Learn Industry Quality HipHop Drum Production

1. Intro & Welcome: You always go. My name is Robert, aka Robert six beats. Welcome to this course. I'll be showing you how to get your drum sound way better, way more bouncy, way more rhythm, just way better. Showing you all the techniques that I use every single day to make your drum sound just more together and have more mounts. Anyway, stay tuned. There's a lot of info in this, and let's get to the next one. 2. The Basics: The basics of hip-hop drum production far so I'm gonna do a little bit explaining and just break it down and then we're gonna go into Ableton or you can use any door I'm using able to yeah, it was going to break it down a little bit. Explain hip hop track, boom bap. But mostly it mostly track. But like hip hop, you can, you can take what you're going to learn and you can apply this to RMB. You can apply this to any type of drones, like you're just going to learn how to make good drones. So the basics is really drums are meant to be simple and catchy. You don't want to overdo them. You don't want to add a bunch of stuff to be distracting the drums. But you can do that if you're just making an instrumental writing go crazy with the drones. But mostly if you're making drums for artists, which probably most of you guys are, probably most of you guys are looking to do that. You'll want to keep it simple. I'm going to just show you how I start my gyms. And usually I just make a four-bar pattern. Because really drums, if you loop them every two or 4 bar like best, That's usually what you're gonna do because you want them to be consistently have the same rhythm like the whole time. And like maybe you can go into certain patterns and like either like a little switch up here and there if you want, you don't have to do that as like that's not even necessary. But basically you just want your drums to loop like entrapped drums, especially you want it to loop every 4 bar, even like 2 bar. But yeah, first want to lay down a clot and the clap always goes on the 3.7. However, in like fast type style drums, like, let's say like Detroit drums away here. Usually it would have a slower BPM, right? It would be like on 80 or 90. Then instead of putting it on every 3.7, like this, 123. So that's a count, 12,463.7. But for Detroit drums, like if you're doing like something like baby Tron, they would just have it like on 80. And then the sample would be like the sample would be an ADD PM, but then you just make the drums extra fast. So it'd be on the 2.413. Other than that way, it's like it's like a different rhythm, like that's that's a whole different thing that I can get into. But mostly you're going to put on the 2.7, on a 3.7. And usually BPMs are gonna be over at least 115 usually for drama, I'm gonna do this in one-thirty just because like this, pretty normal. 123412. Like that. Then hi-hats, you can just do a simple two eighth notes, eighth notes since the rest. But then you can add stuff like triplets and you don't want to overdo this, you just wanted to be catchy. So maybe you could do something like this. And you're probably wondering where, like how do you know where to place it? Usually you want to do it before, like see how this is like the second bar, three bar, four bar. Like I did a role right before the second worst because it leads into it. Or you can do it like into a class or after class like this. Like if I could, I could do a roll into a cloud like that or I could do it after, which I already did. Like right here. Honestly, it's just wherever you here, but like that strong points where it usually is. Then a couple different things you can do. You can do like a little stutter, so like a 32nd note. And maybe making go down with these two nodes like at the end of the bar, because this is 2 bar right here, right here, where the third bar begins. That's going to measure until it goes to four. Like it might be triggered. Tricky. You might think, Oh, this is the third bar right here, but it's actually just the start of the third bar. This is too full bar is like c, one. That's 1 bar. Then the two stars are here. Another whole bar, so it's 2 bar right there. So usually every two-bar joints or repeat, then you can delete that at the end to change it up. Maybe you can even delete this and make it like a 16th note, not a triplet right here, because before this was a 16th triplet. Note like a whole, entire role of going into this bar doesn't instead, put it back to eight. And then the first one, put it on normal 16th note and then make it two nodes. Simple. Other than obviously, you can learn. Once you've just learned. And as you keep practicing, you can do a bunch of variations of this exact thing, like just find a bunch of different variations. And right now I'm just explaining the basics, but I will go in more depth on certain things that I do in certain techniques that you can use to do more intricate drums, but still keep it as simple burnout. I'm gonna go to the snare. And this is just the accent snare. So if you had a snare as the main thing, because usually a main thing you could have a clap, snare or rim light, rim shot sound really good to be as a main, as the main. Like clap snare, like the 3.7, it's like the main. That's what is driving the whole beat. Like if you, if you didn't have the clap, the beat just it wouldn't have that same rhythm because it has the club is like probably the most important role in any beat, like the 3.7 because it just keeps the bead going for the accidents in there. It's just supposed to. So I compliment like the rhythm. So what I'm hearing is usually I like to place it like before so that you see right here, this is half of our array. So before you see this, you take this half a bar, right before the half a bar is usually where it sounds good. It can be placed right here. Works. I like it right here. Then same thing. You see half a bar, you take half of bar. It will sound good right here. And it will also, if you take half of a half a bar, it will sound good right here, because if you break it down, What is this? This is the second half of a half of a half bar. So it's like basically I'm saying, if you placed it, we take half of our array, break that down. That's half of a half of work you've placed on the right side. So not here, not here, but he plays it here. It's going to sound good. I might splice it here because this is, this is like on the right, that's on the right side. Take another that's on the right side once again. So usually sounds good, but you can also do this. That's like a different type of rhythm. Like it's more unique because it's like you're placing it right on a down note like this is a more prominent area right here because dun, dun, dun, that's where like it's clicking, right? But in the in-between nodes like that's an in-between of the clicks of the BPM. So dun, dun, dun. It's like in-between. So placing it on the click is like more prominent. It gives it a different fields. Having one that's like outside of the click. Right after that it gives, it, just gives it like a bounce. I think I'm going to just have it like that. Then for the open hat. This is really entrapped. Music is supposed to complement that ate away. But not just that like in certain beats. I won't even have it fall to eat away at all. Just have it like do like just like a catchy simple recently you can do this. Just that. You can literally just repeat that as the open half. Or you can do this, follow the eight away. Then you have the eight away. And Plato's, right. So we come to the airway. Sounds good. Without the open hat. With It. Sounds good. It compliments. Stayed awake. Let me show you a case where it doesn't call it a toy at all. So the other one has its own rhythm. That's pretty badly. I like that more than the other one. But, I mean, but I don't have that same time because there's different. It just depends on the song. Like what is the vibe that you're going for it? Because this is a really bouncy, right? But when you place it on the heat away, My heart is like Arnold. That's like unlike hard type music, but like this method is more bouncy. It's not, it's not as like oh, that's like hard, hard. That's like that. It's hard but it's like it's like bouncy is not meant to be like, oh, like murder and music. But for this case, I'm going to go for the bouncy. Then we got a rim shot. And honestly, you don't need anything other than that. Like most songs, just use this clap hi-hat, snare, open hat on an 8.8. A lot of songs don't even use kicks. But I will show you. A kick is basically like you can treat it pretty much exactly like an a the week. But I'm another, there are some different stuff that you do at kicks that you wouldn't do it in a way. It's like placing notes like right next to each other. I mean, you can do that with airways, but that's more of like a stutter for a kick is like if you do that with the kick, that's just like normal like this, just like a rhythm kick. But it always have to follow a certain pattern like it's the exact Arnold. I don't know how to explain it. You will just see what I mean when I do the kick. But also you just add this rim. You don't need any other drums. Like if you're trying to get placements. Like with big artists, they just want simple stuff so that they can easily flow and wrap over. But some songs have some parts in it and that's totally fine too. Just don't overdo it is the key. You don't want to overdo anything. If you're trying to get placements or you're trying to just create songs that just flow easy. Like the best songs are the most simple songs because the songs that are like overdone are just overdone. Like they just sound overdone. And you can't even understand what's really going on. But yeah, hits are going to be always simple. They're always simple. You try to make some, you trying to make simple stuff sound complex. That's the key. You're trying to make it sound complex. But it's really just simple. In when you overdo something and you make something complex, it just sounds too complex. They're just sounds too much. But when you make something simple sound complex, that means you're capturing the right vibe, the exact vibe. You're not trying to overdo something to like, it's almost like you're trying to force it when you're trying to create all this stuff to make the song good. Instead of just making every single element in the meat good, like every single element in the beaches has a good spot. And without it, if you were to take it out, you wouldn't notice. But if you're adding something, that's just unnecessary and you take it out of the beat and you don't even notice it's gone. It shouldn't even be in the beat in the first place. Because if you can't even notice that in the first place, so why are you adding it? Yeah. But anyway, I will show you like what you would do with an accent, like park. You can do a lot of things. This is just one example. There's just showing the basics right now. At the end of the bar, right at the end of the 2 bar, just little too dunder. And this will be turned down like this. Or you can do this a trip. Like a 16th note, 33 notes on the 16th note, right here, as you see, adds a little extra. It's just the opposite ear candy, like it's just extra bounce. Just keep it interesting. And honestly, with these Jones like that's as far as I would go. Like, obviously, this is not like what I'll keep the airway as just because like we don't have any sampling here. So this is just one no, the whole time. I mean, you can just keep it at one, not the whole time and there's hits like, I'm pretty sure. Was it called? Yes, indeed by Drake and little baby. I'm pretty sure that's just 108 away. I'm pretty sure it doesn't change. But yeah, like if I was using a sample, it might go down four notes. So I'll be like, I might add an extra node right here. Then on the second, on the second 4 bar. So this is the first 4 bar, right? On the second 4 bar, maybe I would add a little bit of variation at the end. Just to keep it. You don't want to do it too much, but just to keep it interesting, like oh, like that. That was something different. I didn't hear on the first 4 bar of the pattern that it alternates. My headphones for 8 bar you here in a different pattern, so it just keeps it interesting. Alright? And then that would repeat for the entire song. Obviously, let's say, let's sit left. This is how I, how I structure and music like every B is every genre has different structuring. But most, for the most part, this is how every single song is structured. I'm going to show you right now. So let's take 8 bar, right? Yeah, This is 8 bar of drums, right? The loop, the whole song. Duplicate it four times. 1234. Obviously, you're probably going to have a loop or, or make your own melodies. And the drums are gonna be under the melodies. But right now I'm just showing you the basics of drums, so I don't have any melodies. Let's just pretend like I do. But this is just how the structuring of the Song logo. There'll be no drums maybe or maybe you'd have or you just started with the light. You can do anything. You start with the drums. You could have no drums, or you could start with clapping. Or you could start clap and hi-hat on the, on the second 4 bar of the first 8 bar. But most songs are probably not going to have jumps at the beginning, right? Let's just act like there's a melody, guitar or whatever, right? Other than the drums come in. Let's take the open hat out for the first. So this is the 16 bar, right? Because there's 8 bar, a bar. So 16 bar, usually 16 bar is gonna be the Course. 16 bar is gonna be diverse. And on the first half of the 16 bar, so the first 8 bar of that, I like to take out the open hat so that one, the second half of the chorus comes in. The other 8 bar. It has a little bit of variation. Maybe you can even take off the ramp, right? Then maybe for the Or how about this room stays in for that. Then the rim on the first 8 bar on the verse, right? Okay, so other than maybe to transition from light, you don't have to do this at all. But sometimes it's cool to transition from the first part of the course to the second part of the course. Like not crazy transition, just like a simple, maybe a snare roll. Triplet. This is a triplet, eighth note, triplet, triplet grid eight and you're going down. I go just right above this note, right above the normal amount is where I stop it or you can go under or you can even start pouring, just do that, whatever you want to do. But he's leading down right under that enough. Or we can do something like this. So what I did is I place a note here that done, done to start the role. Then I did a regular 16th note triplet. I did three. So basically, honestly, you cut that off and just like three-sixteenths right here as a role. Then I went to an eighth note, triplet. At the last. You can literally do whatever you want to do. Vomit. Just keep this simple. Triplet. I'm going down here, you have to have that. But it's cool sometimes. Then maybe you can even cut out the hi-hats on the right, on the clap, the highest cut out right before the transition to the next part of the 16 viruses, the first half, second half, you're just doing a little transition. Or you can keep, it will say, usually in the first 2 bar, then the a, the weight goes. So this is the word. Or you can do something like this where you cut out right until it hits the clap than the Germans came back and listen to the melody then. Or you can do this, whatever you wanted to. Literally, there's endless possibilities. Just keep it simple. Keep it like because the artists just think about what the artists can do at certain points and be like Look lists. Let's cut, let's just cut all this out. I don't know. Maybe color the Germans right here too. It's just about making a little moments. You don't want to overdo this either. You want to keep it simple and tasteful, but you want to create a little moments for the artists to do something like dog-like, say like do I switch up the flow maybe or like just like have it dropped? Like on a line, just have like because when you take something away, the listener is like, oh, there's about a cone. The drop is about to come on the ring back in and it just makes it hit harder. So you just want to create a little moments. Keep it simple, tasteful. Don't, don't want to overdo it, don't overthink it. Just simple, simple as the way. Yeah, that's pretty much the basics of like this is, this is trap production. I'm gonna go more in detail on boom back, which is why more classic hip hop. But yeah, this is like, this is like the basics of track. Now this, you obviously this knowledge will help you in any like anything, like any type of drums. Anytime, anytime you're doing any type of drums, you're gonna be learning how to do just drums in general. So you can take this knowledge and you can go and make an R&B be obviously it would be different. But you'd be like, oh, I learned this. I can implement this in here. And like, oh, that will work. You just take little bits of knowledge and you just apply it to everything. But yeah, that's, that's the basics. And let's go onto the next one. 3. Learning Different Drum Styles: Hi, welcome to Episode three. We're going to learn how to do different style of drones. So like, just like different, I'm gonna go through like boom bad drums. Then I'm gonna go through other varieties, electronic drums. So like Naruto type drums like really fast drones, like 170 bpm. If I won 60 began types of oven. The other drummers will be like, like I already did the RD did like wheezy drums in the basics tutorial, but I'm just going to be showing a variety of different styles. Get the grip of certain, just make different styles and you'll just get more comfortable making different styles and stuff. So first I'm going to show you how to make life more fast. Halogens. Like not awake, maybe some future songs, some little dirt songs be I'm just gonna get right to it. I'm just going to be explaining like what I'm doing. Basically, I just met this loop the way you, the way you structure. I showed you how to structure. But like the majority of these fast style jams usually go straight to the hook. Like sometimes there might be averse first, but like that's rare and mostly just has an eight bar intro, maybe even a five bar intro. Sometimes it just starts out with the jumps like straightaway. But I'm just gonna do a bar intro and then 16 chorus, 16 verse. That's usually how it goes. What I'm gonna do is I'm going to put a low cut on. See what I do is I create two different channels. This is the one that debase. This is the one where I put the logo on it so it doesn't interfere with the aid of weight. As you hear as you're here, there's no base in that. So then I put it as a group. I put my melody precise. This is, this has nothing to do and drums. So this is like a whole different course, but this is just my preset that I put on my melodies just to make it sound more. But this is literally just slight reverb. And RCT, which is like it makes it sound more like disabled is also slight. It basically just makes it sound better. I'm going to go too in depth about that. But basically, you just gonna put this simple snare on the 3.7, right? Hi-hat is gonna be, there's gonna be some more roles and here's the standard eight. Copy that for 2 bar. So this is one 2 bar are hearing and to the third. And then maybe you'll do like some roles like this. I'm hearing like they're going down 1 kt right here, and then it goes down another, and then there's a 16th note, triplet, goes back to normal. There may be a triplet eighth note over here. You don't want to go too crazy, but you just want to have like a cool pattern, like a cool rhythm going whole time. Then maybe you'd like delete that or how about this? Delete that and have this normal. And then over here, it's the triplet. So that leaves him. Other than what I like to do. Sometimes, honestly, you could just leave it like this, but I'm going to show you some more stuff. So what I'm hearing is like low nodes right here. Dun, dun, dun, dun. So like really fast and I was like 64 ninths or 30s things. You can either do that. Lantern, John, maybe turn down just a little bit blocky, something like that. That's it for the higher. Then for the snare. The accents now really talked about how half bar is on the right side. You don't have to put it there. Everything is done. But I'm just saying like that's usually where it goes, like this, where you usually sounds good. So this is like a really basic pattern ruining your life. This is the most common pattern you'll ever hear with an Iceland Senior, so where it has this one and then these two lines. Like you could leave that. And I'll do that. I do that sometimes, but sometimes I like to get it like different because it's just not the same thing every single time. So maybe I'll do it like this. Something like that, like other maybe do like a little road. But that's a little too crazy. I would probably have this like I probably duplicate this right? Then have the role only beyond this. So it'd be like, Yeah. Then zap, usually this is like in Detroit music and usually destroyed music is like around like the 16180 BPM stuff. So I'm gonna put this in this view just to show you. Usually it's used like sounds like a part. Just use that as a low accident perk to give it some more mounts. Because it goes right into the SNR Denton. Right. Then I'm going to do that open hat. After I do that, it'll wait so that I can match it better with the I28. It's in D-sharp minor. I'm actually gonna put this up one because I know that the base goes down four on the second half and that's going to be too low. That's gonna be a B note. I'd like to at least have a C now as the lowest eight away. I go like sometimes I'll go to a Bina. Like that's a pretty low either way, you'll want to make sure that your Ada weights are in the right range, anywhere from F. Maybe even F-sharp leg is good. Once you get past F sharp, like sometimes it works out like G and stuff, but like once you go past that sharp, but that's pretty high for eight away, like something like, let's say I do up here. That's pretty high. Like this is what sounds good. A low C sharp now, like vessel. But I'm going to put it as the E. E is good to like it. Like I said, anywhere from like F-sharp, C-sharp is really good, but you can sometime, like sometimes they'll just sound good. You can have like maybe a quick one up here, then it goes back down like it just depends on the base pattern and you're just gonna have to, sometimes there are samples that like you just have to finesse it in, catch it up and down and see what works better. And it's really just about making everything work the best way to gather. Really simple with the A2A. Then it goes down four, one-two-three-four. That's a seed. And I'm just doing a little bit of variation on each side, on, on the different, like because this is four-bar loop, the other four-bar loop makes that a bar. Just adding some variation between the 4-bar is each just so that it doesn't get boring and it's just slightly just keeps it interesting. You know. Now I'm gonna do the open hat. Very simple because it's already know that because all paths are already, the hi-hats already kind of gone crazy little bit, not like too crazy, but just like I had some stuff going on, so I'm not, I don't want to overplay it or anything because the artist starts to get on and you literally just that. Don't repeat it. And repeat that, and repeat that. And usually, like I said, remember the 2 bar, usually when it goes to the verse. Take out the open hat on the first part. You don't have to do exactly what I'm doing. It's up to you the way you want to like take like maybe like certain things out right leg, stretch. Oh, maybe doesn't have the Zafar are here or, you know, that's just the way I'm doing things. But like usually, like I liked it to have the open high on the second part. But what I'm hearing is that a drops out. Then it comes back in. Dentin dentin made me it cuts the hi-hat out to transition to the other part of the verse. It takes out the zap event. Instead of this narrow when, instead of that's there at all, it's just a triplet. Italy. The way I know that these notes work was going to E-Minor. Actually know this already. And that's why it's a good thing to double-check. Because the reason why that was even there in the first place because remember, we went over here. And then I just put this down for and I didn't even think to check, but this is probably a hearing here too. This one's right, okay. But the way I know that this one works, because this is the ENR here, like this, straight, like this is the base note of the entire scale because it's an E minor, so that E, That's the base nano-scale. So anytime you're on the base, based not on the scale, if you go up to like 12 is always going to be in key. You go up 3123. That's always ambient heat. And these are the tension notes right here. So sometimes it's cool to like, use those tension notes as like a decent right here. Dun, dun, dun, dun. Because they're right next to each other. So it works. It sounds dark, so dislike. That's just easy. Then also down through that works too. Then down to it again. That's always going to be in key time to send to you anywhere on the, on the base. Now, if you go up to, you're gonna be in key, down to who's going to be in key. Just remember that. And if you go up three is going to be enqueue, so 123 and then the next one like that, you know, anyway, go duplicate that, makes sure it's on key. Maybe you do a lower one. Then it goes up. So it goes down a OneNote, and then it goes back to this note which is a C, But it's just up an octave basically. Then also, since this narrow it was right here. I don't want the center right here. At the end of this, right before it goes to the right. Than to transition this kind of everything at the snare. That's actually equal to just leave it. You can just leave it like this. But sounds good. Transition. And also the array. Also, Shawn's gonna do this to cut it right on the isothermal, leave it like that. Then everything cut off. This, the third verse four, you can keep it like, really like that's normal. But I noticed in the chat beats a lot of time like those cut it right up through the third course. Like, you know, because think about it. Like honestly I could leave it in. It won't even matter because the artists will be like, Hey, that they can come back and be like a, I want you to, we did the song, but I want you to cut the cut the outro or a bill, although just asked you for the stems, but yeah. Or if it doesn't have an outro, they'll come out at an outro or those S for themselves. But yeah, that's pretty much it for like FASTA here. I'll play it one more time. And now that I'm listening to it again, that low part, I only want it to repeat once and open hat, notice how it's repeating slice. It's kinda getting repetitive. So I'll just delete the second one on all of these. So there's only in the first part just because it was just getting like repetitive. So just delete that. One thing you've got to listen. Listen when you're listening to the beat. If something sounds annoying to you, delete it because the artists will think that that's annoying to really if you think something is not. I mean, there are cases where sometimes you might not like something, but then the artist will like it. But like if it's blindly repeating, like the hi-hat to me, it was getting repetitive, so I just took it out. He's got to know when to take things out and know when it's like getting repetitive and stuff. Alright, now I'm gonna show you how to make like boom bap, which is like classic hip hop, which is more like real authentic drums. This time I already have it be pulled up, but I made a couple of months back because I haven't really recently been making boom bap. But basically this, you're going to use a kick like, like every boom Bobby has a kick in it, so you don't have to, but there's always a kicking, boom bap like this, just like the moment just has kicks in it like I was suggesting you didn't kick, Commission. And the next episode, how to pick good jump sounds. But I'm going to just show you the samples that I picked because they're gonna be picking different stuff, obviously, because this isn't trap is mobile app. So like. For instance, the kick sample, right, is a snare. Real soundings there. I use a glue for the hats. And you can just find these heads on spice or you can find them in zone pegs. But there's just really useful because I don't have like real drums on drum science. So like this stuff is like live drums. And like boom bap, you're going to need like live drum sounds. So I will suggest layering different type of logo. Look at all these Spark MLlib slurred together. Let's now they sound like he's not going to like listen. Then there's another one. There's a shaker, right? Is really simple, honestly. It's really just a kick and snare and then some perk loops. Then as the intro here at first, I'll just play it real quick and then I'll let you. Bless you, bless you. Just see what I'm talking about. The sample is from KV by the way. So yeah, so, so far, this is still one of my favorite pizza. I remain, even though it's so simple is just so baby and just highlight that feeling to it. Here's what the drum sound like themselves with the A2A2. So here it has that real drumbeat sounds like are not technically, not necessarily drum like real drone bounds. So by like real drum sound, like it doesn't sound like trap drum. So that's obviously very key to know which samples you're going to pick. Like I said, next episodes and show you how to pick good drum sounds. For the patterns I'm going to do. I'm going to show you one by one. So for the, for the snare, it's simple. It's actually not since this isn't 91 BPM is on the two and the four, because it's so fast. But you just have yielded us know where to place the snare because you'll, you'll listen to the sample and you'll be like, it's like you'll just know your place on a three-year and you'll it'll sound weird. Look. It was just sound off. But on the two sounds on right here I did a little listen. Just like dun, dun, dun, dun and that's common in boom bap. All I did was make the velocity lower on the first one. The second one is higher than one, it returns back is all the way full velocity again, so then repeats again. It doesn't have anything in there, just a little just a little. It's basically the same thing. It's just this one is gone, like on the size. So it's just a little variation. Once again, looking for variation, then for the kick is just, I was just, I honestly I plot this by hand and then I quantize it because you just got to feel it out. But it's really simple. Like if you listen to it with the snare here, I'll just put the pigments name. This actually might be a little too many kicks. Probably now, I might not do as many cakes about like for this video works. If it doesn't sound like too much in the B laser sound like. And real quick, I could just make another one real quick just to show you from scratch. Let me turn off the other one. Just do that. And then Kate, extra than Pete. That works too. But obviously, I'm going to keep the original like I already had it. Then literally just the park loops than the A2A. Further away on this one, I have it. So when I release the note, it stops firing. As you hear, like in the course, it's all playing together, but in the verse is a little different. Let me just show you that real quick. So I made sure every time the snare hits, it cuts off. Only on the, only on the two and the four and not the extra on the chorus is all the way through on the verse I cut on the snare. One has tuned for it just to add like a different bounce to it because like the first section, it has a complete it for unbound. If you just listen because I cut out the, I cut out all these three loops right here. And also with that cutting out right there, it creates a whole different bunch. Because like it has like a stop and go, but this is just always go. Smooth, always going and it's like stop and go. So a bar intro, it has a fill, has a riser and fall with assemble. Then yeah, 16, 16 bar. Actually, no, this is, this is only 8 bar right here for the chorus. Then it's 16 bar verse, then repeats again pretty much. And then obviously there's slight variation in each verse, just to add some slight variation in each verse. And that's it for the, for the bone bat. I saw, I showed you how to do the wheezy type drums in the first one, the basic one. And then I showed you how to do the fast one. And then I showed you how to do boom bap. That's pretty much it for this episode. And let's go to the next one. 4. Picking The Right Sounds: Alright shell. So when it comes to your drum selection like that's the most important thing. If your patterns are good, but your sounds are terrible. It does not matter how good your patterns are. If you do not have a good jump, if you do not have good drum samples, so start with, your drums are going to sound bad. They're just gonna sound not good. They're not going to hit as hard. You need to have good sounding drum samples from the start. A couple of kids, I recommend anything by mass shooter 49, He's really good. Also, some producer grandkids like the high class. I'm pretty sure that one's pretty good. Real, real lava has a free stash kit on his YouTube channel. Literally go to like how to become a real English Channel like free stash kit, like look that up, you'll probably find it. There's a bunch of good sounds like those. You can find a bunch of good sounds from like actual producers that are actually doing things. And they'll probably have a free stash kit. Like I'll eventually I'll probably make a stash, Kate. I just don't have a stash Carolina, but I'll probably put all some of my favorite drum sounds together and put it in a sash gave, but I just don't have a stash Karina. Anyway. Those are a couple of kids I recommend. But now let me show you how to actually pick sounds that go well together. I'm going to, just to show you, I'm going to use maxillary gems, like so all his jobs or fire. But I'm going to show you like, even if it doesn't even matter, if you have good drum samples, but you just pick sounds that don't go good together. Because people will have like maybe 40 hi-hats, 40 kicks, foot light. But you have to know which ones go together. So like which aid a weight goes with, which clap or snare, like Orlando, which different genres? Like hard Naruto stuff versus like wheezy stuff is not the same. Drum samples is different from samples. So I'm gonna show you a couple of different, I'm going to show you a couple of different light combinations and then I'm going to show you what doesn't sound good. And I'm gonna show you how to pick stuff that does sound good. Yeah, let me just go through some kits. So first let me show you something. They just want it sound good. I'm just going to pick are like random drum samples. That is, don't go well together. So random class. And remember I'm using only good sounds like these are all good sounds. I'm just gonna, I'm just gonna pick sounds that don't go well together. Because it doesn't matter. You could have good sounds, but like you have like 40 different options. You don't know which ones go together, you can still, still mess it up. Alright, so I've picked out a clap it away. Snare, hi-hat and a perk. And we're going to make load pattern. And you're just going to set, you're going to hear how it is not gonna go well, and I'm going to use one of my own loops. So it's in 140 06:30 P.M. so around this range. And for this sample, I'll probably wanna go like the money man route, like the money man drones, which is why standard like trap drums that hit hard but it's not like low, dark, It's not like Detroit sound is like the standard like trap stuff that just is hard like usually this type of just dark stuff around this BPM would just have some dark trap germs that was just hard. So that's what I'll pick, but this is not what is going to go. So these are, these are, this is a bad, this is a representation of what a bad representation of web picking bass sound sounds like. Right off the bat. That cloud does not go with that sample. That's more like a, like a virtual almost type class. So that's not going to go knock on either. That's a drill hi-hat. So usually draw and be like, you'd hear this syndrome. My back leg, straight and drill hi-hat. But you use it for a clap. I mean, use it for a trap. And that's what it sounds like. Doesn't sound good, it doesn't sound right. Now. Gone through indifference names. Like best scenario just doesn't sound right. That's the virtual scenario, right? That's it doesn't go now for the parking. That's like a baton Rouge. Perks though. Got all these different genres. I've drawn does not gonna go other than for the 808 F-minor. Then repeats than 41234. Fans, Carol, quick. And listen to how bad this sounds, because we didn't pick the right drug sound. Doesn't sound right. Now with these exact same patterns, I'm going to replace them with good sound. So let's go to a class and I'm gonna do this live action. I'm going to show you how am I find this backhoe work. But I'm going to use the wheezy clapped. This class is perfect for this type of sound. The claps on his veteran, I was getting different hi-hat. Already better. Now, there's a very famous snare sound like maybe I'll pick something else, just, just the sounds of the different Louisa snare side of this part. We're gonna do an open hat. Then we're going to replace this Italy with a spin, spin it away from my weight on it. And I'm not the one of the people that tries to hide any type of presets from anyone because I'm trying to share knowledge with everyone. So if you're using Ableton, I suggest using OTT on your eight awaits. You can copy these exact settings and then you can every anyway, I usually just leave it like this, but sometimes I want a little bit more beef. So I turned on the mountain all up a little bit. Then standard cliff, I just clip it just a little bit. Then it sounds like this. I did the snare. So literally same patterns besides the snare because it's kinda weird using that listener, but literally barely didn't even change much about sneering at all anyway. Pretty much literally the same patterns. And the difference is crazy compared to before. Like way, way better. So it doesn't matter how good your patterns are. If you're a drum, samples are not good. Your drums will sound not good. It's just a matter about learning what jumps sounds go together. Well, here let me show I have a couple of presets, some drums, so I'm gonna show you some BR drums real quick. So here's what a BR clap with sunlight versus a trap o'clock. Rise more crispy. There's ones I had a little bit more beef to his eye almost like a snare, almost. Other than the hi-hat. Little bit more like distorted. The snare. Sounds like, I don't know. It's like I don't know how to describe that town. More snappy. I guess. She's like more it's not like hard scenarios like more like men said, just like being an accident. I don't know. Describe that last name and then I'll play a part. And then open her more flow, more like mid-range. It's like a mouse trap. Mouse. And mind you, this is not deriving Kim Holland. Let me, let me say this a banners usually like running aggressive than trap is like like crispy. I feel aggressive but it's like is different, you know, it just has a different style. So that's just an example of different germ cells here. I'll do one more. I'll do since I'm from the Bay also be drum like some bedrooms. This is a little bit different. This is more like newbie, I would say. But I'm putting it to 90 or like seven because that's very huge. Be can you hear that? It's like it's not crispy, but it's like I have like an artificial Santa. I don't know. It's fine. You just hear that right? Is not the same as this. Open is not the same as this. Like super crispy less a trap, like a hi-hat versus obvious. I'm not saying this is the only way that these Jones was signed. That classic Bay Area clap rule right here. Right. But instead, it would be like this. The classic Bay Area rest Bay Area amounts right there. Completely different. This is Russ, kinda overdone. But that's just a quick example. And then like once again, the band rose style versus track, completely different styles. You just have to learn what goes together. Eventually, the more beats you make, the more different styles you make, the more times you get a right and the more times you get it wrong, the more you'll learn, the more times you get it right again and the more times you will, you'll just know what goes together. But I'm sure that this showed you more of like what goes together and like how to find sounds that work together. Because like that traps down, remember, it's like the Christmas super Chris, not every single week is going to sound the same like obviously like some trach songs like kind of sound like more mentee ranger. There may be other sounds like super high, like super crispy, and some like sound like in-between. But like trap, it has that distinct sound. It has these type of drum sounds, right? Then Ben Rose is always going to sound different than tracks because these sounds, and then Bay Area or West Side sound different because I always has different sounds. You use different sounds. It's going to sound different. And you just have to learn the different genres, the different sounds that you use in all the genres. So that's pretty much it for this episode. And let's get on to the next one. 5. Iconic Producers: Iconic jumped producers. So one of my favorite producers of all time is definitely a wheezy re-lever. For sure He's just different. His Joan Baez is crazy. Obviously metro of woman. You imagine removing Pierre. They all have 0, Kanye. They all have different sounds. They all influence the game in different ways. Like all these sounds, all the sounds that you're hearing, all the sounds that you're hearing, like, like the period away, like that comes from here also is a Tobin. We've got the zeta way. They influenced the game. And like such important ways that you need to know. If you're a producer in this game, you know these producers, like in upcoming producers that are of outside influence the game a lot and already have, it's like people like TNT and TMA day. He's already a legend, but like I feel like Like he's not as well known to the public as such like Metro Boom. But you got to know these other producers, like these iconic producers that have had such influence on the game of hip hop. And just, just producers in general, because they don't just make hip hobbling. But most of them I hip hop but like you know what I mean? But basically I just wants you to study like not like history, but like the importance of all of these people. Like in all the sounds that these people are like these sounds, the sounds like the different jump bounds that these people have, have influence on the game because you can use their techniques and on your beats to like you don't wanna just copy their sounds straight up, but you can get inspired from this people like if you go and you search all the records, team media has produced list, he has a certain style. And you'll probably be really inspired by that. And that's why I'm putting this as an episode because it's like you watch these other producers, such as real Eva, like to me ring the liver, is probably my favorite producer. Also wheezy, that they're like neck-and-neck for me. Him. All semester bones rarely fired, but like wheezy and Rio. Though, those are like two producers of mine that I really like. But basically what I'm saying is that if you've watched the way these producers make these beats like Rio does live streams. Those that helped me so much. Unlike just listening to songs like they produce, it will inspire you to create and tried new sounds that you never thought of using new ways of producing. Like as producers, you grow and not just as producers, but like just as straight artists that make music. It's people that make music like you grow by 0. What is this guy doing? This guy's super dope? What techniques does he have? Oh, what about this guy? Oh, what techniques? I'm watching to see what he does because then you'll collect all these different ideas and then you'll combine them together. Then you'll throw them all, like all the ideas in your head like, oh, I'm I'm the accommodation. I like this guy and this guy, not like the guy, but you won't even be thinking that in your head. It will just be like you listened to all that year. So inspired by, it will just automatically happen like those is automatically, you'll just be so inspired and you'll just try new things. And it was just, it was just teach you and make you such a better producer because you learn this from this guy. He learned that from that guy. And then maybe you'll learn stuff from yourself to like you're not just going to learn stuff from other people too, but like experimenting, you're going to learn stuff for yourself to. Like what I want. I'm saying basically is the more that you look at all these great producers and see how they're making beats and making loops and making all this music like mango. This means that it will really inspire you to change the way you make music in a better way. Because you'll China thinks step outside the box. So your comfort zone. Like that's how I got vendor really is by watching other people like not just that, but like doing, like the way I got better obvious is making beats every single day. But that helped me so much like it's there wasn't YouTube are all these people like making beats and showing their process. At least wanted to sound the same because I learned so much from these people. So you just have to be open. So like learning the game of now, like not just like making beats, like if you're not really trying to make it in the industry, this is a important to you at all. But if you're trying to make it, I mean, it's still important to you because it will inspire you. Tell him grow your own music. But like they've reached out to me in the industry, especially learning about all these other people. And like the way they do stuff will majorly help you. So much. Like somas. But yeah, that's that's pretty much it for this episode. I just wanted to put that out there and just have you-all know to just be inspired by other people in ligase. Okay, so like don't, don't feel like you're copying other people's is just feel inspired and just take that inspiration and just put it onto the canvas, which is the doll. Just to let your heart just make what you want to make. You know, don't let any other producer tell you, Oh, you can't do this because you're copying this guy or like, you can't make this type of style because that type of style is boring. Now listen to these other producers because the real people that are actually picking your beats of the artists and the artists don't know anything about the producer game. So they're not overly thinking, they're not overthinking about anything. They're just, they liked the beat or they don't like to just make stuff that you like. That's it. That's it. Don't want accompany anything. Yeah. That's it. I'll see you in the outro. 6. Outro: Alright, I just want to say, thank you for watching this. I hope that this tissue a lot, there's a lot of really valuable information in this course. So I suggest watching this multiple times if you didn't like fully understand it, or you just want to re re-watch it just to make sure you get all the all the knowledge all the way in. And I suggest while you're watching to try to do what I'm doing at the same time because that's what helped me a lot is by like I'll be watching a video, then I'll be doing at the same time because like I might watch a video of them make it like an hour later on track. Not the same as doing the same time. There is a way better do it same time while you're watching the video, like of a tutorial. But anyway, my name is Robert Dietz or Robert six or Robert Robert White. I'm an artist engineer, producer. Go follow me on Instagram. Robbers six beats or my artists profile, the light rubber white. Anyway, I have other courses out, mixing course, how to make say the weights. I'm going to, I plan on doing more courses, a lot more courses. So Sarah B cell.