in the current moment I didn't use them. But I used two of them, which is Martin Gehrig's and this one in this course and my last course, slap house, I use this preset. Right now, are going to use this one and this one. But right now, like don't worry about this one because we will use it later on in the course. But for now, we're going to use this one. I'm not sponsored or affiliated by him. I simply find that his website is good and contains good presets or vital banks. If you go on the Internet and simply search future, let me open them, love them. So future bass sound banks. You will find a lot of them. You will find lots of them. So if you want, like if you prefer, you can go and download any one of them. We can download this one, this one, this one, whatever. But for me I found that this one works the best, so it contains all of them. I also recommend you download this one so we can follow up with me during the course. Because let's say I use specific preset. You will not find if you just downloaded another sample pack or another vital bank. I mean, this is why I recommend to press on this and this and then press Add to Cart. And after you go Add to Cart, it will show up here in front of you. You press View cards. And after we press View Record, I go to checkout. And then after I press this, it will direct me towards putting my email name, whatever the thing it is. Then you simply put your email name. I don't know. You're you're just your details. It's completely for free. And the website will send you on your email a link to download this sample bike. You just go ahead and download your sample pack. Okay? So you can simply download it and start by using his presets. So what are vital bank? So as we said, we know that preset is a sound, right? Vital bank is a group of sounds. So if you have one preset, It's called a preset. If you have a second preset, It's called a preset. But if you have multiple presets, multiple sounds, they are all called a sound bank. But here because we are using vital, we are going to call it a vital bank. And as you will see, this folder that contains all of those presets will have the name dot vital bank. Because it's a bank, it's a sound bank inside vital. So after you've downloaded, you will have a link, then you download it, whatever the thing it is. And the next lecture, I'll tell you how to insert those presets inside vital. 52. Vid 5.5 - Adding Reese Bass: So we put our presets right now, it's time to find a good base. So let's go and try to find a good base. I want to find a base called Reese base. So here's that is base. It is right in front of me. Raise learning. By the way. If you want to extend this and you are not being able to because your screen is small. So we press here on this small one and press detached. This way. It will be detached from the current screen. So it'd be able to move it wherever you want, like this, it will become a bit bigger. Let's go again to the millennium base. And I mean, not even based, but like press this one. Or you could go here and press brush presets. It is the same, but a slight like it's a shortcut. You just press on it. Then you press on it another time. I go to here and select my sample pack, then go down, go down. I find this one called res Lenny. So let's try to press a keyboard key and see what happens. As you hear. This is Aries base. So this is called areas base. I press on x because I don't need it anymore. So I'd right now I only have the sound. So you see this one selected? I have the sound. Let's rename it. Right-click, rename it. Let's call it raise base. I totally hear me. I can give it the color like, it's fine. I name it 3D space. Let's delete all of this because we don't need this one. So I go to here, and from here I want to start adding a base to the vocal. So what are the nodes that I want to put it in? I can right-click. It goes piano roll, and then start putting the nodes. I can put all the notes that I want. But I already discovered then out of this song, which was this node, this node, this node, and this node. So I put them the same, I put the same nodes. Let's select it Control, right, this one, Control C or Command C. Then go to the base. Of course you select the pattern. Go to here, right-click, general. It's not pressing. Right-click piano roll. Again. Right-click piano roll. I don't know why it's not pressing. Then press Control V. Let's hear it. Why do you think we are not being able to hear it? Because you are on the song mode. Let's put it on that pattern mode. I think it's very, very low. So what you can do is pitch it up one octave. What is octave? As we discussed, octave is when you go from here to here, the same node, but it's higher pitch. So I select them all. I can just drag them and put them up. But it's an old fashioned way, It's an old school way. So what I can do is go here, select them. Press Control and arrow up. As we discussed earlier. Let's hear it out. I can hear that this node is too low, like take, take a listen. We can listen nothing from it, like it's true, AGI. So that's pictured up. Let's put it up on octave. So again, Control arrow up. And this one is also very low, especially it up also lipids. So it hasn't like this than, than, than. Perfect. So right now, let's try to put this one inside that playlist. So I put it like this. And let's listen to the songs from the beginning without the piano. Sounds good. Okay, So in the next lecture, we are going to add the other part of the song. 53. Vid 5.6.2 - Piano Roll in Reese: We will add the other base, or the same base for the second part. So let's listen to what I did here. Did you notice what I did here? I simply press Shift and select a small part. If keep on looping. This isn't new information that I wanted to clarify later on, but because it happens right now. So let's explain right now. If I need to do something, if I need something to loop on for jumped from here. If I add something to loop and from this measure 29 to 31, I just select Shift and just select it on the right. Like this. Maybe you already knew this information from the beginning of the course and maybe you didn't pay attention. But if you want to do something you do like this. Here's how we do it. So if I need to do from here, I just press Shift, double-click on here first, press Shift and drag to the right. And double-click if I need to deselect it. So here, let's select one year uncontrolled B. So I have the same one. But here of course, I will have a different one here. Because as you see, what I can do is simply duplicate this, duplicate also this clone or the plate, they are the same. And then with the course of this one, Control a, Control C, So Control H associated selected all control a, control C for copying this. Close it, then double-click on this control a, delete it from the deed button, then Control V. So we'll have the same piano roll. I go here, base. Let's put it right there. Let's try to play it. Alright, so let's solo. But what we can do is simply put it up. So like this, That's pretty adopt selected. Put it up on octave. Let's put those two up an octave like this. So right now I have all of it like this. But what about putting them all in one pattern? So instead of putting base and base two, why not put it in base like a wall pattern? So I want to combine those three into one pattern. So let's right-click here. Has created base. Let's create in capital letters so we know that it's the right one. Let's give it a color like this. And then we need to put the piano roll of this one. Control a selected. So then control C. Close it, put it in this one, in this pattern that base. So I press here, right-click piano roll, paste it. And then we have the second part, this one, which is the same as this one. So I have the right, whoops, I have the right to put it like this. From here, you go here, then duplicate it, Control B. Then in the third part, I simply copy this one. So I select it Control C, and then go to the base, this one. And right-click. And then paste it right here. It will be pasted right there. So I just copy it. Sounds like opiate. I just drag it and put it right there. So if we press X, press X, you would go here on the bass. Let's drag it and put it right here. Like this. And put it like exactly here. You'll find like they are exactly the same notes. But this time we just put it in one pattern. So let's eat them. All right, now we have all the base and one pattern. In this way. If I want to change something from here, like maybe this node, I don't have to change the whole pattern. I can take control of every individual node. Let's delete all of those. And this one also the data. Right now, we have this pattern like this. 54. Vid 5.7 - Fixing Rhythms Issues: So there's two things we want to do. One of them is a mistake that I made. So let's listen to this. There's something wrong. So here it is. There's something wrong. So I think what we did is that I pitched up, half step up. I will select it. This one is like this. It should be like this. So I put it down this road. Alright, that's fine. Right now. If we listened to that from the beginning, you will hear that there is a small offbeat. So let's listen. So it's like were you ignite? Ignite. Then comes the node. So let's just do it. So it's a bit of freedom. Once you gotta do is simply chop the vocal using this one right here. You see this tool, it's called Slice tool and cut it. So let's zoom and vertically. So Alt and scroll wheel up. Maybe here. I'm pressing Alt and then using the key Mike, my mouse. Because if I just move my mouse like this, I cannot use, I cannot like play and anyone it will, it will lock to those specific lines. You see those lines? If I press, simply change my mouse, like move it like this, it will lock to a specific line. So what I do to prevent this is simply press Alt so I can put it wherever I want. Let's go up a bit to find the heart. Tried to find the light on the heart, you ignite more hard. I think it's here. So I'd simply chop it tried they're using alt and I chop it. I this. So right now, I simply drag this one. Let's zoom out. Put it right here. Let's press Alt and then move it wherever I want. So what the alt button does, ALT, if I don't press Alt, what it will do is simply put it on here. So you see, it will look when I press Alt and the other hand, it will have it raised. So I press also I can move the vocal wherever I want. So it's better. It's exactly on, but there's a problem right here. So what we do, try to extend the vocal. Let's try tried to extend it a bit more. Maybe like this. I press Alt and extended. It doesn't work. So what I'll do is simply use something called crossfade that we'll find it later on during the course. So what I will do is simply try it. You ignite more than put it down like this. But for now, just leave it as it is. And at the beginning, you can just chop this out like chocolate, like this. Easy. Then delete it. I see that this pen button to delete it. And at the end, what you're gonna do, we are going to remove this power. Going to remove this part where it repeats, you ignite my heart. So let's remove it like this because we don't want it. Then select the Pen button, then right-click. That's it. 55. Vid 6.1 - Adding Ambience To The Song: We put the base, we put the chords, we put the vocal, we put everything. But right now, I feel like it's a bit dry. So let's take a listen. I feel that it's a bit like dark and light, that something is a bit dark and it's a bit it's a bit dry. So if I want to tell you like, I feel it needs something more, we can put something more, we can put some ambiance. What is the ambiance is something that makes the song more ambiance. So it makes it more lauded, make the set larger. It makes it like more wet if you want. So let me tell you how do we add an ambience? Usually in future based genres, we add an ambiance by putting some guitars in the background and putting a reverb on it. So let me tell you how it sounds like. You put the base and I will try to sound the guitar. So I want something that sounds like this. That sounds like then, then, then, then, then then London. For that reason, I'm going to add plus, plus, plus at ambiance. And then from here go to Channel rack. I'm going to add some guitars. So you go unpack the instruments, then guitar. And then from here I want you to choose a good guitar to put on it inode consistently. Like for example, something like this. Or if you want something like something like this. So tan, tan, tan, tan, tan, tan, tan, something like this. Charge. Pause the video and find a good guitar. So what Guitar did you choose? Let's try this one, maybe. Let's try. So I will hear it. I wanted something like this. So let's go and add the piano roll in it. Right-click, can roll. I will add this node on the first base. So let me explain you how you see this first node. I will add this node tendon then, then, then, then they get are consistently on the same node all over the piano roll. So from here till the song finishes on the buildup. So I'll do is something like this. I go here, right-click. Of course I have to choose ambience at the beginning has trues that specific pattern. I go here, right-click camera roll. That's true 0. So I put it like this. It's so small for you, it will become something like this. At the beginning. Then after you have it like this, you just put it smaller. Let's try this. Let's try to hear this. Selected control than control B, control B, control B control we control Bedelia. Let's listen to it. Sounds good. Let's put it here. Ragged, drop it. So let's listen to it. Sounds goods for me. What I can do it a bit better. What I can do is select all of those and make them a bit shorter. I drag it and drop it. So take a listen how it sounds like. I think it's good. So then what you are going to do is try to mix them up. Because right now I feel that the volume is a bit too high. So take a listen. Those those guitars are way too obvious. So I feel if I just like, put it less so I put the volume a bit, I decrease the volume of it. It will be better. And even the base is too high. So what you are going to do is start by mixing. We're going to use mixing for the volumes. In the next lecture. We are going to mix all of those. But before we jump in, I want you to stop the video here and start repeating those on your own. So sarcopenia, those guitars that we did. 56. Vid 6.2 - Mixing: Let's mix them up. We want them to have the same sound level. In other words, we want the vocal to be heard as equally as the piano, as equal as the base, and as equally as the guitars are the ambience. So how do we change the volumes of a each individual one? We simply go here, the channel rack. And this is the answer. We will find this knob right here, which is in this case the volume knob. And we can change from it multiple things. So I know why this selected itself, but let's put it back. So here I have the vocal. If I double-click on it, I'll see the vocal in front of me. And here I have the f L key is those are some FL keys that we use them earlier on, but we don't need them. Those two. This is just for the scales and the chords. We will use them later on. So what's important is that we have the vocal, we have the F L key is, we also have there is base. And you also have the guitar less than this guitar. So we can know what it is. Here it is. You want to mix them in a way that they sound is anyway, that they are equally heard. Alright, so we want to, we want them to be equally hurt. So let's start by the courts, I mean, the base because it's the most obvious one. I'm lowering the volume of the base gradually anyway, That sounds great and not like you don't want the base to be the main thing that is hurt. Right now, Let's turn down the volume of the ambiance or the guitars. I feel looks good. Right now, Let's turn down just a bit the one of the piano score. I recommend you putting your headphones or a pair of earphones so you can hear us clearly. For me, I feel like this is good and this is balanced. So this is how we mix them in a very basic way. But there is another way to just mix them. And that is using the mixer. This is the mixer. You'll be able to do and down and up the volumes, which is what you're going to learn in the next few hours. 57. Vid 7.1 - Using The Mixer: We added all of this, how to link them to the mixer. So we said that, okay, The first step is to create the vocals, whatever chords, base and ambience. But then it was like the ambience was too loud, then the base was too loud. Then we need to put down some of the volumes. So what we did, we went to the mixer here. It's not exactly the mixer, but it's a way to lower the volumes. So we went here, lowered the volumes, then we had a balanced mix. So let's take a listen. Okay, right now, what you're going to do is you go to the mixer and here the mixer then apply the same things, but this time using the mixer. So how do we do that? First, let's reset all of those. Do you know how to reset all of those? Right-click reset, right-click reset. The same thing applies all over for all of those. So after I reset all of those, what I do as I go here and start linking them from the channel rack to the mixer. So I go here, Let's say I want to link this vocal. You see this vocal here. I just put one. And when I put one, you can see that it directly linked itself to the mixer. So let's repeat what we did. It was like this. I took my mouse is color. This one. That you hear it sound right now. And I just put it on one. So right now, the vocal is linked on the first track of the mixture. Let's split and here it is same as u here we can write now control the voice or I mean, yeah, the vocal from here. So let's go again. Here it is. Let's reset it by right-clicking. Reset. Then I go here and link the f L key is to the second track. Here, 12. As you see, as I'm going up with my scroll wheel, it's moving at the same time. So here it is. Right now I have the piano here. I can control the piano from here. Then there is base. I put it on the guitar. I put it on for. And as you see, I can have control over every individual one. Let's try it out. I want to turn down the hallway. I want to put this back in. I won't remove this guitar because this is the floor. They just all about this. Right now we are being able to control the volume from the mixer. 58. Vid 7.2 - Linking To The Mixer: We link them all. And right now I have a question for you. What if you had like hundreds of tracks, hundreds of instruments? How do you memorize that? Okay, The one is for the vocal. The two is four. F L key is, the three is the force that is base. How do you memorize them? This is why we always have to link them through their names. For example, here, let's right-click Rename and put vocal. So we know that this is vocal, but right now it didn't apply right here. So what can we do? Remember, every time you bring something to the mixer, you go press on this and that channel rack. Then go to the mixer, press on this specific tracks over here it was one, so you're pressing on one. And on our keyboard we press Control L, or Command L if you're on a MacBook. So when you press Control L, it automatically link itself. Right now, let's try for the second one. I linked this, I press on this amine, then I press on the same one on the mixer, and then I press Control L. Here it is. It copies the name of it and the color of it. Let's do the same thing with their user base. I press on this, then go here on the mixer, Control L or Command L. Then the same thing for the firewall and press on this, put it here, then Control L. Now you will ask me, do I have to link them through one? So do I have to put one then do this? No. So let me show you something. You can go for example, to vital. This is like the plugin that we use. Let's close it. You go to vital. If I need to link this directly to the seven, for example, I don't have to put this seven. Then press here, then use Control L. Know. What I can do is simply click on here. So it appears that green rectangle click on the selected or the desired track. So I want the seven. Then press Control L, boom, it, have it. So if I need to do it again, but change colors, right-click, change color. I changed the color. Then select it again in the selected, then again Control L. And doesn't work. Why? Because what you have to do is right-click resets. Then do it again. And boom, here it goes. So what I did is when you need to change something, for example, you likely need to change the color. You need to change the name. What you can do is actually right-click reset selected tracks, default. Okay? And by this that it's still linked. So the seven is still linked to the seven. Because if I press here, you will see that the volume goes up. But this time it's not name. So I can press on it again, select it and go here, Control L and boom, Australia. But I don't need it anymore. So let's right-click Delete. And of course it says here, although there is nothing to play, but let's remove it manually because this is FL Studio. And right now you know how to link them like this. So always try to keep yourself organized. Tried to link everything, literally everything through the mixer. Because later on in the mix, we're going to use it a lot. 59. Vid 7.3 - Working Out Volumes: So let's work out the volumes. I go here. Let's try to play the track from the beginning. Okay, they just fire that sparkle in. The vocalist who love you to stay. I feel like it is repeated. School, like you thought it was not cross it. The reason is as good. Because it presents maybe a bit. I feel like this, yes. Of course I put cardboard. Vocalist. I'll give you this mix is great. Maybe you have a different opinion. You need to like, do it differently your free. But the point is that just try to mix it in a way that they are all can be, are they all can be heard. And of course, the vocal has to send out a little bit. 60. Vid 7.4 - Adding Reverb: So we worked out the volumes. Right now it's time to add some special effects and for the guitars, did you remember when I told you that the ambience should be a bit like wet and it should be like so large. So take a listen. This is not pure ambience. This is your ambience. So let's go to guitar. Let's add some reverb. I'll do it first, then explain what I did. So here's the river. Let's listen. With the headphones on you here. This is something like ambience. What I did is simply let me repeat that. I already did that. Sorry Peter. What I did is went to the guitar. That channel, that is for the guitar. Then on here, there is the effects. So those are the effects that you are going to add. For the guitar. We don't have to fill them all, but we need to fill at least one of them. So we can add like an effect. So let's go here to slot one. I go here and let's add some reverb. You go and search for something called fruity reverb to. This is a plug-in that makes that sound like so large. It's called reverb. I press on it and I will have this thing in front of me. So let's try to play it. You see it's already changed. So here we have what's important to see that dry and wet knob. All I need you to learn right now is that dry and wet knob. What are those two knobs? That dry is how much meat from the good signal, from the original signal. So for instance, we have the guitars. This knob right here controls the original signal, the original sound if you want to. And this wet knob here controls how much we want from the fake sound as known as the river. So let me show you how. If I put the sweat knob down, you will hear the guitars as there is no reverb, as there is nothing changed. Let's hear them. As you hear this is like a volume. This is likely the volume of the original sound, which are the guitars right here. So if I put it up, I can hear the guitar more obvious. If I put it down, the volume of the guitar tones down, not completely, but it turns down. Let's put it again here. So what I want to do is simply try to mess with this wet knob. So I'll put it up. You will start eating more of that fake sound like this. If I put the wet knob totally up and put that drawing up down, means there is no original sound. So there will be no original sound because the dry knob is down to the maximum. And all the sounds generated from this patter would be from the wet knob as known as the river. Let's hear. You hear it. It's like there is no original sound. So what we have to do is find a balance between too. It doesn't mean that we have to put them equally, but it means that we have to find somewhere, a middle point. We're like, it, It sounds good. So let's find it. I think it's here, maybe let me here also again. I think maybe here. We need to listen to it again. Then I think this is good. I think this might be good. So let's listen to the whole mix school right now. So let's start to mix it right now while it's a plane. So the best mix is when it's playing. Let's try to mix it 20 explaining schools for the first time. I didn't fire him saying what does that's repeated and let's put the volume of it up. So the bone of the skull, I feel like it seems like it's in the middle point where it's not very obvious, but at the same time, it's like we can hear it. So this is how we put some effects. Hope you understood how you did it. If not, it's very easy to just repeat the lecture or ask me some questions on the platform. And this is how you just add River to the guitar. So we have a larger ambience. 61. Vid 8.1 - Installing Sample Packs: We made all of this. We put a vocal, we put some cores, put some base, we put some ambiance. Right now it's time to add some drums. So don't you find that weird? If you have like an electronic song and it doesn't have like the sound of the drums, snares, whatever, a high hats. This is why we have to use something called a sample back. Now what is the sample pack? It is something a folder that contains multiple things like drums, effects, whatever like the sounds. So example bike is something like this. So this is a sample pack. Rums. It contains symbols, contains whatever like loops. Let's see. It contains risers. So it contains many thing. This is why always when producing music we have to use sample bags. Because let's say right now I want to add a kick like a gate, like a normal kid. How do I add it? I go here to packs drums. Go find a cake. So here are the cakes. Let's find a cake. This is a cake, a cake. But to be honest, the sample packs of FL Studio are not very high-quality. In other words, you can find lots of cases that are, that doesn't make sense. Like I, for example, this cake is fine, but there is lots of kick that doesn't make sense. For example, this one, this one is not the cake like it's, it's like a kick and snare with each others. This is why the ones on FL Studio or not recommended to use. And you can search any popular or professional music production producer. He never uses kicks or sample packs of FL Studio. This is why I always recommend other producers to use sample packs from third party websites. This is why we are going to go and download some sample pack. Now before starting. All I need and all I'm looking for in sample pack is some takes, some snares, some drum loops, and some risers, that's it. So if you have, for example, a sample bike that you want to download it from your side. And maybe you bought a sample bike and you want to use it. That's fine. But for people who don't know what sampled by is N, We don't have any sample path they can use. I went and found this sample bike on the Internet. You will need a website be Vi k e r.com. So it's just like this, be vk.com. Or you click the link in the description of the course or in the description of this lecture. You will find this site right here. You go here to shop, that is sample packs and there is some free stuff. Maybe I think the download ones right here, you press on the download one and you'll find everything for the downloads, like the free downloads, maybe. I don't know. But if you want, you can go ahead and check the link that I put you in, the description of the scores or the description of this sector, and you'll find this one right here after you do so, you'll be directed to this page. So this is a page of the sample bag. Again, if you need to download this haplotype from your own, you can do so. I'm not obligated by this guy or anything, but I found that this is a good sample by that contains everything that we need to do during this course. It contains like 40 drums, cymbals, sweeps, whatever, Jake's, whatever you like, it's fine for me. What do you have to do is go and press click here to download. You'll be directed to a page where it will ask you, for example, to follow him on SoundCloud, to subscribe to his e-mail newsletter, for example. Here. They will ask you to connect to SoundCloud and to follow them on SoundCloud, then put your email newsletter or whatever, but it's because it's free. And so why not try to follow them and support them? Again, if you want to, you can go and download your own sample pack if you have something that you previously bought before you've downloaded, I just want to tell you that always at the beginning try to seek for free sample packs. So try to serve, for example, free. Here this future Bayes sample bags. So always when you, when you define something and take a look here, it's from where I downloaded it. I download this one because it was the second one. Always we need to download something, especially when you're a beginner, you need to find stuff for free. Again, don't spend lots of money at the beginning on things like sample packs, midi packs, and everything. Because for me it doesn't make sense. I have lots of students that come to me. And they already spent like hundreds of dollars on some products, buying some midi pack, buying some plugins. And for me it doesn't make sense because they just bought it and they don't know how to use it. So always at the beginning, try to seek for free stuff. Then a later stages when you find yourself that you really want the sample bag and that it will really take your music production scale. So the next level just downloaded. So what did this after you download it, you will have a pack, So it will be downloaded on your files. So after it will download on your files, go and put it on your big FL Studio folder. Again, when it will be downloaded, you will find it on the downloads page on your files if you're on Windows. And then what you do is drag it and drop it into this big FL Studio file. 62. Vid 8.2 - Managing Files: Here it is. I have on my left-hand side, I have that big FL Studio folder that I created. So this is on my left-hand side and I have on my right-hand side, I have the download folder. So don't worry about those. Those are photos for me, but worry about those. So this is the folder test we just downloaded. And what you're gonna do is simply go and drag this and drop it here. But before we do so, what do you think about this? Let's create and that big FL Studio file. So in the big FL Studio file, Let's create a file called sample packs. In this way, all your sample patch will be organized inside this FL Studio file. I go into here sample packs. Then I drag this. So this one be vk ER, and drop it exactly right here. And this way, I dragged it, I put it from the download folder to the sample pack folder inside that big FL Studio folder, maybe for you it will be like compressed, so it will be in the form of RAM. So it will have this logo. You see this logo right here. Maybe it will be like this. So all we need to do is simply right-click on it and press extract, press extract to this FL Studio file. So all you have to do if it's compressed, if it has like instead, instead of this logo, this yellow logo, maybe it will have like this three book Logo. All you have to do is press extract and extracted right here. Right now we have it. Let's double-click on it. Let's see, as you see inside of, inside of this, that is the sample packs that as John Brown shots, whatever we are going to know it and the next lecture. But what I want you to do, Let's go on to FL Studio. Then all you have to do is go to options. So we press on options than File Settings. Then from here, you press on any random icon. So maybe you press here and maybe you press here, like it doesn't matter. I will press on the first one. You go and locate the big FL Studio file. So I'll locate it for me as you see in front of you. Here's the big FL Studio. I mean, this is WTF else you're not this one. Don't worry about this one. So this is debate FL Studio for me. And inside it, I have another folder called sample packs. And inside this folder called sample bags, I have the actual sample pack. So all I need you to do is select this one, the sample pack folder. Why? Because what happens is that you will tell FL Studio, Okay, I have a big folder for the sample packs. Inside this folder, I'll put all my sample back. I'll put the sample pack 12345 output all my sample packs every time. I add one sample path to this big folder that I told you about, you directly scan it and put it in front of me. So to understand more, we are going to select the sample pipe folder and go down and press. Okay. After I press Okay, you will see that the location was added right here. And not only it was added right here, but it was also added dries there. So as you see, there was something that was added here. If we click on it, we will have the sample bike inside. To prove that I'm right. I'm going to go here. And just like inside this folder, sample packs, this is the folder sample packs. Let's go and create a random file. So let's go and new text file, like call it hello, like whatever. If I go here to FL Studio and just try to refresh it. Maybe you tried to close this and open this. After some time, you can try it. You will see this text file. What it means is that when you go here inside the sample pack, FL Studio will sync everything that you put in here inside the folder. So let's see the text just to make something that makes sense. Let's say I have this sample path that we are going to download it later in this course. Let's try to put it in here just for demonstration purposes. You don't have to do it. So I'm dragging a folder, like it's a sample pack. Take a look at it contains like live some drums effects. So it contains like lots of sample bags. So let's say I put it right here. So right now, this is the big FL Studio folder. Inside this FL Studio folder, there is a small sample by folder. And inside the small sample by folder, I have all of those. Right now, this sample pack appeared on FL Studio, right? Right now, this ultrasonic slap house should also appear on FL Studio. Let's go and check and see it. And doesn't appear right off the bat. It should appear after a moment. So let's try to close FL Studio and open it again. Oh, here it is. Take a look at appeared. So indirectly appeared because we put it in here. But if I tried to delete it, Let's delete it. It will be deleted. Let's go in here and try to wait for a second. That tries to refresh it. I don't know. Let's try to open the project again. I'll try to save the project and open it again. Oops, take a look. Here it goes. As it stopped itself. So deleted itself because we already deleted it from the original file. So this is something that is called directory. This works NFL studio. When you let FL Studio sing something, so you go to Options fire setting. You tell her, Hey, this is the folder that I'm going to add my stuff in it. You have to always scan it. And so anything that goes into this folder will be scanned right here. 63. Vid 8.3 - Adding A Kick: Alright, so we download our sample pack right now, it's time to use it. So let's open this one. The sample pack here, like this big folder of sample packs, I find n-sided. Our famous sample bike be vk ER. Here is nothing. This is the music of it. This is like the song that you can make out of those sample bags. Your only concern should be those that rum shots. So you go to jump shots and you will find all of those. You'll find a TO aids. If you want. Those are extended cakes. And you'll have the symbols. The symbol like crashes is like this. You have multiple crashes and you can buy your own go and try to discover some of them. But right now we don't want assembles. We're all some cakes. So there is some stump cakes. They are called like this. And they had some trapped x. So let's go and add some froms in here. That's fine out here. That's fine. Perfect moment to where we want to add that kicks school. That's fine. Okay, so I'm imagining that Let's put here a small pose. So let's here with Spark and Spark it, NRI's, whatever. So let's go here. Let's put the small pause. Let's cut it here. Let's see like those. I mean, not like let's cut it here. And let's cut it here. Let's delete those. So that's fine. Here we solved by that gigs. Like this. Here. Satisfies, satisfies colon, colon, like this. So all I wanted to do, it starts putting your text by her own. A quick remark that remember, if you want to add this cake, you just either with the brush tool, you'll be able to put multiple gigs like one after another. Or you have to simply select this one and start putting individually like this. So you can try by own and start figuring this out. But of course don't try to drag and drop each individual one. I drag and drop and drag and drop it. No. You just select one of those and start putting it. So let's choose a good cake, batter cake. I feel they are only the same, but one is pitched down. So let's remove this. Oops, Let's remove this and put the 0 for. It's just like my opinion, the thing I prefer maybe you want to put the 05. So it is like this. The next lesson, we're going to put more things. 64. Vid 8.4 - Adding Snares: Let's put the cake regularly so we don't want them to be like onetime. Let's put it like this. So every time we change the node, for example, here, from here to here, we'll just put a kick from here to here. Then we put another kick here. Then we put another kick. Okay, So this is how we put them. Then I want to select them all and drag them by duplicating them to the right. Be careful. If you write them like this. It will not do the job. You need to drag them when this cursor appears. So you see this one, this table, like this, this cross symbol. You want to drag them, when they cross symbol appears. I want to drag them like this. From here. You see like them all. Then you make sure that cross symbol is selected. Press Shift, you go to the right. This is how you do it. Then I put it exactly here. And I will have all of those said that sat up. But I find it's too strong. So this this is because there's something hidden. So you go here. And if I did this, like if I go select this light, put it on the right, you find that there was something that was hidden inside it. This was a second layer that I put by mistake. So what I did, let me tell you what I did is selected this press Shift duplicate to the right, then put it back on here. So right now I have a double-click. This is why it was so then I put another time, so I select those than to demonstrate for you. I press Shift, then put it back. So like I have right now for kicks, what I have to do, Let's do it all of those. Let's put this kick back and put here one, then duplicate those. Then shift, drag it to the right. Then another time shift. I'm in control here, then shift to the right. Right now we have it. Right now. We need a snare. We need something to stay on me. When it's something that's claps between them. So something like this. So let's go to snares and see if it has a good snare normally and weird snaps. So it has like normal and I don't know. So let's go here. Let's go here, put it here. So what I'm doing is put a kick here. So let me, let me show you what. I put a cake. Then from here, I put this now. Then I put a cake. Then put the snare. So it's like kick snare, kick snare. So let's show you here. I'll put kick, snare. So the same thing applies on all of them. Kick, snare, kick, snare, kick, snare. I keep going on and on and on until this finishes. So I'll keep doing this on all of it. So let's go here. Shift, duplicate at the middle. You see those lines. So this is a line, then this is the other line, I mean here. Then this is the other line. Then this is the other line here. And this is the other line. So all you have to do is press kick, kick, I'm sorry, then snare, kick, snare. So the same thing applies to all of them. So let's select it. Kick, snare. So as you see right now in front of you, I have a pattern of kick, snare. Kick, snare. I mean, I'm sorry, I moved it. So let's do it. Let's hear how it sounds like. Stay on me like this. But what do you think about the snare? Do you think it sounds goods? For me, it doesn't. The next lecture, we are going to add another snail, something that sounds better. 65. Vid 8.5 - Replacing Snares: I feel that this snare does not sound very good light. The killer sounds like it might be good for other genres, but here I add something smoother like I need like a snap, my fingers snaps. Like it's not very much for like emotional future bates. This is why I went to a website called sample focus. And I found this snap. I found like a finger snap. I found a finger snap. And it works perfectly fine. Night, imagine with me having a finger snap here. Imagine having the finger snap instead of this. I think it will sound better. So let's go and find the finger snap. Oh, people know, slow. Hover over this and standard two-sided sounding. So I go here and type in Finger snap. And again that the website is called sample focus. It's written like this, sample focus.com. So here's the website. I go here and search, finger snap, press Search. And I read for it. So it gives me the results. Here it is. I go here and finally, many snaps. And as I am not finding something that fits me, Let's start there. This is great. This is great. Let's try this. Let's try another one. Dry finger snap. We don't want I don't want it to be like like this. I don't want I want to be like more dry. I think this one is good. This one I think is one that best. We put on it a bit of reverb wall, it will be perfect. So I press here download, and they will ask for my email name, whatever the thing it is. So if you want, you can sign up here and just have this snap. And again, when you download it, you just drag it and put it into the big FL Studio file. Then from here, put it into the sample bytes file. From here. Right now, it should appear on FL Studio. I go here, sample packs and I find it. So let's see it. All of those, I right-click and delete them all. Then put that snap inside it. So I put it here. I start to move it until it's in the middle of the two cakes. So I put it maybe here as here. Alright, it's better. So I've put it here, also. Controls unite them, then shift here. Then again, I control them the same thing until dislike cross appears, and I move it right exactly Here. Here we go. 66. Vid 8.6 - Some Mixing : I feel that the kick is stood out so they can take a listen to is very loud. So let's go as usual, put it in the mixer. I put it on the mixer life, for example, I can put it here on the 51 tip on how to put it cool wiki on the mixer. Instead of going like this, putting it on five like this. What you can do is press on track. This small thing right here. You press on track. And when you press on it, this small button right here. Boom, it inserts itself. So I can rename it from here. Rename, and I call it kick like this. Let's try to lower the volume because it's true loud. Stay on me. I feel that the script, let's go and put this snap on the mixer. I press on track, and as usual I name it snap. Go here. Let's try to change the volume. This is good. Right now, why not add some reverb on this? I think it will sound good. Let's try it out. Why not? I go here and try to add the reverb. I search for the plugin called fruity reverb to. I, press on it. And then here we go. We have the reverb added. We start messing around with that dry and wet knob. We stay. So by this, we have some reverb on this. Now, how do you think it sounds like metals? We can stop me. I think it's far better. 67. Vid 8.7 - Making A Groovy Rhythm: Why not try and add some groups? So for example, tried to move this one a bit to the left. Let's see. Let's try it. Let's try this. It's a good one. I'm trying when we get to the right so and said Oh, that sounds stay on me. So what I did, It's simply every other cake. I'll put them back. Every other cake. I moved down to the right. So this cake like this. So I have kicked snap, snap, right? So here it is like this. Every other cake, oops, Not this one. Every other cake. I just move it to the right. So I just put it like this. Whoops. Right? So it was here or not here, it was here. I put it to the right here. So instead of this, we will have this small groovy, right? So let's go back and put it to the right. Then with this one to the right, not this one. This one, the second one to the right than this one to the right. Then this one also to the right. So if you wonder how much I put it to the right, Take a look. I put it 1234. Maybe for you it will become like this. It may be for you, it is a half-step. So we put it 12, then maybe for example, it's step. If you also put it four steps. So we've just moved to this much, it becomes like this. It's fine you to stay safe. So what we'll do in the next lecture is learned. What are those divisions like? What are those lines? Like what I was talking about like step one quarter beat 1.5 bit like what are those? Less, figuring them out in the next lecture. 68. Vid 8.8 - Magnet Element: So what are the divisions? I'll make it easy. Very easy. So if I put, if I zoom in right here, so here they are like this. If I put step as it was, you see those divisions, right? You see that we have like line 234. So you see those measures between measure 1011. Those are called measures and music theory. This one. Between them, there is this much divisions. So that is one big line, two, line three big lines for big lines. So it is like this 1234. Because as you see, this line is a bit thicker than those three lines. If you try to pause and see them. So I'll, I'll move the mouse here. And you see that this is the line 1234, then 1234, It's a bit, a little bit thicker. So if I put here, I go onto half beats or half-step. I mean, let's try half-step. If I put half-step, I'll have like lines divided into two. Take a look. See the difference. This is like this. There is no division between that. Right now if I put on half, you see the division here. And if I need to put it on Corridor, will see more divisions. If I put on 1 sixth, you will see way more divisions. So the thing is that if you only need to move something to the right, so let's say for example, I put on step, if I need to move this one. So this sample, if I need to move it here, I mean in the middle, I can move it. Why? Because I didn't put that step like it's locked. I can either put it here or here, or here or here, no other way. But if I press here on half-step, suddenly I have an extra space to put it in the middle. But what if I need to put it here? So I need to put it here. Like in the middle of this, in the middle of those two lines. I can put it I can either put it here or here. There is no other way. Why? Because we have the magnet element, It's called the magnet element. Put on half-step. If we need more details, we need to put it on quarters step. Right now, as you see, if I move here, we see that there is a line between it. So I can put it right now, boom, snap it. You can work in any of those, but for example, if you put on quarter, it will become more detail. So I suggest you to put on 1.5 step or step. This way, you will have details and off to just put them here, then here, then here, then here, whatever. So here's how this snaps thing works as it is other tools also, for example, this one as we saw, it is just draw. So for example, you select the one that you want to draw. You see like for example, vocal. And you start drawing vocals, putting vocals, like everywhere. There is also this one, brush tool. So for example, we can choose anyone, any sample pack and pack, I mean any sample. And just select your left mouse and draw as much as you want. That is this one that is called DDS. You just boom, delete one. Oops, there is two of them. So you see that they lost two of them. Take a look on deleting every one of them. And it seemed that that is true. Why? Because it seems that by mistake we duplicate them. So let's see here. There is no two. Okay, Perfect. So this one is z. Did and did he get this one? Is when I press on this. So take a look. When I press on that, it will silent this pattern and we'll put it back silent and put it back. I don't really use it that much. This one is slip, so it's simply like put it like here. It's nothing fancy. This one is slice. We used it. This one is for selecting. So I simply as the last selected instead of flight pressing Control. Also, this doesn't make sense. This one is for Zoom. So I can press here. Select and zoom only are those. Again, as we learn, we could do the same thing if we have the drop and selected, then press Control and using our right mouse. Select it, then control, right mouse back to de-select it. I mean to zoom out. Then there's this button that I also don't use that much. For example, if you need to listen this, this specific part, you justice to a specific block. It will keep looping. Let's say I want to listen to this part only. It will loop again. So here it is. It goes like this. It Dennett's loop maybe here because it's a loop. So it goes like this. So I don't see you use those that much. I only use like this one. And I put all of those like based on how much I want to zoom, whatever, et cetera. So those tool don't worry too much about them. Just worry about the shortcuts that I told you about and that we use that energy that we use throughout the course. Just worry about the tools that I told you about and that we used throughout the course. 69. Vid 8.9 - Enhancing Drums: I'm still not so satisfied with the results I have. Although it's great for a beginner, but I want something better. So take a listen at those drums like this. I right-click here, then left-click here. So I want something more groovy, more like dancing. So let's try to add another kick here. I duplicate it. Not all of them. Only this one. I select it. Duplicate it. Not this March, maybe like this. Let's try to add the snap here. It was originally here. So this Nepal is ready here. Let's try to add this cake. So all we did is just add this kink here. Sounds good. Let's try to make it slower. Let's try to make it closer to the snap. Sounds good. So what I did is put those on Step life normally. Then advanced this 123456 steps. So sounds good. This one has created this all over the rhythm like this. This, like this. All of the ambiance, all of their light song. So nice. Let's try to hear it. When we stay on me. Sounds better to me. So all I'm doing is simply trying to change the positions of the cakes. So I tried this, it worked, but this one was better. So with experience when you make lots of tracks and what you should do is you will have some experience with it. So you'll know that this might sound better. So let's try. This might sound like that. Let's try it. For now. I was telling you that, hey, go and try this gig, go and try to duplicate this and this and this. But don't worry because with experience when you try a bit with making a check and other, you will feel that this sounds better. Maybe you got disappointed that what this guy is telling me we are, we are only making what he's sending me. Why only making cake? And the truth is that no, I'm trying to give you as much information as possible. But if you need to get started with metal production, there is some stuff that you need to understand it, but there is some stuff that you will gain it by experience. Like how can you know that you could make a groove rhythm by just shifting that kick on Tuesday, right? But right now you know, how could you know that you can make it better by putting double kicks up, boom, town. How can you know that you do that? This is why I always insist that a 90%, 80 to 90% of the software you're going to understand it. But the other ten per cent, you are trying to copy me exactly what I did when I got into music production, I started copying other artists to see what they do and then develop my own style. So this is how he put a groovy rhythm. 70. Vid 9.1 - What The Sub Bass Sounds Like: All right, so in this part we're going to do multiple advance things. So let's start by the first one, which is adding a sub bass. Now what is the sub bass? Let me demonstrate to you what is subways? Usually, when we do like music production, we have some vocals at the beginning, like the top layer. Then we have some chords, you know, some ambiance, etc. Then we have that base, which is like deep, deep bass. Then there is the sub bass. The sub bass is that deepest layer you will find in music production. So how the sub bass sounds like? Well, to know how it sounds like, we have to use a plugin, right? Because every time we need to generate the sound, we need to add a plugin. I go here on the base because if you want, the sub bass is considered from the base. So it's like we have a base. We have a sub, sub base. Together. They all make a base. So we count it as a base. In other words, we can add it in that pattern of debates. We could create a new pattern called sub bass. It works, but preferably, we always add the sub bass in the same pattern as the base. So let's do that. Let's go to the base, go to Channel rack. And as that plug-in that generates the sub bass, which in our case, we are going to use a free one and free plug-in called a3x O S C. It means oscillator. So you press on it. What this plugin means. It means that it has three oscillators. So this is oscillator number one. This is oscillator number two, and this is also the letter number three. So what is oscillator? It's also something inside the plug-in that generates a specific sound. If I press at random key on the keyboard, generates the sound. So what I will do is go here. And as you can see on the hand panel on the top left, when I hover over this, it tells me course pitch, what it means. It means that the pitch of this, I'll pitch it down to the maximum. Boom. Let's try to play. Here. You'll hear that it's pitched down. So it's pitched down. Let's try to preach this one down also. Perfect. What did we get? We got the sub bass. So this is how the sub bass sounds like. Now, if you're using your computer, you will not hear the sub bass from the computer speakers. I want you to use either big speakers or earphones or headphones. Other way, you will not be able to hear the sub bass. So after that, in the next lecture, we're going to add this subbase with the base. 71. Vid 9.2 - What Is A Layer: Let's put the base with the sub bass. So I go here and the base pattern, select channel rack. Right now. Here's the base. I want to add this with this. Let's hear this race-based alone. Okay, We know it. Right now I want this, this plugin. Let's rename it. Let's call it sub bass. I wanted to play the same notes as a base. I have multiple options. Option number one, the most beginner option, the easiest one and the longest one, is to go here, zoom out, select everything using Control a or command a. If you're on a MacBook, command C or control C, close it, right-click right here, can roll, then Control V. In this way, we will be having that panel role of various ways. We'll be having it inside the sub bass. But in this method, there is a problem. What if you wanted to change anode of the base, for example, like this one, change it like this. And right now you're forced to change the other node of the sub bass. I don t think that's a good way to do it, especially when you start making big songs. There is lots of piano roll in it. So it's not efficient. What I can do instead is go and create a layer. So what is a layer? A layer is something that I add. So it's something that I add that converges both of the base and sub bass. Let me give you another example. If I have a bass part, I have a sub bass. I want them to play at the same time and have the same piano roll. What I do is press plus and go to Layer. So you should find it here layer in front of you. But for me it's organized heat inside MIS see inside miss. So I press layer. But again for you, you should find it like somewhere here. You search for this word layer. Here it is, it is called layer. And then this layer will contain both the base and the sub bass. I know this sounds a little bit tricky. Let's dive into it more. Let's put the guitar up. I select this one. And on my keyboard, I press Alt and the up arrow. I am being able right now to put it up and down wherever I want. So again, I get hours here. I press Alt and use the up arrow to pull it up. Then let's put the layer up. So here it is. Right-click Rename, call it base layer. So right now, this layer should be responsible of those two. But how, how I want to play only this and it will be responsible for that too. Well, let me go over this and press it random key on my keyboard. I'll have the sound. Right now. Let's try to press this on my keyboard. I'll have the sound. Well, I want to do something that when I press on this, it generates me that sound of both of them. So how do I do it? I want you to imagine it like this. There is the base layer, which is the father. There is the base and the sub bass. Who are the children? Those are the children. Well, the father always carries the name of their children. So if I go over here, press on this, I simply press on this one. Let me put it like this. I select those two and set them as children. So I press here children. So before I do it, I will repeat. I select the layer, but I selected this is the Father. Then I go and select those two rays, base and sub bass. I simply, if you're using a trackpad, you double-click on this and double-click on this. And this will be happy with this selected and drag it down. Or if you're using your mouse, just like drag it down easily. And then I sat them as children. Done. So right now there is base and the sub bass. Both are the children of this layer. To prove that, let me go and press a random key on the keyboard. On this, it should generate the sound of the bass and the sub bass. Let's try it. You hear it. To prove that maybe you're not seeing the sub bass. Let's turn this off. I left-click on it. So what I'm doing is pressing on this base layer and pressing a Gibbs picky on my keyboard. You hear the sound of the zombies. Right now. Let's turn this off. There'll be no sound. Exactly what I thought was right Now let's turn this on. We will have, as you guessed, the sound of the bass. 72. Vid 9.3 - EQ: But usually in music production, It's a good practice to mix things. So here, when I played this one, I'll explain the layer. Most people were not able to hear the sub bass. Why? Because they are not mixed. Introducing the EQ. So what does any q if I go here to the mixer and let's try to go to there is base. I go here on the slot number one. And that's something called fruity parametric EQ to what this means is that we are going to put an equalizer. Eq means equalizer on the base. So let's try to go over the base and generate a sound for the base. So let's go here and press random here. I'll keep pressing that. So I'll demonstrate that this is the low frequencies right here, the 305100, as you see them, I'll zoom in. So you can see those are the low frequencies. And those are the high frequencies. The lower you are in frequency, the lower you are in tone, as I'm talking right now. So right now I'm lowering my tone means I'm talking in the low frequency here. But the sound of a girl would be here and the high frequencies. So the frequency is simply very low. And the high frequency is simply very high, like this. The middle frequency is a point between them. So what do you expect? The base will be the base. Obviously, we'll have more frequencies into that low frequency. It will have some higher frequencies, but most of it, we'll be in the low frequency. Let's try and see it. As you see here. The base unit. How do not have so much high frequencies? It mostly has low frequency. What do you expect from the sub bass? Do you think that somebody's would have high frequencies? Low frequencies? Let's figure this out. We go here and we need to link the sub bass to the mixer. So I press over here and there is not this track button. You remember this track button that we will talk about that we press on it and it goes randomly into the mixer. It's not here. So what we can do is go here, press here. And you will find this one. So you'll be able to link it. I press here. So I link it to a random slot. So the closest lot possible. I go here, this is the sub bass. Let's go here and add some EQ. What do you expect from this high or low frequency? Let's try it. As you see, there is absolutely no high frequency. That is, those small things that you don't need to worry about. But mostly it is exactly here. Did you see it? This is why it's called sub bass. It's the lowest or the deepest layer possible. So just for organization, Let's move this sub base to the right, using alt and the right key. And there is Bayes, Let's move it here. So right now we have them both next to each other. Let's put it actually here. So why this we have them both next to each other's. Right now what you are going to do is mix them up. What it means. It means that I have to remove the sub bass from the base. Because take a look. Wait, let me go here. Let me go enable there is base. Take a look. When I play it, I have some sub bass here. Do you see it? You see this frequency, right there is a sub bass. I'd want to cut it. I don't want it from the base. And also, as you see in the sub bass right here. Wait, let me enable it. So let me go here. Then sub bass, then slot one. And the sub bass, there is also some high frequency, but I want to cancel them. This is why usually when we accuse them, what we do is remove the low frequencies from the base. So I remove them. I remove all the low frequency from that base. I mean, so I don't want the sub bass. This is the sub bass. I don't want the sub base and the base. And what I also do is simply remove all the high frequencies from the sub bass. So if it doesn't make sense, will clarify in the next lecture. 73. Vid 9.4 - EQ'ing The Bass: So let's do our job. Let's go to raise base EQ. Let's minimize it a bit so we can see what's happened, what's going on here. That's also minimize it. What you are going to do is simply go here. Let's, let's enumerate the base first. Let's, let's let the base play. So I will stop this. So I will subduct sub base. What I did is simply clicked on it. So disabled and selected patterns. So I'll add, there is Bayes play along. What I'm doing. I'll Right-click type. High-pass. You saw how it changed. It directly changed. So what I did, right-click on this this knob type and I sat high-pass. It means we are only letting the high frequencies bass. So right now what I'll do is go over here. You see this, sharpen it. So this one, not this one, not this one above this one. The one I'm pointing to, I'm putting a small point, I'm putting two points on it. What you are going to do is using the scroll wheel. Scroll down the maximum. You see right now how sharp is becoming. I'm showing you right now, up, up, right now I'm scrolling down. You see how sharp it is right now. This is for being detailed. Right now. From here, from this firstname, Let's use the scroll wheel and scroll up, up, up, up, down, down, down, down. So I'm simply going, oh, hovering over this and scrolling up, up, up, down, down, down. I want it to be like this. Horizontal. It was originally like this. So I do it like this. Let's repeat the process quickly. Let's put it here. So what I'll do, Let's repeat it. Let's put it by default. Disabled like this. So let's say it was this one. What I'll do is Right-click type high-pass. So only the high frequencies can pass. Then drag this one down to the maximum. So it becomes sharp. You see how sharp it becomes. Then drag this down or up, so it becomes horizontal. Because we don't want to boost some frequencies and we don't want to remove some frequencies, we just want to leave it like this. And this is how we do it. Right now I'm going to remove this EQ because I messed up a lot with this and put it again. What I want you to do is start listening. There is base. And then removing the sub bass inside of this tree is base. In other words, there is some sub bass that wasn't the base. Take a look. You see this one, you see those, you see those frequencies. We don't want them, but we're not going to EQ visually. I want you to put your headphones on or your ear for ozone. Or if you have some, some good speakers. And start by removing the sub bass out of the base. So right-click, high-pass. Trying to sound the maximum. Drag this up a bit like this, and start slowly removing from the sub bass until we can't hear it anymore. So let's do it together. I'll play this. Right now. I can hear the sub bass clearly. I see that this point is great. But you know what's better is going through that channel rack. Press on Reese bass. Go to effects. And you see that from here. The guy who made a preset already EQ this risk-based. So he already removed the low frequencies from this tree is base. This is why you are not hearing too much subbase. So let's do this. Let's put this off, boom. Right now let's say that there is base. Again. Let's put this on. I will start by doing it by myself. You can hear the low frequencies. Right now. I cut off too much from the base. It's true ugly. I put it at a point where it's good. So you see the sound. You hear the sound, this one. Oh, I didn't place so that's enabled. It. So I want to remove this sine wave out of the risk-based. I won't remove this slide. Let's try to do it by disabling the sub bass. So it does play. Because you see if I, if I, if I increase the sub bass, you hear this. If I remove it, it's done. So let's reset this. I'm going to remove it like this. You see, it's out. So this is how we EQ it. We have to remove this that is down there. We have to almost remove it. When remove it. Right now we go to the Reese bass sub base, year seven. Let's disable this. And right now, we right-click on this type. But this time we want a low-pass and high-pass, we want only the low frequencies. I put low-pass, change this to the maximum so it can be sharp. Then drag this up using my scroll wheel. Then start by removing all the high frequencies. Doing this. Let's simply make sure that there's nothing here. Okay, I think there's something wrong here. Let's try to press X and this one and put it again. Because for some reasons, I can see the frequencies. You see why? This is because I disabled all the slots. I made a mistake. So let's try to click and disable the solo, because I added the EQ here, and I disabled this. So I right-click here by default, I didn't know what I did. And press solo, maybe I'll press some shortcut by mistake. So let's put it back in this way, old effects are enabled. Right now let's do it like a type low-pass. Put this like this, then put this up like this. By the way, if you don't have a mouse and you can put this up, you can use this knob right here. It put it up and put it down. I this says do it again. Let's remove it all this. Okay? Like this. We have no high frequencies. So let's put them together. Let's play them together to see how they sound like. Right-click and then right-click again. So I press here. I think the sub bass is true, strong is likely the volume is too high. Let's put this down fire and same with that sparkle in here. So I want you to stay on me. It's safe to say, I think like this is good. 74. Vid 9.5 - Mid Frequencies: Now that we understand the difference between bass sub B is low frequencies. High frequencies, what we are going to do is learn what is the body of the song. So usually the high frequencies, everything in high frequencies are the, if you want the main lead of the song. The low frequencies are the base of the sound and the mid-frequencies are the body of the sound. And do you remember when we add the ambiance, this one? This is an ambiance. And usually I can move songs. The ambiance is the body of the song. So if it is the body of the song, then we should be focusing on them mid frequencies of it. So let's go here to ambience, whereas the Ambien. So it is on the mixer on the track number three. So we go in here and add some EQ, refresh on slot to select fruity parametric EQ. Let's hear it out alone. Usually I don't recommend you to mix alone. Like don't mix it alone. Usually when you mix, we should mix it like in the whole song. We should know how it sounds like in the whole song. But just for the sign because I need you to hear what is it like to have some mid-frequencies. I will mix it alone. So put your headphones in or your earphones. Then let's try to boost this mid-frequency. As you see it kind of like add a bar. It doesn't get ads like a middle point the song. Let's try to put it back. But this time let's try to remove the high end and low end. Why? Because we can either boost the middle frequencies. But the low end and the high end we'll sit here. So it does make sense. So let's try to decrease at it. Whilst we do is removed yellow and remove the high end and relaxed with them in frequencies. But first let's try click High Pass and right-click here type low-pass. And let's remove all of this to make it sharp. And remove all of this to make it sharp. And right now we're talking. So you see, we have this mid-frequency thing removed, all that low and high end. Let's put it in the mix to see how it fits. We say schools for the first time, crust fire and saying that sparkling. We can stop. What I'm doing here is trying to see what point fits better. And that makes schools say saturated with licenses. In this point is fine. I am going to do is go to the reverb. Remember when we added that? You remember when we added the reverb and we put the dry and wet knob. Well, this time we're going to add something every time, keep it as a rule of thumb. Every time we go and put some reverb, we removed the low code. What it means is that from the reverb, what you did is removed the halo and remove it like this. I'm doing like this. I'm removing it. Then I'm putting you back. I'm removing it less than pretty good back. So let's delete this right-click. I'm not like dry click, just click normally on the small arrow. Then here on the reverb, always remove that low end. So let's hear it. You hear right now, There is no reverb. Because usually that either generates some low-end frequencies that we don't want it. It doesn't mean that you remove it all. Let's remove some of it. Here. The slow end, if you put your headphones. I feel like that was good. So let's hear it and the whole song. Schools for the first time. Great art right now I feel, I think it's good. So let's see, and this board, we can see that the 100 and stay safe. Okay, perfect. 75. Vid 9.6 - What are Pads: We learned that we need a body for the song. So when it's something like this. But what about adding some more stuff? What about adding something called pads? So what our pads? It's something smooth. It's something that's smooth in the song. So before I talk, lots of theories, let's actually go and find some pads. So what are the beds? We go here, put a new pattern, call it pads. In this pattern. I go here ten rack, and I go to packs. Instruments. Orchestral. Let's experiment the different types of bads. Let's drag this here. Drag this one also here. It takes with time too, so it loads this one here, close it again and still do this process all over again. Let's hear them out individually. Let's put a rectangle on this. Let's try by pressing your random key on our keyboard. Alright, here. Let's see this. And this. I see this. Unless you do this. What I want you to do is pause the video and go and try and choose few of them. Put them on a layer, and then put some chords inside them. So I'll repeat it. I want you to go and see next few of them may be 1234, I don't know. Tried to put some piano roll inside them and that piano rolls should be some chords. Now what codes? One of those courts here, this. So here you have multiple chords, track through some of them and put them inside this. I often do this with all my students because I need to give you some tasks that is a bit challenging at, doesn't make sense at the beginning. So in the next lecture, I go and correct this challenge. You'll learn a lot from this. Go ahead. 76. Vid 9.7 - Layering Pads: To put multiple layers, we have to press plus first and then go to misc than layers. So here let's put it up. Let's put this layer up. Right now let's start by selecting out preferred ones. This one, I don't like it too much, so I right-click. Okay, done. This one. This one is fine. This one is also fine. This one is very good. This one is for string. I don't need it. So they did this one. No, it's too much so I don't need it. I go to Delete and heated. It goes right now we'd all of those three. So this and this and this and this. So let's go to Layer and go to Layer. Then select all of those three. Again, maybe you, maybe it will select them all. So just press on it again until you will find this soul being selected. So select them all, then go and put onset children. So if I go on Layer and saw by pressing random key here, let's go ahead and first thing first, let's go and put them in the mixer. So I go and put them in the mixer. I go here and put choir, and then inquire, and then strings. So I start by putting that quiet here and the closest one, so I don't see a track. So I go here and press track here, I get puts it randomly. Then I go to choir here, and then go here because it randomly. And then go to seeing section. Press here. I mean not here. I'm impressed here. And put it, boom with a trend here. By this, we can hit them all. Let's start by lowering their volumes in a way that they can be heard. The old equity, It's not that they will be heard equally. But for example, if you want this one, if you want to stand out, this one, we just keep the volume. Let's put this straight section. Like maybe, oh, maybe there's a tie that the order is critical. So we have sings and we have that quiet zone. It's like the thing is the main one and acquires our backups. That this is fine. So right now, let's go and add some chords. How would you add some chords and really figure it out in the next lecture. 77. Vid 9.8 - Using Chords On Layers: So how do we know that core of this? Let's go here. You remember in the pattern to where we create this one. So we went up and we had those chords. Well, it's very easy. You go to that base. So this is the base. It has denotes E, C sharp, of course, but I'm calling it C, like just remember. So E, C, then a, then b, e c, a b. I go here and pads and type II CAB. Like this. Yeah. Yeah. See this than b. So we have denotes but we are the chords. Like if you put them like this and if you pay them in a pattern here, something like this, they are doing nothing special. So we should put some chords. So what is the chord of E? What did we write the course of a year? The chord of E was, if you go up here, the ear was E, then G-sharp than b. So I copy it. Let's copy it and go on this pattern. Paste it. Go here and paste it. So I paste it right here. But this sign like I extended, let's extend it. Alright. The chord of C Sharp, what is the cause of c-sharp? C-sharp is made of. Let's go back to the goals of C-sharp. Let's double-click on here. It's faster. It's made of the c-sharp. C-sharp is made of what? It's made of, C-sharp. This one, C-sharp, E, G-sharp. I copy it. Go over here, pads based it. But of course I paste it on this one. As they did this. Like those, extend them. So you have something like this. Let's put it down a bit. Right now. As I know, this is the core, the core of a here. Then here goes like this. So in the next lecture about going to expand the courts. In other words, if you put them like this directly. So let's put them here. Let's put it like this. Let's take a listen. But let's actually put it here directly and not at the beginning. So to play with that spherical and they all stay on the right. Now, let's try to put the other chords. So the other courses will be F. That's true that you can check it because I know them. Bans C Sharp. Then let's put the ear then G-sharp. Alright? So the next lecture by going to work on how to expand it. 78. Vid 9.9 - Expand The Chords: Let's start by expanding it. We have those ways to expand the core. So how do we expand the course? It's very easy. It's very, very easy. You just see what are the notes of the chord. E, G-sharp, B. Okay? Spam, those nodes all over the piano. So I go here. I go. When I find like e, I just put it like here than here. Like this, than like this. Hi, this lesson. It sounds much more fuller. See how here it sounded empty at the beginning, it sounds cool. But here it's empty because there is only three nodes. So let's spend down. Let's not fill every single node. So let's put here, Let's put this like this. Let's remove those low nodes because we don't want the base. What? I'm just removing you from here. And instead putting a G-sharp because it's part of the chord. And so like just for variation, just leave some space here than here. Like this. And then from a wall, then the same thing applies to you. So here we have denotes f drop. Then a dense C-sharp. We're just put F-sharp and C-sharp, that's put them. Then we put this one here. We put F sharp at the top. Then I go down. Let's put this then. Yeah. The Snows, the year and those notes from the beginning. So that's it. So what we did is simply expand the dose. Again. All you have to do is just put random nodes, not try them note, but notes from the court and expand all over the piano. 79. Vid 9.10 - Arpegiating Using Plucks: Every time we're adding new things to the song. So we can add some plugs, some bass chords, you know, whatever. So we are just adding some stuff and started to learn from those stuff. Right now we are going to add something called blocks. So here it is. I already created a pattern for blocks. Now what pluck sounds like? I'll let you listen how they sound like. So I go here and add a vital plugin. So over here is vital. I just added a track now before starting to film. Let's put it on the default. So initialized preset. So I just put it on default. Right now. The pluck sounds like bump, bump, bump, bump, bump, bump, bump, bump, something smooth. So how do you add a block? Just go here and search for a block. Right now, if you go and see in the description of the course or the description of this lecture, I'll link to you something to download the block. So you can go to my Dropbox file that our link also in the course or in this lecture. And I will put the link to download this block. It's called the pluck one. After you download it, you put this block inside that big FL Studio file that we've just created. So as to redownload it again, you just put it in the big FL Studio file. Then you go here and you press open external preset. What it means is that you just open a preset that you download this from the outside. So I press on it. And it will direct me to here. Now for me, the big F as you do file is in my hard drive, so I go on my hard drive. Now here's the plug that I downloaded. So you can download the same and just put it into the bank FL Studio folder. I press on it and hit Open. Includes me something like this. So let's try to press a random button. I'm just pressing on my keyboard. So what I'll do right now is go right-click on it. Of course, rename. Lets call it a block. After I do that, what I want to do is actually add a pattern here. So drop that pattern right here. Right there, so I can directly listen to it while adding this. And I'll do something like this. So take a look what I'm doing. Oops. Let's put this back. Right-click neighbors. This, I'm cutting the notes. This. Now, duplicate it. Let's start by this name. Sounds good, doesn't it? Alright. So what I did, let me clarify. All I did is pick two nodes, which in this case are the nodes of the first chord. So here's the first chord. The first chord is E, G, sharp, and B. So this is the first chord. Let me, let me tell you what it is. What it is. E, G-sharp, B. I pick 2-node of it, I picked B, and I picked E. And I put them in an arpeggiator. So I put them like in an ad pre-generated way. What is arpeggiated way as when you do something like that? Tan, tan, tan, tan, tan, tan, tan, tan. You go up and down, up and down. So I did the same thing. I just went here. And let's play them using the pattern. So what I did is I had the notes. I had a note. I extended it. I didn't extend it. It was already extended. So it was a satellite and I shorten it anyway that fits all of those. So I put this on step, normally I help concept. Then here, Let's delete it. I cited by printing the first node, then the second node, b. Then select this control B. Then again, select them all controlled via, think I'm doing this from the outside. I just what I do. Let me delete those from the outside. I just duplicated this. Very easy. And altogether they will sound like this. It's a great, isn't it? So again, all I did is just pick two nodes. And those two nodes are from the original chord, from the, from the first chord. And then all I did is simply started RPG anything yet. So RPGs, there's, when I do this sound using those blocks, it's easy, isn't it? And it makes the song sound more beautiful. 80. Vid 9.11 - Adding Depth To The Track: Let's add also some piano. Just like for the depth imagined, like having this deep piano playing my file studio. I like it. Let's try to add some pm. So I go here. Piano, go here. Flc is as usual, like our normal game, but don't, don't forget to link this block to AFL to go to the mixer. I could link it from here, like link it to the track number 11 because it's empty. It's a good way, but it's very slow. Wait, why this is like this. Okay, So I go, I go here. Strings, section, block, I'm in here, then track. So by this, I haven't tried here. Then let's go and add the FLP is this is the piano. And let's try to put the same notes as the violence. So I go here on the violin and piano roll, and I copy all of this, control a, control C. Then go to the piano. Go to the piano. Right-click. You can roll, paste it. So I see it. Okay, so that's strike now add it. I'm thinking of only adding yet tried here. So here, sorry from you. Oh, no, not now. Maybe here. So let's look into the mixer. I go here, link it again. We want some depth to be the very deep. So I go here and on the mixer, I go add some EQ. Removes the high and low frequencies. Again, you could do it like Right-click, low-pass, and cetera, but I'm just doing it to demonstrate to you. So let's hear it alone. You see how it, how it stopped. They don't frequencies. Right now let's do it properly. Type high-pass than lower this. Then type low-pass and lower this. Let's try now. Okay, let's add some reverb that's removed the low cut, the low frequencies from the reverb. So I'm not remembering the low frequencies from that piano. I'm removing the low frequencies from the river. Okay, right now Let's hear it. Perfect, Perfect, Perfect. You see how deep it is. It adds some special feelings. It's like very large. So this is how you add some depths. You put some piano, put it in the middle frequencies, then add some reverb. Boom, done. 81. Vid 10.1 - Adding Tension: If we take a look at our song, It's almost complete. Other than there is no drop here like the normal Song, normally. Then an EDM songs there is something called the buildup that it builds the tension until we have the drop. But here we don't have a drop. So how do we do it? What do we do this? So what are we all going to do is download a new sample pack because we know we need to like add more stuff to it and to add more stuff to it, we need to download a sample pack. And how to download the sample pack. You simply have to click the link in this lecture or the link in the description of the course, and you will find this link. So this is the link, for example, pi call ultrasonic slap house essentials volume one. It is completely for free. And all I need to do is simply go here and simply press on the Free Download demo version. After it has downloaded, you simply go to your big FL Studio folder and put this inside the sample pack folder. After you put inside the sample pack folder, you just have to find it here. You'll be able to find it here because this sample pi folder is already available inside the big FL Studio folder. And so when you put something inside it, it will automatically appears itself here for me. I didn't try it. Now, I rent and copied or moved this download sample pack from my downloads folder to my big FL Studio folder, and then to my sample by folder. It didn't appear yet, but it should appear in a second. So when it appears, you just start by searching inside it for something called high hats. And what are high hats? They are simply some kind of shaker. So let's try to save this maybe to see if it refreshes. Yeah, here it goes. So it refreshed. It gave me this. So when you go here, you will see that the slap house, it contains many stuff. It contains some, contains some presets that we are not going to use. It also contains some samples. So those are the samples. It contains many stuff. So this is how it's downloaded. But for some reasons, it is not organized. So it's a little bit not organized. So you can see like lots of stuff and those we can see those. This is why what I did is try to organize it for you. Any folder that you can also find in my Dropbox file. So they are and the name of organized like this. From here, you can find like for example, drums, one shots. You can find some loops. For example, hi-hat loop. You will find the high hats like this. So from here, there's lots of things to discover. You just have to take your time. Again. This is the sample back. Usually it comes without dislike organized. So without this, the organised thing, but you can download the organised thing from my Dropbox link that I will put in this course. And you'll find all that jumps, for example, loops, one chart, they are all got organized. So this organized folder is the same as this. Instead it is organized. So for example, all the clubs are in one folder or the bus and on one folders, down filters, etc. Let's search for a high hat. This is the hi-hat loop. And this is this, this is the high hat duple, so there's lots of stuff in it. Or you can find them here in the organized section. The next lecture, what we're going to do is find a good high hat and just add it right here. 82. Vid 10.2 - Adding Hihats: So let's find a good like loop of hi-hats. It does have to be like exactly the hi-hat, maybe like it's a good loop of grounds, whatever. So let's go here, two samples. You can try to find something from here. Let's try to find some loops. That's good. I find it good. And you can also find it from here. If you go to organised and then drums than loops, then you go to groove loops. You find it here. So let's drag this and put it here. That's there. Then I tried to play it. Do you think it will sound good? Let's try it. It's clearly offer them. So what we're gonna do is the same thing as we did in our vocal. We click on this fit to tempo, type in BPM, and then we type in that original rhythm of this sample. So who read them was like It's rhythm was 128. So here it is. We have 128. We type it. And as you will see right now, it will change from here to here. It will fit the rhythm. So it will exactly with itself here. So take a look. I press here and boom, if I put it perfect. Except that it's too loud. Let's put it in the mixer. Yeah. Let's name it hi-hat. And let's put the volume down. Sometimes you can add on it a bit of reverb. Let's add some reverb. It's not always true, but sometimes that's put some EQ, remove that loop and it's almost trivial. This, I can put the volume down also a lot more like this. I find it reasonably good. 83. Vid 10.3 - Buildup Drums: Finally, let's add some buildup drums. I go here and here. Let's duplicate all of this. I go here. Let's put this here and put it right there. Okay? Then I put the buildup drones, let's delete it. There is no need of it. I press something wrong. So let's put that buildup drawn. This is the buildup bomb that's called ultrasonic slap house build up drunk 0 for I put here. Then put the vocal, vocal, this part of the vocal. I duplicate it and put it over there. Here we go. So you ignite hard on the age. Let's extend it from here. Okay, That's fit this to the rhythm. I click here to tempo. Diving, BPM, want 28, this world, the origin over to them. Let's put it here actually. Let me move the vocal EBIT to the right. So let's move all of those stuff at the right. I'm over here. Then move to this year. So the one year, those scores, I cut it, cut it, and then put it exactly here. So here we go. This is how we will set. Then the next part, we are going to start with the famous dropped right now. So far, I'm so happy that you are up to this point. And yeah, let's start by the next part. 84. Vid 11.1 - Layering The Bass: Now to give you some ideas of how our song would look like, let's listen to that song that you'll be doing at the end. So like the final song, if you want to med school for the first time, cross fire and same with sparse coding style. I want you to stay safe to say. As you hear, the job is quite interesting. So of course, there is some stuff that we need to fix in here. For example, we need to put some basic soft, then introduced the iPads, whatever. But it's not important. What's important is here. Let's hear that dropped again. So how I made this job? First, I have the drums, I have the cakes, which sounds like this. Nothing fancy. And I have the snares, that sounds something like this. So those are the snare naive this, right now I have the vocal. Hi, changed the vocal. This is something you are going to learn later. How it sounds, how the voiced sound like. There's something like it's bouncing. And most importantly, those two things, the drop chords and drop base, fat base. Whoa. Now together they would sound something like this. There's Sounds good, doesn t. And together, they all sound something like this. It's cool. But how did I make it? So first, let me tell you something that those job codes are this pattern. So if you're wondering what are those signals? So this is the pattern. So those are the drug courts. Because take a look, if I put it on pattern and play it. As you will hear, my CPU will lag. Take a look here. This red flag. It means that my CPU are going to explode. Why? Because I'm opening multiple applications at right now and I'm using a screen share. This is why it's a bit heavy on my computer. This is why what I did, I consolidated them. It means that I transferred them in a way of audio. So let me clarify what happened here. The drug courts, there is multiple layers that are working, so those are valid. There is one layer, two layer 3456. There are six layers, and all of them are white layers. When they all work at the same time, boom, the CPU explodes, my computer explodes. This is why we do something called rendering or consolidating. So it means that when I play them alone like this, it considers nothing. Why? Because I'm transforming them in MP3 file. Okay? The same thing with the base. So this is the base. I'll pay you that pattern. But I think this base is pretty lighter, lighter than that course. So this is the base, this is the layer of the base. And as you hear, that is one layer two layer 345. Okay, we, we don't have to work through them all, but I'm going to teach you how to layer them together. They all sound something like this. Brick intrinsic. So what we are going to do during the next lecture is learn how to choose the drop cords. Those cords. Let me show you how those chords, so the saw and how to choose the base. How do you have this fat base? So we are going to discover it in the next lecture. 85. Vid 11.2 - Choosing A Layer: Let's open our old project, or I mean, this is the old product. Let's open our recent project. Here it is. And let's start with it. So we go and wait for it. It'll sorting and buy diamonds loading. What you are going to do is simply go and choose our chords. Choose the source of the chords. So they are called salts as a Ws like this. So as a W S. So this is something called soul. So this opened by mistake. Oops. So let's go here. And right now, let's create the drop chords. I'm moved this one mistake, I think. Zoom in. Let's see if it's still as well. What's happening here. Okay? So right now I go here and add a pattern called drop courts. So it will contain those salts that we listen to. Those so that we listen to. So I'll tell you what the solid looks like. You go here. And first let's create a layer. And let's be clear here, we need a layer for those multiple presets that you are going to add, going to name it assault. So, so layer. Let's go here and add the vital presets. And let's start by searching our vital bank, which we downloaded earlier on in this course. By the way, if you need to go here, if you need to detach it, as you know, you click here. Detached. It will become detached like this. And also, for example, if you press somewhere outside, it won't close because it's detached from the screen if you want. So I go here and go to the Linnaean future base by clink. Let's start by choosing song. I want you right now to take a pause, take a second, and start by choosing few presets. I need about four. Let's start by the millennium called one. Let's hear. Sounds fine. Let's just put it in case we want it later on. Go here. Again, bimodal. Then go to court to go here. Again. I scroll down millennium and I have this helium core two. Sounds fine. Let's put it back here. That's also add it earlier. But this time of course we change it. Let's also go to the linear pack. Here it is. I mean, I press here on Edit preset, it, load me that browser. I go here and go on course three. Okay, it sounds fine. Sounds good as they are. Press X, Let's try to search for a fourth layer, visible again by law. Then I go here and press Browse and then go down as usual. We have to repeat that again, again and then try the four. Well, it sounds bad. That sounds good. Let's try the five. It does sound like something that could generate a long-term sound. So let's go to the sixth. This sound, this sound like at the end doesn't sound to me Good. So without it. Also this one, does it sound good? I don't want us something like this and my song. I like consider it. If it doesn't have this. If it was consistent, am I consider it? Let's go here. This is good. This one is good to have as it, as it there. Let's go here. So we add it. So we have right now with the one chord, one. Oops, let's rename it again. I changed color. I'm pressing down buttons my bad. So chord one, then less than the score to, because it's like the second chord, always try to keep yourself organized. Then I go here and rename it also called three. Then I renamed this score ten. Alright, so called them. So in this way we know what presets we are using. By the way, even if you don't know what piece that you are using, you just press on this one, press on this one and it will appear like this is the core two. So here it is. But it's just like for organization. And then let's go here. Let's try to add another one. Let's try that code 11. Maybe it works. Code 11. Know. It's like almost the same as ten, right? Yeah, it's it's like almost. Almost, but it's more of a mother. I don't need it. Too much screaming. The same luxury, the same. So let's finish up. Before you, before you continue, let me tell you just that the more layers you add, the more CPU you are using. So if you have a very slow laptop, consider like putting only two. So let's go here, set it as a layer. So let's put this as the Father, and let's set those at the children, sexual them. And to make sure we press here. Here we have them all. But let's color it actually. So let's go here, rename and color, and let's call that, changed the color to read. Boom, here we go. You have it in red so we can see it clearly. So in the next lecture we are going to, of course, put a piano roll for all of them. 86. Vid 11.3 - Piano Roll For Chords: We have two choices. Either to create like cords from ourselves. I create a brand new chords, or just copy the old code that we created here, right here in the pads. So our choose to copy that code because it's less effort and it has the same results. So let's go here. Let's go ahead and copy that course here. Let's copy those chords and we paste them inside the soul layer. That's here, this ban on. Maybe we need this one. This one, the second part. So this is the first part. The second part, this one, starting from here. I'll select it. I'll tell you why, because here it says, hear from you ignite my heart. The second part needs other chord progressions. So here in the drop, we have the same vocal, so we are going to put like this, then can be continued from the beginning. So like this, something like this. So let's put the chords here. And again, let's put the Job Corps right there. Why not put it down or you know what, let's give it to you. And that's of course copy them. Let's copy from this. I select them all the way down. Control C, close it. Then go here. Double-click on this one, Double-click and all the time it's not opening. So I press here. And let's press here. You know what, here. Let's go here, right-click and then go. Let's change this node from this one to this one. Let's remove that base nodes. Also this alright? Right now, while you're going to do, is actually try to mix them. So mixing them is actually hard part at the beginning, but then it becomes easier with practice. So the next lecture we are going to start mixing those chords. Because take a listen. We can listen nothing from those. This is why they truly need some mixing. 87. Vid 11.4 - Adding Layers To The Mixer: To mix them up first, we need to go through every single individual one. I mean the layers, this one called one or two, or three or 10, first, remove the EQ from them, then remove the white noise from them, and then go any queue with them. So as you are going to do is make sure there is no white noise inside every single one. What is white noise? I'll tell you what is white noise? This is white noise. I go here and let's add a plugin called TX oscillator. Let's see like this, This, this, and let's press random key on our keyboard. This is white noise. And some courts, there is white noise included in the preset itself. Why they do it? Because it simply makes them sound more beautiful. But do we need it? No. Why? Because you are going to add our own white noise at the end of the mixing. So maybe it doesn't make sense, but all I need from you is simply remove the white noise out of all of them first. So let me, let me write it down. One, remove the white noise to remove all the EQs. Three, remove that either for add our own white noise. Five, add our own river. So let's continue it but ourselves. So let's put it here. What's happening is that when I press a keyboard, a keyboard shortcut on my, on my keyboard to open like this one like this striking thing. It, it also press on FL Studio, so I'm obliged right now to just put it back. It doesn't matter. Just don't worry about this. Let's go of record one. There is no white noise. So the why is this one? You see white noise? What if I remove it? There is no white noise. So this is the white noise. It's not activated effects. Let's remove reverb. And as you see in the river, they remove the low end. So you see this low Cartwright here, then remove it. And as you see also right here, exactly here, you can see that they move delicate. It's like an EQ and viable. But it's an integrated EQ. So they also removed the low end. Let's remove that evolve or the river. Then let's go here to core to core to you make sure that there's no white noise art. We good. And let's remove that Eva also. And as you see, you can remove it from here or from here the same. But as you see, they also remove everything. They also removed the low end. Always when you put some reverb, remove a bit of yellow n. Then in core three, you go and press on it. Then make sure that there's no white noise. But here there is white noise. Here. Let's remove it. Okay, let's go here and make sure that there's no EQ because we need to do it by ourselves. Really move it. Then he moved the reverb. Then you go over there, corten, and make sure there's no white noise. There is no reverb as well. Perfect. Now we're good. Now we can mix them up about ourselves. How do we put them all into the mixer? I need to put all of them into the mixer. Do I have to go through every individual one? Of course not. That is a way to do it. So instead of going here than just pressing year, then track than etc. blah, blah, blah. Or for example, instead of going here, putting it on 40, know, there is an easier way. I go and select all of them like this. Then right-click on the mixer, like this. I right-click on the mixer and press channel routing. Then I have from here two options. Route selected channels through the strike. It means that if I press this, I'll read the route them all to the same channel. So like all of them are in 14, maybe I need to apply the exact same effects, all of them. But this is not what I need. So I'll put them back. I'm simply scrolling down. So I remove them. I can remove that from the mixer. Or I have another option, which is to right-click channel routing, route selected channels starting from this track. It means that we have 15161718 starting from the strike. So this one, we should remove it because it was selected from the previous one. Right, now let's put them back. So all right, or left arrow, then left arrow, left arrow, then the same thing, left arrow. Perfect, right. Now we have them all in here. And the next lecture we are going to start to mix them before mixing them. That is an important concept. That is an important concept called bus. We're going to learn it also at the next lecture. 88. Vid 11.5 - Using Mixer Bus: Usually it is better to use like layers, everything that facilitates our life. For example, what if you wanted to change one note from those four chords? If you didn't know how to use the layer, you have to go over them all one by one. But right now that you are talking about mixing, what if you want to change the volume of all of them? Like lower the volume of all of them equally. Do you have to simply put them like this? So lower the volume like this one, then make sure it is the same here from the hand panel. So I put on AT then put it on a t meter the same, then put it on a teenager, the same, etc. Of course not. There is an easier way. It's called bus. So mixer, boss. What does it make sense? Boss. So let's put it here. So let's first move them all to the right, like this. And move them most of the right. Let's have an empty mixer track. Right-click on it. Rename or not change color, just rename and I name it simply called boss. Let's color it. Something remarkable. And here we are. Right now I want to set this one. So this thing right here, responsible for all of those four. So all of those four, I want them to be the children of this. But the assignment, the mixer. So we done, we've done the same thing here. So we have those. This one is the father of all of those. But we want the same thing. We want the same thing using the mixer. I know that we can do it here. We can lower the volume here, but that makes it we will have more control and usually it's a better practice. It's better not to use any of those. I'll go here. And as you see that this one is routed to the master. The master track is like everything. So let's play the song. Like if I play it from the beginning. So the master is like everything, like all the FL Studio, all the song. So all the tracks are linked to the master. So we have tracks linked to the master. This one link, this one linked, this one length, this one link to the master. If I press on them, you can see that from here, they are all linked to the master. They are all linked to the master like this. If I unlink one of them, we will not be able to hear it. So let's go here. Let's unlink the vocal. So whereas the vocal here, this vocal vocal here it is. If I unlink it from the master, we will not be able to hear it. As you see, we can't hear it. But if I link it again, like I press on it and then I link it again. Boom, we can link it. If I only get it, we'll see like it's Spain. You see? Yeah, it seems like it's playing but we can't hear it because it's something we have to link it here. This is how that makes it works. And all of those are linked all to the mixer. As you see, take a look at those at the bottom. They are linked to the mixer. Right now what we are going to do is actually go and this will be linked to the mixer, right? But what if we let the rest of them? So we let this one, this one, and this one and this one be all linked to this record boss. Then the cord bus billing to the master. In this way, we can control all of them in the code box by lowering the volume and putting the volume up. Maybe we need to add some reverb for them all. So if you need to add some reverb for all of them, how do you do it? You have to go through every individual one. Click here, River, then close it. Whoops, I added something by mistake again. Let's delete it. So I repeat. If I need to add a lever for all of them, for all of those four. Do I need to go here? River? Repeat. Go here, reverb, go here. Go here. Reverb. Know, I just added here. I just add reverb here. Boom. Right now, this effect will be applied to all of those four, but not so fast because we need to link them actually. So how do we link them? I go here, select them all using Control, and drag my mouse to the right. So control and double-click on your trackpad or click on your mouse and drag it to the right. They will drag altogether. Then what I will do is right-click here. On the cord bus, I right-click and I select route to this track only. What it will do is link all of those four into only this track. So as you see right now, that chord one is linked to the chord boss. And the boss is linked to the master, core to as linked to the chord boss. And colobus is linked to the master cord. The three is linked to the chord boss, and your boss is called a zinc to the master. And so for the core, then, so what if I simply select them all and right-click route to this track. There'll be routed to this track and then master at the same time. We don't want that. We want them to be linked only to the chord boss. And the code must be linked to the master. So this is how we do it. Right now. Every time I need to lower the volume, Let's take a listen. Let's try to lower the volume of all of them. I go here, easy. Open the mixer. Let's try it. The volume. I can do. So as you see, it's pretty easy to have control over all of them when you use the boss. So I have something for you. It's more homework. I need you to create the same thing like the bus thing. But this time for the base, for that is based and the sub bass and also for the pads. So quiet, quiet and strings. Catch, pause the video and do it by your own. 89. Vid 11.6 - Fixing Other Bus: So then you know how you do it. Did you know how I do it? I'll do it in front of you. So I'll move everything to the right two steps. Because here I need to create one bus for the base. In other words, I need to add something here, and here, I need to add something here. So what I can do as a trick, rename it. So Base Boss than like colored in black, maybe there is no color black. So let's call it like in something dark. So we know that this is the base. And I move it using alt and left arrow to the left. Boom. Here it is. It moved everything to the right automatically. Right now what I'm going to do is link those two. So I press Control and my mouse to the right. Then right-click here, route to this track. Now, I hope you didn't fall for it. I press out to this track only because if I press out to the strike, they will route to the master and to this bus. I need to only link them to the boss. So I do it again. Right-click here. Rather the strike only. Right now, this, those two are linked to the boss. And the boss is linked to the master. So let's do the same thing for the pads. We go here and create a new boss. So if you want to call it pads bus, Let's put it like a smooth color, maybe this one, and put good with this. So boom, I put it on the left. It doesn't matter it's position. Okay. I can put it like on the right. I can put it here as long as you understood you understand like the how we link them to each other's. Hear the bad boss. I see like this, 123, right-click or after the strike only. Boom. And of course this track is automatically by default, link to the master. So in the next lecture we're actually going to start mixing those. So let's put this chord bus here. Like this. Yeah, it's in its place. And of course let's call it, let's color them in and kind of the red, but this time a bit brighter, just to know that they are course because they are too monotonous. So like this, I think the outgroup. 90. Vid 11.7 - Mixing The Leads (1): Let's start by the famous mixing. The first one. We select on solo by right-clicking on it. Here. We can select it from here. So it started from here. Then we selected alone. And here we go. Let's go first by selecting get tricky parametric EQ. And your only job in mixing the leads or the salt is removing the very high frequencies, which are white noise, and also removing the low end. So let's watch it closely. We don't need this low free flow and so right-click on it. Type high-pass. We go here and scroll it down. Like this. We have something sharp that is no actual base in it. So I just did it visually. Right now I'm going to remove that white noise at the top. So taking this at the white noise. So this is the white noise. It's a bit disturbing me to remove it, Right-click type and low-pass. I make this sharp and then I can start to move into white noise. Why I will remove the white noise? Because at the end we will add our own white noise. So let's try to hear. You hear it. I'll try to manipulate through this. We need to remove as much white noise in a way that doesn't cut from the actual sounds. Because if we started to cut from the actual sound, it means that we are doing something not very correct. So let's start by cutting from the white noise. I can hear it very clearly. Right now it's too much. I feel that what I put this like when I scroll this button, which is the same as calling your mouse wheel down and up. I feel like I get like a small cut. So this is like how the frequencies are caught. I think that if I put it very sharp, I'll hear some white noise. But if I put it like this, I can hear less white noise, but at the same time, still here, all the source here like this, I think it's good. So let's go to the second one. I go to here core to some EQ. Then start by removing the white noise from it. I think this is fine. It's a good middle point with a little bit of white noise. But silver then the cut out too much Rhonda source. Let's go to the third of the chord C. I go here and add some parametric EQ. There is no need to remove the low end, like we can remove it just for security. I mean here, high bias. But there is not really so much needed because it's already done. So like this, I feel it's good. Let's go to the final one. You go here. It will not play. Why do you think? You probably think for a second? It will not play? Because here we don't select it, so we have to select it. Right-click. So let's go. I feel that this is good. So let's listen to them, all of them like this. Without the vocal. Right now. It's time to add the white noise. Go here. Oscillator C like this, this, this, I have a white noise. Of course I put it on the mixer, like this track, like this. Perfect. That's kind of the same color. Let's give it the same color. This I hope we can do it, but I think we can't. So let's change color. Let's hope you have the same color over here. It is. Perfect. And right now, let's try lots here, rename it white noise. And of course we add them to that layer. So this is the solid layer that's added to the layer like this. So it becomes because right now if I press on here, you see it's not part of the layer because we've not added. But let's go and add that and add it. So it says children, right now it's part of the layer. And of course, let's add here. So I wrote this and right-click route to this track only. And here it is. Right now the split, all of them. We can hear that the white noise is so obvious. First or need to do is go to fruity parametric EQ and start by removing the low end from this and only this small portion of the high end. So did you see where here? We removed all of the high end, the very high end? Well, the same thing applies here when we remove the very high end. Right now we need to fill it in this white noise. So we need to cut all the low end, like this high-pass prototype S and cut them and only leave the high end. See we don't get all those frequencies here. Let's try to hear this one. That's, yeah, I, this, Let's put it like this sharp. I think this is good. Let's see them all together. And by lowering the volume, we are perfecting this. Let's hear the final time. I think it's fine like this. Let's do it. Let's hear it with the vocals. And of course, don't forget to remove the low end of the year on the cord boss. Just for security. It's not very necessary, but just for security. Definitely. Alright, so let's do it with the vocal. So this is not the best way to do it. Usually we don't just lower the cord bus like this and just measured the vocal. Usually all you do is go and find them main saw. So this is called a salt. This one, the skull assault. We go and find them a saw and leave it at the highest volume. Then find the second important so and put delta volume a bit down, then the third put it down, then the fourth bullet down. The next video, we're going to see how it goes. 91. Vid 11.8 - Mixing The Leads (2): Usually what we do is select the main saw and put it as the higher volume. Then start by seeing the other side that are less important than the first one and put it at a lower and lower volume. So let's find the best one. Go here, go over there. So it started from the beginning. Maybe this one, Let's try the other one. Of course not this one. Maybe this one. So this one is higher in volume that this one, and of course not this one. So let's go over between this and this. So I feel that this is the main one. So this should be the highest volume. Then comes this. Then comes this times this. I want it to be the least. So we should try to put them all to hear how it sounds like. Of course, without the vocals. I go and press here. So this one is, the higher the third one. Maybe let's try to pitch down the void, the white noise. So let's go here and press on this one. Let's try to pitch it down. So instead of, it would sound like this. Let's put it on solo and go here again because we lost it. I oppressive. Let's create them again. This is fine like this. So I won't leave it like this with a vocal to cell function. But I feel like we need some more screaming. Like I need some vocals to scream more. It means I need to pitch them up more. Let's go on to the court. Three, the main ones. And let's go here on vital. From here. Let's try to hear it alone. How it sounds like. Why not try to switch it up from viral? So what I do is hold Shift and put the scroll wheel up here. And here. Put this color it up. So if I put the scroll wheel up, simply, let me put it down again. If I put the scroll wheel up simply it will go one-by-one. Let's put the scroll it up and go like 12. What it means is that it will go an octave because an octave is made from 12 semitones. Let me demonstrate this to you. I go here. It was on this. I go from here. I know you are not seeing the sound because I'm muting it from here. So let's do it again. So what are these 12 number? So this is this is like this. I put it. So 123456789101112. So 12 semitones from here to here. So I do it the same year. I go through the Horthy and pitch it up 12 semi-tones, that means one octave. So I hold Shift and put it up. Let's see how all the leads or the source sunlight. Let's hear it. Oh, that's some screaming sound. So all I did is that I wanted some screaming sound and I just put it higher in octave. So that's it. Maybe not, maybe not all of them. It maybe not this one. So let's try this one. Maybe let's put it down. Let's put let's put it down like this. And tried to play the whole track. I think. I'm just trying to find the sweet spot. Again. Maybe you don't like it, maybe you like it, but that's how some experience with it. 92. Vid 11.9 - Tips For Slow Laptops: At this point, your laptop might start lagging. Why? Because we added like so many things. We started to add like the leads. We put multiple vital layers. Because when you put multiple layers, it means that six vital plugins are working at the same time. So it's pretty heavy. Usually if you work with slow laptop, for example, your laptop will not be able to handle all of those. So take a look here. Let's, they can look right here. I will zoom in here. So you can see it. Take a look into dropped chords. So Enda, drop cords. If you go here and open up this and press here. We have 12344 vital plug-ins working at the same time. Likes to be honest, it's pretty taxing on the CPU. So for this, we are going to do some stuff that will help us. Maybe your computer is not lagging, but you still have to go through them. Because at some point, maybe after adding the base, after adding light, couple of plug-ins, more new laptop, put light. This is why. Let's start. So I'll go here. Options, audio settings are men not meeting, and then you choose buffer length. So what is buffer length? Usually up RStudio and all like all the dolls, music production in general is all about live processing. So here, when you press this button, this here, and you start playing, this is all happening live. So the vocal is going into your processor, into CPU, the cord is going into the CPU. It's all processing live. This is why when you press here, press space. You will hear the live sound from the laptop when you go here. And audio settings. Buffer length is how fast you want to laptop to take time to give you the audio. For example, if you put at a low buffer length, it means you give your laptop, you give your device less time to give you the audio. So it's like you're turning the device, your PC, that hey, when I press space bar, boom, directly, give me this one. But if you put the buffer length like higher, so what will happen is that when you play here, when you get to the measures three, for example, you will start hearing what's in the measure tool. So it's like how, how's that is difference between what you hear and what you see. Because when there is a low buffer length, live for example, here, low buffer length like to five to 5256256. Then if you can, if you like, if you see that in here, it means that you actually hear this. But if you press Option audio and then you press buffer length 2048, then you will start seeing that you're here, but you're actually listening here. Why does this happen? This happens because it's less taxing on the CPU. So let's try to play this track. Select this top 140. Let's try to change the buffer length. Like this. It takes a bit of time. So right now let's start by playing yet. As far as come in. So what happens is that it takes like fractions of seconds more to here. So if you're here, it takes a bit of time to hear it. So that's it. This is the buffer length. So if your audio is lagging, just put a higher buffer length. Because if you put a low buffer length, the machine will take all he needed to hear the audio life. He needs to hear it very accurate. So let's use more CPU. But if you put a tie, is we'll use the less CPU. Another thing you can use is sample rate. If you're facing some lagging in your laptop, you can just lower the sample rate from this number to this number. And also make sure you have those two buttons on, those three buttons on. So multi-threaded, small disable and multiset mixer. That is also a couple of things you can do. Like, for example, going to General and then lie, for example, using as your drivers. Always, always make sure you have the output device on a zoo, okay, as you, as it's pronounced. And you have also to go to project and change the time base. So what is the time-based or that PIP2? Let me show you. If I go here in the vocal, let's just zoom this n. If I go here on work, I need to zoom in here, alright? And zoom in here. If I zoom in, this is the maximum at, let me zoom in. Okay. Did you see how it's zooming in? But if I go fast, general settings, I mean projects and higher that BBQ, make it like this March. So if I hide that p, pq, let's close this. Let's zoom out. Take a look how much you can zoom right now. You can zoom so much into it like you can see literally the details of it. You see previously this was how much we consume this much, only this much. But when you hide that we procure, you can zoom like a lot. See the very details of it. The more you zoom in, the more it uses some CPU. Let's play it. See it's using, it's doing all my security. It's using a lot of fun CPU. But if I go here and then try to lower this BBQ, put it on 96 normally. And I zoom in. Nice. And why can you use less? I'm using 40% of my CPU. So usually, if you want to use less CPU, just lower that BBQ, the maximum, it will not zooming unlocked, but you have to try it and find the middle point where you can zoom in. But at the same time, you don't use too much CPU. 93. Vid 11.10 - Adding Bass: There's something that also works, which is rendering or consolidating patterns. You're not going to use it right now, but you're going to use it later on in this course. So for example, if you create this pattern and you don't want to change it anymore, like you feel that this is okay for you. You can right-click here. And you can press Render, I replace my impress it, you press Start. What it will do is that it will replace this by an audio file that uses much less CPU. So as you see right now, it replaced it like this. It's like it's an audio file right now. The pattern is still here, so you can still change in it because they are the same. So take a look here. There are literally the same thing. But if I remove this, take a look at dusk, choose any of the CPU. Only 20 per cent. But if I put this and sad, using light, this is why it's a good idea always to just render it as an audio clip. I put it here. Right now we have as an audio clip, but right now my computer is still capable of handling all of those. So there's no need of doing this. Let's go back. I want to create a gritty base. I want to add some base that is, that sounds like so much ready? How do, how do I do it? I go here. Of course, press plus base or you know what? Let's name it. Drop base. I go over here, plus star by a layer because I'm going to create multiple base, right? I multiple layers. I'm not going to just create one base. So I go over here, right-click over it. Oops, I right-click over it, rename, and I call it base. Let's give it a color. So we can note that this is the base. Then start by opening some vital presets. So as usual as we found like layers for the Job Corps, I am going to find some layers for the base. I go over here, let's put it on detached. I put over here. Wait. Okay. So I go over the vital over the future base back, whatever the thing it is. Then start by finding some base. Let's go and search for a gritty base. That is a base called Selenium gritty base. It should be here. How forced it is. We want this sound. So it's called BS gritty. We want this sound, but we don't want this aggressive. We were just wanted like smooth. So how do I do it? What I do is look at this one. This thing right here. I go over it and see that they can look, it's going up and down. What I will do is I don't want them to look like one after another. What I do as simply change this with this year, like I drag it from here to here. Then I'll have something like this. I'll still have it. But I want to drag this one and put it up. Easy. So all I did is simply drag and put it. So it was like this. I'm biased by the way, I'm pressing your random key on the keyboard. Then drag this, put it up. Then the second one put it up. So it's like become one big rectangle. Then you can put this down just as a security that the tunnel. Okay. So just put it down. This is something in sound design that I'll make a separate course about. But all I'm doing is simply like just remove this, put it up, and they move of this, put it up. So we have a consistent sound. Right now we have the sound. So I go here, right-click. I call it the critique base. One. Why? Because later on I will add another base. Then I have it. I want to add another base. So I want from you to pause the video and go and find some layers for the space. 94. Vid 11.11 - Layering The Bass: Let's do it by my own. I press plus and open vital. Or I'd simply like to right-click and press clone. This way like I have another vital and it's detached. Because if I press, let's delete this. If I simply press plus and viable, then it will, it will not be detached. So I will have to detach it by my own, like I press here, detach. So I can have my freedom and move this around as much as I want. But it's the same. So I press X. Let's delete it again just to demonstrate to you how you do it. I right-click and press grown. So in this way I have it already detached. So what after I press clone, I go here and start searching for a base. So for me, of course I already had, I already had the base and my mind, but I'm just going to search like in front of you to see how it sounds like. This is our base. There's also a sub bass sub base. The base I'm searching for. Maybe it works, maybe it works. Alright. It's aggressive, but it might work. Let's choose the one after it. Not this one. Not so much. What I'm looking for. Restarting, getting into that E is like, I don't want to delete. This one is aggressive. I might, I might like it. Let's put it here. So let's call it here a Leonean base three. So millenium basics. Right now, let's go and add another one. Right-click clone. I go here. So let's search for something. Let's go and like those chords, I'm sure those are those base, we only want base. Let's go into the whereas the base year here, there's some base. Okay, Let's see. This is good. This is bad. The second one is better. This one is like electronic. The second one is like more natural. Okay, so the second one and the fourth one, I feel those would be good layers. So future progressive house base two, and then duplicate it. And then progressive house base four. So I go here, millennium, then I go progressive for it, it is very, it is palm like this. So let's put them as a layer. I go here, press here on the folder, then go here, select all those, then set it as children. Right now let's, let's put it fat base. It's a great, I feel that this is good for me. 95. Vid 11.12 - Making The Bass Gritty: I want something more aggressive. This still, it's good. It's good to be honest, but I need something more, something that is real gritty, gritty base, something like this, like this. Alright, so that is a preset that I found when clink, It's called the morning guys and follow. They made a new song. This song is called Follow. And so in this song, there is a base. The guy made a YouTube video on how to make the space, whatever. But we can download the sample by for-free that he made. So I don't usually like to use too much from him, but he's very good at making me those free stuff. So let's press here, like buy it now. And then you proceed to the checkout, whatever, whatever, whatever, and you continue everything. So you put your e-mail, whatever the thing it is, then they send you a link on your mail, then you click on the link to download it. But then what you do is then choose the dot vital bank folder. Inside the download, there'll be a folder that is called dot viable bank. And inside this folder, what you're gonna do is remove this like this specific folder if you want to call it those vital bank and put it into that FL Studio folder that you created. Then what you're gonna do, let me remove those. What you're gonna do is go to vital, open vital than from here, That's pretty detached. Again, this keeps annoying me. Then from here, you go to here, then open external preset. Then you choose this dot vital thing that should appear in. Why'd you choose this dot vital thing? Like for example, it will be called, it will be called, for example, future Bayes dot vital bank. You choose it and you press open external preset like this, and then you open it. It's pretty easy and straightforward. So I'm going to try to download it. And when I go over here, they will send me like some kind of email. Then I download a folder that is called low vital bank. Then I download a folder which is called dot vital bank. At the end, it will have that tension extension dot vital bank. And then I simply like put it here using browse and then add it. So here I have it already here, I already have it here. It's scrolled morning guys and dad and dad. So for me, I'll use the base. This is the base. I use it like this. Let's add it to the layer. I press here, and I select them all. Children. Let's try to lower it an octave, maybe. So I go over the year, it's already lowered. Let's try to work more like this. It's good. Perfect. We have that job done. So we're going to add the base. What is the base? The base is the same as this part here. They're basically the same as this, those nodes. So let's copy it. Let's copy those notes. Control C. Then go here, rob Base here first, then here, then double-click on it. Then right-click can roll, paste it. So that's, that's here it altogether how it sounds like. Don't worry. We're going to mix it in the next lecture. 96. Vid 11.13 - EQ'ing The Bass: Let's mix the base. How do we mix it? So usually the way to go to mix the base is two steps. First, remove the sub bass from the base. Second, go and change the volumes. So let's start by the first process. Let's listen to the only two this pattern on pattern modes. So I go here, whereas the base first, of course like I have to link it, the mixer. So what I do is, let's change this to job base. What I do is simply put this right here, this one, so select them all. And then what I do is click here, right-click Chan routing, routes, electrode channels starting from this track. Boom, I have them all right here. Then what I do is go here, right-click Rename color, drop, base bus. So let's change the name. That's changed like to make it a bit more colorful. Maybe let's try to change the colors of those changed color than make them also what EBIT like bright, if you want to, then what I do is link them all like I made sure that they are all selected using control. The right, Right-click, go to the strike only, perfect. Right now, what you're going to do is remove the sub bass out of everyone. So let's click to add to have it play alone. Let's go here, 40 parametric EQ. And by the way, let's try to name this here. If you want to call it Martin, guide space, like this. And let's call it the same here. I'm like This Martin headaches base. Perfect. So let's put an EQ on this one. This one. So he'd like this. You see the sub bass? We don't want it. We want to cut it off. Right-click type high-pass because we want only the high frequencies to pass. Then from here, this one double-click, drag it down using your scroll wheel. Then this button. You change it from here, maybe. Yeah, this like this. Just put it up and down. It, put it like this, exactly like this. So we don't boost any low frequencies. We don't want to give it like in a hyper boost, like No, just easy like this. So right now we want to start cutting to a point where we stop hearing the sub bass. So right now you hear the sub bass. Let's first try to remove all the aqueous made from vital. So let's press on here. Effects remove all the AQ. I removed the AQ from here so we can eat you with manually and control it. Then from here, the second one, go to effects. There is no EQ, fine. So I go here. Effect there is no EQ. Fine. Go here. Effects. You. Thanks God. Then go here. Martin, database effects. Then there is an EQ bomb. Remove it. So right now, let's EQ it. This baby, boom. Whereas the Q here. So I'm trying to remove the sine wave, this I'm trying to remove it from the base. I think that this point is good. Also, we can remove a bit from the high frequencies a bit. Because I just liked it. I just, I just don't want so much high frequencies in this. So that's your on the next one. Right-click on it. So it's prays alone and fruit EQ to listen to it. This one is fine, but let's remove a bit of the high end. This is fine. So let's go to the third one. Right-click on it and add an EQ. Now let's talk eating it. I think this is a good point. Also there is no, there's not too much high frequencies to remove from. So I'll leave it. So let's put here this one. Uq, EQ you are oh, there's lots of surveys in this one. This is the subway. This is the sub n. This is fine. Then the final one. Here. In this one you can clearly hear the sub bass are removed like a bit of the high end because I feel that this is disturbed me. So what I did, I put it low pass like this. I put like this. I feel like this is good because if I put it like this, it will be like a pig like this. And like this, It's true model. I feel like this is fine. So let's do them all together. Okay. There's still not good. You know why? Because we need to increase the volume, you need to fix the volume. Next lecture we're going to do it. 97. Vid 11.14 - Adding The Sub Bass: We removed the sub bass from the base and we should add a sub bass. So what we did as we have is that we had, for example, some base. And then we like it. This is the base. And there was some sub bass. We remove it from here. Then you are going to add our own sub base. So we are going to add our own sub bass. So let's go and add the sub bass. I go here. And I can use like a3x oscillator, write it like this, put it down. I could use that. Or I could also go, I go here to replace viable. I could also go and put M sub bass preset from the spec, this one preset millennium. Then I go for example, here for example. This one, for example, maybe I can go to Martin and this one I can go to this one, for example, as the same, okay, temperature down like this. So I go here and add it inside the layer. Name it, by the way, sub bass. Let's put it inside the layer central line, like this here. And not being able to hear the sub bass to March. So that's sign-ins this. And by the way, I should put it on the mixture. So I put on 28, or I could simply like desperate to 0. I can simply select it alone. Then go here, press Control L. Boom. Let's products from the same color like this. So here we go. Let's hear the bass. I don't remember the high end. I feel this is fine. So as you put them all together, they will become like this. The problem is that they are so loud. So that's where I'm going to do, is start by opening the main, the main base than less, than, less, than less, using it, the volumes. So try to do it by your own and then come back to that lecture to do it. 98. Vid 11.15 - Bass Volumes: I start by searching for the main base that I want. For example, maybe this base. Oh, let's put it on song. I don't know why it's not playing. Maybe because I interpret here. Okay. So that's tried to play a random note from it. So I select it and then let it play. I want this one, maybe I want this to remind me, You know what? Let's share this space. This base is true wide. As you'd like. It's, it's not really like a base. It's like a base combined with some leaves. So let's go here. This one. Let's go here and disable the unison. So you see here unison, seven voices. It means that it's seven voices playing. If you put it down, put it down. It will become one force. So does this one as it was, but just decrease the voices instead of seven. But it's like, I think should be better. So let's hear the difference between this base, this one and this one. I think this one is far more than this one. Then maybe it is. I think this one, I put it lower. Lower than this one is not important. I put it together, they will become like this. So what I did is that I said, this is the main base, then this is less important than, this is less important than this one. Is less important than this one is less important. So this is how we put that layer and target those sounds, something like this. It's pretty loud, right? So we should lower the volume of the base altogether. Let's put them with the lids. Here's the r. So what do you think about it? I think it's pretty dope. We made some lids and we made some droplets, so great. 99. Vid 12.1 - Adding Kicks And Sidechain: Okay, Fun for that drops. So let's add that kicks the cakes open sample bags. So usually I use this, this gets inside this drone shots. Where are the gaps? Here are the kicks. I'm trapped kicks, maybe something. So let's try them. I don't think those would work. So let's try this. Okay, this, this is a punchy kick. So let's put it in here. And as usual, put it like this, like this, then this, then this. So I put this one on half-step or if you want onset, let's put it on set and make our life easier. So I put it on step, and then when I put it on step, I count. So here I have between the measure 34, Let's move this one a bit trite here. So between the measure 34, like here, and it's 35, I have two kicks, one at the beginning and one at the middle. So always you put the cake like at the beginning of the measure like this. And wanted the middle. The same thing with 35. We keep duplicating this all over the piano, over that playlist. I mean, then duplicate this again. Here we go. But something is weird, right? Like we have the case. So here when we add the cake, we didn't have something grid, it was all fine. But here there's something weird, right? I don't think it sounds good. This is because we did it inside chain. This is because we didn't side chain the leads or the base. So I should go and search for a plugin called sidekick. So you can go to this link like rewired records, dot code, dot UK slash products, sidekick, this whatever VSC. And of course like our link in the description. And you simply press like Add to Cart, whatever, blah, blah, blah, I'm downloaded. And after we download it, like you have the plugin, all you do is install it inside the FL Studio folder that we had, this big F astro folder that we have, you simply install it inside it and have to install it inside it. You go and check it from FL Studio. Let's go back to FL Studio. And after you download it. And of course, but that big folder that we made, that we made, and of course, the big folder that we made, you just go to Options, Manage Plugins. And then after you do managed plugins, you already have the big folder is selected. So this is the big folder and you already selected this big folder that's called FL, FL Studio, the big FL Studio. And because you haven't selected, you just press F9 more plug-ins. It will take a bit of time for you to scan everything. So you just have to wait it. So what it will do is that it will go inside the location that you added. Alright? And after going inside dislocation, it will detect, boom, there is a new plugin. So it tells you, and it colors this plug-in in orange. So this plugin is called sidekick. It will color it in orange for you, it will be an orange for me, it's in white because I already have it. And you go and press the star button on it. After you press the start button on it, you just go here to some effects in the mixer and just go to the job base, boss to the boss, and apply in EQ. So I'm not any good. You apply the side gate. So I search here. Let's search here. Sidekick. I double-click on it, and I have the side chain. It's called a side chain. Now what is side-chain? Just hear what it does. Let's try click here, put detached. So like when I remove it, it doesn't, it doesn't get off the screen. Let's only pay the base. Take a listen. What is the side chain? Side chain. It makes it do like this. What if I put it on 1 eighth? It will become faster? Take a listen. We don't want it like this. We want a slower. So let's put on 1.5. So what do you think about this? Let's predict with the cakes. Cakes. So what happens is that the sound goes through this. Then it's kind of like it removes the sound. Then the sound go up, something like this. So as you see in front of you, it is like you're bringing something, you're bringing something into it. You're being something here, and then you letting it go up. So it sounds like this at the end. So let's go up here. Like this. This is what side chain looks like. We want to make it less, less effective. We don't want to make this ***** like this a bit quicker. Let's try to move like this. Maybe like this is good. So let's put the same effect on that drop cores because if we listen to the whole song, we need to put them on the chords. So how do I do it? I can go here on the cord boss and just add something called sidekick, like at another time. But it will not have the same change. So if I added some sidekick, if I went here at a sidekick, it will not be the same. So let's here be the same. So you will have to change it again, whatever, blah, blah, blah. The easier way is to click here like deletes. Go to the drop Base Boss. Then press here, Save Preset as I don't price it, I double-click on it. And I drag it. I put it on the cord boss. So I'll repeat what I did. All I did is simply let me, let me, let me repeat again. I select the tree by default. So all I did press x, all I did is pressed here, safely set as I don't press it, I double-click on it. If I'm on the track, but if I'm on the mouse, I just click on it and drag it and drop it here. This way, I will have the same charged side chain right here. So let's listen to it like this. So in the next lecture we're going to fix it like to make it a bit better. 100. Vid 12.2 - Adding Snares: Right now, let's add some snares. So we go here. Let's go to the ultrasonic one because we need some snails, right? So I go to the ultrasonic guy and organized bomb. I go to drums. I go to not look like one shots. From one shots. Where are the snare? Here's the snare. Let's try. This one. Sounds good. Not so good. So that's good to hear. Maybe oh, maybe this, maybe this, I think this one. I put it here. And let's put the same snare over all the cakes, so I press Shift and duplicate it. Then the same thing happens with all of them. So instead of doing it manually, why not like did all of them did all those stuff and select it, then duplicate all of them. Then select it again and duplicate all of them. So like this, we make like their work easier. Of course, like we did not change the volume of them. We should do lots of things. So let's go and add some claps with it. So here claps normal clubs. This lab is good. That's what the club here also. And the indicated get all over the playlist. And it will sound like this. So let's change those. It's always a good idea to layer the snare. What does meet layer? So do you remember when we layer like database for example, one layer, two, layer three layer. The same thing is like with the snares. So it's always a good idea to just like put, want snare to snare T snares, horse named whatever. Here we are going to put only two snails like this. Let's change the volume. So I go here and put it like this. So I have the kick, It's still the same. It's on the mixer number four. Here we have it the same. And we have this snare. Let's double-click on it. I press on a track. Okay, I have it on track 29. I change the name. So let's oops, let's change it to Snare one. And then the second snare. Let's also put it less than, change this name to snare, to snare too. And then the worst near we put it on the snare bus. So rename snare bus. Of course, I want you to follow up with me and try to make the project with me. So accept, accept, Let's put it on the left using light, Alt and left arrow. So here let's change the color. Let's put the same color, but let's the same color, but the sunlight making it a bit like this, then the same thing happens with this one. So change color, this one. Boom. Like this. They are like more organized as you see. So this is how we do it. Right now. I put them both, put them both right-click router, the strike only. And right now we can change the volume of each one while adding effects for each one, which is what we're going to do during the next lecture. 101. Vid 12.3 - Mixing Drums: So as we're progressing, we keep doing some enhancements to our song. So here, what I want from you here is just to color it a bit if you want. So let's try to color it a bit. I know coloring is unusual, but trust me, it can help you a bit. So like spending some time trying to color things can help you like anyway, again, current is not important. I don't recommend your spine spent all the time on coloring. But anyway, it can help you like all of them just like have the same type of color. Here. For example, if the sub bass, it's preferable to have, to have them in the same color. So I go here, change color. Maybe I want to put it blue. So I put blue, but here make sure I put like a blue, bright blue. So change color to the same color, then put it a bit brighter. So I know that this is the, this is correlated to this. Then here is the same, same alone, alone, alone, alone. So like this, like we have a good mix, a good looking mixer. So what we are going to do is simply trying to work out the volumes. So I go here. This is the kick. I want to lower it. Maybe that's the sound of this snare. Let's select here by Shift and selecting get. Whoa. So let's see that only those two, Let's select only the drums. This is probably not the main one that I want. I don't want it to be heard too much. I don't want the club to be the main 11 flight as a background, as a background. So let's try it with the cake. I go here and say, I feel that this is good so far, Let's play the whole song. This is great. Also a common practice is to add some reverb on the snare. So I go here and select, I'm not yeah, slot one. And go to add some EQ. So I go here more plug-ins than search for EQ. Here it is. Right now, let's go and EQ some of it. I moved the low-frequency from the snare type high-pass. Then I'll put some reverb like this. Then I go and add the same EQ for the second one. I have it in a different because I changed this one. So what I suppose categories, this pretty cute. I can't really listen to this individual one like this one. But what I can, I'm trying to see some visual EQ on time proceeds visually electric. Move the low end from it. Let's put it alone. The second one. And after that, you just go and add some reverb on this nervous. So I go here, put some reverb like this, then. So too much. That's removed that oh God, I'm going quickly over those stuff because we already done it. So I don't want to explain them all the time. Let's let's put less wet like this. So right now let's hear it altogether. Upside and I filled by this, we're good for drums. 102. Vid 12.4 - Rolling Bass: Let's make the base a little bit more exciting. So instead of having it like this, I'm hearing something wrong. So let's repeat it. Put your headphones on pills. I can hear that the sub bass is consistent. So let's take a look here in the mixer. So this sub bass is not moving with a side chain, so let's hear it. Let's put it out loud so to me we can hear you can hear that it is consistent why? It is because it's simply not linked to that mix, to the base boss. So we should link it. Right-click route to the strike only. Right now it will work. Anyway. Let's try to make a rolling bass. What is eroding bays? So instead of having light, we're gonna divide it into parts. So we're gonna make like this. Then duplicate it. Let's make it bigger pieces. Okay, doesn't work. So let's make it smaller pieces like this. Well, you see it like this. I just put it into small pieces. So I like, Let's do the same thing here. I select them, put them here. Then like this. Then the same thing here. I selected, but it here. Same thing. So let's hear how it sounds like in total neighbors. Let's try it again. Let's try this one, an octave lower. So this one, I tried to make it an octave lower because I feel like through high together. Let's add a bit of high tension here. And the Morton Gatsby's, because I feel like it needs some power. Lets you add some power also. Okay, better. And the next lecture we are going to do something called compressing the leads because they are too weak. So we need to glue them. So we need to glue all of those, one on each other using something called compression. And then next lecture, I'll tell you how to do it. 103. Vid 12.5 - Compressing The Saws: Let's use some compression. So before I tell you what is compression, just go and install the plugin. You go to this link that I will leave you in the description of this course or the description of this lecture. You can just, for example, see that this is lecture like 10-point whatever, like this is part 12. So you see this is an extra life, 12.512.6. And so you click on the link of the lecture or 12.6 and you will find it, or you can just click inside this lecture, whatever the thing it is. But anyways, I'll leave you the link of this plugin. You just go and download it. Maybe you want to download it like Windows 64 windows, this is five. I'm in Windows 32. For most people, I think 60 for work and for people who had a MacBook, just don't want it like this. And so as you do it, just double-click on it, launch it, do whatever it takes. And don't forget, don't forget, don't forget, don't forget. To just put it inside the big FL Studio folder. So I'll try to download in front of you. I could press here and I just wait for it, so it will download and second. So after I do, so all I do is like simply, very simply, that's open here. Show in folder, and then double-click on it. And then after I double-click on it, I simply double-click on it again. And it should send me somewhere. So yes, I agree. Yes, yes, yes. I keep pressing. Yes. I agree. Whatever. I agree. Next and here destination folder, where you put it you put it inside the FL Studio folded, I told you. Okay. So you brought press Browse and you put it inside the FL Studio folder. We keep going on and on and on and on and on. For me, I'll click Create the installation because I already have it. Then you go to FL Studio and options managed plugins. And then you press F9 more plug-ins because you already put it inside this folder. You should find it like an orange and it will appear in front of you. So let's put this plugin on the bus of the sauce. So I put it here, then I put here OTT. Here it is. It's the compressor. So let's see here before the compressor and after the compressor. So this is before the compressor. Let's put it by the radius attached. So don't, doesn't remove. So let's pause here before the compressor. After second person. Oh, I'm sorry. They could have grabbed put it I just put it here. I just put it on the base. I'm sorry. So let's go here. Record Boss, Here it is. Let's put inside that OTT. Let's hear it before the LTTE and after the OTT. You see how it's loose them to each other. So I'll repeat it. It's like it's kind of glue them to each others. It kinda glued them to each others. So what you do is start by gluing them and then release that app slowly, slowly in a way that they sound good. So as such, we repeat the same thing. I think this will work. That's true. Together. There are too much glue. Let's try to put glass. Let's boost a bit, the high end, so the high frequencies of the chord. So the chord bus. I tried to boost the high-end to have more high frequencies. Something like this. So right now there are pretty well balanced. Great job. And as a final touch, let's add the reverb for the drug courts. So here, let's add some reverb here. Let's try to duplicate this. So I'll duplicate it right here. So I have two times because right there. Then try to stick to this, to this. I do this. Let's start to change a bit the drop chords. Instead of putting this node. Let's put this, no, That's what this node. Then, this node. So in this way, like it's, it's more high. That is lot, lots of screaming in this. That's also tried to change the chords. I read this is fine. So they can look like how good this starts to be. 104. Vid 12.6 - Sidechaining The Vocal: So we say chained the vocal. Know we then inside chain it. So recite, change that Job Corps researching at the base. But we should also side chain the vocal. So take a look at the drop like this. Let's actually change our vocal also. So how do I do it? I big this. So the court boss, that is the side chain. I press on it like this, this small error right, right here. Do you see it? And double click years, if we said that, boom, put it on the vocal. Then I read a bit. And what will happen is that it will search and also the vocal. So let's listen to it. So there's two things we can see. First is that we can hear the vocal. Second is that the CPU is lying a lot. So as you see here, my CPU has length a lot because I'm also screen recording. What I can do is right-click here on the drop chords, render and replace. Start. It's because it's like those vital presets are using too much for my CPU. I press Render and replace. Maybe it will happen with you also. And here we go. Right now we have it as an audio file. So let's listen to it. Should hire the volume of the vocal habits. So what we should do is lower the volume of the drop chords. So let's delete this one and put this back. Let's just lower that one of the Job Corps and the job pays. So I go here, um, where is it? So the job-based boss. Let's start with the volume. This is the base. So I lower it like a bit. This is the cord. They're called boss in a way that fits the vocal. Rest. Good. Let's try it together. And by rendering this received the levels we see, how much light is it. Just a second, so it's rendered and we are going to listen to if the volume is good. Here it goes. So it's very low, it's very low. Like the volume of the drop is very low. So what I do is lower the vocal a bit low. I mean, like put put this off with the base, put it up also. One of the drop courses put it up a bit. Let's start with the sketch because it sounds very bad for me right now. Don't forget when you're Lord, this volume. It will learn all that in the chat. This is why we are not going to lower it. Because if you lowered the volume of this, kick it to lower the same volume in that previous ones right here. So there's a problem with us. There is a problem because here, this vocal here is also side-chain. We don't want to dislodge and you only want this. In the next lecture, we are going to see what you can do about it. 105. Vid 12.7 - Summary: Let's put a summary of what we did during the sport. What we did is added deletes, added the database, and process deadly than the base. Now, how to process them? Let me go through step-by-step like a small summary. So all I want from you as just memorize or at least understand how I process the base and that leads or the salt while it's processing, it is mixing. So how I mixed them first, let's start with assault. All I did is I started picking the sounds from the preset to removed all the reverb, white noise and effect from them so we can control it by ourselves. Three, I started by putting the main one before. So for example, the main one put it at the higher volume than less Maine put it less higher than less Maine put it less higher for started a cuing them. How do I accuse them? Simply like maybe remove that low-end, remove dynamic noise, etc. Then how I did the base? The base is pretty simple. One, remove all the sub bass from the base to add the sub bass. Three, all you need to do is simply put it in volumes. So the main one in higher volume and like less Maine and less lower volume. So this is somebody that's it. That's literally everything that we did for processing the lead and the base. And of course, you work out the volume with the vocals, et cetera. And of course, at the end, we put on it some side chain. 106. Vid 13.1 - Fixing Some Mistakes: So there's couple of things that we need to fix on before starting the sport. But before we do that, what is this part? This part we are going to add, for example, some automations. Some F acts, for example, the thing of the vocal that is not working. You see when the vocal is like side chain, even before the drop columns, this is a small problem that we need to fix it. Let's start by first making those, fixing those small mistakes. Like for example, here, you see how I moved it a bit. I'm moving it by mistake. Right now I need to move it back. I press Alt and I put it back like this, so I can move it around as much as I want. Then for example here, let's listen to it when we need. So let's pause the sidekick for a moment. Let's pause the side chain for the vocals for a moment. Like this. Oh, I'm not like this, so I have to put it on solo like this. So let's disable it. That's fine. I should stop it for a moment. I guess. Yeah, I mean, it works. That's fine. I'm thinking of removing this and keeping it for the second part. That's fine. This is a bit late. So let's press Alt and we can move it as much as you want, because if you're done, press old, we can only move it like this. What if you press Alt? Boom, we can move it. I'm thinking of removing those pads and keeping it for the second part and even the piano. I don't want it. Let's remove it like this. And then I will keep it for the second part. So like the ones you to stay safe to say. Okay, there's something wrong with the vocal here, we will fix it. But first, let's put the hi-hat here, put the high hat down, and then let's try to fix like some arrangements. So I right-click here, insert one. So I will insert like the piano here. Right? This. Let's zoom and fix it. And let's duplicate, of course, right here, perfect. And the high hat, but gets less, keep the drums here. So in this way we will keep it. Keep it, that'd be it. So right now we have like this. It's safe to say. Perfect. Okay, let's see here. Duplicate it. Pre-cleared this better. This one right here. So right now we have the right mood for the song. So let's put this down also by pressing Shift and down arrow. Start to play with that Spark colon. She had to stay on me. It's safe to say. 107. Vid 13.2 - Fixing The Vocals: Concerning the vocal, if we listen to it like take a listen here. I don t think it's good. Well, this is happening because it is a free vocal. So the singer who sank it didn't take into consideration that there was someone who's going to make like a professional mics out of it. This is why always popular DJ, for example, I take Martin Gates, Millennium, whatever. They have their vocals from a professional singer because they want the rhythm to be exactly like this. But here, because you have the Volcker from a free source, you know, it's not very high-quality. And because we are still beginners and we still need to make like a mix that like a free mix. We don't want to pay that cost of the vocal and we don't want to pay someone to sing us a song that we are just going to practice with it. This is why like there should be some mistake. Like there is some essays like this one. Like this silence between this, but this can be fixed. So how can you fix it? Tried to put here, tried to put it here on step. So we can cut about here. We can cut it about here. You, on whether you ignite month, year on here. So let's cut it. Let's put it down. I just put it down like this. Right now. I sought like, trying to fit it, put it in the middle anyway, that fits everything. So I put it here. Now from this right-hand side, it is working. Let's try to extend it a bit here. The torque dressed tried to explain it here. Instead of year. I start to expand both. Okay. Right now it's for you. So it's like it's almost good. Stay safe to say, fine, right now. That is here, this part here. We might be able to fix it. What do you think? I think that there is no need to really fix it because I think it's good. Let's try, for example to insert one line here. Insert one. That's progress down. And drag it to the left, to the right and strikes the right a bit. You know what, let's drag this. Okay, tours. Fine. Right now, the vocal rhythm is almost except this small one like you. It's fine. It's fine. As long as we can get along with it. Because this vocal was obviously for training. And obviously when you want to create a professional and makes you don't have it for free from the internet. 108. Vid 13.3 - Enhancing Drums: Let's go to the drums. So here, let's say this guy, this is good. But I found out that we can use another cake, which is this one. You have to organized. I go to drums, one shots. I go to kicks or other cakes, ADM cakes. The stick is more punchy. So let's put this inside the drop. That's duplicate it. Let's do the same thing all over again. Duplicate it, duplicate it, duplicate it, then duplicate it again. We have this thing right here. Oh, one more time. Fine. Let's do this. Let's you the drug. Okay, Now let's try to change also the clap because there is a slab here that I just found. Normally clubs, this one, maybe this one. There are both. Good. So this one is like it slaps more, less the term. It's just a personal preference. Okay. So you could keep it as it is or change or whatever. I just found after looking into the sample pack that why not use this? It sounds better to me, at least. So we will have something like this. I lowered the volume. I can download it from here. Like I don't want to go over all the brands, like I just want to do it from here. So, so far, so good for me. 109. Vid 13.4 - Automations For Sidechain: We're going to learn what are automations? Automations are something very important in music production. Because if, for example, the volume of the piano, so this is the piano, I will take it away. I'll press Shift to duplicate it and put this here. Alright. So if I want, this is the female. If I want the volume to gradually go up, what I can do, I want the volume to change from here. For example, go down, then go up, then go down, then go up. What I can do, I use automations. So what are automations? Let's do this. I go here to piano or you know what? I'll go here in chat channel, right? This is the piano, isn't it? This is the volume of it. You'll ask yourself why I'm not using the volume right here. Not worry, just follow up with me. This is the volume of the piano right here. And I can pull it up. I can put it down. Okay, so this is clearly enough for the volume regardless if it's the best knob or not. So let's go from here and start to right-click. Create automation clip. So take a look what it will do. It will create an automation clip of this. Let's move it till here. Let's just cut it. Try not to do something in front of you. Just follow up with me. Let's cut this one here and put this up so you can see the query. So what is an automation? Right now? I can control the volume of that piano in real-time. So I can do this. Then. Right-click. So I press right-click and drag it down, and drag it up, then drag it down, then drag it up, for example, maybe I want to, I want to drag it down. Oops, I want to drag it down. Like I wanted a long time to drag down. I want to drag down this way. So let's, let's hear how it sounds like. So I've maybe I want to put it up right now. Take a look how it goes up. It slowly goes up. So this is an automation. I could put it down. I could put it up. Don't forget that we can do the same thing for all instruments added here. So let's delete this one. I never do this by the way, it's bad and never put the volume up, down, up, down, up, down. It sounds good. So let's try it. Let's delete this. Let's try to do the same thing here with vocal. So there is a side chain here. So if you put it here, the vocal and enabled the side chain. The side chain for that drop prior to the side chain for the job. But we don't want that side chain for the, for the normal song like before the job. So what I can do is go here on the vocal. And you see this, this is mixed level. So this is how much I want from an effect. So for example, I can put it down and I'll have no side chains. Crust, fire and same with Colin. I can put it up here. So the more I put it up, the more this plugin is involved in it, It's like I'm mixing it. So the more I put this knob up as you see, take a look here, negative here. And the hint panel. The more I put the knob up, the more the mixed level is up. So let's put this back. So I won't try it now. The mixed level to be at 0 here, all the time. Here. I want like this. How do I do it? Well, I do it using automation clips. So I right-click here. And I go create automation clip. Then I'll have directly in front of me this thing. So I want the mixed level to be at 0 all the time. And this level should be a 100% exactly here. So I want it to be 0 at the beginning. I don't want to the side chain like I want it to be 0. Then whether the vocal when that dropped comes, boom, I put this up. So what I can do is simply leave it on 0, boom, boom, boom, non-zero. Here it is. Then here, exactly right that drop columns. I right-click to create a point. When you press right-click to create a point, then create another point, then drag it up. And he goes. So let's take a listen. There's no side chain right here. Right now That's the question. Like what is this? For example, I can put it down here. I can put down here. Put it down here. Still here. So from here till here, then I would try click like this. Maybe something like this. Let's try to remove maybe the drums. So that's the thing. Because here by the way, what I did is simply like removed the side chain so I like keep it good. It sounds good. I don't want it to be like, you know, I want like you ignite my them. So in this way, all you did is removed the side chain here from the beginning. Then directly when that job costs. Right now, the side chain goes to the maximum. So take a look how it looks like in the mixer. So take a look right now. It should be 00. This is how it happened. Maybe you want it to increase slowly. It will do something like this. Let's see. Easy, it's very easy to understand. So this is how you do automations. We will use automation and lots of things during your music production carrier. And this is how we use it for the side chain. 110. Vid 13.5 - Adding Cymbals: Let's add some effects. So we want to add some stuff. For example, like a riser, like symbol. So I'll tell you how we do it. Usually, we don't want to start the song like this. We don't want to sound like this, like boom, boom, boom, boom. No one I started likely very slowly, very slowly. Let's open the ultrasonic slap house. That's fine. Symbol. That's fine. The symbol, we open it, drag it and drop it here. Let's put it exactly where it starts. And let's listen from the beginning. This is a great But it's like, it's like we're having fun with it. So what I will do is duplicate this. I duplicate it. I simply press Shift, drag it to the right, then drag it down. Or I can like dietary, shift, drag it down. What I can do is click on this one. Then make it unique. Double-click on this one. Receivers. And then what I can do is simply put it like this, in this way. Pumping like this. I'll repeat everything because I made it so fast, but I just wanted to demonstrate to you what I want to do. So I want to do something like this. Okay. So let's repeat how we did it. We just had a symbol like a random sample from just this ultrasonic we can have is from this sample bag. Maybe let's see if we have some sample bias here. Run charts, symbols, crashes. We can have this one is good. This one is, I feel this one is small. It also, so let's let's have this one. I put it here. So I want a second one that is also here but inverted. Like I want something that goes in the other way. So like this, if you press on it, I want something the other way. This one, something smooth like this. So how do I have it? If I double-click on it and select Reverse, it will be reversed. So let's click on this second one. I duplicate it. Let's put it at the beginning. Okay. Let's double-click on it. Double-click on it, reverse. Let's press reverse. The two. Reverse. Why both of them are reversing? If I press diverse, both of them are reversing. This is because they are the same sample. So we can't reverse one sample without reversing the other one. This is why when I click on the second one, I press here and select make it unique. In this way, if I make changes to this one, it will not affect the second one. Makes sense. So as fresh reverse, boom, the first one change and that second one wasn't affected. So let's crop this a bit so it can fit on our song like this. And let's put it here. That's press Alt, so we can put it exactly here and move it. Boom. Let's listen to it. Right now. We still need to change some things in it. We can just leave it like this. Because if we listen to it, there is this clipping. So you hear it. So how do we fix that? Well, it's easy. Let's double-click on this. I'll click on this one. Select crossfade. When I see extra phosphate. If I crop it, it will do this effect right here. But if I select light, let's, let's undo this. But if I see that normally like transient no bleeding normally, if I caught it, it will cut it like a solid caught a hard cut. Let's select crossfade. When I say electric crossfade, it will crop in a smooth way like this. Let's crop it more, very smooth. So let's do the same with this one. I do with it. It doesn't crop. Why? Because we didn't select crossfade. Remember, those are two different samples because we put it set unique. I put it like this. Let's put them close to each others. Let's see it. Perfect. Magic. School bus put them like this, maybe not like this. So here we Nancy. Okay. That's here at the beginning as it was. So all I did is one. I brought two opposite of each other's. Then all I did starting cutting. It starts to cut from this one. Cut it and put it like on crossfade like smooth, then put it like inside each others. So all I did is simply put them inside each other like this. I just put them one inside each other. Instead of leaving it like this. I'm putting on transient no bleeding. Instead of having good like this. All I did is simply wait a second. All I did is simply double-click on it. Crossfade bleeding. Selected here to the left. That puts them in each other's schools for the first time. Cross John Gray, fire and we can do the same in here. Let's copy them and put it in here. All right, column in here. We can do also here. Let's put a copy of them. The here, you see, it automatically sounds better. 111. Vid 13.6 - More FX: Let's add some riser here. So what is the riser? It's just like a sound that goes up and up and up and up and up until the drop here. We can find it here. Ultrasonic or guys like FX, whatever. Here's the riser. So let's listen to it. There's two options here. Okay, I want this. Let's put this again. Remember every time you put a sample, you just click on it. Fit to tempo and then type in BPM, one-to-one aid because it's the temperature of the sample. I put it in here, then put it right next to it. Yeah, why did this ends? The riser would end. So that's us. So here this kick, I want this clip to be a bit louder because it's the first one. So let's double-click on it. You know what before I should make it make unique. Because if I make it louder, those old case will be louder. So I pushed the volume up. Lets you oh, it's too much light. Surrounded some kind of riser. Maybe it's too loud. Let's hear it from here. Okay. This is fine. For me. I feel like we added some good stuff. If you want, for example, to just add some stuff, we can go add some rides. So here, instead of just putting like a crash, I can, for example, add some some weight. I can add here. So rums, worn shots. I can add drive. I can just add something smooth. For example, here. I can add something smooth here. And again, duplicate it. Says it's unique. Then reverse. Boom, I have it. So let's put it here. Perfect. But I should put it cross-fade. So crossfade. And the second one, crossfade. As usual, nothing gained, nothing fancy. Then I crop this year than I tried to also drop it. Okay, then crop this here also. Maybe not. Okay, Let why not? Let's scrap it. Let's see if you can hear something. Okay, it's too much. So what we can do is something new, which is instead of crossfade, put it on smooth. Instead of cropping this much, it will crop only this much. Or we can put it like for example, on January bleeding. So it's less, you see it's less accent. So instead of putting it this long one, instead of putting this long tail, we put a small tail like this. I put it on a generic I put a small tail like this. So that's pretty clear. Let's put this small thing like let's lower the volume because I don't want it to be so obvious. So on 30%, I predict, let's put the second one on 30% to. It's like some extra stuff that can enhance our music. Once we can also do, is removed the sub bass from here, fire and say, and put it here using an automation. So what I can do is go here, the base, and remove the sub bass from here, then inserts try here. This time I don't want you to give you the answer. I want to go and discovery. I want the base here. I want the base here, but I don't like I won't. So here it is. There is this base and some veins. I want the risk-based alone without the sub bass. Then here I want the sub bass, like to get the reader reads ways. How can I do it? Will explain the next video, but of course, try to do it by your own. 112. Vid 13.7 - Automating The Sub Bass: So before doing it, I'm going to ask you or ask myself, why am I doing it? Like what is the benefit of doing it? Well, if you listen well here, I am saying the base is too aggressive here. So I want to remove the sub bass to let like the base would be a bit like kind of smooth. Then introduced the base. So I introduced the sub bass. I mean to have a strong, strong base because the sub bass, if you listened to the base alone, if you remove the sub base, the base becomes weak. So let's repeat it. There is no base right now that is base, especially with the sub bass that we can boost it. For example, if I remove it, the base becomes weak. Weak base. But now it's stronger. So I want to remove this from this bar. They introduce it to the second part, like when there is some cakes, drama, etc. So how I do it? Let me tell you how I do it. So I can, there is two ways, one beginner way and one professional way. That beginner way is to simply put an automation on the, on the sound here. So right-click. Create animation clip. And then simply here, I put the volume to 0. Then when this begins to that, when this part begins, I put the automation, the maximum. But the downside of it is that you can't anymore control that voice volume. So let's memorize that it was on 52%. Okay, So we have put it on 0. If I put this on 0, Let's put this 0 then here. And put it like this. So if I do it like this, I cannot control anymore the volume of it. So take a look. I want to play, I press pause and place. It becomes a thing. So I have no control over this. The automation clip is controlling everything. So if I want, for example, right now to decrease the volume of everything, of all the sub bass, I have no control over it because when I hit play, so if I put it like this, for example, the second I hit Play, boom, it goes down. If I want, for example, life to change the overall sound of the bass, I cannot do it because I have no control over it. This is why this is bad practice to use an automation directly on the volume. So what I can do, what I can do is simply, let's put this back. Let's put it back by the way. Okay, it's 52, it's still the same. So what I can do is add a plugin called fruity balance. So I search in fruity balance. Here it is. Then from here, use the automation clip of it. So I can right-click right now, press create automation clip, and from here I start controlling it. So what I do is simply go here, put it on 0 all this time, put it on 0. Not like us. So I copied the value of here, copy that value, then paste the value here. So it remains the same. Then put this level of 0. Let's put it here. Based value, the value on 0 here, and then the value of 0 here. So like this, it will automatically sticks itself. So we can cut it because we don't need it all the time. So we can cut it here. Perfect. Perfect. 113. Vid 13.8 - Adding Fills: Let's try to add some more things between the build-up and that drop. So this is the buildup where we start getting tension. Here. This is the drop. We're like it's starting to screen. If you're on thinking about this. I want to add some fill, something that transitions between the build-up and the drop. So let's go here on sample packs, ultrasonic, and as we go to drums, let's go to fields like this fails or something that like in-between. Let's try this one. This one is good. That's pretty tried here. And as usual, like this, fit to tempo, time, BPM 128. Boom, we have it right now. Let's put it right in here. And let's hit it. Perfect. Right now, I want this u here, this one like this part of the song of the field. I want to put it multiple times to be like boom, boom, boom, boom and luck. And not like bom, bom, bom, bom, bom, bom I want is four times. So let's go here. Put it like this. Maybe this, oops. Let's try to cut it from here, from this part and then duplicate it like this. Okay, Maybe it's so much less breaths. Three, that's proved here. You see how dynamic that song right now sounds like. So that's it. 114. Vid 13.9 - Adding More FX : Let's try to add some more things. So we added like this fellow right here. Right now we want to try to add some more stuff. For example, let's search maybe here. Down filter that search, this one, this one. Maybe this one. I think this is good. This down. So let's put it here. And let's turn down the volume. I put it here and then turn down the volume. I feel I feel this could be lower. Okay. Let's side chain it. So we add, we go here and from the cord boss, we have the sidekick. Again. We press here. And safe is that as we drag it and put it here on the down filter. In this way like this downstroke or can be side-chain at the same time. Here it is. So let's take it as an edit. We go here. So as we here, why its side chain? It's so much better. Let's hear it. Instead of just having it like like normal like this. We're just have IT side chain like it's more with the rhythm. Let's, let's put the volume up a bit less than listen to the whole song. So I put it here. Perfect. So the more you can find stuff that better. So let's, let's, for example, see this impact right here. I hit this one is group that's added also here. Let's add more soft to make it more dynamic. Let's put it here. Maybe you know what, let's try to put it when the buildup. And so like this, let's put it here when the buildup bands. So that's me put it here. I'm just trying to find a good position for it. Let's try to cut out from it. So I out I just remove as you see, I just removed the noise. So if I play it just here. But if I put it on out, like if I put the out up, I would just hear the beginning of it. Like this. I can also remove the n, but it starts to diminish the volume. That's not mess with it. That's tried to put it here. Maybe let's put it here. It's better. Let's see here to the white noise. So let's try to remove all of those to see if it's better. Let's try to remove all of those and then see if it's better. If we just add everything that we added. Like this, it becomes much better. I feel like this. It's better.