Music Producer Masterclass (Make Electronic Music With FL Studio) | Chester Sky | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Music Producer Masterclass (Make Electronic Music With FL Studio)

teacher avatar Chester Sky, Entrepreneur and Producer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Course Overview


    • 3.

      Course Resources


    • 4.

      Music for Film and Game Soundtracks with FL Studio


    • 5.

      Getting FL Studio


    • 6.

      First Song In FL Studio


    • 7.

      Channel Rack


    • 8.

      Piano Roll Overview


    • 9.

      First Song With the Piano Roll


    • 10.



    • 11.

      Connecting Midi Devices


    • 12.

      Installing External Plugins


    • 13.

      Recording Audio and Midi


    • 14.

      Exporting Music


    • 15.

      Developing Musical Ideas


    • 16.



    • 17.

      Envelopes and How To Learn Any Instrument Plugin Quickly


    • 18.

      Mixing Overview


    • 19.



    • 20.



    • 21.

      Sidechain Compression


    • 22.

      Stereo Width


    • 23.

      Automation and Creating A Rising Effect


    • 24.

      Creating A Song Song Example


    • 25.

      Creating A Song Composing Demonstration


    • 26.

      Creating A Song Mixing Demonstration


    • 27.

      Recording Vocals


    • 28.

      Pitch Correction and Newtone Overview


    • 29.

      Vocal Layering and Harmonizing


    • 30.

      Layering Vocals With Instruments


    • 31.

      EQ for Vocals


    • 32.

      Vocal Chopping


    • 33.

      Vocalizers (Vocodex)


    • 34.

      Dubstep Growls


    • 35.

      Mixer Organizing


    • 36.

      Stacking and Layering


    • 37.

      Glitch Effects


    • 38.

      Freezing Tracks


    • 39.



    • 40.

      Maximus Mastering Presets


    • 41.

      Exporting For Mixing and Mastering


    • 42.

      Publishing Your Music Online


    • 43.

      Recommended Instruments


    • 44.



    • 45.



  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Do you want to create better music? Compose finished, polished, foot tapping songs that feel great and sound professional?


Join the MUSIC PRODUCER MASTERCLASS (a course recognized by Image Line as a FL Studio Recognized Trainer)



  • Learn to use the most popular music making software FL Studio from the ground up from beginner to expert level
  • Install external plugin instruments
  • Find samples online and import them
  • Understand music envelopes and how to learn any instrument plugin quickly
  • Create vocal chopping effects like the musician Skrillex
  • Add amazing effects to your voice using vocalizers
  • Create dubstep growls
  • Pitch correct vocals
  • Layer with backing vocals and instruments
  • Fully appreciate compression and when to use it
  • EQ your music like the pros
  • Add sidechain compression to balance kick drums with your bass melody
  • Mix your compositions
  • Understand stereo width
  • Master your music to make your mix louder
  • Sell your music online on distribution platforms and start earning money
  • And much much more…


These are the techniques I use every day as a film composer and music producer. The tricks and tips I teach are used to create professional level music compositions.



What do you need to get started?

You don’t need to know how to make music or play an instrument (although it helps)

You don’t need to know anything about FL Studio

You just need a desire to create, experiment, and find joy in making music. It’s now possible to learn all the tricks and tools to become a professional musician and producer from your own home. You don’t need to shell out thousands of dollars for a professional studio to produce your music. Everything you need can be done from home on your computer and this course will show you how.



Music producing has changed my life. It turned a hobby that I love into a profitable career..

Now I want to give back. 

Most musicians never get beyond the level of playing an instrument. They dream of having their songs on the radio or in movies but keep waiting to “get discovered” by some outside big name label. What they don’t realize is that music producing companies want to see a track record of polished music already made before taking a chance on an unknown musician. The musician is waiting for the producer to help them make great music so they can be promoted and the producer is waiting for the musician to make great music before they will take a chance on promoting them. Musicians and composers need to understand the steps and tools in music producing so they can create professional music that stands out from the amateurs.

That's why I created this course - to walk with you through the entire process.

What are the requirements?

Do you have a computer that can run FL Studio? That’s all you need. If you don’t own FL Studio yet, I’ll show you where to download a free demo version. This course will cover everything you need to get started - from coming up with melody ideas and mixing and mastering your musical composition, to distributing your music online.

What is the target audience?

  • Anyone who wants to create professional music - no matter what level of technical skills or musical background you have.
  • Musicians and composers who want to take their compositions to the next level.

See you inside!

Meet Your Teacher

Teacher Profile Image

Chester Sky

Entrepreneur and Producer


Producer and Composer

Official Website:

Facebook page:

Twitter page:


See full profile

Level: Beginner

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Trailer: This'll is a music producer masterclass, the complete and no nonsense course for those who want to take their music to the next level. Do you ever dream of writing a hit song? Then this is the course for you, regardless, but you have no musical background or technical skill or already a musician. This course will show you from the ground up tools and techniques to producing incredible sounding music. I am a music producer and composer for films, video games, techniques that I teach you in this course are the tools you can use to create professional compositions. In this course, you will learn to make music using the most popular music software, FL Studio. From beginner level to expert level, you learn how to come up with musical ideas and develop. You'll learn to do effects with vocals such as vocal chopping and using vocalize Er's. You'll learn how to mix at master compositions and sell your music on online platforms to start earning money. There is so much to show you and I can't wait to begin. Welcome aboard and let's get started 2. Course Overview: Welcome to the music producer masterclass. This is the course that's going to show you from the ground up. How to create professional sounding music If you have a musical background in play instruments or not, whether you're a musician with many years, experience or knots, this course we will show you everything you need to know to take your ideas and create finished, polished songs. The first thing we'll do in this course is get you going with a free demo version of Helpful Studio, and we'll explore all of the features that come with the software in clear, precise, easy to follow instructions. Then we'll develop your musical ideas. So when you have a melody that comes to you in your head while driving down in the car, how do you take that and turn that into an actual song? Then we'll deal with mixing, so we'll talk about e que and compression. What are these things and how can they be used to improve the sound of your songs? We'll do some vocal processing. So what record your vocals will pitch them? We'll labor them. We'll harmonize them will add instruments to the background to make them sound better, and then we'll do some effects, such as using vocalize er's and using vocal chopping. We'll explore mastering. So how to bring up the overall sound of your mix to highest level that sounds professional and polished as a complete, cohesive song. Then we'll sell your musical nine that you made in this course so you can start making money. We'll get your music into online stores such as iTunes, Spotify, Google play Amazon, etcetera. So there's a ton of stuff that you're going to learn in this course. One thing I do want to say is that the tools and techniques I give you can be applied to any medium and any genre of music, so you could be making rock music, piano music, e g M dub step. It doesn't matter. You can use these techniques for all of them. When I'm making music for films or video games, I still use these same techniques. When you're taking this course, the way to get the most out of it is to create music at the same time. Each time you watch a lecture, apply it to a song that you're working on. That way you'll get the most out of it, and you'll come out with this course with amazing sounding music. Congratulations on selecting this course. You were going to have a thana fun learning all of the's amazing tools and techniques, and you're going to come out of this course making music that's going to blow all of your friends and peers away. Welcome to the music producer masterclass, and now let's begin. 3. Course Resources: This course has several resources which you'll want to take advantage of. First of all, there's the recommended course textbook, which for this course is the music producers Ultimate Guide to FL Studio 20. This textbook will give you information on how to use FL Studio, what the plugins are in the software and how to use them, how they work. It'll cover chord progressions, mixing and mastering techniques, vocal processing, vocoders. It covers how to sell your music on online stores and also advice for promoting your own artist's career. So check this book out. These, the Facebook music producer and composer community. And this Facebook loop is for you to share your music with other students, to collaborate, get feedback. So anything that you come up with in the course that you want to share, this is the place to do it. There's a few other Facebook pages we want to recommend is a music producer club. In this Facebook page, they post interviews, techniques by featured music artists, whatever kinda thing as of the day, the genre, how to do specific genres and so on. There's lots of techniques and resources on this Facebook page. Here's another Facebook page called the filmmakers club. So for those of you who are into soundtracks, composing of filmmaking, you'll game design is page lists, lots of resources for that. And finally, of course, there's the Chester sky Facebook page, which will any kind of course updates or new content will be released onto this Facebook page. So check out those resources, the textbook, share your music on the music production and composer community and resources on the music producer club, diploma medical club, and the Chester Skype Facebook page. 4. Music for Film and Game Soundtracks with FL Studio: But those of you who are interested in becoming composers, There's a new book out called music for film and game soundtracks with fl Studio. You'll learn music production, composed orchestral music, and launched your music career. This book covers a variety of topics. It talks about the business of soundtrack composing. For example, if you're trying to learn how to get into the industry, how do you land gigs? Have the pitcher client. How do you organize the entire score from beginning to end and do that in a professional way. Well, this book's got tips for you. It talks about the physics of sound. How does music actually come from sound, and how does that relate to scales, modes? Has that connected to the chord theory? We'll all of those things, how is all of that fit in with one another? And how to use it for practical purposes. It talks about sound design, talks about orchestral music. So if you want to be scoring using live instruments such as string instruments, and you need to arrange all these different parts together. Had you do that, it talks about creating sheet music for live musicians so that you can just export your FL Studio project and it'll turn out into a entire sheet. Score tells you how to score videos side-by-side with music. And it also shows you how to create a variety of emotions that commonly come up with films or video games. Speaking of video games, it talks about how to create interactive music. If you want to make a video game where the music changes depending on one scene to the next. Well, this book will show you how you can create music that adapts to the players actual gameplay. There's lots of topics that are covered in this book and it's a useful resource for composers. So if you're trying to get into composing, check out this book. 5. Getting FL Studio: So for this course, you're going to need FL Studio. You can download a free version at this website, www dot image line dot com slash fl studio. Go to downloads and you can get a trial demo version. This will allow you to use all of the plug ins with a few limitations. For example, you can save, but you won't be able to open your safe projects until you've actually purchased a full version of the software. And some of the plug ins will be demos. If you do choose the purchase Good Apple Studio and several different addition additions with different features between them, you can check out all of the comparisons. One of the key differences is that between the Food Edition and the Producer Edition, where the producer edition will let you accord with your microphone and record audio into your software. So you might want to consider that once you've downloaded the free version or purchased than open up FL Studio and we can begin 6. First Song In FL Studio: in this video, we're going to create your very first song in FL Studio. We're going to create a very simple trap, beats and introduce you to the channel rack and the playlist in FL Studio. So hopefully when you've opened a federal studio, you're seeing something similar to this screen that I'm looking at right here. Just in case that your screen looked a little bit different. Go to file. You're from templates. Minimal basic with limiter. Make sure you can see this channel rack. You can open that by clicking this button, and the channel back will appear. Okay, So what is a channel wreck, exactly? Well, it contains a bunch of instruments or sounds or automation, and it shows you a slight snapshot of the notes that are being pressed by the instrument. So what we have here is four different instruments. We have kick drum, they're supportive and sounds a kick drum, a clap sound, a hat and a snare. And we can create notes to be pressed by left clicking, and we can lead them by right clicking with your mouse. So what I'm going to do is create a trap beats which you can either copy or create your own , and then we're going to export thes song to play the sound. Make sure that this button is pressed, which tells FL Studio to play the pattern. Okay, you get the general idea, you can add notes, and you can make interesting melodies just by playing around with the channel. Lack really easy way to do this Now that you have your melody, let's add this pattern to the playlist, which is this year. If you don't see this, you can bring up the playlist by pressing this button to add the, uh, the pattern right click on this button that looks like a piano left click on pattern, and then you can add the pattern to the playlist. What you're going to be doing in future videos is we're going to be stacking different elements together and playing them at the same time, and that will help create a full sounding song to play the playlist. Make sure this is un selected, and you'll see this little arrow is now. This arrow cursor is now appeared, and you can play sound theme, so you get the idea. Now let's save our song. If you purchased the full version. If you only purchased the demo version, you'll have to, uh, skip this step house. You can go to export and wave file, save it wherever you want. I'm putting on my desktop and these settings, okay, for now, so you can just hit start, and that's it. So we've created our very first drumbeats NFL studio, and that's all for this video. We'll see if it in the next one. 7. Channel Rack: in this video, we're going to explore the channel rack much more in depth. We're gonna talk about all the different features involved in the channel wreck. Starting from the left hand side, you can see the ability to mutant on mute channels. So let's play these. And if you left, click on any of these less here, can you? That section if you down control and then you left click allows you to focus on just one specific sound following that have the ability to pen. That's what this little not does here. Following that, the volume this is the mixer tells you which channeling you're gonna put to the mixer and we'll deal with that another video. Then we have the samples or the instruments you can click on the sound, and it will bring up more options. In this case, since it's the sample, you can see the way form right here, and there's a bunch of options that will probably explorers later on. Following that, we have to step sequencer where you can left click to add notes, and you can right click to remove notes. Over here, we have the ability to view either the step sequencer or just the piano notes because essentially, when you're adding to a step sequencer your adding notes, which could be viewed in the piano roll, and you can actually see that by clicking on this button Here. You can see this in the piano goal view. This here is the swing. What it does. Is it at a slight delay between start time of be playing a note? But what if you wanted to? I only have the swing affecting one of these sounds instead of everything in this pattern, which this does well. What you would have to do is you would have to go to your sound or your instrument, and by clicking on this button with the wrench, you can see there's an option to handle the swing just for this particular sound. This button here is the pause button. Over here. We have some more options where you can. It's just a menu with a bunch of features. Here's how you this plus button down here allows you to add different instruments of different sounds. This is the ability to create groups. So let's say I wanted to group the clap and they had together. Well, how would I do that? Well, first of all, I would need to select several different sounds, and I could do that by left clicking and then holding shifts and in clicking another sound . And then what you can do is you can group them by either clicking on this drop down there on going to group selected or you compress all G in a press Ulchi and it's called his hat and hats and clock. So now you can see we only see two of these things happen, clap. And the reason is because we've created a group called Hats and Clap. We can always see everything if we picked all. But if we want to see just these groups now, we can go with a hand clap and it'll just show us the two of these. This is a more useful when you have dozens and dozens of instruments all lined up, and you just need to see a few of these at a time. Next is the renaming where what you can do is you could be named your sounds and instruments. Let's say I wanted to rename the clip the kick or I wanted to identify this in some way that I can pick this out well, you can right click and go to rename color and icon, and there's a bunch of options here. Let's say I want to give it a Nikon. Let's give it a thumb's up back on and we call this awesome kick and our color. That's something by left clicking on red so you can now see that this is indicated it stands out from the way it used to. If you just want to do is by default, you can write, you can right click. We name Color Nikon, and there's a drop down button here and there's a bunch of defaults. Let's say I can't click here. You can see it automatically just picks one for me. Okay, let's talk about the really important items here, and that's the ability to copy and delete. You're gonna be using this a ton. One ways to right click and click Clone Clone is essentially copy and FL Studio, and you can see it's made a copy of that. The other way is to press control our ultimate and then see, and you can see that everything is highlighted has been copied just by holding down, alter and impressing the sea on the keyboard, you can copy. What if I want to delete this while I can either right, click and delete? Well, the alternative is to highlight the ones I want. Once again, you can. I, um, select molten thin, one by left clicking and then holding downshifts and clicking again. And you can delete by right clicking and pressing delete or by pressing, also holding that down and then clicking delete on the keyboard. It's gonna warn you that you're about to delete the clip, so make sure that your 100 isn't sure about this because there's no undue when you're deleting in this sense, in general, when you want to undo something, let's say I have some notes. Here. You can press control and said, And what controls that does is controls that is the undo button. But if you want to read you something, you want to keep on doing something you have to press control Altman set, and that's undue. Whereas redo is controls that Okay, let's talk about shifting shifting that say you want to move these kicks down to the bottom . How do we do that? Well, first of all, you select all of these. Then you hold down bolt and you press the arrow keys down. So old and them down her off. What if I wanted to move a few these notes here? Let's say I wanted to move the's over here. There's a way to do that, and that's to press control down and then left or rights with your arrow keys on your keyboard. I don't use this feature too often, but the downwards I use quite often open down. So that's Alton Arrow keys. Okay, the final thing that I want to mention here I know there's been quite a bit in this video is just the colored radiant. So one way is to constantly be changing the colors of all of these items, and I can get quite tedious. How much better way is to select all of the instruments and sounds and then click on the drop down arrow, go to color selected and an either greedy int or random. If you click greedy int, you select the first color that's going to be here, and then you're going to select the final color, which will be down here and you can see that it's nicely selected. A range of colors that you can see on alternative is to go to color selected and then random, and that's probably the coolest way to do it. Okay, that's it for this video. Now you pretty much an expert with the channel wreck, and we'll see in the next video. 8. Piano Roll Overview: and this video, we're going to be exploring the Piano Bowl NFL studio, which is where you're going to be composing most of your melodies in order to open up the piano. Well, first of all, you have to have an instrument to be composing with. So here's the channel rack, and I need to add an instrument to the channel back, so I'm going to right click on it, replace with Let's Go with FL Keys. Generic sounding measurement. Okay, now I'm going to right click and go to piano Roll. That's how you open it up. So this is the piano goal. If you're is a smaller, just click on the every size, and that should make this full screen. So this is the Piano Bowl. This is what you're going to be looking at a lot of time. You can add notes by left clicking. You can remove notes by right clicking and dragging across the note. If you need to cut the note in half is a feature here, right here. This is the slice tool, and it allows you to chop notes up in half. If you need your mutes a note, you can double right click and that will meet the note. So now if we would have played this and you can bring it back by do things the exact same thing. So double right clicking. Okay, let's talk about how to copy you learn at a copy knows. So if I go see here opening up the edits and you can see that there's a bunch of similar controls that you might have seen before in a word document. So example. To cut its control x a copy, control, see paste and duplicates the one that I'm used the most of the time that's controlled. Be so, first of all, I guess we need to learn how to select the notes. So to select the note, you hold down Control left Click, and that will select a note. If I want us like more than one note, let's say I've selected these two notes on any of the select another one. I go control shift and then click on the note I want to add. It's also the same way to de select, so I can once again hit control shift and then click on a note, and that's going to de select the note. Okay. How do you zoom in and out? Well, let's say I have a bunch of notes all over the place and I want to see what it looks like from a larger view. I can hit control and then right click with my mouse and I will zoom out to provide the optimal view. If I've gone down and I hit control and right click. Once again, it'll readjust to finding the optimal view. If you want to see a larger scale, you can also play around with this. Snap up here and it will a just of you. But I don't really play with that. I just hit control, right click, and it'll find everything for me. Also. You can hit control and then all a and I'll select everything. Sometimes I do this. What if I want to play just a small section off these notes? So I want to play from here to here. How do I do that? Well, I left click. Sorry. I hope I'm control and then left. Click on this timeline and I can drag however long I want to be playing for. So now if I hit play It's only gonna play within this section here, and then it'll look back to the beginning. Okay, what's this thing down here? Well, this is the velocity, and it's similar to volume, but it's a little bit different, and I'm going to illustrate that in a second. So it's at some notes here. Groups. So this is the velocity. Aiken. Decrease the velocity or increase it. The reason is different than volume. You can click here and you can see there's several different options is that when you're playing with certain instruments, the velocity might actually change the way the instrument sounds. For example, it might be more intense. If you're playing a violin, then a velocity that's lower, whereas volume is on Lee. How loud and quiet against. All right, let's talk about some of the other options up in the buff. So at the top, you also have the ability to look at scales by clicking this button. Here, you can see all the different scales that you could ever want, and there's a lot to choose from. Let's say I want a blue scale see, So if I click on that and I cook on any of these notes, it will find the blue scale for that. So these air knows that are in the blue scale for one active, - not the greatest. But you get the idea. It's a really handy way just to see what Notre in the scale right away. Something else that you're going to want to know about is the magnet here, and this is how big and how zoomed in Are you going to be able to interact with the notes? So let's say I want to make a no. But I want to make it in between this beat here. How do I do that? Well, you played this magnet here, and it allows you to make changes to smaller increments. So now I can make any commit halfway. And I think you can even go smaller than that. Yes, so that's available to you. Sometimes I choose none as well. If I want to have some random variation just to play around with it, then you can this really choose any points? All right, and the last thing that I want to mention is something called ghost notes, and this is extremely useful. Once you get the hang of using piano bowl and using Montel Instruments. So first of all, you have to enable that ghost notes. So go to here and click on view. Make sure that Oh, no. If you help us cross yet helpers and here's goats notes, make sure that you have this available edibles up to you whether you want that or not. So now if I have another instrument, I'm going to bring up the channel back. And I'm going to I'll just call this for now. Actually, no. Let's make this a different instrument. Let's make this a boo bass. Sounds like a Seinfeld instrument going to right. Click. Going to be a novel of the base. Stop. Uh uh uh uh uh. So if I'm playing this, uh, but if I go into the piano now away from my bass instrument, I can actually see the bass notes, and it's really helpful timing similar. If you do choose to use none for your magnet, you all over the place. And then you change your mind about the scaling or your recording with the midi keyboard or something else, and you don't have precise timing. Sometimes you'll see that this is actually slightly out of the beat. So we What you can do is you can select all the notes or the notes that you want to. I just I'm just gonna just a few of these and you can go to file and it a site tools. And then there's Qantas, and what it will do is it will lock the note toothy start time of the step that you choose , So you'll see what I mean when I hit this. So you see, it's automatically adjusted. Yeah, right there. And if you're wondering how I'm doing this right here, I'm just doing undo and redo. So read it. Here, you can see undo is control, is he? And redo is control. Ultra easy, but undoes usually all you need. Actually, no, I use both. Okay, so we've covered quite a bit in this video. We've talked about how to get into the piano roll, how to move notes around shift notes and looked at some of the features above on top, how to snip parties, the magnet tool, how to view scales. And finally, how to use ghost knows. All right, that's enough of this video. We'll see in the next one 9. First Song With the Piano Roll: In the last video, we explored the piano bowl. Now we're going to make our very first song, and it will help you really ingrained the idea of how to use P animal. So I've just loaded up to a different instruments the FL Keys and blue base case. You don't remember you just right click, insert or replace. And then there's FL Keys here, and hopefully you see the boot base up here. If you don't see the blue base, you can add it by going to more plug ins. And you should just find the boob a somewhere around here. And then if it's not checked, just make sure it's checked. Then you can go for a click insert, and the booby should be up there. Okay, so I'm gonna make sure he's about selected. Going to go into my blue base by right clicking piano goal and remember, week add notes by left clicking. So I'm gonna make a simple melody here. Uh uh uh oh. In order to play, I have to make sure that pattern selected so that it will play the pattern to copy. Select the notes by heading control on, then left looking I can copy by control. See, I'm gonna duplicated by pressing control and me Sokoto . Now, if I want to go into my other instrument channel wreck now, I can see that the base has some notes in the hole. I'm gonna go into my piano instrument now by right clicking Now I can see there's some notes here. The's air, the ghost notes. In case you don't remember how to get these, you go into the option. Go to the tools. Sorry. The helpers on ghost notes. Make sure these air viewable, so help you with timing. All right, I'm going to copy this Aiken shift to the other instrument by a double, right clicking on the ghost note, and it will take me back to whatever this instrument is in this case. Is the blue base gonna copy this? Duplicate that. I'm gonna go back to my piano keys. Another way you can copy is by holding shift and then left clicking on the notes and dragging. I can choose to play just this section by left clicking and then dragging. - We owe holding sounds. Okay, so that's it for creating your first song inside a piano roll Now this is a pattern, and this is only within a single pattern. So it's good practice to put this into the playlist. So I'm going to come out of the piano roll and this is all within pattern one, and you could have multiple patterns and you can add those to the placed. So let's do that. I'm gonna open up the playlist now. I have to choose which pattern in this case, we only have one. But if you had more than one, how would you add it? Well, there's one good way to add patterns to with the panel, and that's to right. Click on this button here. Then you can see you a list of all of the patterns that you have. This case, we just one, and then you can add it to you playlist. If you play is going to play the playlist, that is not gonna play. Side is gonna play the pattern, but we actually want to play the playlist now the terms a little bit confusing at first, but once you play around, you'll understand. So now we can play this part. Okay, so you get idea of how you can use the piano bowl to create songs and melodies. Feel free to create your own song and share, and hopefully we'll be able compare with some of your peers, and they might like the song as well. So hopefully this video is helpful and we'll see in the next one. 10. Browser: the browser. NFL studio contains all a few samples. You can open up the browser by clicking on the button with the folder and the arrow dropped down. This will bring up the Bowser. If I click on this button here, I should be taken down to the samples. I'm going to go back out. So this is essentially what you should be seeing something so much of this. This contains all of the folders, which is what these same symbols are. And you can see that we have a lot of information that we have some packs. We have some project information. You see, you plug in data. You can open these by left clicking with your mouse or the easier ways to do it with the arrow keys on the keyboard. I can use up keys and down keys to go up and down, and I can go with my right key to go into a folder on. I can go out of the folder or upper level by clicking the left arrow one. If you want to add a folder that you don't see here, perhaps you have a folder on your computer with some use examples you can click on the drop down arrow and then go to configure extra folders. There's a lot of instruments that come with Apple Studio, and it's worth looking into some of the samples given to you. For example, under this packs, which is comes with the program you can see on vast library of drum samples, for example, kicks lots of kicks, has a lot of high hats as well. It has been a new update with the FL Studio 12. So if you had an older version, you might not know about this. It's really useful some good seven year. Also, they added some instruments, which a nice example at a guitar instrument. Let's give this a play. You got a keyboard? Got a grand piano here, an orchestral section here. The string sound like if you wanted to add a drum sample or any other sample. What you just do is you go to the example and you just drag it into your channel. Lack. Just like that, you can switch between samples by holding down the control button on your keyboard and then left clicking on a different sample, so I'm going to click on number five, and that's going to replace the highlight it channel very handy for swapping between. If you wanted to drag and drop several different samples at the same time, you can right click on the containing folder. Go to open, highlight whichever sections you want to be dragging in and then left. Drag into your channel back and you can drag them all at once. Okay, lets say you found a sample and you really like this kick right here. And you've been using this for a while and now you want to figure out Well, what was the folder that I got in? I don't remember. Well, it's pretty hard to figure it out by going through the folders here, but Handley false video does. If the work for you. Just by clicking on the sample, you'll be able to go into a section here with There's a button as a picture of a folder and then drop down Arrow. You click on that. The browser will automatically navigate to the location of the sample very handy and use it all the time, especially when you want to find other samples that are similar in the sample. Back last thing. Dimension is this section up here which contains information about your current project. So it contains your history. If you mean doing undoes or reduce, you can go back to previous states. So when I say I do, I mean, like, kidding control z to undo what you just did or you can hit control Ault Exit, which is the redo button. Also, this patterns if you want to look at the specific pattern so I'm going to add a few patterns here. Call my 1st 1 in true Ah, the second pattern and call this 1st 1 and I had called course. So now if I go to patterns, I can see the different patterns available to me and I can school between them. The alternative is just a school through here. You can also see all the instruments that you're using. It's the same thing is looking on the Channel recto. Okay, so those are the main important features that you use all the time in the browser 11. Connecting Midi Devices: If you have a mini device such as an many keyboard, this video will show you how to plug it in. If you don't have one, then you can skip this video, so the first thing you do is plug in your keyboard or whatever instrument that you're using , then go to options. Many settings and your instrument should appear up here should appear in the output and should appear in the input. Just make sure that it's working. Make sure that the instrument selected and that enable is turned on. If your instruments not appearing here, you're going to have to configure your instrument and look online and figure out how to do that. But assuming your instrument works at this point, you should be fine and just check that it's enabled. You can also refresh the vice list if it's not showing up, and hopefully your device will appear then, just to make sure that it's working, load up an instrument. I will choose fo keys, and your many instruments should be connected 12. Installing External Plugins: If you've purchased an external plug in or instrument, how do you bring them into FL Studio? Well, the first thing you do is install it using whatever software installation is you're using, whether it's download or using a CD, then go to your channel wreck, right click, Go To insert. In this case, I have installed massive and I want to bring massive into my fl studio and I don't see it listed here. Get. So I'm gonna go to more plug ins, manage plug ins, and here is where all of the plug ins will be sent by default. You can select start scanning. Your computer should be able to find it straight away. And then I just have to locate massive somewhere around here that there it is, it is not shown up. You might have to go to locate your plug ins by finding a studio folder and adding it through this button Here. Once you've located your plug in to select check, you can x out, and now I can go into insert and there is massive. It's shown up now 13. Recording Audio and Midi: Let's talk about how to record audio and midi into that full studio. I'm gonna show you three ways the first way using Edison as the audio editor the second way as using an audio clip, which is usually the quickest way. And then I'm going to show you how to record Midi and automation into Apple Studio. So the first way you go to you, make sure I slept in this to bring up the mixer. Make sure you can see the effect section by clicking this button, and you're going to want to choose and highlight a select channel. Then choose the microphone that you want to be recording into. In this case, I'm going to choose a my phone that's given by default, which is model because I only have a model recording microphone. If you don't have a stereo microphone, you won't be able to choose that Most microphones was just one single input, so this is gonna be the one for most of you. Then I'm going to go to a record, so I think that it isn't so according Edison and saying so this is the audio. There's a lot of editing tools in here and you may want to explore. It isn't on your own, but for now I'm just going to drag it in by clicking this button and dragging into the playlist. Let's hear what that sounds like. So now I'm recording into Edison, and everything I'm saying is being recorded. Okay, so that's the first way. Let's look at recording into an audio clip. You'll also notice that this button turns red when Audio Channel is being courted into All right. So I'm going to sex and you Channel and the court. So we're second quarter dangers. Let's hear that sense. So here is the second recording using the audio clip method. Okay, Now let's check out how to accord. Maybe so, you know, to record maybe you actually have to have a mini instrument. So you think made a piano or drum pad or something like that? I've shown you how to do that and connects it in another video. If you have that, I'm going to right click select inserts, have l keys or whatever instrument you choose. And I'm gonna want to make sure that in my channel wreck, this is the channel that is going to be recording. There's also options if you have multiple instruments of which ones you want to record, and then you can choose how you want to receive the notes to what instruments do you want? For now, I'm just I only have one connected. So it's just gonna be recording through my MIDI keyboard, which is what I want, then go up to here selected Accord. So like notes and automation. And once it's going to count down because I've chosen the countdown timer and then it's going to start recording. Let's hear that sound that sounds. I go into my piano roll. We can see in more detail how the notes have been recorded. We can see that has just been recording them based on the piano notes here, and is added in some velocity because my piano keyboard can take in velocity. So that's how hard I've been pressing, how much emphasis I've been using, and in this case, philosophy for the keyboard is just volume, so that's you have. It sounds if I change the velocity, you'll also notice that if we zoom in on some of the keys that the notes aren't exactly starting at the beginning of the bars. And the reason is because I haven't turned the snaps on to, uh, to the bar, so it's only being snapped to each step. You can change this and play around this depending on what kind of recording you want to have. If you're playing with piano, he might actually only want to snap to none or two, maybe every half step. Okay, so that gives you a basic idea of how it of a court using a three different methods into Edison as an audio clip or as Mitty. 14. Exporting Music: Okay, you've created a song. Now you need to get this song out of FL Studio. How do you do that? Well, there's a bunch of ways you can explode your song. Here's one way Go to file export and then choose the file format that you want to export it as name your song. I'll call this song for fun. I'll just put this on my desktop for now. And here's the different formats that you can choose can choose away. File MP 30 g f l a c Immediate etcetera. The way file in general is the highest quality. Sound is it also is the largest file size. If I choose MP three, you'll see that these file size is significantly smaller and compressed. However, this can affect the sound quality of the song. It may be lower if using wave. You want to make sure that you're in the highest, at least when you're doing the final export, as well as in the sampling and the highest number. If you're using MP three, you'll want to play around with the bit rate lower higher. You can see the file size again depends on how much you're compressing, but this is a higher quality sound. Supposedly, MP threes and wave files are going to be close in quality sound when they're at their maximum strength. But that's really up to you to decide whether that's true or not. Um, so once you've decided that you can hit export and your song will be sent out of FL Studio What if you want to send the mini notes from yourself to someone else or to use in another project, how do you do that? Go to the item that's going to be exported. So in this case, I want to export these keys. Your go to the drop down menu, Select file export as many file. Then you can choose the section in at the name of the song in this castle is called Midi Notes Help with this on my desktop. Now, if I would add an instrument, I'm going to say at a new pattern. So this doesn't have any notes yet, and I'm just gonna add some notes to my eval. Keys can find my MIDI notes and drag that into the instrument and you can see the notes of now being added and I can play those notes. What if I want to send this song to a instrument player or I want to send this know this song as sheet music so that other people can read them who are not using FL Studio at all. You can go to the drop down menu, select file export as sheet music, then name your piece choosing name for your piece. Choose the time signature and the scale and hit start, and here you can see it's actually converted all of those mini notes into a piano score. Yeah, into some sheet music. It is limited in the extent that you can't manually control these. You will have to use an external software if you want to be using even more refined touches to controlling when you want the spacing in the trouble claps and bass clubs. But that's for people not using Apple Studio. That's for if you want to get another software. So those are the three ways that you can export. Your song has just going to the file and exporting them in different file formats as many notes or as sheet music. When we get to the mastering part of this course, you will also learn how to send out the individual stems of your song so that you can send your song to a mixture or mastering engineer. But we'll come to that in the mastering section. 15. Developing Musical Ideas: has talked about how to develop your musical ideas into a song. For those of you who are non musicians, this is a general approach that I find useful to composing. And for those of you are musicians, this will show you some tips NFL studio to speed up the process. So the first thing you need to do is figure out what is the purpose of the song. What are you trying to achieve here? Is there a genre you're looking for? Is it a sad song? A happy song, A dancing song? What is this school, for example, If you have a pop song, you're going to be looking at something similar to this given intro verse, Of course, comes back to the verse, comes back to the course He had the bridge, which is the third verse, and you come back to the course again and then you have an outro. So plan it all out. Write it down on paper if you have to. If you have lyrics that you're trying to achieve, this is the time to start thinking, all right. Next, choose the tempo, figure out the speed of your song. It's going to be influenced by the first step. So NFL Studio example just picked the tempo faster song for a happy Earth or dancing song. Slow a song for sadder songs. If you have a specific genre you're working at, this is gonna be influencing as well. Consider adding drums. If this is a dancing or some sort of a pop song, this is the time you might want to start experimenting with drums already. Next, biggest Gail. Once again, the scale will be determined upon your idea. So if you're looking at a happy song, you're gonna be picking out major ish sounding scale or a satyr song. You're gonna be looking at a minor sounding scale. FL Studio has some fantastic tools for this in the piano roll we can go to stamp and you'll see a list of all the scales and all the different source of combinations of notes you could be applying. For example, it's pick a major scale, then pick a key in this case, I'm gonna pick a key. I don't normally use what's say B flat, and it'll give me all the notes, starting with the roots of B flat. So that's pretty cool a also find this useful for composing by having this in the background. So I'm going to stretch to sounds. Then I'm gonna mute thes. I'm going to make sure that ghost notes on. So I'm gonna go toe helpers ghost notes, and I'm gonna make a copy of this instrument. I'm gonna go into the piano roll of the second instrument, which is a copy, and I can see all the notes in the scale in the background. Uh, uh huh. In that cool, just you can see the scale at the same time that you're playing the notes. The next step is really up to the person, the musician, whether they came up with a melody in their head or they're trying to compose something straight out of out of thin air. If you already have a melody, then you'll start with the melody. If you don't, then usually what I try to do is I look for inspiration. I find a song I like. And then I figure out what chords might sound good in that genre or that sound that I'm trying to achieve. And then I'll create the cords and then built the melody on top of that, I find is easy to build a melody because it just sort of comes to you when she already have some good sounding courts. That's up to you. How you compose, right? Once you've done that, pick a sound for the melody and chords, so you just already have the cordially have the melody. All you have to do is start swapping out the instruments. So, for example, I have a blue base. Right now, I can replace this with another instrument, munitions, that it's that easy and finally start layering. So you just keep adding instruments on top of that, playing around with different combinations of melodies and chords. And sooner or later, that's all you have to do. The composer's song I Want to show you some cool modes, which are scales or variations of scales that have some good characteristics and personality to them. So the ones I recommend or the fridge in Alien Mix O Lydian, Lydian and the Dorian, and you don't really need to understand these so much of now that you have FL studio. But just realize that these are scales that have some interesting characteristics about them. That sound good. And the reason you don't have to memorize them. Because, as I mentioned, you can go into the stamp tool, and these scales will be there. Okay, so that's what I wanted to show you. Now you know how to compose a song from an idea into a full peace. 16. Samples: in this video. We're going to talk about samples how to use them. Would you get them? Had to import them into FL Studio to check out your samples? Open up the browser button. We can navigate the browser using the arrow keys on your keyboard. The right, Pero si Oh wow! The left or along is to collapse the folders by default. FL Studio has a a pack that it gives you of some sample sounds. If you want to have more sound samples, what you can do is just go online and Google him. Download some free music samples and you'll find 100 thousands. But when I want to tell you is give you a little bit of a heads up of the different sample types available to you. So let's go to a paid site where you can download musical samples is, uh, Loop Masters. When you check out, one of the sample packs will see a bunch of information on the right hand side. On this website, a wave loop is pretty straightforward. It's just looped music. A rex to loop. It's a little more interesting. That's what this particular loop is right here. Where has markers to indicate to sample where it should be broken up. So when you time stretching, you change the tempo of the peace. The markets will indicate to the suffer that this is an important part ends. It will make sure it maintains the same tempo. Next is the one shots, so let's find it one shot. All these are won just a single sound that you can add into your composition. Even the default. That's a sample. It's a one shot. MIDI files. Open up a midi file. Somebody follow. You need to have an instrument to use it. So I'm gonna open up FL keys. Go to my piano roll and you can drag and drop in MIDI file into the piano goal. It's a way to begin getting some inspiration for musical pieces, usually not recommended to use a MIDI file on zone because it's usually doesn't have enough information anyways for whole piece. But it's a way to get started. If you're looking for inspiration, something you might come across quite often when you're downloading samples is something called construction Kids. So let's find one. That's construction kid. This particular one is has 10 construction kids So what are those exactly? Well, that's a little bit different than your typical one shots that we saw earlier. Well, loops, we find that pack that I have. So these are all construction kids, and what they are is they are a bunch of sound samples that when combined form one particular song, I'm gonna Advil a fuse and you'll see that they all work together with the same tempo, the same key, the same Well, the same song that I haven't actually done anything and already sounds like a full peace because it was designed to be that way. Now, this may be useful if you're just trying to create something really, really quickly and you don't care about messing around with making a complete song in your own from scratch. But if you're trying to create your own piece, maybe a construction kit isn't what you're looking for. Just something to keep in mind when you're purchasing another website I want to draw your attention to is a TSR, which is actually it's a acronym for, uh um is attack Dick a sustained and police, but they cyst chosen in the website str and what it is is, it's a website that you can purchase samples on, but you also have a bunch, of course, is where they teach a lot of information on different, different musical techniques. For example, you wanted to learn more, brought FL Studio. You wanted to learn mixing and mastering you something on sound design. You come to this site and you can either purchase the course out right or you can subscribe for monthly rates. The prices on the site actually changed a lot throughout the year. If you buy them on on holidays or special static stat holidays, they often have discounts and combined promotions where you can purchase items a lot cheaper than the regular standard price. I learned a lot of my information using this site. Also, YouTube is fantastic. Now. Okay, let's assume you have your samples. How do you bring them into FL Studio? Or what you can do is there's a truck diner and you go to configure extra folders, then click on an empty folder, and you just have to find it the location that you downloaded the samples, humans examples and add it. Click OK and your musical up here you have musical folder will appear with all of the files . Okay, that's everything for this video. We'll see in the next one. 17. Envelopes and How To Learn Any Instrument Plugin Quickly: So now you've got into music producing and you've got a dozen different sent instruments that you can look at and you just looking at all of these different trolls. You can see that some have not thes knobs. And as well, this releases overdrive Velocity June always see, has some other things here. We've got phases, we've got symbols. We got Monarch over here, which has got a whole bunch of Nam's. I mean, know what some of these things do and there's a form and you've just got so many different instruments and so many knobs, it just feels overwhelming because there's so many things to choose from. Do you really have to learn all of these instruments at once? Is there a way I could just learn a few of these and know automatically how to use the rest of the instruments? Well, there's a way that I recommend that you go about learning using instruments. The general recommendation from most music producers is that you learn a few instruments really well and hopefully using that information, that's what you use to learn new instruments. Well, when you're learning an instrument really well, usually you're going to be focusing on some general tools that air generally applicable to other instruments. And in this video we're going to talk about one of these tools, this tool that I'm going to talk about and this one is called an envelope and an envelope is the way sound amplitude changes over time. So it's the way that sound gets louder and softer over time. So let's look at a sound sample here. This is just a one shot sound sent sample. Sounds like that, and we can see that it fluctuates a little bit in volume, but it's quite consistent throughout sound, and we can actually manipulate how this sound gets louder and softer as it place. This'll isn't even innocent instrument, really. We're just manipulating sample. But this tool that we're going to learn is going to be useful in different synth instruments as we'll get to later on in this video. So let's go to the envelope of this sound and envelope is made up of four parts. There's the attack, the decay sustain and the police, and that might be some other elements, like the hold as well or delay. But we're gonna focus on these four at the moment, So let's look at the attack first. The attack is the time from the sound creation until the sound is that his full amplitude. So from the very beginning, until it's at its full amplitude, its height, it's getting really started. So let's make the attack really short in the seat with that. Sounds like Okay, so the sound hits you right away. What if we make the attack quite slope low longer? Yeah. We can see it's taking longer for this sound to hit us. Okay. What about the decay? That a case? The time taken for the level to drop to the sustained level after the attack passes. So after the attack passes and we've dropped to the sustained level which is here, and we'll get to that in a second what is the time that it takes from here to here? That's what the sustain that that's what the decay sounds like. Ah, a little bit hard to hear sometimes. But you can visually see it nexus. To sustain the sustain is the level that the sound stabilizes. That and sustained sounds have a longer sustained. Um, once again, this is gonna be a little bit tricky to here in this example, but I'll show you a different instrument, and you'll instantly recognize what sustain is. So that's a little bit tricky. But if we look at a piano, for example, if you've ever seen a piano, you'll notice there's pedals at the bottom. On. One of those pedals is called the Sustain pedal. And if you hit a note while you're pressing down to sustain, you'll see that the notes actually continue playing their sound. It's a sustained sound, so that same idea is happening in here. That's what the sustained is doing, and the final part is the police, and that is the time from the sustains level until silence. This one should be quite apparent to hear what that sounds like. So we'll have a short release and now long release. In this case, we also have a few other options. There's the delay. I can see that it takes a while before anything begins. Just a little bit of a gap there, and there was a hold right here, not too apparent, but you can visually see that there's many ways of influencing the envelope, but the most common or the attack, decay sustained and release. One of the note I want to add is that for the release, any reverb also adds to the police. So if you're in a room that has a lot of reverb in the room, then that's going to be part of the valise sound that you're hearing as well. Okay, so we've learned about a little bit of an envelope. So how does this apply to a synth instrument? Well, let's experiment with some synth instruments here. Here we have three x osc on and there's an envelope tap experience, Emily to what? We just aren't there. And just by playing with the attack, okay? And waken See that we've already changed the sound just by using these exact same jewels that we learned with the single sample. Okay, well, that's something has built in fl Studio, so of course, it should be quite similar. What if we're using an external Blufgan? What about something like monarch? Monarch is a instrument that's mentioned mimic and analog synthesizer. Oh, this doesn't look quite sent. The same is what we were looking at. The other two examples. I don't see something that looks quite like our envelope. However, if we look at some of the familiar terms well, this looks familiar. We have attack, decay and sustain over here. So this should sound like what we were looking at earlier. Although it might not be visually apparent, we now know what the key words mean. So we know attack ISS. Yeah, so we make the attack longer. You can see that it takes a while for the attack to hit us. Here's a decay. 00 yeah. So it takes a little while until the sound dissipates. And here's at least 00 So we see that we've already learned some tools with our basic sample and are something we can apply that to monarch. Even though we can't see the the envelope right away. We know what the idea is, and we can apply that. What about something else? What about something like form? Now this one is a whole different ball game for the most part. See that it's it's an instrument that takes a sound sample, and you can manipulate the entire sound and turned into something else. But once again, we have our nice envelope over here in this section and even though we don't really know anything about this instrument at the moment so far, we know that we can already manipulate the envelope of sound James attack. We can change the digitally okay to sustain the police. So even though we don't actually know how to use these other instruments, we already have an idea of some of the general tools that we can be applied. And you'll see that as you pick up more familiar tools within a different send instrument that you're gonna be able to apply the same ideas towards other instruments. So we'll get into other videos where we're looking at some similar ideas. But some common ones that you're going to run into a long time or volume um, decay cut off. You're gonna see oscillators which will get into another video, and we also you also probably run into different way forms that you can choose from. But for now, I just want to give you an idea of how a number that works. And that should be enough for this video. An envelope once again is just the way a sound gets louder and softer over time, and it's made up of the attack that decay the sustained in the valise. Okay, that's all for this video and we'll see you in the next one. 18. Mixing Overview: mixing is the process where you choose which instruments and sounds will stand out up off the other instruments in the zone. So you're going to choose that the main melody stands out in terms of being able to be heard clearly and is allowed a volume than the lesser elements that are less important in terms of the melody. So it's about carefully deciding which sounds will sound good and which one sound bad and need to be minimalized. This is also the point where you start adding effects to carefully craft your sounds. So in this video, what I'm going to do is over a few all of the features that come with the mixer, and after that, I will quickly do a mix of this song right here. So the first thing that we do is at the instruments to the mixer. There's a few ways to do this. One is to open up whatever instrumental sounds and select the button under track. If you don't see that button, make sure you get the settings and then you'll be able to see this so you can hit this track button and it will add the instrument will sound toothy mixer as well as the colors and the naming on alternative to doing this is to select everything. I just double left clicked, and now I can select a channel in the mixer. Hold down Control Shift and the letter L, and that will add any instruments and sounds that are in the Channel lech to the mixer, including the colors and the names. Once in the mixer, you can change positions by holding shifts and schooling with your mouths, and this will move them around. Alternatively, you can just school down on the actual instrument with your mouse on your schooling. Or you can do that with any instrument. They all do the same thing, just changing the position. Okay, so now we've added our instruments to the mixer. Let's take a look at what the mixture has. There's a few ways to look at the mixture. Different views you can zoom out to meet a bit more, you zoom. Zoom wide two or three. Then you can actually see the numbers in the volume. Stick with wide, too. It's good for now. First of all, this is the peak level, so this is going to show the volume. So if I were to play this next is the mute and a Knute button. So this is how you commute by left clicking you can solo, meaning that you play that instrument on its own and everything else becomes YouTube by holding now control and then left clicking so you can see everything else muted, a muted. If you hold down shift and left click that will walk the track so that when you solo or do other global changes, those locked tracks will not be affected below. That is the panning. So this is going to choose whether the speakers on the left or the right I'm going to be receiving the sound at any time. You can right click and resets to put the instrument control back to the default value. This is the volume below that is the face separator and the left and right channel, which you won't be using too much in the beginning. This is the mono and stereo control all the way, writes his mono all the way left the stereo. I cover stereo wit than another video. This is telling you that is going to be recording and receiving all of the audio signal if that selected, so that's dealing with recording audio. After that, we have the ability to route channels to other channels. So if I want to send the sound from this signal to another channel that, say, Channel 10 that's what this area is for. I can right click on a drop down arrow and select a route to the track or side change of this track. If I route to this track, all of the audio signal and input will be sent to this channel. If I select side chain to this track, what the differences between reality and side chain is, it determines whether this is dry or wet. So dry means that it's on the value zero and what it means that it's on value 100 so well or in room between. The idea is that this is completely off, and this is completely on. So when something is dry, it's off. And when something is wet, it's on, um, 100% eso side chain. In this case, it just means you're going to start in the off position in the dry position and route is just in the on position. So this is to say, only send it to this trek. There are alternative ways of doing this. For example, you can right click and say select and then routed to another track. But I find the easiest way is just to use the zeros. Let's say I have routed to this track and I changed my mind, so I d selected. What happens now? If I play, I no longer hear it. He sound and the reason is because all of the signal was sent to Channel 10 and then I cut off that signal. So now there's no output for this sound. What I need to do in this case is to wrap it back to the Master Channel so I can select the channel right click. Perhaps this trick way have the volume back on the right hand side is the effects, So if I select a channel, I can apply effects to it. I can select a slot by left clicking and choosing any of these effects that I like. FL Studio comes with a large number of a high quality effects. Let's pick something like delay. So if I have this delay now, if I would've plays waken See that the delay effect now being applied to that channel. If I select that and I want to remove the effect, I can hit the place and then go to none l've of movie effect. Another thing to consider is that the's slots are actually order important. So if I have a delay and then I had a fever, the delay will be affected on the channel first, and the river will include everything beforehand, So it will include the delay. So the order that these things are a position is important. You can also copy these effects by left clicking and then save priests as And you can drag that to another channel like So. So I've copied the foodie delay from my fl keys to the boo base if you want to remove a channel. So let's say this boo based channel I want to delete everything on it. I don't like the settle. So what I can do is select an empty channel, right click select file, save mixer, track, State ass, and I could drag it onto the channel I want to delete that will now completely empty that channel. However, we take a look at the blue base, we'll see that it's still routed to channel to. All we've done is remove all of the effects, something to keep in mind. Once again, I'm just gonna bring it back. Channel two was gonna sign a free channel which happens to be the free one. Number two Docking docking is the ability to ensure that you can see one of these channels while your school into the mixer so I can select a channel such as, Let's say, I felt blue base and I could right click select Doc to I can choose Left Middle, right. If I choose the left, I can now school through the mixer and it will retain the position off the channel on Let over here we have a very simple e que automation automation is the ability to control some of these. Some of these features novice automatically throughout the song. You can add automation by right clicking on any feature. In this case, I'm gonna choose the volume, and you can select creates automation clip. You can select the region that you want to create automation for by left holding down shift and left clicking and then right clicking at automation, and that will add automation just for that duration. However, there is a warning and a danger with doing this. If I want to change the volume after the automation, I may run into issues, so let me show you. So I'm gonna play that's just sold being here. If I hit play again, you'll notice that it jumps back to the original position. The reason is because the automation overrides anything else that I might do with volume. So you need to be careful about what automation you have. And sometimes even when that automation ends, you still might be affected. So what I usually recommend is just allow the automation for long as the song is, or just be really careful toe when you endure automation when you beginning. If you hit, create automation clipped by default, it just lasts the entire song duration. So you don't have to deal with not knowing when the volume or other non is gonna be changing, because you can always see it to give a little example. Automation. I'm going to decrease the volume and then just slowly rise involving. Let's hear that sense and you'll see the knob slowly rises. Okay, so those are the main features off the mixer. You can do a lot of things with these, especially once you start exploring the effects. For now, let's mix this track that I have here, So this is just a very simple There's a piano, a bass guitar, bass, plucked instrument sound and some basic percussion. So let's hear what this sounds like without any mixing, and then we'll mix it. I thought. OK, so this is obviously very simple, nothing too special happening here. So what I want to do is make sure that the main melody stands out and everything else is supporting rather than overpowering it. So I believe that the main melody is actually the plucked section. So I want to make sure the pluck section stands out the most. So this will probably be one of my higher volume areas and everything else I may reduce around that this is just the guideline is not a general, not a complete rule. One thing that is a little more close to rule is deciding whether to increase the volume on your mixer or to decrease the volume and The recommendation is usually to decrease the volume rather than increase the volume off, for example, plucks in this case, and the reason comes down to the next stage that will do will cover later in the course, which is mastering. Mastering is when you increase the overall volume of your song and its individual parts. In order to increase the volume, you have to actually have a low volume to begin with. So if you are rising raising the volume to the max in the beginning, there's nowhere for the volume to increase. So rather than making the main melody stand out by increasing the volume, what you should do is decrease the volume of everything else around it. That way this will be relatively louder, and you can still increase the volume later. Okay, so let's take a look at this and identify the main zones. When I was listening to it, I believe that the boot base was a little bit weak. He wasn't quite loud enough. The plucked was was the main melody says okay, but the effort he seemed to be a little bit loud. At the same time, I might reduce the keys a little bit notice months again. I can't just change this here because I have an automation. So I actually have to change the automation volume. - Okay , so in my impression, that's a little bit more balanced than what I'm hoping for. I have the main ability, it stands out. I can hear the drums clearly without anything directly overpowering. So that's your overview off the mixture. You now understand the features that are involved with the mixer, how to use them and the overall purpose of mixing. 19. EQ: in this video going to talk about an E que. What is an equalizer? How do you use it? The tools and principles that we talk about in this video will be applicable to using any digital audio workstation as long as it has antique you plug in. So you could be using a different Blufgan Nets accumulated, and the same idea should still apply. Let's dive right into it. The human ear can hear between 20 and 20,000 hertz. That's the frequency spectrum, and different instruments and different sounds will have different frequencies. So let's take a look at this. What a A This foodie primary acute to plug in conduce is it can help you see frequencies. So let's look at a pad and see what that sounds like. Well, we can see that it's occupying frequencies from who 60. It hurts up to maybe 2000 interests. So around there it's looking another instrument. Well, here's a pluck. Pluck seems to be operating mostly between 500 to 4000. There's a lead, a bass guitar, high hat, a clap that's near kick. This is a little strange kick. In general. It just operates the lower end and a sub base. If using FL Studio Here's some general guidelines. Hat, snares and claps operate in the trouble and down to the high, mid region high end look I made. This one occupies a leads. Pads and vocals tend to operate in the low to the low mid region Clomid and the mid region . And for the sub base section that tends to be the baselines, kick drums and obviously some basis. And e que. What it can do is it can shape, and it can carve sounds. It can lessen or accentuate frequencies that you want to hear, so a little bit putting that into more common terms is it stops sounds from fighting over one another that you might not want. You might want to have. Certain sounds appear a lot more clearer and other sounds a lot lessons, so they not is potent in your mix. So let's give some examples and we'll show you how this is, and it will make sense of it later. The dive into the foodie parameter e que to plug in the What is this particular plug in? And what are these controls? How do you use this well. It has a seven band equalizer and has seven different controls that you can modify. It has the ability to operate and change the amount. So let's listen to a pluck and this change the amount. I changed the amount. Here you can look up in the top left corner in this section on you can see that the decibels has changed, so that's the amounts you can change the frequency. Also, you can look in the top left corner, and you can see that the frequency is changing and you can change the bandwidth. Also known this residence que. You can also do this just by schooling with your mouse wheel. Oops, you can add something called a low pass filter or high passport. A high pass filter ensures the only sounds that are higher than the high pass filter will be hurt. So let's add a high pass filter. Oh, so now we can only hear sounds that were hired on a low pass filter. Does the exact opposite. It insures that you can only hear sounds at a lower, so let's just give a little recap so far, the frequency you can change the frequency you can change the amount and you can change the bandwidth. The whole purpose of this is to ensure that you are accentuating sounds and reducing sounds . Depending on which sounds you want him being out war which ones you want a lesson and not here is much. How do you know what sound should be less into what sounds should be accentuated? Well, you wanna have sounds that are not competing with one another. This is Giulio. So let's find a sound that could be competing. He's the lead and I looking around this section this is base section and there's a possibility that this might be competing. Look at the bass guitar with so this is close to lead might not be cancelling out. But if you were scared of that and you wanted to check what you could do is add some, perhaps a low pass. Very sorry. Ahead, pass filter on the lead. E need to be sure that is definitely not meeting with honor, at least not in this frequency area. This is a bit of an unusual example, but it's just to give you a visual example how it might be competing insane. Okay, Um What should you be thinking when you're using unique you? Well, Do you want to be enhancing a tone? What do you want to be? Reducing its flaws? That's what you should be thinking, enhancing or reducing. If you're not sure. Am I improving something on my not improving something? There's a few ways to do it. First of all, you can do the exact opposite if I think that, for example, the pluck. I'm wondering if I boost the low end. Is that going to improve it or make it worse? Well, you can do the exact opposite. So in this case, I know that a pluck should not have a large low end. So if I move this up, it sounds worse. E was if I move it down, the amount down with a little more. Okay, um, a common good practice is to cut narrow and to give a wide boost. So what does that mean? Well, this'll is essentially cut on, and to make it narrow, he makes the bandwidth narrow. So common practice is to cut narrow and boost wide, so to boost everything else. So why would you want to do this? Well, what do you do exactly when you cut himself thing in your lesson, you're cutting out a part of the frequency and essentially, that's making the me sound quieter. So if I were to be a system as well, what is that sound like? Essentially, what I've done here is I am making I'm making everything quieter and I'm going to show you this. I assure you this using the meter. So when I'm using this, I can see that the volume is around negative. 26 disciples using the high pass filter using the bypass, a feature or something similar to that allows you to compare the before and after you made your changes. So I can see that when I go to before my changes the volumes fluctuating around negative 23 . But after my changes is for curating around negative 26. So, by lessening, I've actually reduced the volume by cutting out some frequencies. And then I can boost the overall volume so that it gets close to where it was before. Or you can make it louder depending on what you looking for. So they say that that was moving art than a science. Yes, but there isn't right in theirs gold that you're aiming towards. You're trying to bring in certain sounds out Mawr, and you're trying to reduce sounds that you don't want to hear. Okay, um, another general guideline is to listen with your ears, Not just with your eyes. So right now we're playing with all the knobs and we're looking and saying, Well, there's a lying here, so I'm gonna make this change. But yet remember that you at the end of day, you're playing with a sound, and it sounds good. It doesn't sound good. So once you've made your changes, play with the bypass button, close your eyes and compare and see if it actually sounds better. If you are recording with better instruments with a better vocalist and a better room and using a stronger microphone, you won't have to seek you as much because you equipment will be doing a better job. So if you're doing this right in the first place and using better sounds, you won't have to eat you. The best is no e que. And the final thing that I want to tell you is to remember that adding effects after you've used e que will affect your cue. It will affect the sound in your mix afterwards. So a lot of people what they do is they'll dual this a queuing and they'll change things up , down and boost this thing up. And then afterwards, what they do is they add a compressor and the compressor is going to completely change the sound. It might bring this back up. I might bring this back down. You don't really know what is going to dio. And until you add another cute you after the compressor, that's the only way you can tell. And that's just kind of a waste of time. And you're mixing things up and it's just getting into a mess. So what I recommend you do is you do you any compression or any effects that you want to add? You mix before you do any que so you do compression. Then you do you eat. You okay? I think that's everything that I want to cover in this video. Hopefully, this was helpful. And now you marry an expert. Any cube? Thanks. We'll see in the next video 20. Compression: in this video, we're going to talk about compression. How does it work and how do you do it? You don't have to be using FL Studio to understand the concepts of compression because the principles will apply regardless. What software using So what is compression? Compression is raising or lowering off dynamic range. What is that at Grange? Well, it's the difference between the volume, the highs and the lows. Let's look at a kick sample here. Here's an example. We can see that there's I a wave form here, and this is the high the peak of thieve wave form, and this is the low we can see. There's a difference. This difference is called the dynamic range. Let's look at a compress kick. Here's a compressed kick we can see. There's a significant difference between the UN compressed kicked way form and the compress kick wait for him in the uncompressed weight form. There's a high peak in the very beginning, and then it tapers off quite quickly and gets quite quite towards the end of the sound. In the compressed kick. The dynamic range is consistent throughout its ah, high peak, and it carries on until the very end. So what is compression doing exactly? It's turning the UN compressed kick weight form into something closer to this. And how does it do that? Well, imagine that you're squeezing down on the peak. In the beginning, you're squeezing it down, pulling it down until it gets around to this height. Then once in this height, you raised the entire volume off the whole sound up until it looks like this. This will be more parent once you can see it. So let's dive right into it. I'm going to open up a comm pressure. How did this track number one in track number one? I added fruit with a butcher. I'm going to the compressor setting. You can use whatever compression you like. This should be the same idea. Although you might not see the visual is clearly. Compressors have similar features. They always have a gain, a threshold ratio, and they should also have an attack and a police. The first thing that you do is you apply the threshold, so we're going to be dropping the threshold. You can see the exact amount in the top left corner. What threshold is doing is that saying anything above the threshold we're going to be compressing. So any volume that is higher than this line here is going to be compressed. The next thing you do is apply the ratio by default. The ratio is a 1 to 1. As I increase the ratio we can see in the top left corner. I'm out a 2 to 1 ratio, and I'm now in a 3 to 1 ratio. So what? This is doing well, it's saying that for every three decibels above the threshold, return one decibel, so that should be making it quieter. Let's see if this is doing it. If you go down here, you can go to the A section and B section, so that aim before and after. So this is before you can see the volumes around negative a tous and the after the volume is now negative 15 ish, and you should be able to hear that with you years as well. So what have we done exactly? Well, as mentioned, we have brought the peak down. We have made this a lot more quiet, so it should be closer to distant. The next thing that we want to do is increase the volume of the whole sound and you do that with the game. So by doing that, we have compressed are sound sample. You might also want to play with the attack in the vote, please. Well, the sustained What is this doing exactly? Well, the attack is how fast it applies. The gain reduction and the releases. How fast is how long it takes until it stops compressing. The sustain is just how long it's going to continue on for Okay, so we have compressed are sound. I've already exported this so I can show you that before in the after here. So this is the before, and this is the after. As we look at this way form, we can see that the peak of the UN compressed is really high in the beginning and gets lowers goes on. Whereas in our compress kick, the peak is high in the beginning but doesn't taper off quite as quickly. So now you have an idea of how compression works. But perhaps you're a little confused on why you would use this. Well, let's imagine that you had a vocal someone's singing was someone talking. And in the video or the sound of the song. They get really quiet and they start whispering, whispering it sometimes when they're whispering, it's actually hard to hear what they're saying compared to when they're yelling and what you want to do is make sure that both of those are really clear. And how you do that is by compressing to make sure that the loud Valium is really similar to when this gets quiet. This is a similar to compression here, and that's what we're doing with this kick sample were making the quiet parts more audible . Now you have an idea of how compression works. That should be all for this video we'll see in the next one. 21. Sidechain Compression: in this video going to talk about side chain compression, citing compression is three modulating of sound based on an input from another source. So when you have the sound of one instrument, you can use that sound to affect our another instrument or effect reacts to it. The most common use of this is I chain compression nor ducking, and it's usually used to make one sound cut to a mix. So to create a pumping effect and hoot, scoot, scoot, sound or to make your kick drum more clear. So I'm going to show you three different methods in this video. First is theme annual method, where we're going to manually adjust the volume. The second method is going to be using a peak filter, and the third version is going to be using a compressor. Look. All right, so first I have here a kick. Come sample. This is the bass sound, and I have just routed the kick drum sample to Channel One and the base to Channel two. Let's see how this looks like. Okay, so this is the kick drum sound, and this is the bass sound, as we can see here, the base is actually playing constantly, so that means that they're actually overlapping the kick and the bass sound. Since they're both competing in the below 5000 Hertz range. That means that they're going to be overlapping and sound. And they're gonna be a little bit muffled because the bass sound is playing at the same time as the kick. So the kick sounds not as clear as the base sound. I can show you by removing the bass sound and you'll see you can see that now the bass sound his ah, not competing with the kick. Okay, so I'm going to show you how we can make sure that the kick sound appears a lot more prominently than the bass sound Whenever it gets played. The first way is Emmanuel Method, and I'm going to do this by automating the base volume, the base level. So I'm going to select the base right click on the level and go to create animation clip. I'm going out going to go to my playlists and we can see pattern one, which is the kick in the base and the automation for the volume. So I know that the kick is going to be at the very beginning of each beat. So I need to reduce the volume of the base at the beginning of each beat. So I'm gonna reduce the volume here, and I want the volume to return of the base to this level. So I'm going to copy this value right click and hit the letter C on my keyboard or copy value. I'm going to create a new points. I'm around here and I can neither pace that by hitting this or the letter p. It's duplicate this. Let's see how this sounds. So this is the before sound. And this is the after sound waken see here in the hills have Is it a slight little duck at the beginning of each beat? So you can see that it's compressions working. All right, that's the manual way. Next up, we're going to use the peak filter. So the peak filter What you do is you go to the Kick Drum channel and you add a peak filter therapy controller. Sorry, Thebe controller has a few different knobs here. It has a base in up where it controls the sound at the base level. So when the kick is not coming to watch with the level be yet. That's this. The volume an obvious desert. Determining what level to raise or drop to once a peak actually comes through attention is how slower, faster transition between the base and the volume and the decay is how fast to be set back to zero back to the initial state. This might be a little confusing, but you'll see in a moment the next thing you need to do is make sure that you link the base volume to the P controller. So I'm going to right click on this on the volume on the level and go linked to control. And I'm going to link that to my fruity peak controller. And I'm gonna link that to the peak. Except so you'll notice that the bass sound isn't coming to it all. And that's because this base now appears at the zoo as this is what is the sound supposed to be when the kicks not coming through? So this is as you you're not gonna hear the base at all, so let's turn this up now. The next thing that we want to do is adjust the volume. So what level to raise a drop to once the king does come through. So I want to reduce the volume of the base. Now I'm gonna show you before and after, okay, Now for the final version, and that's using a compressor. So if you add a compressor, we're going to put the compression onto the base, going to use my foodie limiter, go to the compression section. So the threshold is at what level are we going to be compressing? So anything above the threshold we're gonna be compressing the ratio is how much volume when we're going to be get back. So if we look in here, we can see how much welcome the way she is going to be. So if we had a 3 to 1 ratio up there for every three decibels sent in, we're going to receive one decibel back, so it's going to make it quieter, and it's gonna be at any volume higher than this special. Okay, now we need to actually send the kick to the base, and the reason we need to do this is one. The kick drum actually comes through. At that time, we want to reduce the baseball him at that time, we want to compress the base volume. And we do that by sending the signal from the kick to the base channel. And we do that by first selecting the kick Channel. Selecting this that sends the signal to the base channel. And since the compressors on the base channel, we can now received the side chain here and we can right click on this and select kick because it needs to have a need to receive a signal. And we've just sent the signal from the Kick Channel. So now when we play this, it will it will compress the volume of the base every time the kick happens. So let's play this and see so we can see that every time the kick happens. That's what this little spike here's the compression is gonna start, and it's gonna happen right at this point, is going to reduce the volume off the base. The last thing that you won't want to play with this the police. So how long is this compression gonna last? For example? Make this really long, and we're going to say every time the kick happens, the compression will last for a while. Or maybe you wanna make this quick. Okay, So this is the before This is the after four. After. So those are the three methods of doing come side chain compression. First is the manual method, where you manually automate the volume. The second is using the flu do Pekar and the third is using a compressor. You might have a compressor with another external plug in, and you can use that as well. 22. Stereo Width: stereo with how to make your sounds feel larger. This video of the tools that I give you will be applicable to using any digital audio workstation, not just to FL Studio, so you can use these and take these tools anywhere. First of all, you need to know what stereo, which is, and it's where you have a big, full, large sound. You need to know the difference between model and stereo, so stereo width is the difference between the left and the right channels, meaning you left and might speakers in the moist area. What do you have the wider and larger view music sounds. On contrast, a mono signal is where you have the exact same single coming from any speaker that's playing the sound. So if you have a room with multiple speakers and their role mono, that means you're gonna have the exact same sound coming from all the speakers. Whereas if it's stereo, you will have different sounds. Hey, stereo set up means you have speakers that could be playing different sounds from each speaker, so we're going to be creating stereo with is going to be the ability to create is large of a sound as possible, and part of it involves having a stereo set up. So if you have multiple speakers, you will notice this a lot more if you're wearing headphones or you're hearing through stereo speakers, meaning multiple speakers rather than one. But you can still learn the tools, even just using headphones. Penning okay, the simplest way to create stereo, which is through panning, which means you're just choosing whether the sound comes out of the left speaker or the right speaker. So let's look at that. First of all, I just have a simple sound here. Simple courts and as model because I haven't done anything to it is going to sound the same from any speaker. No matter how many you have in the room. Now let's pan them. So I'm gonna pan one of thes to the left on one of these to the right minutes before this is after. What you may want to do is panel of your instruments in different directions, slightly a little bit, left little bit to the right, and this will create the illusion of being in different places throughout the room. Panning should always be done as one of the last steps when mixing he music should sound as big as it can get before you pan. And the reason why is because when your music is played on a device that only has model speakers, you're not going to hear any up the panning effect. So I'm going to show you several ways to create stereo Witten's video. But panning should always be the last one that you do, even though it's the most easy to do, and the most obvious is the one that should be done, lest because the other ones can be done to create larger sounds, even on a mono device. But panning will not be noticeable at all if you're playing on a motor model device, so keep that in mind. The next tool is delayed. Delay is a tool that can create extra whips and delay. When you spread out this time of the sound, it creates a widening effect, so it spreads out the time of a sound from when the sound first gets heard. It keeps being played a little bit later, so let's check that out. So I have a foodie delay here. I'm gonna train us onto stereo, but it has a nice feature you can choose between mono and stereo. This is four missed after before. DeLay sometimes doesn't sound good when it's played on mono speakers, because the sound could become stuttering and thin. And if you had too much delay, it might not sound great unless you're playing on stereo speakers. So you may need to reduce the amount of delay. And you can do that by playing with the dry wit novice. So this is the dry wet not right here, So this is completely off. This is completely on. You may have to play around with this when you're using a lot of devices here. Exactly how much do they sounds good? How much place? Now it's bad. Another alternative to avoid issues on the mono speakers to avoid conflicting sounds. Playing at the same time is to use a ping pong delay, which alternates between dividing up speakers so you don't have conflicting simultaneous sounds. Fruity delay three nicely has that built in. So this is pink. All right here. So, foodie DeLay three has a lot of choices here, and I encourage you to play around with this. This is a really good Blufgan. Next is course courses where you have individual sounds playing with approximately the same timber and same pitch at the same time, so that their perceived as one single sound I think about what the word chorus means. Well, it's originally referring to acquire of people all singing some of the same notes, and it makes this larger sound as though there were multiple people rather than a single person. So what the plug in, of course, does is it mimics that with your instrument. So let's check that out. This is before, and this is after before, and that reverb reverb is a way to create the impression of a three D space. Makes a sound feel as though it is further away from you, as though the room is large and the sound is coming from a distance. Reverb is used a ton in modern day electronic music. Let's check this out. Weaver. So this is before, and this is after before. De tuning D tuning is where you think in the sound by playing at slightly different pitches . Often this is done with a sink instruments by playing multiple oscillators at different settings So let's check that out. The easiest way is using the built in three x OSC. So I'll show you what it sounds like in four D tuning. So we x OSC has this de tune right here. I can play with this. So this is with D. Tuning is without adjourning. I can also show you this with harmless homeless. Makes it even easier because there's just one little knob right here d tune. So let's hear before I'm gonna play with this knob right here in D Tunis lately, you can see how much in the top left corner. So maybe just a little bit on with you have to be careful with how much because you are changing the pitch of the sound. Okay, A Another thing I want to mention about detouring is that it's a technique to thicken your vocals by playing identical vocals tuned in different directions. So I have shown you another video on vocal processing using new tone than you tone Blufgan . And you can check that out for d tuning. But for now, that's all I want to mention about d Tuning is it's just a simple way to adjust the pitch is to create a largest out. So that's all you need to know about stereo with. Really, you can create large sounds by combining all of these together. So you combined chorus reverb, delay, panning and d tuning, and when you put them all together, you can create really large, wide sounds. 23. Automation and Creating A Rising Effect: automation is an important tool you can use. Automation is Thea Bility to change the controls of instruments and effects over time as the song is playing. So you could be doing many different changes to the instrument and effects at the same time . Well, we have to do is plan it out. I'm going to show you this through the use of creating a drop effect. I'm gonna show you how to build tension and anticipation at certain key points in the song . So you'll learn three things isn't in this video. First of all, how to do automation. Secondly, how to create a drop effect. And I'll also show you how to use automation with external plug ins that are not built in with FL Studio. First, let's listen to the sound of this song before I have added any automation and effects to it . So we start with a rise that's building up, and then we get to the crescendo where the drums get much faster device hits s nearer, heads us and the chorus begins. However, there wasn't much anticipation apart from the drums getting faster. So let's add some effects to build this anticipation. I'm going to be using four different three different effects and also play with the stereo on model. First, I'll add a foodie delay, then a reverb and Q and finally, the's stereo and model. So let's go one by one. The delay First. I haven't added any changes to the novel. Um, just leaving that, as is all I'm going to do, is at an automation for the dry and wet. So how on and off it is to do this just right. Click next. Create automation clip. Well, automation clip was created. If you want to create automation for a smaller segment, you can select a region. I'm just holding down control and then left clicking to drag. You can then say create automation clip and the automation clip will be created just for the length that you've chosen. What I'm going to do is start with zero all the way. Try and we'll build it up over time and drop it back down. I'm going to do the same thing for river. This is just dragged in going to a pre set, going to play with the dry and wet again. Start with zero, uh, to do this I'm just right clicking to add key frames just right clicking on the automation clip. I will do the same for a week. You This is just the EQ you going to a pre set and selecting one of thes just adds a high pass filter on a low pass filter. Then I'm going to automate this part right here, so it's gonna play on Lee the higher frequencies over time. So as I right click at Automation, you can add automation on any plug in NFL studio by using six act same technique just right clicking and selecting Career automation clip. And finally, I will do an automation clip for these stereo and model. So over here, this is all the way stereo. This is all the way model. So this means that if you have multiple speakers, you're going to hear it on all of your devices. Coming from any panning that you might hear, you'll hear that, and this is where all the sounds will be identical on speakers. So I'm going to create automation clip here. I have made another video on that. You can check that one out. Okay, let's hear how this sounds did you turn them on yet? So this is before I'll turn everything off again. And now this is with everything on you felt how there was this anticipation, this buildup intention that was rising over at this point because of the automation clip. We're changing the delay, turning on adding more delay and reverb over time making. The accuser was only playing the higher frequencies over time. And this is telling everything to go to more model over time, then coming back the stereo. So that's automation. You can see all of your automation clips appear up in this section here. This is your patterns. This is your audio clips and is the automation in the future. You can always just drag your automation clip back down like so I was going to show you how you can do automation with external plug ins. So I'm going to open up and external instruments. Let's add in massive, massive here. Massive has no ability to when you right click, say at automation. It's not there. It's not part off this plug in. So how do we do automation clips? If I want to be changing these knobs over time, how do I do that? Go to the top left corner to the drop down arrow Select Create thumbnail editor thumbnail. And what it done is it's taking a snapshot up every single control off the plug in. Now, when I click on that, you can see all of these knobs. So, for example, this is, um, the pitch. So this is the pitch right here. Position, Mrs position Right here and so on. All of these are now automation. Um, you can right click Select Tree Automation clip. And if I should like that, you can see an automation clip has appeared down here, which can now be changed over time. So that's how you can do automation with external plug ins. We've learned how to use that NFL studio to create interesting effects with tension and building and rising. You will be using automation a ton. When do you start crafting your individual sounds? 24. Creating A Song Song Example: by the time that you've got to this point in the course, you've already learned many of the tools that come with that full studio. You've learned how to develop and compose your musical ideas and how to mix, along with the many tools and techniques that come with mixing. Now I want to take a moment to step back and help solidify some of these concepts for you so that you can really understand how to apply them because it might feel a little bit overwhelming the first time you're exposed to these concepts. When do I use this technique? How do I use this? How does everything fit together? I'm a little bit lost. What do I do? You know. So I want to show you with a demonstration off how I compose a song by walking you through the steps that I used to create one. So in a few seconds you're going to listen to a song that I've created called Bad Fruit. And while you listening, I want you to think about how you might apply these tools and techniques that I've shown you so far in the course into making a song such as this one. Although the one you make doesn't have to be Elektronik at all. But this is an example I'm going to give you. And then after you've listened to the song, I'm going to show you step by step how I actually created this song. I'm gonna walk you through the process which will include many of the techniques that I've shown you so far in its course so that you now know how to make something just like this. So this is the song bad fruit. And I hope you enjoy way , - way , - way . 25. Creating A Song Composing Demonstration: Okay, so let's take a look at what the song actually looks like. You've had a nice listen to it, and we're gonna go on break this apart using the exact same tools that I taught you earlier on in this course. So the first thing that I do is I come up with an idea. Well, what is my idea? What kind of genre my looking for? What's the feel? My making something happy. What's the purpose? That dancing song, etcetera and go online. Look it up and you do for Soundcloud. Listen to my favorite TV's. Whatever. I have an idea in this case for this song, I chose something electronic key with progressing courts. That's what I wanted. Something simple like that. Okay, the next thing I need to do is pick a tempo. Night shows 140 beats per minute. Then I need to pick a key. So I'm gonna go into a instruments in this case, I just brought up armor harmless. Sorry. Uh, and I need a key, so I'm gonna go in my stamp. And I chose bridging, and I chose free Gene and f Not for any particular reason. I just wanted a scale, and I was playing around with some scales and I found one. In this case, I chose F free gene in F f region. So that is my scale. I like to have these here and then I like to make them ghost notes hitting mute. So now I can see every note in the scale that I'm allowed to play within that scale. I find this useful visual for me to see what I'm doing. You don't have to do this if you know your scales, but this is a useful technique and you don't have to stay within the scale. If you know what you're doing, you can swap between Major and Minor. I know. But when you were in the beginning composing and you don't actually have anything in mind yet sometimes it's easy enough just to stay within a scale. All right, That said, let's start the next step, which is coming up with a baseline, some kind of courts that I'm going to be building off the rest of the song with. So I get my meeting keyboard out or I just start playing with piano. Will and I ended up settling on uh, progression. Ah ah. And the whole song is essentially based on this single piece. Right here. Ah! Ah, that's the whole song. Everything else didn't that just keeps repeating. Except for when you get to the bridge. But I use the same procedure again when I do the bridge. So here is the cord line that I'm going to be making the whole song based upon that. That's it. That's a Well, uh, Okay. So what's the next step now? I figured I would turn this into a court, so I need to at some combinations. So the easiest way just to make these into fits? Uh uh, tweet needs to stay with scale. Right? So this is good, right? So let's hear this sound so far. Uh, okay. All right. It's a start. So what's the next step? Well, now I find a way to turn knees into Fuller Richard cords. I start elaborating with these. Okay, So how did we get from here? To their what? To beat you? Well, I can see that there's a note here, and I don't hear. And that's just the exact same thing up, adoptive. So that's pretty straightforward. This is the same. Is it the same? This note is a little bit different. So the next thing that you want to do, once you that is in combination notes to start mixing around with the positioning, you might version, Which means you bring the notes on the bottom up to the top with the notes on the top to the bottom organism C sharp. There. Well, you might have. You might delete the one at the bottom. Just have the one of the top and so on. That's an inversion. You're just moving the positioning of the notes that are the exact same court. You just moving them up or down. You're spreading the notes out throughout the, um that the throughout the scale so that you can have a wider range of notes just makes a bigger feel. Okay, so I've come up with some chords. We added some version just mean moving around. We played around with different court combinations, just actually looking on notes and seeing that they're in the same scale and listening to them until they work. Because even if you do know your music theory, you're still going to be hitting on a piano or whatever instrument you doing and seeing what sounds work. And that's the same thing we're doing here. We're just using an electric instrument. Essentially. Okay, so we've added our courts. What's next? Well, now I like to add the drums, so let's take a look at the drums. What do we do here? And still you find this is a very, very basic drums that there's not nothing special going on here. Uh, so I just wanted something essentially to keep track of time. That's all I wanted for this part. What did we do later on? Well, that's not too complicated. Always doing is getting faster when I'm selecting notes. And the purpose of that was I was trying to build up until I get to a change in my melody. I just wanted have some anticipation. So what? What did I do? How did I get this? First of all, this is just taken from a sample back. That's all it was, alternatively, the rest on plug ins that you can actually create your own kicks and death will studio, I believe, even comes with a few, but that's for that's for you to play around with Okay, so I added some kicks and drums. Pretty straightforward. Um, the bridge is a little more interesting. Come wise. I had a somewhat more interesting combination. So let's see if I and use we already covered this in the very beginning. Just selecting notes until you have a combination that works Well, okay, that's the drums. Straightforward. Next I added a melody. So the melody, let's see what we have. What I usually do in this case is I make a copy of my instrument, and then I use this to make a melody. That way I can actually play over the notes and court over the notes without affecting the original. So let's see if I were to play this and I'm just gonna play around with the keyboard and see some combination of melody that works because I haven't previous to come up with ability. Sometimes you already have that in mind, and that's what the basis of your song. But in this case, I just created the court's first Ah, uh uh, And when I'm ready, I hit record. No, it's an automation, so obviously there's a little bit of fixing. It needs to happen there I didn't sound too good, but I recorded my melody. I then have to move these around a little bit, go to edit tools and quick quantities, and that's just going to make sure that note snap into place. He sees a little movement. Yeah, just makes it a little easier to move around. Ah, um uh, so the only restriction that you have is you have to make sure you're staying with same sort of scale that you are using your base notes for you play onto the melody. You do this a few times, and then you just move them around manually until you find a melody you like. Okay, then the last thing that I did in terms of melody wise is adding the sub base. So just layering other instruments in this case is not too many layers because it's Elektronik music. And I didn't have any violins or anything like that. So for the sub base, let's see what that looks like. You might have to wear headphones to hear. This will have decent speakers. So this is the exact same as our original court progression is just Hef C. Sharp D sharp, and then back to F. In this case, I chose an inversion so a little bit lower down when he stepped those together. Meaning just I played them at the same time. Uh, okay, so that's the general idea. You just come up with a an idea. Choose a key, pick a baseline court you're going to be using. You had some drums to it. You create a melody, choose an instrument, expand those courts at some inversions to them, along with your melody, figuring out different possibilities that sound good together. And then you start layering with other instruments that are usually based on the exact similar notes because those are just meant to be layers. And that man should be changing the melody so much. You're just adding more personality and flavor to your instruments. Um, and I think that's all I want to mention for this video. We will return to this and start exploring the mixing in the next video 26. Creating A Song Mixing Demonstration: right now that's dive into the mixing and adding the effects into our song. So once you've come up with your melodies and your cords and instruments and you know how the general layout of the song is going to be, then you can start looking at the mixing, which you should start doing after you've come up with new melodies because you can start tweaking with the mixing. But as soon as you change your melodies, you're gonna have to redo everything again. So you should try to get as much of it out the way it's possible before you get into the mixing. Let's see what I have here. So the first thing I do is I just the volumes. Some instruments will be too loud. Some will be too quiet. You just have to do that manually listening. But you're some notes. Some instruments were much louder than others, and you just have to adjust the volume. Okay, then I want to craft the sounds of some of the instruments. For example, on the since here I added some course effects, a delay effect, uh, and an e que. So why did I do this? Because I wanted to show some of the parts of the instrument that sounded better to me. That worked well with everything else. So let's listen to this without the song without the effects. And then we'll listen to it with effects. Okay. Where is it? Uh, here we go. What if I had? So the 1st 1 I believe I did. Waas the queue. Let's here without you. Uh, so I didn't like that nasal Lee White noisy sound. Ah, she's a personal preference. So I I took it out by queuing out some of the higher frequencies, which is where the white noise natively part was. That's what I chose to do next. Um, let's see what course does to Ah, uh, sounds decent. I did a delay. What is the delay? Sound like? Quite subtle. But it seems to last a little bit longer. After the initial notes played, it's just added some sustained to it. I suppose so. On crafting the sound of my synth instrument, um and that you can also do that within the synth itself so you might go into the instrument and do this because often that comes with a lot of parameters already for example, has already has the delay built in a course weaver architecture. So you can do that within the instrument, and usually you can do a lot more. All right, So you crafted this sound. You've added something cute to the parts that you wanted to keep. You might have boosted some parts. You might have lowered some parts. Um, I like to add some wits too much. Too much as well. Which is why I added a course and delay. I'm adding what I might have. I believe I also d two needs to miss a little bit as well. Um, maybe not. But you could. All right, um, Addison with all right, I also did some side chaining and added some white noise. I covered another video on side chaining, and I encourage you to check that out again, if you for gotten. But if we just play the part with side chaining, we should be able to see this. Uh, you see how this thing is moving on its own? The reason is because this is linked to a controller and that control is based on this kick drum here. Theo sounded the synth drops the reason I'm doing as I'm trying to help the kick drum burst through a melody a little bit. And to do that, I'm just using the magic e que which just dropping every time. I also use the trick that of each uses in a lot of his songs. And I did that with side chaining white noise. I did that in this part Over here. I believe so. What? This is is it a three? Oh, nobody came out such complicated. Named its three x o oscillator three. Okay, I said I got a tweet three. Also. Laters. All right, so I turned on white noise here. It's Just turn yourself in now, I suppose. Um, so this is just waiting. That's all that. But when you side chaining to kick drum, it sounds quite impressive on I couldn't change that. The same could come because I was already using that with the current method of side chaining eyes using. So what I did is I made a copy of the kick drum. Yeah. So what I did is at the same time that I'm playing this melody here. I also have something called ghost note, which is not actually making any noise at all, but is keeping the reference point off my kick drum. And the reason I'm doing that is because I want to side chain my white noise. But I've already used using the peak filled Prudie Pete Control already. And the benefit of this is I go to my foodie, Pete control. I can hit mute. So now the drum is even if I mute this kick drum, it's still side chaining because it has another kick drum that's muted, and it's just keeping reference point. And this can still know when to side chain. All right, so I did that with the white noise, and the reason I did that is it adds a little more noise in the background, and it just feels like a full assault. So that's what you can try to do for parts. What you have. A lot of kit comes and you kind of get a melody going. Okay, It's been way too long in that part. Um, I have a bunch of effects here and f X meaning kick sound. So So what are these? These are just taken from sample packs, and often what I do is I'll take a kick drum. I'll make a copy of it, right click, make it unique, and then I can reverse it and add it to the beginning. And I find that when I do that, it creates a feeling of anticipation. It sounds cool. Okay, so that's effects. You can use the same principles and mixing craft your sounds, for example. Um, see if I can find one 21. Yeah, So for some of these are added a little more with or delay to them. I even used it. So make you on some of them Seems pretty straightforward. The last thing that I need to mention is how to do the automation at the bottom that I've shown over here. And I have actually shown you already in another video where I showed you how to build up the anticipation. But let's hear it again, like you. Okay, so I call this in another video building a riser or drop effect. And essentially all it is is it's playing with the delay, a chorus reverb and the mono and stereo settings, and you can see that here. I actually did this on the Master Channel. No, change. I also played with the volume of Harmer here, and I just wanted to drop the volume as theorize that happened and then bring the volume back and I played with the panning as well. So let's check this out. I will slow it down so you can see it easier. So just pay attention to these knobs over here. He's not moving. That's because I was adjusting the panning. I wanted the instruments to feel like they were moving around. So it's another technique and use. Okay, so that's everything I wanted to cover in this stage of the course where I've just tried to put together an example of all the techniques that we've covered so far and apply them into a simple, straightforward song with that not too complicated is not too many things going on so that you have an idea of how to apply all of these techniques and put them together 27. Recording Vocals: Let's talk about recording live sounds specifically, I will be talking about recording vocals because he's often require special processing. But the information can also be used for recording other instruments. So what do you need is a minimum for recording vocals? Well, you need a vocalist, someone who can sing, and then you need to have a microphone. Well, what kind of microphone? Jeannie? Well, it really depends on your price range. You can get a cheap one for a few bucks, or you can pay up to thousands of dollars. One thing you do want to consider, though, is if you're using a computer such a laptop, you may want to consider getting a USB microphone, and this is a microphone that can plug directly into your computer without having to worry about getting any adapters to connect the microphone. Okay, once you have your microphone, make sure you go to a quiet location will find a way to make your room quiet as possible. Things you want to try to avoid are hard edge surfaces in new room because he's will call us Reflections of the sound, and these will appear in your production later on. You may want to consider, or getting or making a pup filter, which is essentially just a piece of mesh that you can use to cover your microphone from your voice. What's the point of a pop filter? Well, apart. Filter reduces or eliminates popping sounds. So this is the put sound or the S sounds, these air noises that are undesirable and your microphone will pick them up because they're extremely sensitive to those noises so you can reduce those by having a pop culture. Now let's get into recording with Edison. So I'm back in there for studio identified, a new channel going to select a single microphone, which I'm using. I have a model microphone, little medicine. Okay, now I am court, According to Genesis in this is a court boarding. Okay, so let's take a look at this vocal and see what we can come up with. I want to show that Edison is a bunch of features, some of which I will get into, some of which you'll have to explore on your own. But here is the wave sample, and here is the spectrum sample, which I want to analyze with the D noisier the Dean Oyster is a way to reduce background white noise. So any of this fuzzy colors here this is unwanted white noise. So let me play this week and you won't hear anything because it's just background down. It is not even audible. But if you add compression and do effects and start raising the volume later on, this white noise actually might become a parent. And you don't want that because it'll interfere with the rest of your sounds. So how do we get rid of that? Well, you're going to want to go to this tool here called the D Noisier. And what the D noise or does is. It gets rid of background white noise, so the first thing needs to do is analyze the simple. So you hit acquired noise profile, and you have to load it up again and you can see it's actually analyzed this intensive information. Then what you're going to want to do is play around with the output noise on Lee, and that's going to bring up just the white noise. So if you can hear the white noise, then that's the stuff you want to get rid of. And if you can hear your voice, and that's the stuff you want to keep. So you don't want to give it that. So that is that, uh, white white noise? Just the Russell in the background. Okay, The name according into distant. And that and that sound of my voice. And I want I want to keep that part. So I'm going to actually really restoration along the man amount so that I had I only getting getting like, the white noise once I might be happy. Diesel isil like, be what you want. No, he's only only so that I wouldn't correct. Correct Information Nation It is. Except so now we can see that the colors become darker and the reason for that is we've reduced the back road noise. So that's essentially doing what we want. We got rid of the unwanted sounds, and we just have the vocal left that we desire. Last thing we're going to do is trim this, So I'm just going to select the region that I want to keep. So I've highlighted that right click, edit and trump, so that will give it of the beginning and end parts that I can drag this into my song, and we should hear that. Okay, So now I am according into Edison, this is a recording, okay? 28. Pitch Correction and Newtone Overview: Once you have your vocal, you need to process your vocals. There's a lot of tools and techniques you can use for processing vocals, and I'm going to show you a few from here. You don't have to use all of them every time, but some of them will be useful, and it really depends on what vocal using and what effect you're trying to achieve. So here's what I would do for some of songs, and I'll just list a few them. What I'm going to do first is pitch correction that I'm going to layer the vocal. I'm going to add vocal harmonies. I'm going to back the vocal up with some kind of vocal since, And then I'm going to add some que onto the vocal so I'm going to show you these five different techniques. So, first of all, let's just hear what the vocal sounds like on its own could send the stories that we say like someone's were tend to be told. Now this vocal doesn't actually need any pitch correction, but I will show you how to do that. So you go into the mixer and you assign your vocal to some tracking the mixture in this case have chosen Track one, and I'm going to add in new tone. So I'm adding in this, and this is a plucking comes with FL Studio so I can click on the audio and dragged into your on This is that we say, alternatively, you could drag it in from your channel. Lack. Okay, so once your new tone, it's in the stories that we say. What it does is it assigns a different note in key for each part of the vocal. It chops it up into pieces, and you can adjust these pieces individually so I can raise these up. It's in the stories that we say, like so. So I would want to do that to adjust any corrections that need to be made for the pitch. If the vocal slightly out of tune I can do that just by justice. Let's go over some of the features here. First of all, at any time, you can always look up in the top left corner when you're hovering over any of the buttons and you can see the name of the button. So, for example, this one is the cut mode. This is the advanced edit and so long. So first of all, there is the you can just move down. You can change the positioning where the note begins and where it ends. If you want to advanced movies, so you want to have more control over. When the note begins and ends, you can hold down Ault on your keyboard. I'm holding the left Halt! And then I'm just left clicking with my mouse, and this will adjust the clip even closer. You can slice the clip either by clicking this button, and then you can just chop local like so well, my preferred method the same way. In the piano Volin playlist, you can hold down rights, Ault and Shift and then click. Click on a click. I usually find that seizure. If you're going to advance that it mode and you click. Click on a clip. You can see there's a bunch more controls here, such as increasing the you can change the variation, which is the this line here. This is showing how the pitch varies over time and you can adjust these. You can determine how the clip fades, invades out, and you can adjust the variation. Quite finally, it's like So okay, this button here, what it does is that it links the clip to same time. Is your playlist it's in is that if you d select that well, you can play the clip without playing with new tone, and this button here tells new tone to be schooling at the same time as you playing. Send the stories. I think he automatically adjust the screen position like someone's were tend to be. So these buttons here for central variation and trans thes air global control. So if you change a part of it, everything on the entire you tone adjusts, and I will show you why Reeses in a little bit. So once you've done your vocal corrections, you can drag the corrected vocals back in geo playlist by clicking this button, which is drag selection, and I contract the clip into my playlist. You will want to remember to de select new tone after you've finished doing your edits. Otherwise, sometimes it will play at the same time as you're playing your other tombs, so I'll just turn that off for now, and we can hear the change that I made in the beginning. It's in the stories that we say compared to the original. It's in the stories that we say, Okay, so that's doing vocal pitch correction. 29. Vocal Layering and Harmonizing: The second thing you may want to do is add layering to your vocals, and I'm going to add backing vocals. So to do that, I'm going to essentially change the pitch and timing off the original vocal clip. So I'm going to take my clip. Tregoning is in the stories that were said, Let's look in you turn again. So in order to use that you're essentially creating someone behind you making these checks same melody, but maybe slightly off pitch or slightly lower speed or faster speed with certain notes. And this creates an interesting course effect. So how do we do that? This is where we play with these Mackel controls. You can change the center and do everything over here to change all the pitch notes at same time. And then what I like to do is go in and play around with the starting at any position of the individual syllables once again by holding, alter and just moving these notes a little bit for a little bit back and so forth. Once you've done that, you drag the audio clip that example, studio again to the playlist, and you'll have your local air now I'm gonna show you a clip that I've already spent a few minutes just adjusting the timing and positioning and you can see what it sounds like. So this is the original. It's in the stories that we say and this is the layered local. It's in. This story is that we say sounds almost the same. But now when you play them together, it's it s so is that we say created something that's very similar to of course effects. And this is the backing local. Okay, so that's layering vocals. You can do that for several different layers. You may just want one. You may want a few. The third technique I'm going to show you is adding vocal harmonies to your vocals, and this is where you have a different melody, playing at the same time as your vocal melody. Now you can do this with the same original audio clip they used in the very beginning, and you could do that again using new tone. So let's load in you tone, hand dragging the audio clip. It's in the stories that was so what I'm going to do here is I'm going to play around with notes. And I'm just gonna find a melody that would work in at the same at the same time as the original melody. Oops, I turned it on again. Dorries that we say it's in this. But oh, it's in the stories that we say it's in. The story is that it's in the story. Is that we say, Is that what we say? Okay, so you get the idea. What I've done is I've in this case, I've raised the notes by a little bit, and it's creating a melody that works at the same time with the original melody. Um, you really just have to do this by playing in through trial and error. There's, um, no way to do this unless you sit down and actually play with the notes and find something that works with the same key. Okay, so once you've done that, you dragged it into your playlist again, and I have already done this with a vocal harmony track using the exact same original, and I'll show you what that sounds like. So I just change the pitch a little bit up higher for all of the notes. It's in the stories that we say that someone's wit and to be told Act now if I've played at the same time as the original, it's in. The stories that we see like someone's were tend to be told the acting compass, and now I'll play that with my lead vocal at same time and see what they will sound like. It say That's so is that we say like someone's rich and still be so okay, so that was the 1st 3 techniques. 30. Layering Vocals With Instruments: The next technique I will show you is adding a vocal instrument to back up your vocal. So once again, we're gonna do this using new tone. I have my vocal and I'm going to turn this vocal into MIDI. And then I'm going to use an instrument to play that midi. So get my vocal again, sit in the stories that we So what you can do here is there's a button here that's called center piano roll. Look in the top left center P animal, and this will turn all of these individual syllables into midi notes. So to do that, I need to find an instrument that I like. In this case, I've chosen an instrument here called Vocal, since I'll just make a copy of this for this example. Okay, so I've selected the instrument that I'm going to use, and I'm just going to select this button, send to Piano Bowl and you can see it sent the notes from you tone into the instrument. Now, if we just play this, you can see it's not gonna be perfect. So you're going to have to play a little bit around to adjust the timing and adjust the positioning and get rid of excess notes. Once you've done that, though, you can end up with something that sounds something like this, and I'm going to play that the same times. My vocal it's in the stories that way, like someone's were tend to be so I may want to play with this a bit more, but you get the general idea. If we play them all together now, it's in the story. It's in. The stories that we see someone's were tend to be told the acting, Copus says the 31. EQ for Vocals: Okay, so we've created a vocal, adjusted the pitch at it. Some layering to it created a harmony Fort added an instrument to back it up with a vocal sounding sound to it. The last thing that you're going to do is when you're playing with the mix, you're going to want to eat qu vocals. So let's just hear this on its own with with all of the instruments together. So Okay, so I want now to make the vocals stand out in the mix so that they're a lot more clear and announced, and the way I'm going to do that is using e que. So I'm going to go into my vocal track. I've sent all of these vocals to my Channel one. You don't have to send a multi channel at the same one, but in this case, I've done it for this example, and I'm going to load in a que plug in this case is cute, too. So if I would have played his way, you can see that vocals operate in this main region. So somewhere around here, I'll turn it down. But you can see that the vocals operating somewhere around 200 is shirts up to, maybe somewhere about 10 dozen. And what you want to do is increase the parts of the frequencies that are gonna benefit the vocal, and you're gonna want to decrease the parts that are not so. The first thing that I like to do is add a high pass filter and high pass filter allows the frequencies that are higher than it to pass through. So if a vocal studio usually going to want to have, ah, high pass filter somewhere between 80 hertz and 100 and 20 hertz so somewhere around here waken see that vocals don't really operating this lower region, so it's going to be just cutting out the parts that instrument would normally be playing over so we don't want competing together. So I've added a high pass filter for their second thing that I want to do is add a top shelf, and this is going to be somewhere between 12 kilohertz and 16 kilohertz. So somewhere around around this area, top shelf, this is what it's called. No way is this the same way I show it's the same thing. So what it's done is I'm just boosting the entire melodies, and you might want to increase it anywhere from one decibel six decibels. But anywhere in the range 12 kilohertz, 16 kilohertz. You'll just have to play around to something that feels good, okay? And the last thing that you want to do is, if you're not with, these vocals are still not sitting well. Mix. You can cut around summer between 100 hertz and 250 hertz, so 100 hertz and 250 years somewhere around there. And the reason you want to do that? Well, let me show you what it sounds like if you were to do the opposite. So I'm going to play vocals and you'll hear this nasal e sound. So is that we say I think someone's returned to be told, so that's got a nasal e sound. It's not particularly pleasant. Watch this way. I'm going todo it said. So is that we say I think someone's rich and still be so. So let's hear before it said this. So is that we say, And now we'll hear after I think someone's rich and still be so now it's here with mix four . So and this is that way, so it's a very subtle, but you'll hear it more depending on the type of music you're playing with. So those are the main techniques that I wanted to show you. We covered vocal pitching correction, adding layers here vocals, adding harmonies to your vocals, adding vocal since Instruments to Back up your sounds and finally, how to eat Qu vocals. 32. Vocal Chopping: a technique that a lot of popular songs air using nowadays is one called vocal chopping. And this is where you have a vocal sound that's being sliced up into different fragments, and those fragments are arranged to form a new melody. So we're going to learn how to do that in this video. But first of all, I want to show you a few examples in popular songs. One of the pioneering bands to do this is one called Skrillex, so here's a few examples. 1st 1 is First of the year Equinox by Skrillex Theo so you can hear how there's a bunch of vocals that are being broken up, and they sound quite good when they're range together. But it's definitely not an original sound recording that you adhere. Something's being done to the vocals. Here's another example. So how do we do that? NFL studio? Well, the first thing you need is a vocal instead and still feel the beats. Their living to not just their hearts and moods they've got doesn't really matter what the vocal is, as long as it has a long enough duration, so you can chop it up and that it's clear on its own, so there's no background sound or other instruments and extend with it. The second thing is to open up fruity slicer. So I'm gonna answer and you instrument called foodie slicer here. And I'm going to drop the vocal into Slater feel beats their living to, not just the so we can be something's happening slicer. And if we go into piano will weaken. See, that is actually being broken up into different pieces. Instead, it beats a live thing. So you want to find the most prominent sounds thes air, usually vowel sounds. So this is not audible, so I can't use this one bits. So these two sounds I might use. So this is slicing it before and this slice number 15. Actually, even that was not too great Lift, lift lifting thing. I think thing thing, once you've found all of these slices that you want to use, you go into control and has an option called note. Fine pitch. Now, what you can do is you can adjust a pitch to fit your melody, but but but But But if you look up here when I'm adjusting this, you can see that thes sense are changing. So this is how much the pitch is changing. You're gonna wanna have something with double zeros at the end of it. So 300 or 200. And this is saying how Maney notes above. If you adjust this, you can see thes lines, horizontal lines. And this is another way of visualizing. Are you at, uh, 100 cents or 200 cents? Because a full line will be a full note. So this is a useful benchmark food guessing how many notes to go higher, lower. So what you want to do again is to find your slices and then place them into whatever tempo or melody that you want to have and adjust the pitch to meet. I'm going to show you a finished example. So you have an idea of what you can do with this. The first thing that I usually do is I create some chords. So here's Simpson cords. Uh, then I arrange my vocals in to a melody that would work with those chords so you can see how I look at this slice here. Well, I've done is I've changed the pitch, so I moved it up 700 cents here and for this note here I've moved it. I moved this one also 700 cents. But it's a different slice, I think. And here's another slice so you can see just by Channing's of slices and adjusting the pitch for each one. You can create some interesting melodies. So I'm gonna play the vocals with the piano and you'll see what it sounds like now so you can see how you can create a full song out of this. So here is this something I've created. And once you've added no, all the instrumentation and some mixing, you can get a full sounding song out of this. Thanks. 33. Vocalizers (Vocodex): a vocoder is an effect you can add that creates a synthetic voice sound. It's also known as a talk box sound, which is a sound that guitars make when they make that speaking voice. It requires two different audio sources. The first is called the Modulator, and it's usually a vocal, though it doesn't have to be. The second is called the Carrier, and this is usually a synthesizer. What's gonna happen is the first audio source is going to be affecting how the second audio source plays, So let's take a look. What I've done is I've had a simple vocal here, blank and meal with warm and blinding. And over here I have an instrument called three x OSC, and I just added some very basic chords. Ah, now I opened up my mixer, and I need to add be vocal and the pattern to the mixer. So I'm going to open up the vocal and assign it to a new mixture channel by clicking this button and you see it's added it. I'm just going to move its that left by holding shift in schooling, and I'm going to do the same with my three x osc gonna place the vocal before the three x osc Next, I need to route these two to the channel that I'm going to be using my vocal vocoder. So I'm going to select the vocal channel and then right click on this arrow of provoke attacks channel and select the route to this check on Lee so that all the audio sound goes directly to that channel. I'm gonna do the same with three x osc by selecting this channel and then right clicking on the broken ex channel route to this track only again. Now, in the vocal tics channel, I make sure I've loaded up of oh, connects. Oh, vocalize er and I have to select track one as the track that the modulator in this case I've chosen that to be the vocal. This is what I want to be the input source and number two is the carrier. And so I've chosen that to be the synthesizer. So we have played this. We should be able to see that the vocal is being and put it into the sound that's gonna affect this the way this place Oh, wait can change the band distribution as well as a saturation on the order, which this is just essentially all three of these are affecting. How much are we going to be using the vocal and how much are we going to be using the carrier? I'm gonna also want to make sure that we completely using people Codex by turning the wet away up. You can also change the pitch using the male and female thing. It's also worth noting the number of voices that you might want to add, so I'll make this lowers. You can see the oh, you can have a lot of fun with the Vulcan ex, especially if you try different sources in different instruments. 34. Dubstep Growls: in the last video, I showed you how to use a localizer in this video. We're going to show you how to use the vocalize er to create growl sounds. If you are a dubstep fan, you will like this trick. First thing that you need to do is get something to use as a growl sound in the beginning. Usually this is a vocal sound, So let's find a vocal sound NFL studio by default that comes with compacts. This and vocals I'm going to use. Yeah, to use that one. Yeah, and you and me. That's right. That's right. Little to I will stretch these out. Trump's these make him a bit longer, the more distorted better. Next time we'll pitch these down, make these really low growly it's here. That sounds okay. That's good. So that's going to be our carrier into the vocal, either. Next we need our modulator. So this is the instrument that's going to be playing the tune. I'm going to load in Citrus presets. Find something growly sounding under brass pw M. That's a good one for growl sounds. Next, I need to add some notes. - Let's break this up a little bit. I see llegado once that sound like All right, that sounds pretty awful. That's exactly what we want. Okay, so that's going to be our carrier or a modulator. I might even need to stretch us up some more than Okay, So I'm now going to route thes the way we did in the last video to the localizer. So I'm gonna sends the track ones and this attract one sent troops send in the Citrus to trek to. So we are It's really a modulator. Next, we had a localizer picnics. I need to route the carrier and the modulator to the book Adex like so And I have. This is the carrier. This is the modulator. And now let's see how this sounds. Oops. So there you have it. We've now taken some vocals, pitched them down, stretched them a bit, added a carrier, which is some kind of morality, nasty okay, based sound. And then we've added it into a localizer by sending the vocals as a carrier. The whatever this thing is the P w m of the Citrus sound as the modulator and Steckler into the vocal decks with the vocals at security er the the modulate, earthy Citrus sound as much later, and then you can play with vocalize way. You can have a lot of fun with this. 35. Mixer Organizing: Let's discuss how to organize your mixer, what busing is and how come pressures were used in mastering in combination with this. So first of all, let's discuss what I've done here. I've organized my mixer by different instrument categories. I have drawings at kicks, keys based sounds, lead sounds, local sounds, pluck sounds and so on. And what I've done is each of these is an empty channel is nothing originally that's being sent from the channel rack to is. However, what I have is each channel after it is being routed into it. So my hat is being routed into my job gentle, my crashes being routed into my jump travel and so on, and the benefit of this I will show you. I will just play small segment here. I want to adjust the volume office, for example. I can adjust the volume on one single channel and it will change the volume of all the following channels. So this is what's known as a bus, and the idea is that you can send several different instrument channels into a single channel and then apply an effect on that channel. So once you've done that, any effects on this channel will affect everything being routed into it. So this is where you can use compressors. So if I wanted to add a compressor on this channel, just about 1/2 here, the quieter sounds being routed into it can be brought up in in volume. Or, and the louder sounds will be balanced with the quieter cells. So this is where you can apply Matt Compress raise when you're doing mastering, so that you can balance out the dynamics of the sounds together. So let's plays again with compression and without now it's quite subtle, but the higher hat sounds. The high hat sound in the crash sounds are a more parent when I turn the comm pressure on. And this is an idea that you can bring out the quieter snores louder in balance with the deeper, more resonating sounds. So this is how you can apply pressure. All right, Now, what else can you use busing for an organizing this in this manner? What's the other benefit? Well, what if we were to do something like side chaining? I would this apply? So let's take a look at some leads over here. So what? I have is I have a bunch of differently towns, and I'm rounding them all into a channel called Lead. And then I'm actually writing that channel into another one. And then what I'm going to do is I'm going to side Shane this channel, so you'll see what I mean. Let's play this now. I'm only side chaining one channel. I'm side chaining this channel that I called all since, but all of these leads sounds are being site chained. So that's another benefit of using a bus is you can side chain a whole bunch of different channels at the same amount simultaneously. So once again, just watch. This knob is. It's decreasing every time the kick Sam occurs and the kick sound, I believe use kick sounds actually over here, but the ideas every time the kick sound happens, I wanted to drop the volume with the lead sounds, and this is a way you can use busing to combine different instruments inside. Change them at the same time so you can use this effect for multiple different things. You can use it for doing effects on your percussion sounds on your vocals. You might want to apply a global effect for all the vocals and have him having a similar sound. You can do this for orchestra sounds because they might be a little quieter, and then the rest of the other instruments, humanity to bring up the volume and so on. You can apply this in many different ways, and the key is that you separate them by categories and then you're out the channel into a all encompassing channel, which is called a bus, and then you can apply it effects on that channel to all of the instruments being routed into it. 36. Stacking and Layering: Let's talk about how to stack and layer your sounds so often you hear the ideal, especially any GM, that Ah whole song is just a bunch of layering, stacking things on top of each other. Well, what does that mean exactly? The idea is that you have different song sounds, different elements that when you combine, they give a sound MAWR character more nuances. So in this case, I have a lead sound here, and I have several different leads actually acting at the same time. I have ones down to 73 sounds. Four sounds five cents, and they were playing the same notes, the whole playing, this one melody right here. Some of them might be a little higher, an octave higher or lower, but it's the exact same melody, so they are being stacked upon each other. And the idea is that when you play different sounds at the same time, it feels like that has one sound and that it has a lot of character and a lot of personality to it. So let's play these individual sounds, so that's late. One. This is the second layer. This is the third layer. Is it the fourth player? No, and this is the fifth player. Now let's play them all at once. Feels like a really big sound when you have them all at the same time. So how do you later? What do you doing when you're stacking together or you're finding different sounds from each other, that will add something to it. So I have a mains lead right here. Now I can make a bit wider by adding a sound that's really wide now. Maybe I need a little more punch to it. And that's why I had something that's just a pluck, something to give it a little more attack in the beginning. And then we have this over here just is a greedy sound, a big buzzing sound. And so I added that as well, so you can create these really big, thick sounds by combining different elements together. Toe add a little bit more character. So how do you choose what you what instruments To be added? What's layer will identify things that are different that can be at it. So maybe your sound is a little bit weak. In the beginning, he might add, something has some strong attack some punch in the beginning. So what I do with the lead? Maybe you want your sound to be a little bit wider as well, which is why I added a sound that's a bit wider. And if you want, in this case, something really gritty. I had a great big buzzing low sound, so you can do this with several categories. I find one that works if you're trying to get something like this that I just made is a punchy main sound, a pluck, a gritty sound and something with some weaver. If you're trying to make a similar sounds of this now, layering doesn't have to be just done with electronic instruments. You can do it with everything. So, for example, here you might have some orchestral sounds. I have some strings playing would win sounds, breast sounds, pianos playing and when they will play at the same time, even though they have slightly different melodies, they overlap over certain parts, and when they will play their stacking, their layering, they're all coming together in conjunction, and they have some nice character and personality. When combined 37. Glitch Effects: Let's learn how to make glitch effects. This is one of my favorite things to do, and it's what you hear all the time when you're listening to electronic music, electrode up step and so on. So there's a few ways to do this, and we're going to cover them in this video. First of all, let's hear what this clip sounds like without any glitches. Fix. So there's a few ways to nuclear traffics the first way. If you have a sample is left, click on it and go to chop, and here you can manually chop up your example into different pieces. So what it's done here is it. Spice it up. What you do is you can go around moving around, slice it up into different other sections. So maybe I'll take that moving over there. Maybe I'll take this piece and put it here. What's you know, this sounds so that's one way. Another way that is probably more common is using an effect. So what we can do is we can go into our mixture and we can add effects to everything on one of the plug ins. That is really good. That comes with half a studio is gross beat, so that's not course. But this is go speak. So what it does is it has the ability to glitch up the time as well as the volume. So if we were to just play with the time, you can also play with the volume. It is also an option for side chaining, So this is another way you can do side chaining and you can combine them together. It's a bunch of presets as well, so that's go speed. Another one that I want to recommend is glitch by D Blue and Glitches, another great plugging that can do quiches very quickly. Its first version is actually free. Now online. You can just google and download it for free, and there's also a second version, which is fantastic. So definitely consider Glitch. If you're going to look for glitch plug ins, beginning, have a specific sounds and you can make it last this knowledge like So let's try the anniversary and its have it for the whole clip way. Uh, okay, you get the idea. Clint can do some crazy things, affect tricks. Perfect tricks is another great paid Blufgan. - So if I were going to use the collector facts. How would I actually apply it? How would this be done? Well, what you can do is you can find a glitch that you like and you can automate using automation. So I'm going to automate it by turning it on as certain key points in the song. So I'm going to select your region that I want the glitches to occur. Let's say I want to automate the glitch right before the drop. So what I'll do is I will hold down control left, click and drag on the timeline that will highlight thes selection that I want. Then I will right click on my dry and wet so dries off. No effect what is on full effect. So I'm going to turn it from off to on at this point by right clicking and selecting creates automation clip so that has created an automation clip. That eclipse will occur up now. One thing you have to realize is that when you're using automation is everything is extrapolated everything. He is going to be continued and both before and afterwards. So Fl Studio will think that this line here, this key point is going to continue backwards. So it's going to start the glitch right from the beginning and you probably don't want that . I'll show you what I mean. If I were to play this even from here, the glitch will be occurring. So the way to get around that is to make a copy. I like to take it to the beginning, actually make it unique and then just turn it off. And now the glitch will only occur at this point. You can see it's continuing afterwards, so you need to remember to turn off the automation afterwards. Let's find another presets showing. Okay, I will make this one more time, right here and now. Let's hear how this song sounds now that we've added in some glitchy fix. No. So glitches are a great way to use for transitions, and they're also really useful when you're trying to manipulate a single synth sound. If you're trying to make dubstep because it will just distort and make a mess out of everything, and that's kind of what you want it up step sometimes. So these are a few ways that you can make glitch effects. You can chop it up into individual pieces. You can use a plug in, such as effect, tricks, glitch or the built in gross beat. So have fun with these. I know this is one of my favorite things to do when I'm making electronic music and go crazy. 38. Freezing Tracks: Let's talk about how to freeze your tracks. Freezing is a useful technique you can use to group different elements and effects and instruments together, and that way you can apply affects them all that once rather than individually. So let me give you a little example here in my pattern. Four. I have a bunch of different instruments playing. I've got pluck sounds. I've got some since sounds I have faced sounds and the role playing at the same time within this little pattern right here. So if I wanted to apply an effect to this, that might be a little bit tricky if I were to do that, because there are already two different channels. So if I were to want apply an effect, too, everything. I have to go to each individual channel and find that and then adding effects one by one, and that's a pain. Alternatively, I could go to the master and apply in effect there, but I might only want the effect for this portion of the whole song rather than the entire song. So neither these approaches are really convenient. There is 1/3 alternative, and that's called freezing, and this is a really useful way to get around it. What we do is we convert all of this into an audio clip. And that way it's a single audio standalone clip on its own that you can apply effects too . So I'm gonna show you how to do that. First of all, just play this clip right here, so you get an idea of what I'm going to. But everything sounds like and how it's going to be sounding at the very end. You, Theo. So the first thing you want to make sure you're doing is selecting the tracks and instruments that you want to be freezing. So just the elements you want to group up. So you have to think about exactly Are you just grouping, for example, maybe thes instruments together? You want to make an audio clip of just this part? Well, maybe you want to have just a few of these. You have to pay attention to what you're doing here. How you grouping in this section, you also have to think about what are you going to group in this section? So he only want to have this Well, you better make sure this is the only thing that selected. Okay, once you've done that, choose a part of the timeline that you want to be recording. Four. Freezing for If you don't select anything, it's gonna freeze figuration of the entire song. And maybe that's what you want. But usually you just want us a smaller portion. Then on your mixer here, I'll make this larger see agency. There's some buttons down here that are the court buttons, and every time you select a court button, it's going to make a frozen audio clip for that channel. So I have three different channels selected right here. It's going to make tweet different frozen tracks. Now, in this example, I do have everything selected, so I just want to note that yours will be probably different. You might only want a few of these. Also note that any effects that are applied on these channels will be frozen. They will be included in combined, so if you have some effects going on here, you might want to take them off or at least be aware that they are going to be included. So I have these three tracks selected, so it's gonna make frozen tracts of these three. Next, I go to this drop down arrow, go to disk recording to make sure all of these are selected and hit. Render to wave file. Next, it'll give me a little confirmation menu, just making sure among the highest resolution sounds good. It's for eight bars. Yep, that's for eight bars. Okay, good. You can start now. You'll notice three clips have now appeared at the bottom of the track, and these three are the frozen clips that I've just Putin also note that this volume is not necessarily that high. And that's because I dropped the volume down up here. So you have to pay attention to that. I'm gonna do it again. Now, I don't gotta have to record again, so you gotta pay attention to that now. You can see the volumes at a lot higher, so let's listen to what this sounds like. So I'm just going to solo this part now and you'll hear It's the exact same that we heard earlier you. So that's the Master Channel. I also had the Pluck Channel selected and the lower Park Chan selected. And that's what these two are. So now you can apply effects to these tracks a lot easier. For example, I could just throughout this to a new channel, and I could apply effects to this section on this particular audio clip. And it's a lot more convenient than going one by one to each of these and apply an effect to them when I could just do it to one of them. So that's how freezing works. It's a really useful tool, and you'll be using this mawr when you're doing a lot more advanced effects. 39. Mastering: mastering is when you try to create the best of all possible performance out of your song. It's different than mixing, because mixing is where you try to get all of the parts of used to fit together as a song. Who has mastering is where you're trying to polish and create a finished product When people think of mastering. Usually the part that comes to mind is increasing the overall loudness of your song. Why would you want to do that if he was listening to some radio on the TV speakers on your phone? You wanna have a consistent sound regardless what device you're playing from and that you need to be able to hear it clearly regardless of the device, mastering can make sure that all the devices sound consistent, and sometimes you can hear when you're playing something on your phone. You might have to change the volume really loud or really quiet, depending on which song you're playing. And this is because they've been master differently. Ideally, all of your songs would be mastered so that you don't have to change the volume when your foot between different songs masking can help do that. Usually What people want to do with mastering is just to make sure your song is as loud as possible and that all the elements fit together nicely when new, mastering you have to mix it first. So I've done all of my mixing. I've timed all of the volume changes, added any kind of effects that I want to do. All of that's out the way some people choose to master at the same time they're mixing. But you have to really know what you're doing before you do that because otherwise you have to go back and change everything every single time. You want to make it a difference. So what some what usually people do is they completely finished mixing. And then they either master it themselves or they send the track off to a mastering studio where they'll do all the work for them. I'm gonna show you how to do it here in FL Studio. What you have to do is go to the Master Channel and load up Max Maximus. So Maximus is here. It comes with the signature edition. No higher. Just close that for second, um, for the mixing in order to master and make your track louder. You're going to be raising the volume 20 decibels because that's the maximum volume you can get to before you start having distortion. Distortion. If you raise the volume higher than zero decibels, you're gonna have distortion. And that's gonna change your sound in a way that's unintended. To raise your sound zero decibels, your song has to be less than zero decibels first. So with mixing, you always want to make sure that you're reducing the volume. Wait until you hear what I've tried to do with my mixing because I reduced. The volume is much that can to some around negative six old lower. I wasn't always successful, but that was Michael. The lower that you reduce the volume during your mixing, the higher you can raise the volume during your mastering, and the more noticeable the difference will be okay, so let's dive into mastering. Go to your master channel, add Maximus and let's get started. So the first thing you need to do with mastering is identify the different regions of your song. The low sections that midsections and the high sections, and what we're going to do is we're going to compress each of those section individually, and we're going to raise the volume of them. So I need to listen and hear the I loathe. So Maximus is a compressor, and it allows you specifically control the lower regions. So I'm gonna go to solo and look at just my lower region. You can pause and play by clicking on this screen, and I'm going to go to bands and clicks button. This will allow me to see the actual frequencies playing in real time. Now I want to specifically focus on just the low section, So that's gonna be my sub. Sounds my kicked sounds my bass sounds. I could do that either by dragging around like this, but I prefer to use an up so anything above my snare sounds below my main melody. That's a bit high because I can hear the main melody. So somewhere around there, once you've identified the bends I could go to monitor, and here you can see the sound playing in real time. The's knobs here give you some greater control over the sounds that are coming in and out. So this purple sound here thes thes purple lines is the pre games out. So the original audio that's coming into Maximus before you've made any changes. If I select the circle, this green is the sound that's coming out of Maximus and his white line. Here is how much compression is being done. Since I haven't compressed yet, there's no compression yet. Okay, so just a brief recap on compression. Compression is where you're reducing the dynamic range. Dynamic range is the difference between the highest peak and the lowest sound and compressions. We squash those two together so that they sound as not so that it's not so much of a difference in volume. You might want more volume if you doing classical orchestral music. But if you doing medium such as this long, I want to have this sounds closer together because I don't really want the listener to be listening harder for quite sounds. I just want them Teoh here. The whole sound will at once, so I can compress by right clicking, and we can see now the difference between the original sounds and the sound that Maximus is getting after the compression. So this might be a bit over compressed, but that's OK for this example. Once I've done my compression, I can raise the overall volume. So this is the pregame show. This is the sound before it gets Tafel studio before it gets a Maximus. I mean, and this is the sound after we've done all of our compression. So I've been increased. This volume might be a bit over. Compressed may reduce it a bit. So once again, I don't want to be exceeding zero decibels that I want to try to get as close as possible. It didn't that we can see there's some FX sounds. Looks like it's, ah, an impact right before the main verse happens. So I might need to go into my mixing and reduce the sound. But overall, the main sound is summer getting close to zero decibels. Okay, we've dealt with a low. Now let's go to the high, so I'm going to identify the high going. My band's liking this button to see a real time, and the highs is gonna be the high adds crashes. So I'm just going to make sure I avoid any of the main reality and listen for the high hats and crush need a high sound from around there. All right. My monitor compresses a bit Raisi over volume, but not so much speaking. So since I've already identified my high end, if I didn't find my low end, that means the middle end has already created for me. So I can check out the middle end, and I can't hear the hi hats, and I can't get the sub. So that means I've done the best job, Master new. Your role sounds Okay, So now let's visually see the difference between before and after using Maximus. So I'm going to open up a foodie limiter, and I'm going to turn Maximus off and we'll see what this looks like. So here we can see the volume of the song. Before I did any mastering and Maximus and you can see there's a little bit of a range here that we can increase the volume at. No, I'm going. You should be able to hear differences, and we can see that everything is a lot closer to zero decibels. The benefit of the food and limiters. We can also prevent any peaking as well. Okay, so that's giving you an overall rundown of how to use Maximus. Once again, just the key points. First of all, when you're mixing, reduced the volume to something below zero decibel so that you can raise the volume during mastering when you're at mastering. What you're going to be doing is identifying the different frequencies. So the lower regions, the high regions, the mid regions, you're going to be doing any compression that you desire and then raising the overall volumes off those sections. And then you should have a finished masterpiece. There's going to show you that song visually so you can see the difference between the before master and the after master. So this is the before master, and this is the after mastered. You can see it is the actual difference in the volume of the sounds. Everything is a lot closer to zero decibels. Where is here? We can see there's definitely some range, and there's also a difference between the lows and the highest. That's a lot more noticeable. You can. I'll add a link to these songs as well, so you can check these out and see the difference between the master and the UN mastered versions 40. Maximus Mastering Presets: in the last video we covered how to use Maximus to adjust the compression, to adjust the game before and after, as well as to play with some of the Bentz. No, I just want to take a step back and give you an example of what, Maximus really conducive for your song. What is a master track sound like? Why is this so important? And why do people spend so much money to try and get this often will sound. So I'm going to show you this track the song piece right here. And I'm just going to keep turning Maximus on and off so you can hear the difference. So let's load. And Maximus, I do want to note for this example I do have a foodie limiter on. So that's just ensuring that we don't have any peeking above zero decibels. And the only reason I'm doing this is just to show you the difference that Maximus can make when you have a limiter afterwards to ensure that the volume doesn't go up up zero. So this will be a lot less apparent if you don't have the limiter on. But I just wanted to give you a re you clear example of what this could do it. So what I'm gonna do is I'm gonna load in a preset off Maximus. So here is clear, Master Armas, and I'm going to start with it off, and then I'm gonna turn it on and you'll really hear the difference. - Okay , so you can really hear the difference that mastering can make on a song. So how would you use this? Well, what I recommend you do is apply a preset, and then I just be bands afterwards to your songs. We'll figure out where the hats and the high sounds are. Where's your base located? Play around with these to make sure that this is fitting with your instruments and you can adjust the post and gain depending on where everything else is sitting individually. So this is a way to get you a useful starting point, and you can compare some of these easier definitely worth exploring and seeing which ones work with your song and adjusting those, um, it's really and on arts. And you have to listen with you here is more than with your eyes because thes knobs are not going to tell you as much as what your ears will tell you. And this is a real killed key difference that you'll have when you have better speakers. So this is why some people send off their songs to professional sound engineers to get the master professionally, and the difference is that they have to correct equipment so they can really hear the nuances. And I'll show you how to do that in another video. But this one, I just want to give you an idea of what Maximus could do. So here's another feature that comes with Maximus, and that's the DS in section. So this is useful if you have a single vocals that have a popping sound s sounds. And this is annoying explosive sounds that come from recording on improper microphones in other ways, ones that don't have the correct pop filtered so you can apply these and what is going to do is it's gonna reduce the frequency range that the put sounds s sounds would normally occurring, so those things are less noticeable. So that's a nice feature that comes with Maximus to so you can apply that onto a single vocal track, and that will remove the DS egg section. Um, back to master note, Maximus and mashing can get quite deep technical. If you want to explore that, I'm just going to show you some of the documentation available. So this is under question. Work or question. Mark, help index typing, Maximus. What type in mastering it will be a lot of stuff. This Well, all right, so But let's just look at Max. Must we know? So there's a few tutorial mountain that to twirls in the manual that come regarding, Maximus, including compression limiting parallel compression, side chain compression, noise, getting ducking and ds. And And if you want to explore what maxims come doing to his full potential, definitely check out these resources. Okay, so that should be a nice overview off the power that really comes with Maximus. It's very easy to use. What we have to do is just apply is preset and then tweak it two years old, and it shouldn't even take that long. What you just have to make sure you're doing is listening with your ears rather than your eyes. And you should be able to get a nice, full sounding master track out of just using Maximus that comes built in with FL Studio 41. Exporting For Mixing and Mastering: Let's talk about how to get the best sound quality out of your song when mixing and mastering. So the first thing I want to recommend is that you listened to your song several times in different places in different environments. So export your song completely, get it out of FL Studio and start listening to it elsewhere. And the reason is because your song is going to sound different on different speakers in different places. So when you play your song on a different speakers, such as in the radio, in earphones, on headphones on high surround sound systems, your song should sound good on all of them. You don't want to run into the situation where your song sounds great when you play it in good speakers. But when you listen in on two earphones, which people will when they listened to your song in the end, it sounds bad. So do you want to make sure that your song quality is consistent regardless what devices being played on and the way to do that is just to test it, take your song out to the car, take your song out into your smartphone and listen to it and see that it actually sounds consistently on all those devices. If you've mastered properly, it should sound consistent throughout. Your song will sound better mixing mastered in high quality speaker systems as you can hear the nuances of the song more clearly. And if you don't have a high quality speaker system, you might want to consider sending your song to a professional mixer. Master Engineer. This is something that you might want to do if you're trying to make professional sounding music to do this, they will request that you send them Thesis Aung Master volume at a level lower than zero decibels so that they have some volume room to work with because they're going to be raising the volume, and if it's zero decibels, they can't raise it much. So you want to make sure it's lower and they're going to request that you send them the individual songs stems. So let's show you how to send them those. So if I wanted to send this into song stems, what do I mean by that? Well, I can't send them these many notes and expect them to know what to do with them because they may not have these instruments. For example, this instrument that's making this piano or that's making this guitar sound they might not have those instruments play them. So what they want you to do is send them just the audio waves, just the sound samples, and then they can mix and master those. So let's get this into audio format into sound sample. Form it. Go to file export, choose the highest quality sound that you have, which is, in this case, away file. Choose a designated folder for all the stems, so make a folder for it. Call your song whatever you want to call it, then choose the highest quality format that you can get in, which in this case is 32 5 12 and my example and go to the miscellaneous tab by checking this drop down arrow and ensuring that split mixer tracks is enabled and hit Start. So let's see what we've done here. What we've done is we've actually turned all of these individual instruments and many notes into audio files. So if I were to drag and drop these in, you'll see that this, for example, this fl Keys. That's what this was has been turned into a piano format. So let me, Jack gets up there. So let's compare these two and you'll see that the same I see. So I'm going to drag all of these clips now, and this right here, this one that says current on it will be the Master Channel. Everything else will be the individual tracks. So if I will play this, everything has now been converted into audio format. On what the mixer mastering engineer will do is he will now analyze these individual components, play around with them in the mixer, do his mastering of tools and on better speakers. And he might have some really expensive mastering software. And he will get the best quality sound out of your song. So this is an option for you to consider. If you don't feel that you can mix and master as well as you want to, it's just an option out. Okay, so now you know how to send your songs for exporting for mixing and mastering engineers 42. Publishing Your Music Online: Okay, so you've composed a great song, you know it's gonna be hit. It sounds great, mixed and mastered. It's catchy, and everyone around you loves it. You just can't wait to share with the world. What's the next step? How do we get this music online? How do we get people listening to this music in their own houses, selling its music in stores and getting money coming to you? How do we do that? So you need to use an on line distributor, and the way to do that is using online stores such as iTunes, Spotify, Apple Music, Pandora, Amazon, Google Play. Now you can go to some of these individually and love blow to music there, but that will cost so much money per song. And it's a pain to be constantly uploading to a new every time you have a new song having to go to these new places each time for every single one of your songs and uploading them again and again. And it may be a lot of streaming services that you don't know about or that are inconvenient to access. So there's some middle men companies who have done the work for you, and they have taken the step to get your music into those stores from one central location . The best one that I found is called Distal Kit. This is the one that is the cheapest in my opinion, and you get to keep 100% of the qualities of the music that you are collecting when people buy your songs. So a little bit about districted what it does is it getting music into the main stores? ITunes, Spotify, Apple Music, Pandora, Amazon, etcetera. You keep all the money from the sales that you make you that district it collects from purchases of the songs, and the price is $20 to upload unlimited number songs so you can have as many albums as you like as many songs as you want. Another nice feature of Districted is that it can split your royalties to whoever is involved in making an album. So let's say you had a guitar player and he's contributed to the song, and he deserves 5% royalties for this piece, so districted can automatically allocate the money and send it to him. So that's a nice feature as well. In order to do this. There's a few things that you want to do before the first thing is to create tags free music. So you'll notice that if you created some songs and you go to the properties of the songs, I'm gonna go details. You know that some of this information may or may not be here. Example. The album, the information, the contributing artists. You're gonna want to have the information here filled out. So I recommend that you do that before you upload. There's a way to do that through MP three Tech. If your computer can't do it for you automatically, and the Properties editor doesn't seem to be working. This is a useful software that three you can download this called MP three tag, and I'll just show you what the software looks like. It looks like this quite straightforward. You just click on the trek and you can enter in the title. The artist name the album, the year track number, etcetera. You enjoy granola information. Okay, Once you've done that, let's go to district it. Now I'm just going to sign in. Okay, so this is the inside of district it. This is an album that I posted using just took it so far. And this is all of these stores that the album is mean submitted to so you can see has been submitted to Apple music. You can see it's been submitted to Google play and so on. I can click on the track. I believe you can see the information about the track. So far, you can see it's upload the information on the songs it's created accustomed I SRC That's just the number that uses to refer so it can identify the songs, tells you how your distribution is being split up, how the royalties or being dropped up. In this case, I didn't collaborate with anyone on this album, so I collected all the money for here, and so far we can see it's being sent to these stores. I chose not to opt into YouTube, and I'll show you why in the moments but will come back to that and you can edit team, so choose how you want us, but the world he's let's go to uploaders music and show you what this looks like. So when you're uploading music, you can choose the stores that you want to select two and choose the number of songs up to 35 per album. At the moment, they might change that later. You can enjoy a artist. Name the information on iTunes If you get a higher package. No, I show you this. So here's the several features. So the comparison is the basic package, which I currently have, which just lets you upload unlimited songs. If you want the higher package, then you can select some more information, such as deciding a customized release date, preorder information, and you can customize your pricing as well. Otherwise, the default is 99 cents per song, or I believe it's $9 90 cents per album. They may change these numbers, so don't quote me on that. And finally, there's a label with even more options. Okay, so that's in the high packaging. So those are for additional features. You can choose the image that you want to have him for your cover album. So the genre of music, this is where you entering the tech track. Name some information on the track. Here is where you can choose the pricing. If you have a different package, you upload information this song, and there's some custom add ons, etcetera. Here is the team section, where you can decide how you want to split up your loyalties. So if you have someone else that you want to be splitting the money with, then this will automatically allocate the money to them. Which is quite handy if you don't want to be dealing with all the paperwork, which I sure don't. Then, once you've uploaded your songs, music gets posted and you're ready to go. You start collecting money. You can tell people to go to links to look whatever store you prefer to. ITunes Tamsin to anywhere, and they'll can purchase your music online. Now. One thing I do want to mention, I said, That's you. If you want, you can opt in to YouTube here. So what is this talking about YouTube money here? And there's a section here fut music. So what is this YouTube doing? This deserves special attention. What YouTube does is when you're playing music on YouTube, there's someone who owns the rights to play that, and whoever uploaded that the original person who owns the rights. They collect money through YouTube ad revenue, anyone else now, especially if they're a big name album. You may have noticed that if you try to upload a video to YouTube, it will have a copyright infringement notice and saying that you can't collect money on this video because you are. You have music from Taylor Swift or from some other musician out there. So what you have to do is changed your song to something that's not, and that's not a publicly known song or else you're just not gonna collect revenue. So here on YouTube, what you can do in this feature down here is say, I want to be part of that. I want to collect money whenever someone else uses that music in my uses, my music in their videos. So for a certain amount of money, they can collects the ad revenue from the YouTube videos and send that to you whenever someone else plays your songs. Now you can get CD destructed to do this, but you can do this yourself and then you don't pay $5 a year and give them some YouTube from you. How do you do that? Well, YouTube has this building, so that's what's great about YouTube in quality qualify for content. 90 as long as you were the original person How you have the exclusive rights to be uploading these music information. So if you go to YouTube and you made these link may change over time, but is the idea you need to find this YouTube content. I d. And you sign up for a content I d with YouTube. Okay, I'm just going to sign in. And this is the form that you will see something similar to this. You ensuring your name, information, Why you want to be having a content idea so that you can collect money for people who play my songs in their videos. So you feel this information out, You too will verify that. Yes, this is correct. And then you can start collecting money through YouTube. Alternatively, you can have district it to that for you for $5 a year. The last thing that I want to mention is as a nice little feature here with districted. If you don't want to be dealing with paying and renewing every year, and you just want to have your song forever online. I just took it. Has an option for a single song at a time. Or I think it's $50 for the entire album so that you can just pay this one time fee and districted feel forever Celje music and collect royalties for you. Okay, so that's covered everything. You now know exactly how to upload new music, how to collect how to entering the I. D tag information for your songs, how to collect royalties using districted and how to collect money through YouTube when you're playing music and other people's videos. How to collect ad revenue from that. 43. Recommended Instruments: If you want to have more instruments than the ones that just come with a full studio, you may need to invest in some other sent software's. And I'm going to recommend a few of these in this video to talk about native instruments. First of all, because this is the most popular one used by musicians at the moment it has a complete suite of difference instruments and plug ins and effects. And the nice part about it is it comes bundled in some packages. Here you can get in. For example, Right now, we're currently at number 11 and it just has tons of instruments. 18,000 sounds. 87 different products. It contains lots of stuff. Scott Strings Man's pianos, lots of synth effects, lots of drums it's got. It's got everything that you might want to consider the nice part about it also is that it can integrates with some of the hardware that is built to work with all of these instruments together, for example, that they built their own custom mini keyboard so everything is completely aligned with it . All the knobs air integrated with all of the software that's built by native instruments the lights on the keyboard. They light up for different instruments to indicate different sounds. This might be a drum. This might be a clapper's. Etcetera did not wheel. Everything's just completely connected. If you're not in Jamaica keyboard, you might want to consider a drum pat. And Native Instruments also has a trumpet that's built in with a lengthy instruments land If you're into D. J. It also has a deejay pad now. All of these, of course, are separate purchases. But it's nice to know that the old into created together. Let's take a look at some of the ancient instruments seem completely cold, so this is complete control. Looks like this. You can choose what instrument you want. There's a lot to pick from. I currently have ultimate, so I've access to everything at the moment is and drums. There's string instruments. There's effects. There is rising hits and space guitars, some orchestral instruments, pianos and all of the synth instruments. So there's a lot of stuff that comes with complete control. And the nice part is, as I mentioned, it is integrated with Hoeffel Studio with the hardware. If you do choose to purchase a keyboard or drum pad or D J equipment. All right, next one I want to talk about is on this year. Let's say you want to have a all in one plug in. You don't want to be switching between plug ins. You just want to have one single plug in that does everything. Well, I'm This fear is the closest that's been made to that to date. Hemisphere has tons of instruments built into it all in one single package. So let's say here I wanted guitars. Maybe I wanted some keyboards. Everything is just a constable to the same plugging. You can categorize it by type, so I could choose down one string instruments Gent wants and pads is a lot of substitution . You can pick by genre. Some of the film things are interesting. The best part about on this fear that other instruments don't have is it has something called a sound match. And so let's say I had this acid rain and I want something that sounds similar to this and go to sound match match current selection, and what it will do is it will find sounds that are in this plucking that sound similar to that. So this is the original. Now let's listen to the one it thinks is close to that. So that's pretty cool. And of course, you can always add effects onto it afterwards. All right, so that's on this year. It also has some sound design features. If you're into film composing, you're going to be looking at East West, and this is where you get the industry standard insurance sounds. Four films What you probably want to do is subscribe for a month e subscription and have access to everything in their collection on day. Or you can buy individually when they have orchestra strings, woodwind, say of everything. And these are really sounding instruments. He's or not fake tinny sound. Caesar. These are the real deal. So if you want to get film music and you need a sense to do that, well, this is what you're looking for. So East West is crudity. Incredible sounding music all right, The last thing to mention he's probably SERM. This is made popular by artists such as Dead Mouse and a lot of musicians. Elektronik especially love using this instrument because it has a ton off effects and well it could just make any kind of electronic sound you ever wanted. So if you're looking for electronic music serum, it's the weight. Now, why would you want to consider getting serum or massive? Because massive is another very popular instrument. And the reason that these two are probably the most popular is a. They could do a lot of things, but there's also a huge amount of support from the community behind these two, so you can buy tons of presets for massive and SERM online. So let me show you what I mean by preset open up, Massive. It comes with a native instruments. If you get one of the bundles will be combined individually, so is massive. And you can buy these individual sound packs online, and you'll see here that every time I see one of these presets, all of this information changes all these knobs that get rearranged in position to make that custom sound because someone already did the work of creating that sound for you so you can buy these packs, for example, is it a pack cold, massive lush? Is the pack cold liquid down tempo and you can see that someone has taken the time to create all of this, so to make that sound for you. So that's why massive end serum are really popular just because it's a lot of support behind them and they're good instruments as well. Okay, so that's an overview of the different instruments since that you might want to consider if you want to have a really, really good sounding instruments. We have native instruments on this fear, East West sounds and sir, and there's a bunch of others out there. But these air the four big ones, I want to point out. 44. Templates: templates are useful way to speed up the process of making a song, if you every time you make a song, they used the same instruments and add effects in the same way you might want to do that automatically. And there's a way to do that with that whole studio. So to do that used templates and let's look at some of the default ones built in. And then we will make our own so that you can start automating your songs. So go to file New from template. And here are where some of the templates built into FL Studio. So let's take a look at some of these. This one's has some sounds and automatic live instruments built in Go anyway. You get the idea, it just building some sounds, ads in the positioning at in effects and so on. It's essentially just a savings file of FL Studio Project, but it's useful to set up some simple default settings so that you can use those when you're creating similar sounding songs and you just want to automate some of the items. So now that's create our own template. First of all, we need to make a template. So I'm going to go file and you can hit new. I'm just going to use empty file here. It's empty. There's nothing on there, and I'm just going to add some instruments. Add in that, Say imbecile later. Some keys, something air. Get enough now add some parameters. Set up Mathies to some tricks and I'll add some stuff to the mixture. It's a into my master channel. Maybe a lot a limiter pressure. Good enough. Okay, Now I need to say this as a template, so that when I open this up again later on, I will be able to see this with my compression in the mirror and instruments. So I need to save this under file save as. And here's the part that's important. You go to projects, so you'll notice this is the location of projects, then templates. And here's where you're going to save your templates. In this case, I'm just going to call this my template. You can name it whatever you like. Now you need to leave every studio and coming. I'm gonna reopen and you'll notice that is gonna load. The last template that we used in that case that was this one that I just loaded up a few moments ago. But I want to open up our template. So how do we do that? Go to file new from template and here we can see that new template that we just created. So if I select that we can see the settings that I just set up are now in place, just in case you ever want to go all the way back to the beginning and you want to clear everything from fresh, there's a template that's just empty. So that's under file you from templates minimal and empty. And sometimes I like to go back and start from fresh. Okay, so that's how you can use templates to speed up the process of your songs by getting some automatic things going and to automatically at some instruments. So effects automation and so on. 45. Conclusion: congratulations on making it all the way through the music producer masterclass. We hope you had a ton of fun learning the tools and techniques to becoming a music producer . I know I had a ton of fun teaching you. One thing you'll notice going forward is that when you hear music on the radio and films and in video games, you'll start to Hugh things and you'll realize that you know how to make that you'll be listening and you'll think, Oh, wait a second. I've seen that before. And then you'll get out your computer and you'll recreate it for yourself. And you'll be using all of this technical jargon and baffling your peers that they won't understand what you're talking about. But you will, and you'll know how to make music that they won't. So that will be a lot of fun. If you want to keep going in music production in the future, here's a few more resources that you'll want to check out. First of all, you need to check out the Apple Studio documentation if you want to learn your plug in and software to the utmost detail. Some of the nitty gritty parts really only come from reading the manual. So here's the manual NFL studio. You can go to the question mark. Buttons go to help, and then you can bring up the effort studio manual. And it's all indexed by a content so you can search up any instrument that you like, for example, a three x oscillator. And you can see all of the details, exact wording, what every knob does and so forth. We also post some recommend resources on the Facebook page of the Music Producer Club, so we recommend that. Subscribe to that, and then you'll see a whole bunch of links that we suggest musicians that the post videos of how they made their songs on YouTube and so on. As always, you can follow Chester Sky on the website Chester sky dot com with the Facebook page, facebook dot com slash real. Chest the sky on twitter at twitter dot com slash real Chester Sky or in Sound Cloud at soundcloud dot com. Chester Desk I thank you for enrolling in the course. We hope you had a ton of fun, and we wish you the best of luck in your music, producing in the future