Learn How To Create A Nice Professional Tropical House Music From Scratch

1. Promotional video: Hello guys and welcome to this class where I will show you how to make a nice tropical house music from scratch. Starting from an empty project and without any need of music. In this class, I will show you how I made this music starting from an empty project. And we don't know inspiration. So that you can learn and experience. Really need to recreate each and every single project is more to walk through the origin. So you will have the chance to see how everything has elements was created and placed down. Stay tuned and see you in class. 2. How To Create Your Main Chords Progressions And Humanize Them: Hello everyone and welcome to this course where we will be making a professionally then I'm tropical house music. The music we will be creating is going to be 100% from scratch. You can see I haven't opened nothing inside of our dough, which is efforts to do this program, which is amazing for music production. So the first thing we need to do is to set our BPM. For the tropical house music, you have a range of different BPM you can use, starting from 100 bpm to 115. But in this one, we will go with 110. Now, before starting, I just want to say that in this course we will go step-by-step in making this song. And I will try to explain whatever I'm doing. And it's also better for you to have a basic understanding of FL Studio. It's Windows, how to use the playlist, the mixer, the sequencer window, and the piano roll. Another thing I wanted to say is that you want to be in need of any music theory knowledge because that'll be producing this music using only our ears and from scratch starting from an empty project. The only thing I would say you would need to have is an average computer and especially some headphones or speakers. So you can hear the full spectrum of sounds while producing. This song will be created from scratch and using only our ears without any music theory. So let's jump in and start right now. So the first thing we will need to create our chord progression. I personally like, sorry, I'm creating my curves using a piano. Let's take the first pattern and puts it in the playlist. And then we can add our piano. We'll change the grid to bars so we can easily place elements in our playlist like that. So the first thing we will be creating is our course. As I said, I usually use this piano. You will find in pack instruments, keyboard, stage grant. I really like this one and how it sounds. And what's amazing is that it came up with fx studio stock blogging. And I personally prefer it than fL Keith, and you must try it for real and see by yourself. So let's remove it now. To take the stage grant. As I said, POC instruments, keyboard stage grant. There is also closed grant and grand piano, which sounds amazing also. And sometimes I use them as well, depending on the side I want to create and development groove I'm looking for. So let's start creating our gourds. Let's rename this pattern chords a. As you can see, changed automatically in the playlist as well. So for the creation of the course, we will use the simple idea which is starting with the bass notes first, and then we will add new lines above those days not centered, we got three or four lines in each single progression. Let's increase the velocity. What do we mean by the velocity? It's the intensity by which we press the keys in a keyboard, piano. So as I said, we will create line by line, started by the bass note. And now we'll move to the second line. This is meant to be a tropical house. That's why I tried to create an app. You can see now for the third one, liked it. Now we will add another line to make it even thicker and fold because I feel like tree line isn't enough. So let's make the fourth line using our ears like for the previous lines. Just like that. Now that we've created our chords, Let's copy the baselines with Control C and then Control V to paste them and put them one octave lower with control down arrow. And then we will adjust to those notes are basically the same. It's just that they are playing lower than those main ones. So now the second thing we will do is the velocity, which is, as I said earlier, the intensity by which the keys are being pressed. Usually when playing the piano, intensity of pressing the keys is different from naught to another. But in FL Studio, the keys are being pressed perfectly because they have the same intensity. That's why we will Eumenides them by adjusting the velocities too. It sounds like if it was played by the human hands. So let's start adjusting by selecting each line and by pressing Alt and mouse scroll down, we can decrease the velocity of the selected piano notes. And we will do the same for all the other lines. The velocity bar where it started. That's why it seems like if it was 1 bar velocity for each progression. But in reality, it's not got its own velocity bar. And by pressing Control B, we can duplicate our chords. Now we will spread them by pressing Alt S. And now as you can see, they will not start at the same time. And this is another step to humanize them more. And then we will press, Accept. And day we found exactly like if they were played by a human. As you can see over here, we have some notes that interfere in the next bar. So we did just cut these extra part like desk and with a Control X, we can delete them. So let's play it in the playlist window by pressing the song not like that. We have now a nice sustained chord progression that will be the main elements we would use to expand. So that's how you create your course progression and using those chords. And said earlier when we tried to expand our music and other patterns and elements and SFH. One thing I wanted to mention is that I don't have any idea or inspiration that pushed me to start producing this phone. And it is not a music I've already produced and I am remaking it. That means that we will be struggling sometimes by creating something which ones work and we replaced it and so on. And I am sitting all of those routes, we can know how really music production goals. And another thing I would try to do is to be as minimalistic in my video editing as possible. So thank you for reaching so far, and I hope you liked this first lecture and see you in the next one. 3. Structuring Your Playlist And Creating,Layering and Mixing Your Pads: Hello guys and welcome to this lecture where we will continue our journey making this music in the style of tropical house music. So in the previous lecture, we did create our chord progression and we did humanize them. So they sound like if they were played by a person. We said that those will be the main core of our whole song. I just want to remind you that I don't have any idea about how this is going to turn out. We are just jumping in and creating music from scratch. And as I said in the last video, I will try to be minimalistic in my editing. So you can see the full process of me making this music, which means that we will be adjusting in real time. The ideas we try to apply. Some of them will work, some will not. And that's basically how music production goes on. I could have made discourse in 1 h or two long, but I choose not. So you can have a better understanding of how electronic dance music is really made. So without any further ado, let's jump in and see what we can do in this lecture. Okay, So perhaps we can create new chord structure using the chord progression we made in the last lecture. So let's copy and past our codes in the new pattern. And let's adjust them so they start at the same time in this pattern, because those chords we will be creating will be used in the brick and other parts of our song will adjust each line separately, the second, the third, and so on. And for those nodes that doesn't reach the black line, we can make them rich it manually. But we can also add the node in the next bar, then select them, and then press Control L. And automatically they will reach the black line. And that will be in all of our progressions. So now let's edit those courts and make a rhythm like this. So let's start cutting and editing. As you can see, the grid we are using is one-quarter bit. Let's name this pattern progressive chords. So let's make this new progression. And those will be our first progressive guards as each will be, as I said earlier, the main chords of our drop. That's for sure and double-check maybe and perhaps other elements we will add them later. So let's hear this result. Maybe we can change the BPM to make it slower and more groovy. 105 seems to be nice. So now that we've created our progressive chords, we will structure our playlist just to make things organized. So the first thing we will do is we place our long chord in the playlist. My advice for you is to leave this first bar for the pre intro section, because you don't want to store your sunk directly with the instruments. That's why we will leave it for smooth and atmospheric elements that will lead us to the intro. So I'm thinking about an intro of two pattern. Each pattern will be 4 bar long. And so as for the break, the build-up and the drop, and every section we will be adding in the future. So let's add a time signature so we can maintain this dark, light, dark light structure that will help us while arranging the song. So now let's determine our sections. So we have the intro, brief intro in this bar, the break as well. And we'll add later the buildup section and the drop. So now that we made our structure, we will try to add other elements. E.g. we can add a pad using this plug-in called flex. So let's choose the new pattern and copy our Long cords into this plug-in. Okay, this reverb is very intense. Let's disable it. And so as for this delay in the pad, you won't need the delay effects. For the reverb. We will customize our own reverb. As for the mod envelope, let's reduce the attack so that the first ten milliseconds of the sound starts very quickly. Each bud got a slow but not too much slow attack and long hold and sustain and also decay. And a little ***** of the relief. I want to be discussing this stuff too much because this is not a sound engineering course. Perhaps we can explain this stuff in another course in a more detailed manner. As for now, let's make it using those are the SR note sound like a pad. And we will try to add more elements later that you will make a rhythm even fuller and nicer. So now we can add our own reverb using Free Tier reverb will adjust the room and cut the loads using the low cut NADH and make it a little bit more stereo using this separation knob. And then we will add in the decay time, which is the length of the reverb thing. So now that we add a reverb, let's make it an octave higher. Using Control arrow up, we name it's bad one and using Alt arrow, right, we'll replace it to another mic, third channel, and place it in the playlist. I didn't like this preset too much. That's why even after modulating it, we will change it unfortunately. So let's use this one. Maybe it's search journey to Cloud using the same principles. Alright, so let's get rid of those bass notes because they will be replaced by the base elements we will be adding later. We'll change this one as well. Maybe this one, Let's turn it to a plant. Okay, so I think I like this one. So now we'll complete our processing by adding a 3D parametric A22 right after the reverb, which can affect the wet and the dry signal of power. But it's not the dry signal only to remind you, the width signal is basically the reverse signals that echo signal you here after adding a river. So we need to cut the low frequencies because they will be filled by the base frequencies and will boost some of the hive. So now we will cut the low frequencies because they will be filled by the base frequencies. And we will do some of the high. Let's name it the mid part because we will be layering it with a high paddies. Well, maybe. So let's add the new pad instrument using this plug-in called nixed us. Okay, so we can use this one. Maybe there isn't actually a technique or tip to know which preset will sound better or the layer. The only thing you can do is to try multiple presets and see the one that you like the most part, the one that's complete, the first instrument in case you are layering. Okay, So this is the sound we will be using. Let's put it right in the mixer channel number 21. Okay, so now let's disable this delay effects and leave the Nexus revert enabled. Let's add an EQ and cut the lows and boost some of the hive. So now the last thing we can do is some ADSR adjustments. So this new instrument follows the same modulation as our first part. So those are small deletion knobs, the attack, decay, sustain, and release. I just want to mention that most of the plug-ins will be using have those basic modulation notes. Some plug-ins got an extra node, which is the hole, and some have it. And why learning how to create electronic music, it is very important to learn how to use these four knobs. So you can turn a bad into a block or a neat sound into a base and so on. Okay, so now I think they follow the same modulation. Let's now reach our paths to the same mixture channel by selecting them and pressing route to this track only. So now the signal of our pads is being sent to this mix, the channel, then from this one, each, the master channel. Let's rename this one pad and change. It's cool. Okay, so that's it for this lecture. The next lecture we will try to add more elements and expand this part to a full, complete tropical house song. So that's it for this one. I hope you like the results so far and see you in the next one. 4. How To Create A Nice Atmospheric Sound And Mix It: Hello guys. In this new lecture, where we will try to add more elements to our songs to make it even fuller. So the first thing we did is we created this piano chords using the stage grand piano. Then we add this pad gourds, which is by the way, true plugins and instruments from flexing Nexus combined with each other to give us different pad sound. And in the mixer they are routed to the channel mixer Number 22, where we add an EQ to lose some of the height. So I'm going to show you now how I made this by which we boost the highs to make our pads more clear and open and fresh. In fact, boosting the highest can make our students more open and stale. And they add like a nice clearance of this final result. Here. These results with and without. The difference is very clear that you can hear so much clear now. So now we will try to add an atmospheric elements. So let's e.g. use this plug-in code block. And we'll create a one-bar or melody that you will be later used as an atmospheric sound. And you'll see how I am willing to do. So. The first thing we do is to create these short and simple melody. Try to make it simple as possible. The melody will be creating, needs to in the same key as our thumbs. So just create something that goes with our corn. For something like this. Let's duplicate it using Control B. We will hear the difference once you finish, this atmospheric sound will be creating because it adds a lot to the, to the mix. So now we, we render it as an audio clip daily we will send it to Edison and we would press the blue button, then accept. So this is the atmospheric sound you want. We'll drag it to the playlist. I'm going to name its atmosphere one in case we wanted to add another one. So now we will mix it by adding an EQ to cut those harsh frequencies because they really sounds bad and they covered this moon high frequencies of the part we did boost earlier. We will keep the knees and both some of the nice mid frequencies. So now to hear the difference, Let's see here the final results so far with and without this atmosphere element. As you can hear, it's there but it's hard to recognize it, but it adds a lot to our results. Another thing we can add is the base elements to fill those low frequencies. The base we will be adding needs to be simple and not very harsh because this is a tropical house type of music, which means that our elements does not need to be very intense. Moreover, this is an intro section. This is another reason to keep things smooth and calm. So using a plugin called *******, we will add our base knots from the piano and we will mix it by cutting the lows, which is the opposite of what we have in the path elements. In the pods. We did cut the lows, but now it's the high we will be cutting so they don't interfere with each other. So in the next lecture we will be adding other elements and a step-by-step. We will complete this song with all of its sections. So thank you for reaching this far. And I hope you are enjoying this process of making the song and see you in the next one. 5. Creating a Hihat And Mix It To Fit The Vibe Of The Song: Hello guys and welcome to this lecture where we will be proceeding in our production. So in the previous lecture, we did create a new arrangement in which we create a new loan cord, pianos and pads for the base as well. So I am thinking about some hi-hats to follow the bits in back. Do I have? We will make it shorter, so it sounds like a high hat. We will assign it to a mixed third channel. This hi-hat sounds very dry. It doesn't fit in our mix. That's why we need to add a reverb plugin to add some wet signal to it. So we will go with free to reserve EQ tool, which is the FL Studio stocks blogging. And we will be reducing the dry signal. This high hats doesn't need to be recognized in our mix. It is an ambient elements like the atmospheric sound we created previously. Now using the trends in processor, we can increase the attack of the hi-hat so it doesn't sound touch even, but at least we could have some attachments. In your production process. You can leave those little details like this one, a class. But take prefer with adding an element to make it in the mix with a certain degree. So I came back to it later and re-edited with a whole different purpose. So e.g. this high hats, as I said, I'm Amy to use it as an ambient elements, which is not the basic way of how it is normally used. But this idea we are trying to apply. So let's see if we can found a layer for this one. Though sample found within. So let's add them to our thick winter and keep them there. Maybe we can use them later in some sections. While producing. If you ever find the thug dots or sample that you like, don't lose it. Even if you are looking for something else. Just drag it in your playlist and leave it there because you may use it later. So we will just keep those three samples. So as a layer, I think about a ride sound. So we will look for a nice one in this Kashmir sample pack. Maybe we can find a good one. We will assign it to the same Mixer Channel. Now, the reverb and ditransitive processor are affecting both the hi-hat and the right. 6. Sound Designing a Pluck and Mixing It: As for the plaque, I will try to design a new sound using this plug-in named silent one. We would choose a default preset. So the first thing we can do is to increase the polyphony 216. So we can play up to 16 nodes at the same time. So e.g. if we set this polyphony to true, we will only be able to hear two notes at the same time, even if we are pressing more than two key. So using the oscillator number one, we will choose the square wave and fit the voices to eight. So now the wave shape, where each is a stock of a two voices in front of each other. And now we will copy those parameters into the other oscillator. And we will make each one octave lower than the first one. We will reduce its volume because the main voices came from the first one. And we will add a reverb to add that type of wet signal. So now we will edit the modulation knobs to make it sound like a plug by adjusting the attack, decay, sustain, and release. Just like that. Those modulation knobs are exactly the same as the one we find the nexus over here. And we found them in the majority of the plug-ins. In fact, they are the knobs that enable us to shape the sound, to make it sound like a base or a pod or a plug, coral lead, or any other type of sound. So now I will be using this technique to make the sound even luckier by making the following adjustments in here. So the first thing we need to do is to make a low pass filter. And in this special modulation, we can choose pitch. A pitch is going to follow the parameters we will be setting in this AD is our modulation. So we will just increase a little bit the decay time. And cutoff filter a in this order modulation, even if it does not the thumb that much, but still we can maybe use it later. So this is how you can design your own pluck. And now, coming back to this first progression we have made, we will copy it in our pluck instruments so we can add it to our brick fiction. And thus you can, here now we are reaching. There is a group that is been building up and h will be even more Groovy when we will add questions of VFX and other elements. Another thing we can do is to create an automation clipped to the main filter cutoff of our pluck, which can move alongside the music. So by editing this automation clip, we can create a movement in our plot. Another thing we need to do is to edit the first black pattern we will be using to follow the same rhythm as the piano and pads. We can now feel the difference between the intro and the breadth section, because we have a completely different chords that's played the same rhythm but in a shorter way. In addition to the blood moves. Alongside the info section. We will assign our blood into a mixin channel. And the odd sound, good either. So which can excite the piano. And after that, we can add an EQ, got the lows, and boosts a tiny bit. Another thing we can do is to change the piano off the brake section, which can follow the same rhythm as the plug. And hopefully this will work. Let's record the results so far in Edison and take a look at the shape of the wave file of the song. So in the next lecture, I'll show you how to consolidate your patterns so we can reduce the CPU. Keep watching. I am teaching type of storm can display. So I can choose which one is better. As you can see, the plug is hitting so hard and it's tens on top of the other elements alongside the piano. The results so far is good. It needs more work. And that's what we are going to do in the next lecture. We will be adding things, reducing tanks, adjusting knob as long as we are producing to make it even better. For this piano, I feel like it needs to be one octave lower, so it doesn't interfere with the range of our black. So that's it for this lecture. I hope you like the results so far and thank you for reaching this far and see you in the next one. 7. Consolidating Your Chords and Adding your First Percussions: Hello guys and welcome to this lecture where we will be adding other elements like percussions. And maybe we will try to consolidate some of the codes patterns, like the piano and pads and the pluck and so on. So the first thing we need to do is to set a file where all the audio files we will be using will be sent into it so we don't lose anything. So we will go to Option projects, info, then project. And over here, we can set the folder where all the data we will be using will be sent into. So as I said earlier, we will start consolidation process for the elements that you've got to more than one sound while play. So e.g. the bass plays one voice, so we don't have to consolidate. But for the core, each place five voices. Still, we will consolidate it. So we can became one voice rather than five. And as you can see, each chord got five nodes. Therefore, each plays five sounds at once. So all what we need to do is to find the piano chords patterns. And then with a right-click, we can press this rendered as audio clip and then a window will appear. So we will leave this enabled insert FX button so the audio file will be cost effective, or do you remember if you want to assign the consolidated result to the same mixer effect, you need to disable it. Mixer effect. Otherwise they will be w. So now we can replace the piano chords pattern with the piano consolidated audio file. So this audio will play one sound like the base. So we'll do the same process with the other chords and every pattern that plays more than one voice. I think that I forgot to modify the velocity of those chords before consolidating them. I would say that the only problem we could have wide consolidating an element is touch. We can't edit the audio the same way, the pattern. So when we found a problem in the audio file, we need to fix it on the pattern, then reconsolidate the result. That's why you need to make sure before conflict. That's everything is good and touching one to go back to this pattern for editing. So let's decrease the velocity and the reconsolidate the bladder. And we will repeat the same process for the path for the plaque. We can't do this process because it is related to this cutoff automation clips. So the tank we can do later, even if it's not recommended, is to record the block from the playlist, the movements of the cutoff automation clip using edit. I personally don't recommend you do any two, because when it comes to automation clips, you are most likely to read edited than anything else. And then you will need to record another time. And it's very annoying when you repeat this process more than one time. The consolidation process reduces your CPU usage with an incredible way. That's why I highly recommend doing it as long as your production process. For the pluck, let's remove that annoying click using the attack knob from the main modulation system by increasing it just a tiny bit. So now that we finished consolidating the elements we have, we can start adding our percussion. Let's start with the kick. This one is nice, so let's place it in our sequencer and try to add maybe a Shaker Loops from the Kashmir pack. Once we set the main elements of our percussions, we can then create a side chain effect that will make stone more groovy and venture. In order to set the right timing for this shaker loop, we need to go to audio and enable the stretch button. So now we can adjust the length of this shaker, which can fit the right timing of our project. Shaker look at some noisy high frequencies that doesn't emerge with the vibe of power. That's why we need to EQ it. By cutting the low end and reducing some of the highs. We will add a snap sample to play along with our kids. Important to mix every sound you add to your playlist. You can keep things organized. So I hope you did understand this production process. We add an elementary purchasing the playlist and assign it to a mixer channel. And in fact, every Mixer Channel got ten slots. So you can add ten plugins effect for every elements you add to your song. All of those sons are routed to the master. So now for the snap, I am adding a reaching reverb to make it sound better in the context of the mic. I just wanted to mention that by adding a reverb effect, you're adding in parallel to the brute dry original signal. Another signal called the wet signal, which is nothing but the reverb signal. And by doing that, you can have more control over the volume. Because now you have the reverb plugin, but derived volume knob and the wet volume knob. And both of them are being routed to the main volume of mixer China. I think we can do later is to create a melody which is the need line that's can play on top of everything but will leave its creation for the next lecture. So that's it for this one. Thank you for reaching this far and I hope you did learn new things today and see you in the next one. 8. Adding Arp and Sidechaining the Elements: Hello and welcome to this new lecture where we will try to proceed in our production process. So in the previous lecture, we reached this results so far. Now we will think about what we can add in the intro part and the wind up and dropped section. That doesn't mean that intro and the brick fictions are finished. But I believe that we can do better in those sections. So let's mute this piano because I feel like it shouldn't start playing in the breadth fiction. So that's where the intensity of the song we slowly keep building up. We will leave it to here. So to unmute and elements or enable it, you can just make a double right-click to the element. You want to mute the clock, we can make some adjustments that will make it sound better. E.g. we can change this velocity pluck automation clip. We can recognize it from the beginning of this tone because it's very quiet in the intro section. We can also try to add some offbeat notes to the pluck and make it better. In fact, those offbeat notes make this plot quotes sounds interesting, and add a lot of glutinous two weeks. This block element is going to be an element on top of everything. That's why it needs to sound very good. Now when you hear the results in the mix, you can feel the difference. Why producing? Don't be afraid to try new ideas. In this course, I am showing you just a basic model of how you can make a song in a tropical house. But you can try to make a song in the same style with the whole complete different way and finish with a much, much better results. And now that we adjusted our blood, we can try to add an ARP elements that can be 1 bar or too long, and we'll add a lot to the mix. You will see what I'm talking about just in a second. So I am using Nexus to make this are these presets is good. We will adjust it a little bit and we will try to create our own. We will try to make something simple so it doesn't confuse the listener. All right. So something like this is going to be perfect. When we have a section where you are going to start multiple elements, patterns and audio clips like this brick section, where we have an intro, bass, chords, piano, an atmosphere, and the pad up look and the high hats, kicks and shakers, then art. So some of those elements need to be side chain. The side chain effect is basically to reduce the volume of thumb elements we got in this section when the kick hits. So they don't interfere with our kick because it should have a room on its own. So to create the side chain effects, I personally like to use an automation clip so I can have more control over its curves. But you can use any other technique like side-chain in using a compressor or a far-reaching peak comptroller or anything else. So let's say Shane first our base. But before we start, let's make it follow the same rhythm as the pluck. One thing we will add, maybe it's a subspace so we can make the base frequencies more thicker and fuller. This base needs more processing because it's very weak. So we will need to add maybe a sound good either to make it even thicker, to make it stand. Now we can add a fruity balanced to create the side-chain automation clip. And we will rename it Breck side chain because we may make a difference automation clip for the drops side chain. Now we will create the side-chain curve and placed it whenever the kick hits. So now every time the kick hits, the volume of the base will follow this curve. Another thing we can do is to compress this kick a little *****, which can be more punchy using a fruity limiter. I'm not going into the details of how to compress a kicking this course, but this compression, as I said, has one purpose, which she's been more punch to the tip so it can stand in front of the mix. And now we will add a sound good either to make it even more thicker. So now that our base side chain. Also side chain the plot and the pianos and other elements using the same method. For this piano is called phony data. So we need to assign it to a new Mixer Channel and add a freaky balanced for the side chain. The pattern piano was assigned to this Mixer Channel. And when we did consolidate it, we didn't disable it. Plugging effect. That's why we don't have to sign it to the old piano mics or channel. Otherwise those effects be doubled and will sound very bad. So we will add a fruity balance. And with a right-click, we can link this volume nod to the base side chain automation click. If you aim to create a different curve, you can create a new automation clip and repeat this process. But we want to keep things simple. That's why we will link the snow. But as I said, to the base side chain automation. So now this automation clip is controlling the volume knob of the base of the piano. We will do the same for the blood, the shaker, and the atmosphere, and the path does not need to be changed because they are a background elements and they don't interfere with our kids. So now let's say shane, the other elements we mentioned previously, you will notice the difference when we finished side chain in those elements. Now, this kid has a bitter in the mix, is still much, much greater despite shadow. So that's it for this lecture. I hope you like this results so far and see you in the next one. 9. Creating The Pre Intro Section: Hello everyone and welcome to this new lecture, where we will complete what we have started with so far. This is what we have made. We still needs to add some effects and variation affects between the sections. And we need to think about how to make the grid. And little by little, we're trying to work. So first think, I think we can add is the snapped in the intro. Then we can add a nice effects. The reason I am adding a snub is so dark, the intro doesn't sound percuss. Let's, if this is the word us for the VFX, we can add maybe an infarct from the Kashmir. This first V effects that we will add in the intro and precentral doesn't need to be harsh and have high frequencies because those frequencies represent power and intensity. And we are just in the intro, the intensity of the song should be slowly and little by little. So we need to reduce those iframes when fees from this impact using a low cut. So we will use the mod x naught to make it. In fact, this mod x naught is basically the same as an EQ Low cuts. It's the same thing. Using these small ***** knob. We don t have to assign the impact to a mixer channel, then adding an EQ make it the locus. So now we will work on the brief intro section. Maybe can add a button. As you know, are pad is combined of two presets instruments. So to avoid editing in each one separately, we can add a plugin called layer that allows us to control the two of them at the same time. All what we need to do is to select the plugins we want to control and press fit children. And like that, we can control both instruments at the same time. So let's create this pad cord that can lead to the intro section smoothly. It is basically just like an uplifting effects. We will try to find a nice order and variation that will lead to the. Now we can add the free energy balance and create a volume automation clip to create a fade in effect. Just like that. We can add also the bass note and link it to the same automation clip. We can, whether make it using a new fridge balance or by using the same pretty balanced we had before by creating a new link. So now this volume knob is basically controlling with the first link, the side chain automation clip. And with the second one, the fade. In effect. This is not the only elements will, we will add in this little section. There are other things we can add, like e.g. we can add an uplift sure. I have over here where we just reverse it and then adjust it a little bit so it can fit in our fixing. We replaced the same uplift churn in the beginning of the intro by making unique one. Dan, did they believe the reverse and adjusting? We will assign it to a Mixer Channel and add a balanced. So we can create a volume automation clipped to create a new fading effect. So that's it for this lecture. I hope you liked the results so far and see you in the next one. Where would we be? 10. Starting the Build Up and Creating the Melodies: Hello everyone and welcome to this next lecture where we will be thinking about what are the elements of the brick section, but we will maintain in the build-up and the new elements we can add. The first thing we will do is to copy and past those variation effects and place them in between the sections we've made. You can hear those valuation a lot to the phone and make it even better. One thing you can do later once you finish the song is to record the elements you liked and the ones you think you can use in order projects so you don't lose them and reconstruct them from scratch. And this will save you a lot of time. You can do the same for the mixing processes as well by saving them just like e.g. the piano process, I'm saving the one I've showed you in the first lecture. So now we will see the elements we can add in this winter. The background elements should be present. All of the sections we will make, we will add the chords. Piano was when. We need to add also some uplift churn, VFX and a snare roll, maybe a kick role as well. And the drop melody as well with a low cut filter. For this melody pattern with ADD, we need to add a tropical kind of instruments like e.g. a. Beautiful clock or maybe a flute, or some organic instruments will be the main instruments that will play our melody, but we will add more layers to it. The drop section. In the buildup section, we will stick with this one only with a low cut filter on it. We will assign it to a mixer track and add an EQ to cut to the load and add a fruity balance for the side chain effect. So now this is one of the most difficult step we are going to do, which is creating a melody. And as I said before, I have no inspiration, no pre idea in my head, absolutely not. The process of making good melodies can be learned that easily. Because each relay on practice more than a technique or a tip. For you as a beginner, the more you practice making melodies, the more your sense of creating good ones will become more effective and chart. What I am going to do is to try creating some melodies may be two or three, and we will stick with the one that does not make our song sounds bad. Because making a nice melody can take too much time and we will not spend too much time on this. So discourse doesn't became too long. Let's start making those melodies and see what we can came up with in a short period of time. This is the memo. I came up with small dots, but also that perfect. We will leave this melody here and the beauty. And we will try to create a second one. Something like this, is pretty good. We will leave it like this for now. Now for the church. Let's make it a 1112 type of rhythm. You will see what I'm talking about. Okay, So that's it for the melodies. But you have a big problem. So the problem we are facing with the brick, but now it seems like had dropped. That's exactly what I was talking about in the lecture. We tried to do something, and instead we came up with something different. And that is the tracking of a music producer. This should not take you down to just keep up and you will reach the results you want. That should not be a problem and should not be done encourage you. But in fact, it should motivate you to keep up the good work. So that's it for this lecture. Thank you for reaching this far and stay with us to the next lecture to see what we can do to fix it. 11. Adding Multiple Elements To The Build Up: Hello everyone and welcome to this next lecture where we will try to complete what we have started. In the previous lecture, we did create some melodies for our break, but it turned out to be very intense. That's just like a drop. So we need now to speak. So the first thing we need to do is to place those melodies in the drop section. And they think that the church melody is better. So we will stick with it for our drop section. Now we will try to create this motion of intensity using a low cut EQ that can wield these intensity of the buildup, then each will be all open in the drop. So by automating this band, we can create this low pass filter automation clip. We will try to fill this went up by more elements like a snare roll and then uplift or VFX and more elements. So e.g. we can try out then the pluck and adjust the velocity automation clip so it can help us within Dutch energy we want. I think we can add also the rpart there in the second half. And the variation effects also, because the brain is the important part that needs to maintain that interest and wipe off the wind, deal up the energy. We will try to make now a snare roll, but not in Dutch basic way using one snare, but maybe we can use two or three layers. I'll be using some snare samples from the Kashmir pack. I did pan one to the left and the other to the right, so it can be more stereo. As for the mixing, I think I will add a reverb to merge it with the vibe of the song. One thing you can use these to make a snare roll Dutch followed the rhythm of your melody. So I am going to use this technique and see if it works or not. While making your build-up snare roll, keep trying different rhythms and see which one of them you prefer. You can make a more complex by adding a club and even a kick role. Because that's what it's like to be creative is to break the rules and try new things. This program will never tell you a role you're broken. So whatever you have in your head, just go ahead and put it to do. We need to add a drum fill in the last part of the fixed. That's why I didn't add anything in it. Now we need to make a pitch automation for those snare. They don't interfere amongst each other. Because when you teach a sample became shorter, therefore, it doesn't collapse with the other snares next to it. This is the theory behind pitch in your snares. But if you did have another technique to prevent their collapse, you can leave it without any changes. Using the same technique for the side-chain, we will create one automation clip and make each control the pitch snobs of goat, our snares. I choose the range of 24, so which can have a higher pitch of 24 semitones. Leave this one as resampled, so it became shorter with the pitch effect. So something like that is good. And now we will add some VFX uplift churn that will help us within that intensity. We want. Those VFX uplift churn can be assigned to the same mix of Shannon. And then you can add free to Philadelphia. For the field drum loop. I think I'm going to choose one from the Kashmir park and customize it. We will add also a stadium clubs that have the same objectives which she went in the intensity. We will shift it a tiny bit from the beginning because those type of clubs, they don't have attacked from the top of the company, but it is a bit in the middle. So let's try to make this club the better. Hi, I'm thinking about fading effect we can add for this collapse so it's snow near reduce its volume. For the field part, we will add an a or paste subsample. So that's it for this one. I hope you like the results so far and see you in the next one. 12. Adjusting The Build Up And Starting The Drop: Hello everyone and welcome to this next lecture where we will continue our journey making this song from scratch. So in the last video, we started adding more elements to the buildup fiction like the snare, roll, the club, the melody, the automation clips at pluck. And now in this one we will add the field drum loop. But first, let's listen to what we have done so far and see if there is some hidden we can adjust in the intro and the brick fiction. So the first adjusting I will do is to reduce some of those low ends in the space using a parametric EQ. Now for the breakfast, great. She doesn't need any changes. I am just going to reduce just the little bit of the dry signal of the snare. Now I think that we need to add a key role. This one is good. We'll assign it to a Mixer Channel and then we'll see if there is any processing we can make. Recall from the second half of the build-up for a reason which she's so it can play alongside the melody. We will leave it like that for now. Now. Look for a nice drum fill in the customer, but our BPM is 105. So we'll go with those with 100 bpm because they are the closest one to our VP. We will adjust it and maybe we can add other percussions to make it fall. We will leave it like this for now. And now we will see what are the elements that we can add to the throat. So I'm thinking about the base, the piano, the pluck, the atmosphere and bad. And maybe the hi-hat and shakers. Dr. at the kick. Another thing we need to add in the side chain being dots. But in this case the site shape automation with each fourth, fifth, but not every time the kick hits. Greenfield needs some adjustment because I didn't like dave, lifters with David, We will add ricci balance and create an automation clip through we can make the fade-out effects. So that's it for this lecture. I hope you like the results so far and see you in the next one where we are from Section. Think about the elements we can add to the thicker part of this. So I'll see you in the next one. 13. Layering the Melody and Creating The Sub Bass: Hello everyone and welcome to this next lecture where we will continue in our production process and complete our drop section. So in the previous lecture, we started making our drop. And the first thing we will try to do now is to layer our flute melody. As far as the side chain, we'll see if we are going to make a new site shade or stick with the Brexit shade we've made before. And we will also go into figure out a way to make this ticket bar of this project. So let's take a look to our buildup and drop. After making some quick adjustments here and there, I'll try to add the sub bass to this rope section so the base frequencies becomes thicker and fall because the base we are using was only meant for the bracket pulled up, but in the drop we need it to be more heavy. That's why we need to add this up. So let's create our sub base. I'll be using a simple sine and square wave using a3x oscillator. And then we will assign it to a Mixer Channel where we will add maybe a distortion effect to make it even more heavy. The NICU to make some frequencies catch. The drug must always have a subbase in any style of music you want to produce. You should always be careful while applying as a distortion effect, because this type of effects at some frequencies. That's why after every distortion effects, you need to add an EQ after to clean it. It is important to respect the order distortion then an EQ and not the opposite. For this mixing. Nope, it is better to use the one you have in the plugin. This one you have in the slots, because these external one doesn't work properly. The last thing we need to add in this sub bass is a side chain effect. Using the headphones you can clearly hear the difference with and without the sub bass. Now we will start layering our melody. So let's make this pattern unique. And now we will add more layers to these melodies through which can stand on top of everything. So I am thinking about some basic instruments. We will assign it to the mixer channel next to the one of the fluid. Then we will add the side chain and an EQ and we'll see what we can do wet. We will route all of the melody layers to a new mixer charter and make a low clutch BQ and maybe a reverb without forgetting the site shaved. In a tropical house style. You don't have to make multiple layers to read 24 is enough because this type of music doesn't have to be very intense. It is not like a progressive track or maybe future based project where we need to win that energy by adding multiple layers. So for the side chain, each layer have a fruity balance for its side chain, which keep us with three fruity balances. But we could use only one by adding it to the 28th mixer channel. That's regroup the tree layer, that's one. So let's change this to something better. The main elements in this melody is the flute. It's the one that should gets all of our attention. One thing we need to do is to consolidate this melody because it's using three voices. And sometimes when your PC is low, it can really start logging and crush it. But for this melody and because we used for separate mixtures channels, we will record it to you intended, because we want to assign our audio melody into the same group Mixer Channel. We will disable all of the plugin effects inside of it. Then we will start recording. Now, Edison will record those three instruments with their own mixer plugin on them. And then after placing the audio clip off the melody in the playlist, we will assign it to the 28 mixer. So let's play fits in the playlist and name it, dropped melody, and assign it to the 28th Mixer Channel, as I said before. Okay, so that's it for this lecture. And hope you like this first half of the strong. And see you in the next one, where we will be working on the second half of the bomb at ten q. 14. Starting the 2nd Part Of The Song: Hello everyone and welcome to this next lecture where we will try to complete these projects and start building the second power of the sun. So let's take a look at what we have done so far and see if there's something we can adjust or modify. I just wanted to say that this type of music we want to create, it depends. Usually the second part of the song is the same as the first one, which is basically the same with just a few adjustments. Consignment are going to bend it. This bar is going to be much shorter than the one that we spend in the first part. Okay, so far, everything is great. So the first thing I think about that, I didn't keep this variation between the buildup of the drug that needs some change in the curriculum. Good, that's first. When it hits weaker, it sounds bad. So we need some adjustment. Okay, so let's make some quick adjustments to make it better. So something like this is good. Another thing I would like to change is the length of this field section. So we will make it longer and try to make it better because it was very quick. That's it doesn't give us a moment to realize that the drop will hit. So one thing we need to do is to adjust some of those wind up elements, like the uplifting effects and try to feel better. Let's place those variation VFX right over here. So I am thinking that this first half of the cell is very loud. So let's just create an automation to the volume and adjust them a little bit. I will be using only the volume multiplayer knob because I don't want to assign it to a mixer channel. Then add in a free tool bar loans. So automating this knob is going to be much quicker. So now the volume of this thing is following this automation clip. So let's take a look at the results. So now we will move to the second half of the thumb. So let's place the second break and buildup sections to the playlist and see what are the elements that will take from the first bar and put it in the second one. So e.g. this atmospheric AudioClip, it can be at all a longer project. Maybe we can add it also in the intro part. Let's try it. Let's assign its volume to this fade in volume automation clip, adhere the results. So for the second part, Let's take e.g. the blood debate. But also different. Empty, something is missing in this section. But that's not because of luck. So maybe we will add the PRB. As you can see the piano add the log to the section. So this is what I was talking about. You see how we did finish this section? Very it's because the second part of the song is basically the same as the first one. We just saw a few adjustments here and there. And now for the second Breck, we can add also do shakers and then something is missing in this brick yard. The second Rex will be a bit different than the first one. Brick we did create a chord progression. But for the second brick, we are sticking with the long chord progression. And that, as you can see, can create a huge difference. So we need to make some effort to make it full, like the first one, but in a different way. So I'm thinking that we can maybe make some changes in the velocity or just keep the same brake energy that this automation gives us. So now you can see now that's why we took the bar of the proclamation that brick, we can see the same thing of bread. So what we can do next, it's maybe these two are over here as well. But with a long thin volume automation. I prefer in a situation where we have like this site. We weren't reachable to add the buttons. The same one because when we are having to automation clips That's controlled the same knob and playing at the same time. They would just interfere with each other. And we'll make it sound weird. So we will add a new one and then create this fade, in effect. To keep the volume knob on its default level, we will just take each bar and put it in the beginning of this project. Let's add the variation. These napkins very loud. So let's read in the reverb. So this is something we didn't pay attention to. This topic played twice in two different patterns. So let's fix this problem and try reverb to all level. We should always be careful and not make the same errors because sometimes you've finished your thumbs and why listening to the final exported results, you can notice something wrong and you would probably become lazy to reopen the project and feel the problem. But let's just hope that none of that happened to us. So that's it for this lecture. I hope you like the results so far and see you in the next one where we will be creating some UPR Brexit to make things even better at nature. So, see you in the next one. 15. Creating the 2nd Build up And Drop: Hello everyone. In this new lecture where we will try to complete what we have started. So in this one we will create a new piano progression. So we will try not to use the piano roll. We will just cut the piano audio we have. And then we will move to the build-up and drop. And the last time we'll do is the outro section. So as I said in the previous lecture, the second bar of the song is nothing but the first one with some few adjustments and some minimalistic changes. So without any further chocolates create new period. So let's take this piano audio clip and we will make some cuts for the wind, its original pattern, which is not cut perfectly. I don't know why. So let's just fix its money. As for those ticking sounds between the cuts, we will see if the beer using the side chain and in the mix, if they become noticeable, we will keep it. And if you need to create them in a new pattern, click. Okay, so I think that this effect is the worst. That's why we just create these chords piano in the new pattern. Then we will consolidate it and put it in the plaintiffs. So now that we have a new pattern clip, let's render it to an audio clip to reduce the CPU usage. So now we can assign them to the piano Mixer Channel of the consolidated pianos, which is the 8th, where we have our side chain. Now let's copy our buildup and drop sections without the atmosphere because it's already there. Okay, so everything is aligned. We can make a left-click to de-select and listen to what we have. So let's take a look at these results. So far. We didn't choose the path for the contracts. So let's copy the first dog and put them there. And do remember to copy the lung bud cord is not the one because of the long chord progression. So what we can add next is the last section, which is our true. But before creating this section, we can make the second drop twice longer than the first one. So let's try and do this. We will copy all of those elements and paste them right over here and some thin sections between the first and second half of this drop and at the end as well, and add those fills in the first drop as well. Louis copy those films elements and put them in the corresponding parts. Like that. Let's make them shorter. As you can see, this is much better now. So now that we've add those fields section, we can move to the outro section, which is the last section of this project, but that's going to be in the next lecture. So stay tuned and see you in the next one. 16. Creating the Outro Section: Hello everyone and welcome to this new lecture where we will complete what we started in the previous lectures. So as you can see in this, you started this course from the beginning. We did started making this song from scratch, from an empty project. And we started creating element by element without having no idea about how this is going to be. For this lecture, we will try to create the last and final section of this project, which is the outro. The second part of this sunk was easily made because as I said, it's a new version of the first one. I just wanted to say that the tropics, What type of music is not Dutch in general, even if it's electronic music. So the high frequencies and the harshness of this font is filled with those shakers and high hats, and also with the lead melody and some of the paths, moods, high frequencies as well. If we were created e.g. a. Progressive house track, this won't be enough. We will need to add white, moist and dry and dropped and chord melody. And also a big, heavy and distorted. Let's go to the high frequencies as well, even if it's okay. So now what we can do it for different shops. I think for the second half of the truck, we can maybe outdo uplifting effects. So something like that. It's good to know for the outro. Let's see what we can. So the first thing I would add, if this atmosphere and maybe too long piano chords as well. We will add the base, but we will use tooth, its volume. So let's add those pre, central elements as well, but without the atmosphere audio clip. So we have a problem in this automation key because it's controls the atmosphere volume, so we need to unlink it. So now this automation clip is no longer controlling the volume of the atmosphere. That's why we need to create a new one. Alright, so another thing we can do is to create a fade-out effects. Don't forget to reset the other similar clips because they will be edited does win. So let's take a look at these final results. The variation V effects in these parts over here, because we forgot to do that. For this second break, we will add maybe one of the old mental deal with it and leave aside. But to keep it not so intense that the drop, try to fix it. Eq filter, certain level. 17. Creation Of The Vocal Chops: Hello everyone to this almost final lecture, where we will try to add some vocal chops and make some improvements to these products. So alongside discourse, I've showed you the very basic way of how to create a nice tropical house music. And this took us 5 h and something without the video editing process. I know it's a long time, so I hope it's worth your time. So now I'm thinking we can add the vocal tract. I am going to use a capella, e.g. let's try to find its root a lot. This is basically the pitch that to go with the, with the root node of our music. So now, while chopping this vocal, we want to be facing any problem of harmony between it and our music. Instrumental, I would say. We will choose drifts. So we talked to be fixed while resizing it. And now I will try to find the best speed. Then we will send it to Edie Stone and try to choose some good shops. So let's recall the phrases that have more Tolkien and therefore more variations because that's what we need. So that's it for this recording. I'm just going to reverse it, maybe to find some good shops this way. So every time I found the goods shop, we put it in the plane. I just wanted to say that there is plenty of techniques to make a vocal tract, but I personally liked making them this way. So now that we choose good chops, we can assign all of them the same Mixer Channel and tried to find a good rhythm. Let's make them smooth. And then we will mix them so which can fit in our song. Now we will keep trying harder and arrangements in till we end up with something good. So something like this is good. It's not that perfect, but each is going to work out in this song. Let's see if they can work out in the second half of the second drop as well. I think each one, because it sounds bad and it does interfere with the middle. So let's try them, e.g. the altro, and we'll be good. Yes, we can give those vocal chops as well. In the outro fiction. Let's put a side chain automation in the brief intro. So all the volumes will be set default. So let's take a look at these results. Okay, so that's great. And that fits for this lecture. I hope you like it so far and few in the next one, where we will try to do the mastering process to define a wave file so it can reach a good level of loudness. So I'll see you in the next and final lecture. Thank you. 18. Mastering and Exporting The Final Result: Hello everyone, welcome to this final lecture where we will be mastering this song. So this is the final step of the production process that will keep our song food and make it reach a good level of loudness. In fact, I'll be using only stock plug-ins effects to master the fund. So the first thing we do is to record everything. So this is the way Fi, shape of our song. So we will put it in a new playlist arrangement and try to create a headroom space. So what do I mean by that? Is the amount of space that we need to have to make these mastering process. Because if this wave file is already hitting zero dB, mustering won't have any effect on this song. So I am not going to give you numbers, but using your eyes, you can simply tell if there is space or not in this way file because that space is what we need to start our mustering. So e.g. if you can't see any space in this way file, you need to add it by decreasing the volume of all the elements of your store to create dots headroom space. In our case, we will create more headroom by reducing the volume of this wave file. So we will assign this way if I chop Mixer Channel and reduce its volume. Now let's disable the master effects. Then we will add an EQ and to make some tiny boost and reductions in some frequencies. Those frequencies over here can't be heard. That's why we will cut them. Those very high frequencies as well. So now a little boost, a tiny bit of the reduced this part. Now we will open the main mustering. So this is a month during compressed or a low band, and midwives then go high. So making the low band solo, we can listen to eat alone. We will boost it like that. Let's select the drop six only because it is the part where we've got the main spectrum elements, which are the base and sub for the low. But gourds, pluck, and all other elements for the mid and high frequencies. So now we will start compressing. But before that, let's set our bins range just like that. Now while compressing the loads, you can see this purple shadow over here. So basically this purple signal on top represent the amount of reduction or compression that we are. I applied. My recommendation for you is to not compress too much the low. Otherwise you will lose some of the kick punch, the goods sub frequency. Now for the Mid, we will just go away. Now, another thing we will need to do wrestled not to one or 21. Now everything lucky billing to be above this level will be totally. You can now are eating. Now we need to make some serious thing. So forth. The lows, they need to be mono, myth, a bit scenario, and the highest, more stereo, but not too much. The last thing we can do is to increase the gain knob opened again when the horse. So to sum up what we have done, first of all, we did add an EQ and make some tiny booth and reduction in some frequencies. Then we did maximus and we did get our bin range. Then we've set the ceiling to one dB, the threshold to 1%. We've made a stereo imaging separation. Then we tried to find the best game level. And now we will record the final results to see the difference between the pre and post mastering really thought. So as you can see, the mustard process make a huge difference. Now, let's export the final result. So that fits for this course. I hope you like it. And you had an idea about how you can make a nice tropical house and you'll get huge deal. And I wish you good luck in your learning journey. And don't forget to give me your feedback. Thank you for reaching this part.