Music Production Masterclass: Write Songs In FL Studio 20, EDM, Beats, Mixing In FL Studio 20

1. Introduction Video: Alright, so we're getting started with a music production is actually pretty hard. You got to be comfortable using that software. Being gap sounds, adding effects, ranging patterns, adding melodies, creating cores, mixing everything mastering. And most importantly, figure out what type of songs you actually need to make. But to be honest, you can learn all of that and a few hours, which is what we're going to do during our course. Their friends, how's it going? My name is Joseph and I am super excited to share with you everything you need to know as a beginner, you get started with music production. I made my first strike back in 2018, and back then, I had no idea what I was doing. I just made music because I found it fun and I learned a lot along the way through lots of trial and error like any other producers, things started off slowly and after consistently making songs, I was able to create a track from start to finish without having any problem in creating chords, creating melodies, mixing, mastering, and all that stuff. If you're just getting started, this will all look very complicated, but I'm just telling you this to make a point that even the most popular DJs that you know, that makes thousands of concerts and have millions of dollars in revenue. They all got sorted from 0, just like you. And so in this course I'm going to teach you everything you need to know to get sorted and make music that people enjoy listening to. We're gonna cover tons of stuff including what type of music you can make the difference between your laptop speaker, earphones, headphones to use a $200 plug in, $150, or a free plugin went to use EQ reverb limiter compression, and even tracing your own sounds using Bible. And the way I'm going to teach you all this stuff is very step-by-step fashion as we're going to make many projects from scratch and figure out everything like what type of music you need to make, what plugins unit to use, and making your song sound really, really good using the high-quality sampled texts absolutely for free. Really gonna talk how to plan, execute, mix, and publish your songs using just your laptop while hopefully having fun along the way, though, if any of that sounds interesting, I would love for you to dive into the scores and I will see you on the other side. 2. Start Of Part 1: Introduction: And because I'm a fan of knowing what's going on before getting started. I'm going to tell you that this is a beginner course. If you really don't know something about music, this is for you. If you don't know music theory. We also got you. If you never touch a door or a digital audio workstation. This course is also for you. But the thing is, there is an advanced art. If you're a beginner congratulation, we are going to start from complete scratch. If you're a bit intermediate and you know what's going on, we are going to also dive in into advanced parts later on in this course. We are going to start by the very basic track. Then we'd go into more advanced racks. So far, you'll be able to countably know how to navigate in FL Studio, how to use the channel mixer out to the piano, roll out to use those effects and plug-ins that we have. After you are comfortable doing all of this, we will finally dive into the advanced attract that we are going to make from start to finish. We are going to make attract you get that contains Bayes leads, everything that you imagine could be NFL, should you do it? You get, the cool thing is you'll be able to apply this knowledge on all genres. Because we are going to mix the base, mix the lids, use a bit with impressing sound, designing a queuing reverb delay. So everything that you'll use throughout this course, you can apply it in all genres. Edm songs, pop songs, anything that can imagine genres of songs. We can apply it with a knowledge that you have throughout this course. Because we are going to use mixing and all of that. So I saw a lot of people teaching using paid plug-ins. For example, theorem, which I personally have. It costs about $150. And to be honest, for beginners, it's not very good to just purchase a plug-in. They don't know how to use, or they are not sure about the price. And said, in this course, doing cuz vital, vital because $0 and it has the same functionality as 0. If you know how to use vital, it would have the same functionality as theorem. Since both are synthesisers. All the sounds that you are going to use throughout the scores from sample packs, for example, kicks, snares, everything. R1, 100% free, and high-quality. I will never ask you to purchase something throughout this course or buy something. Everything that we are using is completely for free. If you don't know music theory, we are covering this and that style of music production. We have a piano course if you want to know more about chord progressions and playing popular songs here. But I'm showing you in music theory. We are going to cover music theory only for Music Producers. Two are going to go over the basics. That stuff that you have to know about music theory and music producers. 3. Vid 1.2: Overview Of The Course: So while following along throughout the scores, you might have some questions that you want to ask me. Maybe I press something that wasn't clear and you want to get some clarifications. Maybe I used some mix that you didn't get it or you didn't hear it properly or anything. This is why you can always ask me questions whenever you want. On the platform. Whenever you have anything you just asked me, usually on fast with replies. Or if you just want to get into a community and get answers faster, maybe sometimes due to different time zones and not able to directly give you answer. Or you just want something fast. Maybe you want something in a five-minutes. You just want the answer of your questions in five minutes. And I can't seem to reply in five-minutes. I might take up to half an hour or an hour. This is why I created a discourse community. We are here, you can ask questions, get some feedback, do some seltzer promotions. We have a general and most importantly, this collaboration channel where you can share your ideas with other fellow music producers and do attract you, gather, maybe you are both getting started and wanted to do something you gather. And by collaborating, it would be the perfect way to do a song together or advance and fasten the process of fluorine. I got started in music production, directly found someone who collaborate with him. And we made some try to get those just for fun. And we ended up boosting our performance and making music. This is why if you can't join our discord community, so you can have answers to your questions faster and collaborating with each others. Sometimes we do live group meetings where I'll be opening my screen and start making a check from start to finish. Listen to your ideas, listen to your feedback, and sharing ideas with you. My thought process, how I'm thinking about it, how can I make a check and stuff like that? So throughout this course, we'll be using some external tools like the vital plugin that we are going to use, some sample packs. And from now I'm telling you that everything is not promoted. So a few already started producing before and have your own sample bags. I would have no problem if you just use your own sample bags. For example, if you want to download some cake or use some snares or stuff like that. If you want to use something else or downloaded from somewhere else, that has absolutely no problem as long as you're understanding the concept. Because I spent a long time trying to find free resources and trying to find stuff that is easy for you and understandable. This is why everything is not promoted. Everything that we are going to use is not promoted. And I'm only using it because they are free resources. When watching the course. Skillshare will ask for a review. If you're not sure about it, you can just wait for later. You will have lots of aha moments where you understand something that in previous lectures didn't make sense. Leaving a review will be much appreciated since it's sine or for me to make other courses like this and assign for others to join our community. So you helped me and you help other students. Udemy will ask for a review at some point. If you're still not satisfied, please do not leave a bad review. Since you later on have lots of aha moments. The things that didn't make sense at the beginning will directly be clear later on. Leaving a review will be much appreciated. It's assigned for me to make other courses like this and assign for others to join our community. You help me and you help other students. In the next lecture, we are going to try and do something quickly. So you get an overview of how FL Studio works and how we are going to work with it throughout the course. 4. Vid 1.3: Teaser: So let's try and do something quickly. This is the very basic track that we are now going to create. Just to give you an insight of what it is, lie to use FL Studio. First, you go, you open the interface. Of course you will have nothing. Go to File. New basic aid to eight with limiter. You press on it and you will have this thing right there. What you have to do next is head on that channel. What is a channel? It's something that you put in the elements. And you will have this in front of you. If you're wondering how I'm pressing those, I'm simply going to this square, this rectangle, and simply press a random keyboard shortcut. First, make sure you enable this. It's an orange. Then press any keyboard. So any keyboard key, it will give you this sound. Now go down in your down arrow, or simply select that one down and press any keyboard. Then the other one. Now, let's create something cool. Let's first go and create a cake. You press on the first one here. Count with me. The fourth one, then 123, the fourth one, then 123, the fourth one. If we press Play right here, you just created a pattern of kicks. Let's add some snares. Let's go here. Between both. Between the two. We put this clap, we enable this. We have between here and here. We have this and this. We don't put it. Simply put the one in the middle. And the same for here. The one in the middle. One in the middle. And don't want to love it all. Let's play it. But now let's actually do another one. Right under this. We put one clap, right under this we put another club. Let's listen to it. How I did that third line. What I did is simply go between this and this. So between this, this and this, I just put it in the middle. If you're wondering how I'm deleting this, pressing, right-click, left-click, just replace them and right-click to delete them. Now the same puts it in the middle, in the middle, and in the middle. Let's play it. Now if you want to add this snare, you can also put it underneath this. Like this. Of course this is not what we are going to do throughout this course. We are not going to just create a beets. We are going to create a whole track from complete scratch. And it's in advance that though, let's press X. And you can go here, right-click. If you want, you can name it and you can't beat. Now, what we are going to add is press plus right here. By pressing plus, we create another pattern. But I press here, or you can simply name it piano. Then once you are going to do is simply press on this that channel. We are going to add an instrument to. What is the instrument that we are going to add? We're going to start with the very basic instrument, which is the piano. We go and try to search for FL keys. In your case, I'm sure that you will not have the same interface as me. Because for me I have lots of plug-ins. Therefore, I had to organize them in this way so I can quickly locate them. But in your case, try to search for something called FL kids. Or if you didn't find it, simply head onto more plug-ins and type N FL keys here as f i kills. And if you also didn't find it, just try to search a bit more. I simply go to here. And press X. Before pressing X, we can just try to play around the piano. Here we are. What I'm doing is simply touching this and moving. Now let's press X. We right-click on it and open it up. Piano Roll. The piano roll is something that we can put nodes inside it. If we open an instrument, we can put the piano keys inside the piano roll. I want you to go down and try to search for a node called ie. If you don't know what is the note here, don't worry. You will not have to worry about this. Simply search for E4. So you go here, and this is the C14. Just go up and note, and this is denoted we are looking for because we have the C14. Just scroll up or scroll down until you find the C14. And above the C4, we have denote E. Simply click on here, and you will have a node right there. Then simply put notes and try to play it. Make sure you selected this orange button and you press on the piano and add them. Then, next, add the same nodes down. You also press on this. You add this node like this. Then as this, this the same nodes on the last line. You add this. Let's press X because I press it by mistake. Here. Here. This node, which is 12, 34, Melo this. Now let's play it. I press on here. Now let's actually drag them and drop them into our playlist. This is called the playlist. Everything that we put in here is being played. Let's drag the second one. Puts a try here. Don't forget to put them all in the beginning. So if it was here, we did in the beginning. So right now everything that you see in here will be played. So make sure now this is on the song mode, because on that pattern mode it would be only playing this. If we only wanted to play that beat. We put it on pattern mode and press Play. If you want to only play the piano, we put it on pattern mode and press play. But if you want to play them both, we put on song mode and let's press Play. Now here we are. Here we created a very, very basic song. Yeah, you're good to go. So this is how we basically use those basic functions of FL Studio. 5. Starting Of Part 2: Very Basic Song: So let me quickly show you the very basic song that you are doing to create. Just to get used to FL Studio and how to use that channel wreck. Maybe you use that piano roll and use some different samples. And we're going to create something related, that pattern one, which would be some basic piano that you are going to create together. These are the piano rolls. Then we're going to add some base using a plugin called boobies. Then we're going to finally something called pads, which I'm going to teach you what is bad. Then add some kicks, which are some very basic cakes from FL Studio. Then add some snares. Then finally add hi-hats. We will go over through what is it like to organize. I will channel wreck. Flc is the blue base, which is a kind of Bayes at some kind of beds. Of course, the cake that you are going to. The snare, then the strings, and then the quiet. If you're interested in, let's go and directly start by creating our very basic song, which will get you use to FL Studio. 6. Vid 2.2: Using FL Keys: So when you open FL Studio, you directly go to File and New from template. From here, you can create minimal. You can have this basic aid to aid with limiter or without limiter, or simply create empty. The difference between both is that if I create something empty, yes. If I create something empty in the piano roll or in that channel, drag that channel and drag. We will have nothing. But if I press to file and then create new, the first one, I will have those kicks, claps, hi-hats, and snares. But in my case, we don't want to use them to recreate File New from Template and go to empty, an empty template to start your project from nothing. We press on it. Now, let's press X. So the first thing that you want to do when you want to add something in FL Studio is you need to create a new pattern. Let's press Plus on here. As you see in the hand panel, that should be your friend during this course. You press on here. You simply create new pattern. Do you see it's written new pattern. Fine, first, next, empty. When we press Plus. Because we already have a pattern created, it will not create a new one. We can simply name it, for example, piano 10th. We are going to only add panel. Now, you go to that channel drag, press Plus, and you hit F7 key is try to search on FLC ears. And again, if you didn't find it, just search for FL Kias in here. And for me it is right here. You can simply put it here on stores. When you put it on Favorite, it will simply go and be highlighted to you right here. Let's open FL keys. We have our piano in front of us. We want to press X. Right-click piano rule. What this piano roll does. First to access it, you have to either press the shortcut F7 or simply right-click and enable or disable that piano roll. What can we do on that piano roll? We simply write some notes. If we write a node, it will be applied in front of us. You see it died, he appears. We will not be able to use those because those are not very professional and are very beginning. This is why I want you to get used to the piano roll. So let's write some notes. You can start, for example, by pressing this note. Came by pressing this node. You can either press on the notes. Let's maximize it. By simply pressing this button. You can press on denotes or simply write the notes. For example, let's start by writing the notes on here. I zoom in. Did I zoom in? I simply press Control and use my scroll wheel. By pressing control and using your scroll wheel, you simply zoom in, zoom in, zoom out. So hold Control and press your scroll wheel. But let's start by placing nodes. We have the C. It shouldn't that this is c, then d, f, then g, a, b, c. And of course, you don't have to worry about the nodes and then aim of dynodes. Because later on we will be figuring out everything. Let's play this. Here we are. Now, I want to tell you that we have notes from the beginning. So if I go down, you have notes from here, from the beginning. And the more we go up and that pitch, the more we go in higher frequencies we go, we can go from down to up. But what if you want to zoom in more, for example, and you have a trackpad, you don't have them all. Well, it's easy. You can simply do it using your trackpad. You press Control and go up. Using your two fingers on that track bed, you go up or you grow down while holding control. In fact, most popular artists like Martin guys, for example, actually use that track but nothing's bed with it. But of course, by using your mouse, you can have more flexibility and it will just be easier for you. 7. Vid 2.3: Some Shortcuts: So do you see those divisions? By this, this, this, this, this those divisions actually helps us to how to use the rhythm. How do we decide how long is this node? By using the divisions? If I did it everything. I can press Control Z to whenever I want. So that's the this and extend this node. Instead of playing just 1 second, maybe it will keep playing. I can extend it more. It will play more. Or I can simply cut it. As you see a directly ends and starts again with the basic notes, the notes from the beginning. Let's simply delete everything. What I do is hold drive, click in my mouse, a right-click on my mouse. And when you hold right-click, you see this icon here. It's the orange one that I'm moving my mouse. So it was like this at the beginning. But when I press right-click, I will have this icon. I go and hover over the notes. I go over the nodes. I can now delete everything. Whatever I add on here. I can simply delete it by holding right-click. Delete, delete, delete, delete this, and finally, the this. Every time Let's suppose that you wrote a node, you need to delete it by accident. You can simply right-click deleted by accident. Now if you want to get back, you simply press Control Z. Here you have it. But the thing is if you press controls at many times, it will undo and redo, undo and redo. What do you do if you want to get back many times before? What do you do if you wanted to get back in time before? You simply press Control and Z. By pressing Control Alt Z. Let's see what happens. If I did this. I put the notes. If I simply press Control Z, it will use the last note that I added and press go back and forth. Now what if I want to remove them all and go back? I press Control Alt Z and we go back, back, back, back, back, back back. As you see, we have this history that shows us how to go back in time. Then the hint panel, you can exactly see when you done this move. Right now it's at 10:00 AM in my local zone. You can go back, go back, go back and see all the changes that you made while opening this FL Studio. 8. Vid 2.4: Changing Rhythms: So learning keyboard shortcuts from the very first lectures, not something you expect in music production courses. To not forget them, make sure you use them now. Try to add a node. Try to press Control Z. Try to remove it, try to add many nodes, use Control Alt Z. Try to extend this node, try to play with this so you don't forget it. This is not a technical course, this is a musical course. But using the shortcuts makes your life easier. Back to the rhythms. Let's press on a node. Let's actually try to extend this node. After extending it, I noticed that we have something year. This is because we are using the same pattern. Let's press X deleted and press X and make sure you deleted those. We don't want to use them. This is nothing actually. Let's right-click. Let's go to a node. We extended it like this. Now try to clone this nodes. You simply Control, select it and press Control B. By using Control B, it will clone itself, it will duplicate itself. So let's try the same. I select all of those. Control. They will clone again. I can do it all and over again. But let's delete them. Now. Let's clone the node and change the length of the clone Node. You can also do it. As you see, if I change the length of this node, it doesn't mean that I will change the length of the first node. Now, let's try to create a basic rhythm. We are going to create. We're going to create some basic track that might give you a greater insight on FL Studio. 9. Vid 2.5: Writing The Melody: So we deleted everything. Let's start by adding this node by simply pressing on here. Don't forget, we zoom in using control and our scroll. How do you find this node? Its try it under the note C5. Go up and down. Try to search for the C. Underneath this S5. You found this node. Then you create this note. If you want, you can simply put it in here. Extend this note as it practice. Extent also this node. Then I needed to put the note C5. Then I need to put this node, this one. How do you locate them? Simply, this is the first one. And you also go down your steps. So one or two steps from this, that from the sea, then that G. Again, you don't have to worry about the node side of things. Because later on we will be working a bit more music theory. But for now, I'm only doing this basic track, so you get used to the interface and try to use it efficiently. Let's play from the beginning. Here we go. Now let's press X, That's breast x. The next lecture, we are going to add some base. 10. Vid 2.6: Adding Bass: So to add the base, we simply go to create a new pattern. And remember, every instrument should be on one pattern. Here we have the piano here. If you want to create something new, we had onto plus and press Accept. And if you want to name it, for example, base, you can name it base and hit Enter or simply press this button and that one up there, we can also rename it, name it the piano. And here we are. Right now, press on the base and go here, that channel wreck, remember that channel right as easily to you press on F6 or you simply go to this button, which I personally do. Those three rectangles one after another. You press on it. This time, we want to add an instrument, both boobies. The name is reared, but let's press plus and search for this instrument. For me, it says right here, but again, for you, you will not have the same go. You go more plug-ins and type in boobies. Here we are. We found it. Make sure you select it on their favorite. And that's you're here. And we will have this in front of us. Now. I don't worry to worry about those since we are going to of course learn what they do later. Because you will find this in All plug-ins. Press X. And keep in mind that not only the piano has a piano row, for example, we right-click on it and we find a piano roll. And if you right-click on it, will also feel fine. Can roll. We can right-click on anything and find the piano, roll, the Press it out, roll. Let's make it smaller a bit so we can see both. If we try to press on it. We were here that base. Now how to predict what sound it is. Without opening the piano roll, you simply select one rectangle, one green rectangle, and press a random keyboard key. Here also. Of course, make sure you have this selected and asked you selected this. You can preview the sound of this instrument. We right-click and you go to piano roll. From here, we're going to create a base. How to create the base? This, see this example. Let us simply go to here and copy paste and the same nodes. So we go here and simply copy, go to the Piano Roll, Control a, Control C. Go to the base section. On channel. Will right-click on it. Piano Roll Control V. What I did is simply go to that pattern called the piano. Press on that channel drag from that channel direct. I opened the file key is, then went to the base. From the base, I open that channel drag. And again, based on the base section, let's listen to it while putting that pattern mode. Let us simply put this piano here by dragging it. And I drop it. I put it at the beginning. After I do that, I do the same for the base. I drag it, simply drop it. We put that at the beginning. After doing that, let us hear them together. Do you think we'll be able to hear them together? Let's try and figure out. No, we are only hearing the bass. Why? This is because you are not putting it on playlist mode or on song mode. We have to put it on song mode. Now, we can listen to them together. Now what if you want to use another technique? Let's try this method. Let's use the Shift, drag and drop. So what you do is let's say for example, we don't do read this and you want to create another node right here. Instead of putting it manually, you can delete it. Select this. Hit Control B. You will have it next to it, or right-click to delete it and simply press Shift and drag it to the right. Will be doing from this more and more and more. And you will understand what those mean and you'll be using those shortcuts more intensity throughout the course. Here we are. Let's listen to it. Okay, We're good. Press X and save your project. 11. Vid 2.7: Layering The Bass: So we added the FL keys, we add that some base. Now let's try to layer the base. What is layering? Layering is when we add another base from the same. For example, here, we will add another base that sounds similar to this base. You see more, but you don't need to press on plus and press more plugins. You have to write GOMS. Goms is a plug-in. What is a plugin? It's something that gives a certain sound. For example, the one that we used, which is called boobies, is actually a blogged in. It gives a specific sound. The same thing is for GMS. If you want to hear what type of sound this blog and gifts simply makes sure you have this enabled and press any keyboard. Right now we have this space, but you can press on here. And you'll have a couple of stuff. You'd have base will have lead and synth. You will have pads and textures. You have, for example, especially Effects. User wise labs. You'll have lots of stuff. But for now, we are going to focus on the base. And of course, you can go and discover those on your own. Right now, let's add some base. Let's search, for example here. Let's add the space. It's pretty similar to the base that we added. It might be similar here, but let's press X and let's press on that piano. Roll on this control a, control C to select them. Then go over here, right-click piano roll and press Control V. You will ask yourself, why didn't we create a new pattern? As mentioned before, I said that we should create a pattern for every single thing. For piano, a pattern. For the base a pattern. Yes. The base one pattern. If I add two basis, we added in the same pattern. Why? Because they are from the same type. Again, you can go and press plus and add another pattern, but it's better to add all the basis and one pattern, or the piano and one pattern. Everything that is from the same type. You can add it in one pattern. Let's press X and listen how it sounds like. Make sure you select this on pattern. So we only listen to this specific bedroom. I think that this is pretty loud. So the second base is louder than the first one. What do you do? You head onto the volume knob. And if you didn't know that this is the volume knob, you just hover over this and wash the hand panel on the left, right here, top left. And you see that when I hover over this, you can see that this is the channel volume at 78% and the default value. Let's turn it down a bit like this. And let's say key lesson by pressing the space bar. Keep turning it down until you feel that this space is the dominant one. And this base is like this base can be heard normally. I don't want to distribute too obvious. I feel like this is a good balance. Again, try to do it by your ear, since it's a music production course. And by this, we simply added layer of the base. 12. Vid 2.8: Exploring Kicks: Right now, let's add some kicks. Now, what are the kicks? That kicks are pretty much the same as we have in the drums. To know what our kicks. Let's head on a folder called Bax. And here, usually you will not have the sample pack folder, neither the vital folder. Those are ones we are going to use it later in the course. But let's anyway goes to this folder called BECCS. Inside this folder, this is pretty much anything you need in FL Studio. That's onto drums. Hit gigs. From here. You can see that we have lots of gigs. You can't go over them one by one, maybe try to listen to the different gigs. But my job is to tell you what kind of kicks you have to pick. For example, this is an eight to eight. It means that it has a tail. So let's drag it and drop it. It has a tail. So let's delete it. This is a normal kick because it does not have a tail along. Maybe we can also say that it's an eight to eight. Let's go down. This is the minimal kick. This is the type of cake that you should be searching for. Those types of gigs that are punchy. Do not have too much base. Are simply good to listen. This is a super-strong cake like this. I wanted to go and experiment that kicks. Now how to do, how to know the difference between the good and the bad kicks. First, let us know what makes a good kick. Good kick is not very buzzy. So it's not like this. Eight to eight for example. We don't want it like this and is very punchy. Does not have so much I frequencies. So this might seem complicated. But for example, something like this is not a good kick to be used in electric music. They don't get beyond that. Kicks are good and can be used in specific places. But in electric music, we want the cake to be punchy and does not have so much high frequencies like this. This is low frequencies. This is high frequency. This is mid the frequency. This is pretty much low-frequency. You hear the difference between this, this, this is pretty much high frequencies. So what I want you to know is just take a look at all those cakes and try to see what keeps you like and stuff like that. For me. After I explored all of this, I will go for them in a more gig. I go and try to search for something minimal. For me, this is good. Why? Because this has a small tail so we can still hear the bass after it hits so they can listen. I want you, of course, you put your earphones or headphones on so you can hear a difference. But this Natalie hits. But this gives for very long. It stays for a long period of time. But this, for example, is quick. This is why I want this. It's punchy and has all low frequencies is not very buzzy. Let's try to put those. What I want to do is take a minute and try to explore them all. And the next lecture we are going to add this to our track and see how we put different kicks. 13. Vid 2.9: Adding Kicks: So right now that I pick a cake, let's actually put it in that track. So I put it at the beginning. And of course, let's make it a bit smaller by simply dragging the left. And make sure you don't have this stretch enabled. Because if you have that stretch enabled and it will stretch it, it will look like this, which will distort the cake. It will be so small. So let's put it back. Let's remove that stretch and let's drag it back a bit. We don't have it on the next line, then select it and color it, or maybe paint it if you want to call it. We put 123. Let's take a listen with it at the beginning. Now, why didn't we put it on pattern mode? Because we want to listen to the whole song. So if I put it on pattern and select the piano, I will always, I will only hear the piano. But if I put it here, I'll only hear the bass. But if I simply take my mouse and drag it here, it will automatically place itself on the song mode. Let's listen to it. Let's add some more cakes. How do we add more kicks? Simply press Control and select this hold Shift and drag it to the right. Like this. What I did, I simply press like this. Let's read them. Simply press Control. Select them using my mouse or my trackpad. Press Shift, drag it to the left. I do this again. Control. Select them all. Shift to the right. I mean, not like this. We have it. Don't worry. Later on you will directly know a good cake from a bad gig, since we are only going to use high-quality sample packs. This in FL Studio is not a very high-quality sample back. Therefore, it contains good and bad gigs. But what we are going to use later on in this course is only high-quality sample back. So it will be able to distinguish between the good and the bad. 14. Vid 2.10: Snares Overview: Let's actually put them one after another. Let's put that piano alone. Then let's put the base. Then let's put that gigs. What I want is first to have that piano, then select this press Control B. So I have the piano first, then that piano and the base, then the piano and the base and that gigs. What I did is simply select them. I see it like this. Either press Control B, which will duplicate itself, or simply delete it, select it, press Shift and to the right. And again, I see it like this. And press shift to the right. By this, I have it altogether. Now what I want from you before doing this is a small exception just to head on to this. And if you have this module, just select, leave it like this and press all. Then simply go to woo base and increase the base. I want to hear more of the base because I feel like the base is two weeks. I want something heavier. I increased it by the due here that we have more base. What I did is let's go back. What I did is simply increase this by dragging my mouse up and not to the right, just up and down, up and down. I dragged it up. So I increase the amount of base that we have. As you see previously, we had the base on 50% from the hand panel. Now I'm increasing it to 100%. If we take a listen. Now we have the base more present in here. What we want to do next is go and choose a snare. Now you open again that backs this folder and go to either drums, where we have the snares, or simply go to drums model module where we also have some snails. Now let's go to the first one. Drums and go over this narrows. I'm going to explain to you how I distinguish good snare from my bad snail. But before doing this, what is even a snare? Snare is likely club. So, boom, boom, boom. That TOC is that snare. And to understand more, let's simply go and choose SNARK. First. Let's go over the good and bad snares. So this is a good snare, but not for the M. Again. What is a good and bad snare? A bad snare might be good for other songs. But for EDM, I'm going to tell you what is good and bad snail. This is not if snare, maybe this is Aaron. I don't know why this is put on the snares. This is a snare, but also not very good for the EDM. Let's go over another one. All of those are not very good for EDM. So let's go over this also. Right now we started by some good snails. It's like a snare clap. Those are some good snares for electric music. Again, how do you distinguish from a good? Again, how do we distinguish from a good and bad snare? Bad snare is one that does not so much slap. Wanted to slap. Yes, as the word suggests, we want it to slap. Like this. You see how it slaps. Instead of this. It does not slap, it's not strong as this. For example, this, this, this, this does not slip, It's not too strong. This, you see those groove snare, snare clubs are actually good in FL Studio. Again, don't worry. Later on, you will be able to distinguish the good and the bad snares. As a challenge, I want you to pause the video and go over those snares and try to find a good snare. And with it here under the cake, try to pause the video and go find your snare. 15. Vid 2.11: Adding Snares: So let's find one. Maybe for me, this it's too strong, it's so much strong. Me before this is good. We drag it and drop it like this. Let's zoom in by pressing control, and that's true. All we'll let's put a snare under each kick and see how it sounds like. I simply press Shift and drag it to the left. Now shift to the right, shift to the right. All over again. Let's listen to this from the beginning. I don't think it sounds good as century moving on, moving one, removing on, removing one. Let's listen to it. Usually that's nil. We don't put it under each cake. We put the snare every other Kc. Let's add more snares. But this time I'm not going to do it manually because I'm tired of doing. So what I do is use the Lazy Mode and select it. Press Shift, and go like this jagged to the right. If you want to repeat that, Let's delete it. We can even do that for one node. So I selected shift, right, then select it, shift to the right. Again. Select it shift to the right. By this, I have them all like this. Now again, don't be disappointed if you didn't pick this type of scenario because it's a personal preference. But for example, you can't pick this type of snare, for example. Because it might sound good but not as good at this. And electric songs. Again, it's a personal preference. And with that time, don't worry, you'll get used to what's a good and a bad snare. 16. Vid 2.12: Snare VS Clap: It might be a good idea to show you the difference between snares and collapse. This is, this is, this is also a snow. This is also a snail. This is also a snare, but this is a clap. This is also a club. Multiple collapse if you want. This is dyspnea. This is the lab interact. We use both. Or sometimes you only use snares. But I thought that it might be a good idea to simply show you the difference between snare and class, so you don't confuse between them. Now, maybe here in this snack lab. Might, it might be both. So it might be a mixed between this and this. It's like both if you want or it might be more like club. And usually it's cold snap clap. And you will find a lot of this, a lot of those types of snares. But usually call them snares. Snare club. It's like something that comes after the cake. 17. Vid 2.13: Some Tips + Challenge: In this lecture, I'm going to give you some tips. Use FL Studio efficiently. And also at the same time, give you a challenge from which we are going to correct it in the next video. There's many ways to add the stuff on that playlist. That is this paintbrush tool. And as you see on your hand panel, it's written paint. For example, I can select that piano pattern. Hit this paint brush tool, or simply press B after DC lengthy this. I press on here and hit that'd be B, B, B. I can't pay it whenever I want. And if I want to delete it, I hit my right-click on your mouse and drag it over them. There is also the Shift and drag. So I select this shift, press Shift and drag it. Drag it. This might be handy if you have lots of stuff that you want to drag it and drop it. There is also the control beat. So you'll select this and press Control being controlled. You might be selecting all of this. You just control B. Control B, it keeps, it keeps on duplicating more and more and more. They won't love them all you want to add, the more you press control. Finally, there is an option called Copy Paste that I never use only if I have something. So I select this copy control C, and select a place where I want to paste it. It will not paste it here because it will be paid to try there for some reasons. Let's press it and remove it right here so you can keep pressing Control V, control V as much as you want. This method is not so handy in FL Studio. It's better to simply use the Shift drag or Control V. At the same time, there is many ways to select the stuff. That is of course the control and drag on your mouse or your trackpad. And that is this tool right here. Or you press the shortcut E, which is the tool selected. You simply select it like this. It's like pressing control. And you can also after doing this, simply do Control V and shift, drag, whatever you want. So anytime if you were lost, you can always check the hint panel. Now that top-left FL Studio tells you about the shortcuts, but don't tell you about the most efficient way. It can always give you what shortcuts you have. But it doesn't mean that using this shortcut will makes your life easier. I am telling you the most efficient way to save your time. So you don't spend your time trying to figure things out and try different keyboard shortcuts. Those are the shortcuts and I'll be repeating them a lot throughout the course. Most importantly, don't worry about the sound of the samples that cakes and the snares and soft like that. It's a frustrating to know what is a good gig or what is a good snare and stuff like that. I had the same problem. Later. We will be working using professional sound that I chose for you for free. But to work with those professional sounds, you have to use the basic ones. With practice, it will be a piece of cake to know good from bad cakes. So it's not nothing to worry about the good and bad kicks. It will just come with practice. What are your challenges? Effectively, I'll give you, I will be giving you only want to challenge. Your challenge is to find out what are the high hats. As we did in the first lectures. I want to drag and drop the high hats on your own. Where can you find the hi-hat? By simply going this back? Choosing drums. Then during right here and to the section hats, you'll find a couple of hi-hats. I want you to drag them and drop them into that track and try to make something out of it. Disclaimer that it's not a beat scores. We will only be focusing on creating the EDM songs. But for now you have to know how to choose those beats and use high hats and stuff like that. But don't worry later on the course. This will be a piece of cake. So we will not be focusing only on choosing the hi-hat and stuff like that. But this is just a small practice for you. Try to find the hi-hats, drag them and drop them here and see how it goes like, and we will correct this and the next lecture. 18. Vid 2.14: Adding Hihats: So let's try and add the hi-hats. What I do is simply head onto PECS and go to drums. Maybe you can go to the drums mode audio if you find any hi-hat. There you go here and go to hats. Inside though hat. I will go and try and find my favorite hi-hat. Usually I go for the groove ones because my opinion they are the highest quality and the FL Studio sample bags. But let's try one of those. They are pretty much similar, but it's just a personal preference. Again, you can choose whatever you want. I think that this one is good. I get N drop it. Where do I drop the hi-hat? Of course, if I put hi-hats on under each kick and snare each cake, Let's move it back and snare it doesn't sound good. Let's try it like this. I don't think this was, this will sound good. Let's go and add the hi-hats between the kick and snare. Let's also added here. Maybe here. Okay, so right now we have this. Maybe if you put it back, here we are. Let's try all those rhythms. I wanted to experiment with those. We are. Then it can be tricky to find where the exact written to it. As you saw me. First I tried here, then here, then here, then here I tried different places until I found the exact place. I wanted to extend this. And also redshift and drag it. Here we are. Unless listen to the whole track. Here we are. Now what I want you to do is simply, let's remove those snares and those hi-hats. Let's move on to the right. Simply move that kicks like this. By this we have this. We have now the piano first, from here to here. Then the piano and the brass and the base. I mean, then that piano, bass and the kick, then that piano and bass and snare. Now let's copy and put it right here. I mean, let's press Shift and I put it to try it there. Maybe to remove this, I'm sorry. Like this. And put this all together right here by pressing Control B. And let's fix them because they are not well aligned. Let's listen. Maybe here there's something wrong. Of course it's because we put two kicks on each other's. Or if we delete this, we just hear two kicks. And also here, whatnot here. Like this. By this we have maybe a song you can call it or the melody, whatever it is. But why did I do this like this? Why did I put the piano? And then that piano and the base then that beyond based on the cake, then snare, then hi-hat, just to make the song more dynamic. So it's like slowly I'm introducing this then introducing the cake to introducing destiny and stuff like that. 19. Vid 2.15: Magnet Element: A good thing to learn is something called them magnet elements. What does the magnet element do? Let's put it right here. On step, on step and zoom in. We see that we have those divisions. But what if I put it on half-steps? When I put it on half-steps, take a look what will happen right here. We will have more divisions and let's add it on a quarter steps. We will have also more divisions. Let's edit on 1, sixth step. We will have more divisions than ever. But let's put it back on step. Let's suppose you want to move snare. Let's move this near from here to here. Let's suppose you want to move this near from here to the middle, like like this here, exactly right here. How do you move it? If you try to move it, it only moves to the next step. But if you use the magnet element and put half-step, you'll be able to move it to the half. Maybe like here. We'll be able to move it like this half-steps. And if you put it on quarter, you'll be able to move it more. If you put it on 1 sixth. You will also move it more and more and more and more. What do we conclude from this? For example, if you want to move this hi-hat a bit to the right, like this. Let's suppose we want to move them a bit to the right. How do we move slowly to the right? So how do we move them a bit by moving them like this? But what if I want to move them in the middle? What I do, I go here and put it to have set will be moved like this, in the middle, like this. But let's put it back and put this back. Important thing to remind us of the difference between step and beat. Usually step is just a. Step. B is larger than Step. Press here as those will disappear. Because an every measure, this is something called measure 12 and the middle, 4567. This is a measure. In every single measure we have four beats. 12341234. Therefore, when we put the beat, it will only have four divisions. Now we can add more divisions by putting half a bit, putting gay quarter bit. But those magnets elements will be playing around with them later on. But it's important to know how do we actually use it. 20. Vid 2.16: Pads Overview: Let's see, what is pads? Pads, something like this or something like this. If you're trying to listen us another one. Let's try to listen to also a fourth one. So pads are something that are soft and it might be some quire like this. That might be some strings. It might be from another plugin. It can be anything. This is what pads are like and they are used to make that attract sounds smoother and fill some frequencies. 21. Vid 2.17: Adding Pads: So let's see how we are going to create our beds. First. We press plus of course, and we can name it and we can not name it, but in my case, I will name it. This is bad. We go here and let's actually press on and add some GMS. So I press plus and again, because I don't have it on my interface, I press more plug-ins and submitted type GMS. Press on here, hit Enter, and we wait till it's loading. Now it might take you a little bit of time, but here we are. Finally, I go to that basis, I press here, but I don't want a base. I actually do want some pads. We go and right here we have many pads. I advise you to just pause the video and try to add some pads or tried to figure that out. Maybe charge and go over them one by one. And after that we will get back to it. Alright, so we have this bad. The beginning is good. But I don't like at the end how it sounds like Let's try. This. Might be good. Personally, I went over them all. I didn't treat it like that type of those beds. What I do, I simply right-click and delete. Yes, I wanted to delete it. I go to banks and from PECS I can find instruments. From instruments. I go to our Castro, from orchestral, I can choose that bad's. Now also take a moment and think about what are the pads right here. Pads right here are the violence or the string section for the string soluble. But the difference between strings section did it's loading. Let's close it. And the string solo, it's obviously from their name. Make sure you have this enabled. You can simply hear the sound and press on this so we hear it. I'm pressing keyboard, I'm pressing on my keyboard, and E and q. That's here. This, this is a group of strings, but this is one string. So let's remove this solo and go to the strings section. I go here, right-click on it. General, let's actually try to put some pads. What are the paths that you are going to do? They are the same as the piano. They are the same as the piano roll I double-click on it, press Control a, Control C And the same, I go to the pads, right-click here, I can try, I click here. I can press on here. On View piano roll as you see in the hint panel. I press over it and paste it. Let's take a listen by putting on that pattern mode and let's drag it to the beginning. Why do you think it played the piano? Because obviously, if we place on here, if we see we pasted it and the F are keys of the piano roll of deaf Ikea's. Remove them by pressing Control X. Right-click on streaming section, piano roll, base it right there. For me, It's not pasting. Let's copy it again. Go here, Control a, Control C, Then here, controlled view. Here we have it. So let's listen to it. Let's drag it and drop it in the playlist so we can hear them altogether. Maybe here. What I do, I want to add it between the bass and the kick. What I do, I right-click on it. And I simply press insert one. By pressing insert one, it adds something above this strike. I put it right there. But let's take a listen. Great. What do you think by fixing it and double-clicking on it, adding an octave to it. But it's active. It's eighth notes. Let's count eighth notes. One. This is the same as this, but an octave up. So let's select all of those by control and my mouse and press Shift. And by pressing Shift and up, I will have an octave of it. Let's go breastfeed. And let's put my mouse right here. It would automatically switched to the song mode and press Play. This is how we add that bads. 22. Vid 2.18: Layering Pads: But as we layer the base, I want to also layer the pads. Well, I had onto the channel or to this pattern. I mean, then press plus and I want to add some instrument. But in my case, let's also grew over here without adding something. And let's select the choir. So let's check those Squire and drop it. With the loading. Let's press a random key to the same. I'm just pressing my keyboard while I'm pressing denote because I'm arise them. So let's press X. If you want. You can also press the keyboard n. So the key m, then V, then the comma, then the M. I mean that'd be, so try to experiment this. It's not important at all. So let's put the same. I click on this control a control C, press X, then based on chart here, right-click, I can simply press based, but not here. I have to go to the piano roll and press paste. Here we are. Right now. We layered our beds. I think it sounds pretty good. Of course. There's some mixing that is needed because the volumes are too high, one is too high, one is too low, but it makes the job. Because the next lectures, we're going to try something about the mixing truck. Now, this is the idea of layering. I just wanted to introduce it to you and how we layer the pads, for example, we put the same nodes, the same pattern and just have a different sound. This is common practice to simply layer pads or the snares or the base and stuff like that. 23. Vid 2.19: Quick Mix: So let's try and make a quick mix of all of those. But first, let's actually listen to that track from start to finish. We see what we need from the mix. I'm going to teach you how to do the very basics of the mix, which is that volumes. Okay, So obviously there is nothing to mix in that piano because it is what it is. But later, when we add that base, here is when we need to mix it so we can clearly hear that the voice of that pads are covering the piano Dickey lesson again and again. Try to put your earphones and headphones on. We can hear the bass that pass without that piano. The pads are supposed to be something soft and not something that kicks out the piano. Therefore, we go to the pad and we want to turn down the volume of both Pads. Let's turn down the volume of first the strings, that section. Let's turn down the volume of the choir and let's see how it goes. Okay, So personally, I just want the voice of the quire to be very low. I want this change to be the dominant, acquire to be very low. So I turned down the volume of that quiet. Still the strings are so dominant compared to the piano. But let's turn down a bit. Here we go. Although we cannot clearly hear the piano 100% as if it was playing alone, but at least we can hear it more now. That base what you are going to do in the baseless, turn down the volume of the base, inhibit throw. Let's go here to the blue base, the GMS, So that's drilling down further, the GMS, unless turned out that blue base. So now we can clearly hear the voice of the piano. The voice of the blue base, the voice of the pads. And if you didn't listen well, I will repeat for you when a loop. So I press control and select the sport. As you hear right now it's pretty balanced. Let's jump onto the second one. We already have decades. Obviously the kick is so loud, so what I do, I simply go here and turn down the volume. By turning down the volume, I click on it using my mouse. Don't donate it to the left or to the right. Suddenly turn it up and down. I want to leave it as it is and start trying until I find the balance. So I press on this using my mouse. I press Control and drag it to the right. It loops till here. So let's double-click on here. When we put this threat part, it means it will keep looping, looping again, this spot. So let's listen to it and start decreasing the volume accordingly. Personally, I feel that this point is a good bands. Well, I feel that this point at the cake, when we have this point of the cake is a good bands. Now let's go to the snare. Again. I click using my mouse and put this part here. There's two hi-hats. Let's remove them. Let's actually be careful. Where do we want to put it? So when the pattern ends, we put it again. Here we have a bit of mistakes. Let's put it right there. We are. Good. Now let's have it unless the Adagio hi-hats. Let's now hear this now. Let's do the same thing for the high hats. This is where I want you to pause the video. If you didn't do it on your own, try to do it. And now try to change the volume of the high hats. So pause the video and try to do it by your own. Okay, so let's do it first. Let's add those because we didn't add it this than this. I mean, here. Let's now try to make them. Let's put it here. Now listen to it. Right now is a good balance for me. Again, I want you to try it by your own and try to find your personal taste in it and where you can find the volumes are better. But for now this is enough for a very basic mixing. 24. Vid 2.20: Sending The Tracks: So we added some piano, we added some base, you added some pads, added some kicks, snares, hi-hat. Good job guys. But what if you want to send this check your family or your friends or something like that. This is why I'm making a lecture just to teach you how to do it. You hit Export, you press File, File, Export. Then you choose MP3 file. I'm going to teach you the difference between a WAV file, an mp3 file, WAV file is if you want to send it, very high-quality. Wav file is the highest quality possible. Iphone5 is a bit of lower-quality, but don't worry, you will not find the difference between both. If you want to send it on a platform like WhatsApp or Telegram or something like that. It's preferable to use MP3 file. I don't know if at the time that I'm worth filming this course, it will be on the WAV file, but usually you send on MP3 files. So simply hit MP3 files. We will export it as an MP3 files. When you go through here, you can't see it. You can select the folder that you want. And after selecting the folder that you want, for example, on desktop or something, you simply drag it and drop it into WhatsApp Web. The application of WhatsApp on your computer. You can simply send it to your friends. When I press Save. It will give me this thing right here. Do nothing. Just make sure that this is disabled. Make sure that this button is not enabled. We wanted disabled. After we do that, you simply press start and it will export normally as an epithelial file. Therefore, you can send it to your friends and family safely. 25. Start Of Part 3 Using The Interface In Depth: Let's go over some synthesizers and see the difference between them. We have first theorem which goes to $190 and in my opinion is a good one personally, I have it. But I never advise someone who is just getting started in music production to buy this. Since it's a better choice. Who just start music production? And after studying music production and getting into it and knowing what exactly is a synthesisers, I advise you to go and search for something to buy it, although vital can pretty much do the same job. So personally, I use serum and vital, I use them both. My music production because theorem has a wide range and is used in many tutorials and videos and stuff like that. So it's like, it's like more popular than other VST plugins. Let's jump into the second one. We have silent, which is also a popular one, widely used by popular artists. And it's similar to serum. It has many stuffs and it has also so many sounds. Let's go to Spire, which I personally don't have. Spire is also a good one. Again, it's similar to serum, but it has many more options and soft like that. I'm not quite sure how much it costs, but I think about $150. So again, I don't advise anyone to spend any money on something when starting out. Just start, get used in music production. Then if you have any budget, simply go and see an advise on the Internet or soft like them. And finally, we come to vital, our program that you are going to use, which is extremely good. By the way, it's for free. You can download it. We will later on downloaded throughout this course. And it has everything that serum has, of course, a bit less of options. But it does that job very well for people who are getting salt in music production. And a lot of people are using vital recently and it's doing very well. And of course we'll discover about what later we will see how to use it. I'll do download it and how to make the most out of this free plugin that you are going to use throughout this course. 26. Vid 3.2 Sample Packs: So what our sample packs, for example, if you go to FL Studio and go to packs, you will see all of those stuff. There's jumps, jumps model module that has flags, instruments, and all those soft. For example, let's take this folder called jumps. This is a sample pack. What is sample back? It's something that contains multiple elements. For example, it contains symbols, hi-hats, cakes, gets percussions and special effects, snares, and Tom's, for example, a sample pack and contains some vocal and it contains some kicks and everything. This is why we are going to download some third party sample packs. What's the difference between the third party sample bags and the FL Studio sample patch? The difference is that the third-party sample bags are a higher-quality. If you found any of the sample pack that you downloaded, that is not convenient for you. Or for example, if a sample by that we are using throughout this course is not convenient for you. And you have other resources to reach sample packs or you already have some sample bags, it's all fine. What you are going to do is I'm just going to tell you about the sample packs that I'm going to use. I'm going to use it throughout this course. And you are free to download those sample packs, the same ones or use other sample packs since this is not promoted. What we do is simply go here. This is the sample pack that you are going to use. It's called ultrasonic, and it has its speed, It's actually paid what you are going to use, the free demo version of it. It has 150 presets and stuff like that, but we will not get access to it. Since you are going to use the free one. All of those, we're not going to get it. We are only able to reach this, the free download demo version that we are going to work using this in a second. What you do is simply download that and we are good to go. 27. Vid 3.3 Downloading Sample Packs: So after pressing download, you'll be asked to follow her on Instagram and subscribe to the YouTube channel. And unfortunately, you have to do that in order to download the sample bag. But this is not promoted by ultrasonic since we don't want to promote something on our course. But since it's a free resource, then you only have to do that. We'd be able to download it. Again if you want to download a sample pack from another resource or simply have your own sample bags. There is absolutely no problems that the only goal is to make you understand how to actually make music production and not how to use sample bags. So you press Download and it will be downloaded as either a zip file or having the extension dot air. You have to do is simply expanded. For example, maybe it will be downloaded like this. It will have less maximize this. It will have, if we click on it, if will have the extension dot. If it wasn't downloaded like this. All I need you to do is simply first create a big folder for FL Studio. So I simply needed to create a big folder for FL Studio. You create it in somewhere where you don't remove it. If you created it on your desktop, keep it on your desktop. If you created it on your local disk, keep it on your local disk. So create a big FL Studio folder that you don't touch anymore. After creating this FL Studio folder, I needed to create another folder called sample packs. This folder will have everything that contains the sample packs because we are going to download more than one sample pack throughout this course. And organizing our files is the most important thing I care about. I created the NFL, should you a folder? For example, in my case, I created on my disk D. You can do the same because it has more space. It's all up to you. Then I create a sub folder called sample packs. And in this folder, I will tell you what to do if it wasn't downloaded with the extension dot. Simply, what you have to do is drag this and drop it inside the sample back. If it was downloaded with the extension dot. All you have to do is right-click and press extract files. After that, you go and select that path of the folder where you created the FL Studio folder. In my case, I created it in my local disk D. I press on here, then go and try to find that big FL Studio folder that I created. Maybe for you, it might be on your desktop or it might be in your documents folder. You go here and select sample back. I want you to extract this inside your sample back. After you've done this, you double-click on sample back and you will have extracted right here. Double-click on it and you go to samples. And you will have all the samples after loading in front of you. What I want you to do next is head onto FL Studio. Here we have them, but I wanted to do next is go to FL Studio and hit Options, then file settings. After you go into fire settings, don't worry about those too. You might not have those two in front of you. I needed to press on any button right here, any one of this add to press on it. You go and select that path off this big FL Studio file that you created. Then select the sample files. In my case, I just do it and select the path of the FL Studio file that I created. I go here this BCA, and for me I put it on the local disk D. And inside the local disk D, I go and select where I installed this sample pack. In my case, I have this file. I don't say like this. I select this that big sample back files. What will happen is every time you add any sample bike inside this sample back file, fl should you will automatically detect it. Therefore, you don't have to waste your time. And every time two this process, you only do it once. But after I see it like this, I press Okay. You will have something added down there. You would have something added down there. In my case, it's here because I already have this folder added. So don't worry about it. Only this folder was annuity added. And I can directly see everything in front of me. Here we go. 28. Vid 3.4: Adding Vocals On Tempo: So after you did everything, Let's see, close it and let's actually press file and press Save and New from template. I don't want to have anything which is empty. Here we go. We have our sample bag that we are going to work with throughout this course. Goes this. Right now. I want to start from scratch. So I open it and go below, below it, below right here, you will find the vocal. So go down to the maximum and you will find the vocal. Simply drag it, drag and drop it. Let's put this from the beginning and take a listen. Nice. Now what we want to do is first close this and put our tempo to 126. But let's put it on 126. Because for slap house stuff, all slap house are on either 120 to 126 or 28. You're rarely see a slap house songs that are on other of those temples. This is why it says standard for the industry to just put 126. Why? Because it is what it is. So I don't know why exactly. They used 126. Maybe because it sounds better, but try to find all the slab house songs. They are all on either 122 or 126 or 128. Now let's listen to this song with the metronome. This is diametrical. We turn it on and let's listen to this song using the metronome to see if it's on beat, take it isn't. We can clearly hear that it's not on the B12. Why? Because this vocal is on 120 beats per minute. This vocal is on 120 beats per minute and the actual tempo is on 126 beats per minute. Why is that? Because the person who created those vocals just made it on 120 beats per minute. It doesn't matter if we turn down the tempo of this or turn it up, even though you can see that it's changing. But it's not. The tempo of the vocal will not change until we made, and we make an internal change. But let's put it back on 126. And let's here again here you will hear that it's clearly off temple. This is why we want to find a method to make it on the beat. What you do is simply double-click on this. First. You want to put the mode on stretch. Why stretch? Because resample, it will not change the temple. Put the mode on stretch. When you put them out on stretch, repress here. Then if we take a listen, it will not be on w. We are missing. One last thing is pressing on this little button right here and go to Fit to tempo, type and BPM and 120. Let's, let's listen from the beginning. Yes, it's on the beat. So what we did let us repeated from the beginning, was like this. What we did is simply changed from here. It was on mode resample. So always when it was on multi-sample, you change it to stretch. Stretch. It means that it will change. When we change that sample. I go here. Then fit to tempo. It means that this vocal, this 120 vocal, will fit to the tempo of FL Studio. What is the tempo of FL Studio right now? It is 126. What is the tempo of the vocal? It is 120. When we press fit to vocal, it will fit the 120 vocal on the 126 vocal. So let's hit Fit to tempo. You use type and BPM. I press something by mistake. I'm sorry. Let's put all those layers back. And let's go back also as we can. So let's put this modern stretch and we are good. Then I go here, then use fit to tempo. Press type in BPM. So type in BPM means that I will write the value in beats per minutes and not beats, only beats per minutes BPM. If the vocal was on 120 BPM, I type in 120 BPM and not 126 BPM. But let's say, for example, that the vocal was on 128th BPM. What do I write? I write 128 and not 126. This is a common mistake for beginner music producers. So I'll type in 120 because the tempo of the vocal is 120. And boom, we have it on tempo. Let's hear it. Every time you want to sync the vocal, make sure you put it on mode, stretch. Then go through here, bit temple and type in BPM, and type in the value of the vocal and not the value of what FL Studio is currently at. 29. Vid 3.5: Pitching Vocals: When adding the vocal, we want to pitch it down. Why do you pitch it down? I advise you to go and try to listen to some slap how songs and see how all levels of those songs are pitched down. Because usually in slap house songs, we pitched down with the vocal to make it sounds more powerful. So from here, we double-click on it. And if it was like this, we pitch it down using this knob right there, so we turn it down and not to the left, does not move it to the left. You turn it down because sometimes you will be stuck if you move it to the lab. But let's turn it down. Any hear how it sounds like. But in our case, how do we pitch it down more? I wanted to pitch it down more. How do I do it? This is where the range comes. Let's put the range on for. When I put the range on four, it means that I pitched it down to the maximum four semitones. What are semitones? This is what we are doing to explain. So let's go back to two as it was bought by default and keep it like this. Let's go here and minimize it because it's too big. No press Plus open in FL Studio plugin. Let me show you what are the semitones. When jumping from here. In through here. We are actually jumping from here to here, to here. The difference between here and here. So here, here is a semitone. Here. When we pitched this down, we pitch it to semitones. So here we have the vocal on E minor. E minor. This is denote even. If you don't know that E, there is no problem because we are not going to use it intensively. This is denoting. It was started here. If I pitched it down two semitones, turn the page to the maximum, means I pitched it. I used all the range. I used everything that I have. If you pitched it down two semitones, it will jump from here. One, it will sort on this node. Let us hear. Yeah, we're right. Let's put it, let's put the range on for people. It, the range on for, as you see, it was originally pitched down two semitones. So two semitones is half of four. Let's turn it down to four to the maximum. And let's see, this was on E minor. It what it means on ear. If we turn it down four semitones, it means we went from one through four. So it should start on here. Let's hear if it's sought on here. Yeah, we're right. Why we are always right, because simply return it down four semitones. If we turn it down force and returns, it means it will go from here. 1234. It's evident, how are we going to use it? We are going to just by simply, for example, if I want to turn down five semi-tones, I use the range five and turn it down to the maximum. What is range five? It means how can I how much can I pitch it maximum? If I put it on two? I can pitch it for a maximum of two. So I can pitch it down, for example, four semitones. And said if I put the range on five, I can pitch it down on five and of course pitch it up. It will sound like this. As you see them more we pitch down, the more it will sound a masculine, it will sound strong. The more we pitch it up, it will sound feminine. So let's put, leave it on for. Throughout this course. We'll leave it on for, because here I feel that this is the better range and it's easier for you to follow up using the music theory stuff. But for this, if, for example, I can put it on 12. If I put it on 12, how can I pitch it down only four semitones? I simply go using my scroll wheel. One too. But why are pitching down only for and why we are putting it on 12 while we can put it on for and pitcher down to the maximum. I'm going to cover this in the next lecture. 30. Vid 3.6: Pitch Range: So usually if you put it on 12, you'll have more flexibility over it. For example, if you want to go down one more, You will not have to go here. If it was on for, let's say No, I want to just put it on five then pitch it down. Again. The range is how much you can go to their maximum. If you put it like this, range FOR, YOU CAN maximum go down four semitones and maximum go up four semitones. But what if you want to put it down five semi-tones? You'll have to put the range on five, then put it down. This is why we simply, for example, I want to put it for, okay, if you want to pitch it down four semitones, simply put four and then put it up on 12. Stays on four semitones. But let's say that you want to make it more, or let's say that you want to pitch it down more. All you have to do is simply just put it on 12 and simply just go down one scroll. If you go down one scroll wheel, it means you are going down one semitone. Semitone. It keeps going down and down and down. If you take a look at the hint panel. When I put this on a four, if I go down to the maximum, it goes down $0.400. But if I put it on 12, still on minus 400, sense why? Because nothing changed. I just changed the range. The range mean how much I am allowed to move. So I didn't change anything. Let's put it back on for you can keep it on for like this and pitch it down to the maximum. By this, just pitching for semitones. What if you want to pitch the complete active? I put it on 12. Pitch it down 12 Y2 because that's go here. Jeff Ikea's from here to here. This an octave. Let's count it. 123456789101112. We might we might have countered drunk. So 123456789101112. So from here to here, there is 12, of course, except that if you want to go down an octave, this as f is as we are doing this, but down an octave. You see the difference. This is why you can simply put it on for pitcher down to the maximum, or just leave it at the beginning with the range on 12. And go for scroll this down, 1234, or simply right-click Value and press 0.46. You can simply press the value 0.46. If you asked your scroll wheel isn't working for a reason. And when you put it on 0.46, you can simply have the same value as me. Now this is not so much important. All I need you from is simply put the range onto and go down 1234 scroll wheels or right-click and type in value. This is all I knew from. And we're going to work with this vocal pitch down. Like this. 31. Start of Part 4: Music Theory For Producers: Let's start by some basic music theory. Let's create a new pattern and emit demonstration. So let's press channel wreck and add some FL keys and also named them some demonstration for example. You can name it also. Lets press Accept. Here we are. Let's press on demo. And I'm going to show you that piano keys. How do I know the difference between those piano keys? I have all those nodes starting from a all the way up. If g, and we repeat at a. We start by a, repeat till a. What's the difference between those two A's are an octave. What is an octave? It's eight nodes, so let's come together 1358 notes. Now we want to learn what are the names of the nodes? We are going to sort by. The first node that you are going to learn, which is the node C. C is at the left of the two black keys. This is denoted c. C is at the left of the two black kids. Let's search for another scene. We have to search for the two black keys, because here we have 2323, so we have two black kids. Three black keys to black is three black keys to three to three, all over the piano. Let's search for another c. Other than the scene. We have this. See why this is because take a look here. We have those two black keys. And C is at the left of those two black ears. So it's directly on the left of those two black youths. So let me ask you a question. Is this node c and y? No, it's not an artsy. Why? Because it's not on the left of the two black keys. It's on the left of three black kids. And we only want the node that is on the left of the two black kids. Before, see in the alphabet, while there is, that is a and B, we have C Before, see, there is a and B. And the same thing applies here on the piano. So we have C, but before see we have a and we have if, for example, if I ask you whereas denote being what you do, you directly search for the node C and you say that, okay, then B is at the left of this node C. Let's suppose we have this node C, whereas the node B, it is right here at the left of the node c. Where can I find the node a also at the left of the node B? We have a, B, and C. To have a final example, I will close this and right-click open piano roll so we can see it correctly. This is denotes here, whereas denote a or not B. This is denote a because is at the left of the left of the anode. See, I like to think of it as that. So they note a is the left of the rest of dynode. See, of course, with time, you'll be able to notice that this is denote a, this is denoted. So every time you find a note like this, you can directly get them that this is denote a, then not B is right before the node C. You will have to know those and not memorize it because I promise with time if you know them, you will have more facility over all. You will have more facility over other music producers. 32. Vid 4.2: All White Keys: We learned about the nodes a, B, and C. Now what about the rest of the nodes? So let's close this and reopen FL keys to see in front of us a real piano. Because if you open it in the piano roll, we see it from here to here. We want to see it from the left to the right. So here's better. We learned that we have denotes a, we have B, we have C. But what about the rest? I'm going to teach you one. And from this node, you are going to learn another node. How we learn the sea. We learned that the CSS, the left of the two black keys. And from the sea we learned that a and B. Now I'm going to teach you a note from this node, you are going to learn other nodes. This node is denote this node E is at the right of the two black keys. We now have the C at the left of the tube-like years and the node E as the right of the two black years. So every time you find two black is not three black years because there's lots of students who confuse in it. Every time you see two black keys at the right of the two black kids, that is the node E. We have seen, we have, we have C, we have it. Now between the CNS, we actually have the node D. We now have the note D that we've learned. And we learned also then OTA and B. If we put them altogether, we will have denote a, B, C, D, and E. Let's do a small challenge. What node is this? It's the note C, because it's on the left of the two black keys. What note is this? Is denote B IF, because it's at the left of the node C, directly at the left of the node C. Now, a challenging, challenge. What is this note? Take him on and think about it. This is the note F, y, this is denote f because we learned that this is the node. After the E comes denote f, a, b, c, d, e, f. You have to think about it logically. After the E comes denote f, and after the f comes denote g. Here we have denote a, B, C at the left of the two black years, F and G. So that challenging notes I think are the node D because you have to memorize that they are between the C and D. But I recommend you to memorize that denote D is between those two black keys. This is D. This is F. You can memorize it as f after, or you can memorize G after, after, whatever you want, you can just memorize it. There's a lot of people that have different memorization techniques. You can learn them however you want. Let's do another small challenge. What is this node? This node is between the F and what are those black years? And this is what you are going to learn in the next lecture. 33. Vid 4.3: Black Keys: Here we have our piano keyboard and we are going to learn right now, what are the black keys? We learned in the previous lecture that we have black keys all over the piano. And we learned how to locate them. We have left, we have e as the right. We have d between the C and the E. And we have a and B and the left, and we have f and g on the right. Now it's term for the black keys. How do we locate them and what are the black use? The restroom terms that you need to know. Sharps and flats or sharps or everything going to the right. And flats are everything to the left. For example, if I take this node D, I want that D sharp. What do I do? Do I go to D sharp. So this is D-sharp. Of course not. This is denote E because it is at the right of those two black kids. D-sharp is D. I go that closest movement possible. So D sharp, this is D sharp, and D flat is the same thing, but green to the left, d. Let's take another example to understand more. We have a, how do we find a flat? Try to pause the video and think about it for a moment. D flat is D, and this is the D flat. So we go to the left, everything flat, we go to the left. And this is D. This is a sharp, I mean, not D. So another example, this is G. Take a moment, pause the video and try to think about that G sharp. G sharp is G. And going to the right, so G, and this is the G sharp, whereas the G-flat, of course here it is the G flat. So everything we go to the right is sharp. This is what you need to know, and going to the left is flats. Now I trick you on. What is E sharp. Try to think about it for a second. E-sharp is when we play it and go the closest movement possible to the right because it is sharp. So how do we find E sharp? E sharp is when we do the closest movement possible to the right. And so this is the A-sharp. E-sharp is 100% the same as saying f, for example. Another tricky one, B sharp. What is B sharp? B. It is B. And that closes movement possible going into the right. Is B sharp. The same thing applies to flats. So what is F flat, which is not often used in music, so nobody uses F flat. You will not see those, but in theory, you should know them. What is flat? It is F, the left soak that closes movement possible to the left. And so F flat is F A-flat is the same as saying ie. As we said, for example, G flat. We do the smallest movement possible to the left. Because if we say that G flat is this, we are not trying because this is not best smallest movement possible to the left. Instead, this is the smallest movement possible to the left. The same thing applies for the F flat. Flat. Smallest prove impossible to the left is denote E. And a final one. Final trick. C flat. Take a moment and think about the C flat. C flat is the same as saying, for example, the flat. By saying D flat, we go to the left. By saying c flat. We also go the closest movement possible to the left. And so C is the closest movement possible to the left and is the same as saying the node B. 34. Vid 4.4: Key of our vocal: So now that we know how to distinguish between sharps and flats, at least know the basics of the notes. I'm going to teach you how to know the key of a song. Usually there is something called Key or scale. What is a key or what is a scale? For example, the scale of C major, for example, start by C and ends by C. Here. If we have the scale of C major, we start by CIA and end up with C. So C and D, E, F, G, a, B, C. We always start with the n. With a scale is a combination of multiple nodes. It's the combination of actually seven nodes combined with each other's. Every vocal or every song has a scale, or has a key. How do we know the difference between a C major scale or a C minor scale or any scale or a key. This is what I'm going to teach you in this lecture. You don't need to worry about what is scale and how to make it. I'm going to teach you everything. But here, I need you to know that when you're asked to know is that key of a song. For Music Producers and especially for Music Producers. Most sample packs and most vocals comes with a key. So they will tell you what is the key of the song. Usually if you know the key of a song, you have to know a little bit more of music theory and have to know a little bit how to take the scale by ear. But fortunately, here for Music Producers, the providers of the sample pack or the people who made the sample pack, make it easy for you by telling you what is the key of the song. So they only make you worry about the producing side of the song. Because as music producers, it's very important to know music theory and it's super great to have an advantage over other producers by knowing how to play by ear or knowing how to have the scale of a specific vocal by ear. But all I needed to know from this Rambo is that usually you are not given the key of a song, but for most sample packs and for especially high-quality sample packs, you will see everything that has a key on it. So the provider of the sample pack will tell you that, okay, I'm going to give you the key and you worry about the producing. Here we have the key of E minor. So he gives us the person who made the ultrasonic slap house essential volume one demos sample bag, told us that, okay, this is an E minor and we have to worry about how to play the chords and stuff like that. But don't forget that this vocal pitch, the down four semitones. So try to think about it for a second. And I will go back and tell you what is the actual scale of the song or the actual key of the song? Because it's not, because we changed it, because we pitched it down four semitones. It means that we went from E minor. Don't worry about the minor. The minor stays minor. So we went from E, whereas the E, it is at the right of that to black keys. So we went from four semitones, 1234, we went four semitones. Now on what key is it? It is only the C, C major or minor. You don't have to worry about that. It is on the C minus y because it was on the E minor. If we pitched it down four semitones, it will become on the C minor. Therefore, every time you see a vocal, they will give you the key. But if you pitched it down or you pitched it up, don't forget to change your mind. Here. We can't change it. We can say that, okay, this is C minor because it's the name of the sample is the name of the vocal. What we can keep in mind that this is c minor, and don't worry, this will not be confusing because the moment you know that this is C minor, you will keep in your mind at the whole track that this is c minor. And with time, by producing a lot, you'll know that this is the key of that. This is the key of that and you'll know how to have it by ear and stuff like that. So all I need you to know that this is not an E minor anymore because we pitched it down four semitones. This is now on E, go down four semitones. So 1234, this is on C minor. 35. Vid 4.5: What is scale: So you mentioned something called scale. Do you remember, for example, the scale of C Major, which starts from C and go all the way to the second. See the difference between those two Cs. It's called Octave. Why? Because there is eight nodes, 12345678. So eight nodes. But try it. Now, we said that we know what are the nodes of C major. So that scale of C Major, which is widely known, we start by C and go. Why I am repeating this? Because right now how can we know the scale of C minor? Remember, we said that our vocal is on C minor. How can we know the notes and the scale of C minor? This is what we are going to discover. Again, to give you the easy example, the scale of C Major contains the node C, D, E, F, G, a, and B. Because after G it repeats itself. How to know the same thing. But for the scale of C minor, we know the C major, what nodes there is in there, what nodes that is in the sea minor, we know and the major. Now, what, How to know and the C minor. Now, I don't want you to confuse between major and minor. This is why we will start by searching for what nodes. There is the scale of E minor, the original scale of the song that you see right here. We have the a minor. How to know what nodes that is in the E minor. For this, I want you to pause the video and try to write by yourself what nodes there is end of the scale of C major. But in the piano roll, I want you to write notes from C, D, E, F, G. I wanted to write those notes and a specific rhythm. This is just a small training for you to try to practice the rhythm and try to practice writing on that piano roll. Try to pause the video and write what there is in the C major, and try to put a color and try to name it by yourself. And we will come back and do together the E minor. All right, So the C major we press on your FLC is, and let's close this and call it C major by right-clicking and rename. So C major, we give it a random color. We add, write Kc. Let's try to put the C major, C, then D. Let's hear them. Why we didn't hear them, because we put it on song. If we put this on song mode, it will only play what's inside the playlist. We need to select it on pattern mode. As you see, it directly appears here. If we put it on song mode, we will have nothing here. But if you put it on pattern mode, will have something right there. Let's try to play it to see how it is. It's a bit too fast. So let's separate them right here and select this and put like this and select that would like that. So let's listen to it. Right now what we do, we simply press on it. We have the same rhythm and go like this. Then this, this, this, this. Then we finally ends right here. Let's listen to it. Great. In the C major, we have those notes. What do we have? And the scale of E minor. We directly go to our circle of fifths, which is very beautiful, and it's not for memorization. You will just have it as a reference and we're going to explore it in the next lecture. 36. Vid 4.6: Circle of 5th for producers: Welcome to the circle of fifths. This circle of fifths many people are afraid of because it seems so complicated. But I promise you won't have to memorize anything of that. You just have to know how to utilize it and how to use it efficiently. So anytime you need something, you're directly go to the circle and have the answer for this circle. Now, by the time you produce and make more tracks, it will directly come across your mind that this is on the circle of fifths, and this is the answer for my specific question. Now when you produce a lot tool directly, no, the circle of fifths, you will have the answers more easily without referring to it and stuff like that. But for now, all I need you is to download this photo that I left in the resources section. You'll be able to follow along with me. Here we have it. And as you see in the scale of C major, so those are the major, All those in capital letter R and major. And all of those in small m, where you see small m are minor. You don't have to worry why there is a C and the a minor together. This is just a relative that you don't need to worry about. But for now, what I need you to know is that this is the major part and this is in the inner circle is the minor part. Did you remember that in the C major, we don't have any sharps or flats. We just have from C2C no sharps or flats. As you see right here. Here, you see that C, no sharp and also no flat. So here we have no sharp at all. So every time we need to play the scale of C, you don't put any sharps or flats in it. But when you go to the C major and minor, because this is in capital letter and this is in the outer circle. When you use G major, what do we need to put in G-Major? We need to put F sharp, that and you want to send more. Let's take an example. Let's go back and create a new one. And remember, let's keep ourselves organized by clicking X, right-click G major. Or we can just leave it G, or you can put GM, or we can write it altogether to make it look better. So we give it a random color. And again, I'm not a very big fan of coloring, but just for the sake of this course to make things look better and look more clear why explaining you can color the stuff and make them look good. I opened this and camera roll. So let's try to write down the scale of G major. How do we do it? First, remember that scale starts with a node and ends with the same node. Here we start with the node G. Or we can put it right here, because it's the same. G. Then continue a, B, C, D, E, F here, F, then G. Now, I will explain later why I placed F-sharp by mistake. Let's put it back. Last lesson to it. Why do you think it's doing that? Obviously, because we are doing this on the same pattern. So we didn't create a new pattern to place the scale of G major, we should have created a specific one, a specific pattern for the scale of C major, and another pattern for the scale of G major. And if you want to put it together, we just drag it and drop it into that playlist here because we are just demonstrating recreated in the same pattern. So how do I mute this? There is no option of muting this. There is only deleting it. So what I do is the same as I did right here. Let's suppose I wanted to only, let's drag and drop to this. So let's suppose I only wanted to play this track. I press, right-click on it and press Play. Why it didn't do this? Because I'm saying on the song mode, press Play. And as you see, we have only this. And if you want them together, I can select it using my left mouse. So let's left-click and you play altogether. And if I want to go back to the initial place, what I do, I just right-click on any track and right-click again. Try to make this on your own and try to play around this. But the important point is that if I go to Channel wreck and I want to disable this, what I do, I just pressed left-click on it and it will be disabled. Or if I need to only let this part play, what I do, I just right-click and solo. Again. If I want to enable them all, I can either manually enabled them all or us repeat it. I can right-click and thus activate the solo mode. Again, those are all soft. You can just do it and see it in front of you. I prefer if you pause the video and go try it on your door. For the sake of this example, let's remove the C Major like this. And let's listen to that G major alone. I see like pattern. Let's listen to it. It's nice to hear. Now we forgot something. We forgot our circle of fifths. Remember, in the circle of fifths, when we have a G major, what we have with it, we have the F sharp. So every time you have a scale of G major, what you do, all the Fs that are in this scale. There'll be only one F if you just put it up. So you select it and press Shift and arrow up or you can just drag it manually. Did you see why in the beginning I placed it by mistake here on F-sharp because I'm getting used to it that every time I have a G major scale, I put F sharp and you'll be able to do the same after reproduce many sounds. Let's listen to it. Here we go. Every time you have a scale, you refer to the circle of fifths. So you know what type of sharps there and the scale. 37. Vid 4.7: Examples: So let's do the same thing, but with another scale. Let's choose, for example, a. This is a major. How do we know what nodes there is an a major? First, what you do is go to our doll. And let's disable this. Let's press plus and F all keys and I'm going to name it. Go to piano roll. We need the a major. So we start by putting the node a and a. So I start by putting a all the way up to a. Normally with no sharps or flats, just restart by a, B, C, D, E, F, G. Then a. I did nothing. I just started by a and went all the way up to eight. I did nothing. Right now, what I do, I go to my circle of fifths and take a look What a type of sharps there is on the a. For me, I can see that there is only G sharp, this G-sharp. But usually the circle of fifths. We go from here to here. We do it clockwise. So for example, if we have G, the scale of g, what alteration that is on G, or what flats or sharps there is on G. That is no sharps and F-sharp, there is only F-sharp. What alterations or what chops that is on the a major? There is no sharps, F-sharp, C-sharp, and G-sharp. So all of those are included in the scale of a major. The same thing applies for everything. For example, the E major. Pause the video and try to guess what type of sharps that is in the scale of E major. There is no sharps. F-sharp, C-sharp, G-sharp, D-sharp. There's four sharps in this scale. Now, I'm not telling you this to make you scared, but you just need to know how to use it and it will be super easy to use it later on. So in our case, we want to see what sharps there is an a major. There is F-sharp, C-sharp, and G-sharp, F, C, G. Let us go to F. Here we have the F and make it up by selecting it and pressing Shift arrow up to F sharp, C sharp. We put it C sharp and G sharp. Let's hear it. Of course, we did something wrong once we did drunk. Is that I by mistake moved I moved that b and set of C, F, C, G. Let's move them F. We select it and shift it up by selecting it and pressing shift and the up arrow to F sharp and C we selected. This is C We selected and put it up. And we have that G-sharp, so we select it and put it up. So let's take a listen. As you see, this is the scale of a major. As a challenge, I just wanted to go and do the same thing for the scale of E major. Alright, so for the scale of E major, Let's create another one. Let's disable this FLC is quickly. So let's start by writing down from E to E. So we start from E and just go up normally with no sharps and flats. Here we are, then, then, then this, then this, then this. So we have it like this, no sharps and flats. Then I go and see what type of sharps and flats we have. We have F-sharp, C-sharp, G-sharp, D-sharp. So for F, C, G, D, and F, You are F, C, whereas the C, c, G, then we have that g and we have that d. I guess that we made a mistake here, so that G right here, that d, So here's the deal. We put it up. And if we take it as n, Here we are, we have the scale of E major. What we have to know is that if, for example, I had a vocal on the scale of E major, I only have to use those notes. I can't use any other nodes. This will be more clear when we advance more a bit in music theory. We are now going to learn about the minor one, and later on, you will also learn about the flat ones. So we learned that sharps now are going to learn that flats, which is exactly the same. But instead of rotating clockwise, you rotate anticlockwise. 38. Vid 4.8: Notes of our song: We went over examples from sharps and major. Now we need to go over examples, flats and major, and flats and minor. But instead of going over specific examples, our example that we have this vocal in this case, is flats and minor at the same time. So to make stuff easier for you, instead of going over individual examples will directly use our example, show we can progress and our track. So here we have the E minor and don't forget that we pitched it down 1234. So we are on the C minor. Now to know what kind of flat and sharp that is in the C minor, we go over our circle of fifths. If we search for the C minor, we can see it right here. It's from the section of flats we have on the right sharps, and on the left we have flats. Here is the C minor. What kind of flats? That is in the C minor? Now for sure, there is no sharps, because as you see, this is the sharps and the middle, and the right middle. This is the flats and the left middle. What kind of class that is in the same manner. First, and as we do in the major scale, we go and create new one. Here. Flc is, and write from C to C. I write everything normally from C to C. Let's start then the node D. And then year. Here we have it. We have all those nodes from C to C, Normally no sharps and flats. Now we go to the circle of fifths, and we can clearly see that the C minor has an a flat. We go and try to find the a. Here is the a and we make the a, we make it flat. Don't forget, flat is on the left and sharp is on the right. Here we put the flat on the left so we have a flat. But as we have in the sharp ones using sharp. So if you have, for example, a major, we have F-sharp, C-sharp, and G-sharp. The same thing applies to flats, but anticlockwise. If you have C minor, we have B flat, E flat, and a flat, and not a flat only. For example, if I had a flat major. So this one is called a flat major because it's a, it's a big a. What does the scale of a flat major has? It has B-flat, E-flat, A-flat, D-flat, so four flats here. The same thing applies to C minor. C minor, what does it have? It has a flat and of course B flat and E flat. So we already made the a, so we need that B. So B flat, B, E and the a. What did we miss? We made that be, we made the a. Now we need the e. Here we are, the remake it. Let's go, let's play it from the beginning and select the track. Of course. Here we are. Let's play it from the beginning. Now one thing is missing, and it's the difference between major and minor. The major one, all we have to do is just put the notes, then check on our circle of fifths. Then here we have it. We have everything we need to know about it. But the minor one, and only because it's minor, we need to serve. But in the minor one and only because it's minor, we search for the node before the last. In this case, this node, not the last node, the node before the last. And here we have it and we make it to the right. So we make this to the right. Here we have it. Instead in major ones, all we have to do is just put it normally, we put from C20 and search for sharp and flat. But here, once we want to do is search for the node before that asked here this shifted to the right, so go a bit to the right. So a semitone to the right, to the right, I mean, up. We put it up. Unless listen to it. Here we have it. Now you will ask yourself what you told us that we have B, E a on the C minor. Yeah, it's true. But here we remove the b. We put it be normally and not be flat. What happened? Yes, this would apply only if it was major. For major one, we just see B, E, a. But because, and only because it is minor, what we do is just select it and shift it to the right only because it's minor. This is only, this is all I needed to know that n major redo everything normally. But in minor, you shift the node before the last to the right. 39. Vid 4.9: Degrees: We are slowly approaching our goal to know the basics of music theory and music production. What did we make so far? Now we know what notes we are allowed to use in this song while making the cords, which we are about to do in a moment. While we are making the chords, we will know what nodes are allowed to use and what nodes are not allowed to use. Because if you know how to make the chords, of course requires you the basic music theory that we learned so far. If you know how to make those scores, everything would be much smoother to instead of going to the Internet and searching, what are the core progression of this song and stuff like that? You already know music theory. You'll know everything you need to know when producing music and mixing vocals and soft like that. Right now, we are going to learn about degrees, which are very simple. So the nodes that you are allowed to use n, our music and our current track, which is E minor and is now C minor, and let's name it right here. So we remember, so see minor, give it some random color. Here after I press Accept, here are the nodes that are allowed to be used. The stripe. We will give those nodes a specific degree. For the first node, we have the first degree. So this is degree one. By the way, you can clearly see that here we have the notes Written. We have the names of the notes written in case you get confused by producing music, have a studio gratitude, and it has the names of the notes written down for you. So this is the first degree. We have the second degree. We have the third, fourth, fifth, sixth, seventh. This is not the eighth degree. This is the first degree. You guess why? Because it's repeating itself. This is the same note as this node. This is the scene, and this is also the c. Therefore, we are left with seven degrees from one up to seven. Later on when we start using chord progressions, we would refer to it not as notes, but as degrees. For example, give me the third degree of the scale, c minor. You go and write down the scale of C minor and you'll see it first degree, second degree. Third degree. E flat is the third degree of the scale E minor. Now, what is the fifth degree of the scale, c minor? It is denoted G. For example, if you have any scale, if we have, for example, let's go to our circle of fifths. If we have the scale of F major is the fifth of the scale of F Major. F. We count together F, G, a, B, C, C, and we don't have any flat on the C. So C is the fifth degree of the scale, F major. We will discover why I told you about degrees in the next lecture. So we dive in into chord progressions. 40. Vid 4.10: What are chord progressions: Chords, we've been doing all of this. You can be able to actually write chord progressions. So all of this music theory, just to know how to write code of progression. Now, don't get me wrong. You benefited a lot from bed since it will help you also later why creating that track. But the most fundamental part of learning music theory is to actually be able to make chord progressions, which is what we are going to do right now. Let's zoom out. And of course, that's created a new pattern and less than a minute course. Or you can just name it piano as you wish. I will name it piano and you want to color it. You can also color it, press Accept, and here we are. Let's create some chord progressions. But first let's learn what are codes? What are cords? Cords are a combination of three notes. The bass note, the middle note, and the fifth. Understand more, Let's dive in into our Channel REI and go to enter new FL keys. And let's see it right here in front of us. We have the chord of C major. Let's say it starts with C in the middle. There's denote ie. In the last, there's the fifth. So how do you know what the fifth, you just count it. So we have C, D, E, F, G. What is the fifth of the score? It's the node G. Be careful, don't confuse between the fifth of the chord and the fifth of the scale. Fifth of the scale. It means that fish degree of the scale is another thing. But here we are talking about the fifth of the chord. But let's have another example. What is the fifth of the node? Let's count it. We have denote a. This a is the same. Let's count five nodes. So 12345. So we start by a, then 2345. And here we have the fifth of dynode a. Usually a chord is made from three nodes. But here and only in this course, because we are just using music theory for Music Producers, I am going to refer to coords as two nodes. So we are only going to create the chords on the first node. And the last node, which is the fifth. Because when it comes to the middle, when we need to create the middle node, we have to dive into them minor and major site of codes, which so far we didn't learn and don't make your track so much better. If you wrote a chord without the middle node or with the middle node, it won't make that difference to your code. This is why so far we are only going to use the first node and the last node of acorn. In our case, we need to create chord progressions. We learned what is scored, what is chord progressions called the progression, or many codes, one after another. So CT is a single chord. Progression is a progression of coords, as the name suggests. For example, refer to core progressions in degrees. For example, I want the chord progression 1234. It means that I need to play the chord of the first degree, one node of the second degree. Then out of the third degree, denote of the fourth degree. This is a caudal progression. Now of course this is not a good core progression, but of course we will make better chord progression. Now how to create chord progressions based on degrees. It's a bit confused between the fifth of the chord and that degree, the degree five of the scale. This is what we are going to click X and dive into piano roll to see more about that, Let's see create a chord progression of 1234. We start by the node c. Let's make it only on the C major. The easiest scale we started on C. From C. What are the degrees of C? They are 1234567 and the first, and not the eight, I need to create chords on the first degree, second degree, third degree, fourth degree. So I'm only concerned about those notes. What I do, I simply count five from each individual node. Let's go here and count 12345. I have five. Then from here I count 12345, and I have the fifth node right here. Let's say this. From here, I count file, so 123455. And from here let's count five. So 12345. Here we have it. Let's delete the rest of the nodes and let's hear it together. Whilst not only because of course we have that pattern, we didn't select the pattern. So let's play it again. Here we have it. Of course it's not a very good chord progression, but we are going to learn better chord progression. The only point of that is you have nodes. You create codes from those notes. And later, you'll be able to create better chords from better notes. 41. Vid 4.11: Chord Progressions of our song: We learned about basic chord progressions. Now we are going to see what chord progressions we are actually going to use throughout this course. Basically, in electronic dance music. There's two very popular core progressions. The first is 1645, and the second is 167. What's the difference between both? The two are widely utilized and music production, especially in electric dance music. And of course, there is other type of chord progressions. But because this course is only for music productions, we are only going to focus on what eighty-five percent of songs are made. If you know those chord progressions, you will see in many songs that they are being used. Therefore, we are only going to focus on those two. And in this strike, we are going to use the first one, because if you need to know quarter progressions, there's a lot to do from playing by ear and knowing how to actually pay the actual code, and knowing how to go down intervals and stuff like that. This is why as music producers, we need only to know those basic chord progressions. And later on when you are getting advanced, you will know more chord progressions and it will be more natural to know what our quarter progressions. For now, keep in mind that we need to make the chord progression for this song. Let's sort by having a new channel or new pattern. We have an ID called demo. So we right-click and can rule. What is the core progression number one, because you are going to use it. The chord progression number one is 1645. The first degree of C minor is C. Def six-degree of C minor is what node is a. We are later going to see if this flat or sharp, 123456 and the fourth degree denote the fifth degree is the node G. Now of course, this some flats. So we go to the circle of fifths, which I recommend you to download it and have it on your machine. The circle of fifths, we see that we have B, E. Let's go back. And B, do we have any be no, Do we have any ie know you have NEA? Yes. So we have this a flat. We select it and make it down, though that's cleared. And of course the same mistake will not select pattern. So here we are. What we need to make it a CT and not notes what you do. We find the fifth off each individual node. What does depth-first of C? It's a G. Do we have any G flat? No, we don't have any G-flat. What is the fifth of a? It's a, B, C, D, E. It's E. Do we have any flat? Yes, we have E-Flat, so we make it e. Let, and then we have f. What is the fifth of f? Is the C? Do we have any C-flat? No, we don't have any C-flat. And finally, what's the first of g? Of course, you can pause the video and count them on your own if you want to go more slowly. But because this is the same concept, I'm going to directly do it. And the first of G is D, and we make sure that we don't have any D-flat. It's true. If we listen in front of the beginning. Here we are. And if we try to put them with this song, let's drag it and drop it and select song. Let's put it from the beginning and listen to it if it sounds good or not. But I think that tries here. We have a fast rhythm as trie and you'll discover the mistake by your own. As you see, of course it's true fast. We have to make it slower. Me, make it slower. We select those three chord progressions and move them to the right and try to extend that. First, I press Control, select it and extend it. So let's try from a bit thrown them. Let's try it. Let's try from the beginning. It's still too short. So let's extend it also. Extend this. So let's try it. The perfect one. So everyone needs to measures this is measure one, measure to measure three. Every node needs one measure. We select them, extend them to the right, each one needs to. And this we selected, move it to that F. I'm just pressing Control and moving to the left. So I selected and go to the right. And also the same thing goes from here, or I go to the right, also selected using control, extending using my mouse. And the last one I also selected and I click send your press X and try to see all of those. Let's take a listen. And I will turn down the volume of the vocal so we can listen it. Alright, so I need to meet your final change because I found that this year the second chord is too high. I just need to put it down an octave maybe. And if it didn't sound good, I just put it back. I see it like this and press Control and down arrow. But that's here from the beginning. I think that also pitching down those two other octaves or to other chords as a good option. So we select them and press Control down. Let's say all from the beginning. Here we are with this chord progression. I think it sounds good. And if you didn't do it on your own, I recommend you to stop the video and try to do it on your own. And it concerning the second chord progression. You can try doing the second chord progression, but it doesn't sound good here on this song, on this vocal to be more specific. So try the second chord progression, which is 1637. Again, you are going to see this chord progression and many EDM songs. But try it now we are going to focus on this one, chord progression, which is 1645. 42. Vid 4.12: Widening our chords: We have this core progression, but let's add some dynamic suite. So let's make it wider. To make it wider. I just put more nodes all over the piano. So here I have seen, I have G. I put C and G is all over the piano. I'll try to put, for example, c here. C here, c here. Try to put some. See here maybe try to put some here we have the second chord progression. We have the node a flat and then note E-flat. Let's try to put another a flat down. Let's try to make another E-flat here. And let's also put maybe in a flat here, so it's very random and I'm just creating and making the sound wider. And here I have the C and F. Let's try to put a c here, and try to put the F here. You see how much, how wide is our sound from here to here. Let's add from year I add C, and let's add down here that's as some F. I doubt that this will sound good, this node down below. But let's keep it and see how it sounds with that track. And finally, we have the notes D and the G. Let's add some G here. G here I add a d horn. Again, I'm putting it very randomly. I just want to see how it sounds like. But usually it's a common practice to put all those nodes all over that. So let's listen to it. I noticed two things. First, that here, there's something wrong. And the third chord progression. Let's go. We might put some wrong notes. Here. We usually have, We have the, which nodes we have the F and the C. Here. We put an F sharp. Here was our mistake. Let me check if there is any others. Think there was not. Let's hear it again in this paragraph. Okay? But the second thing is that this is too high. You can paint to this. So we need to make it like equal. We don't want to make notes higher than this node. What do we do? Let's zoom out and we can clearly see that, yes. So what do we do? Let's remove a bit from those low notes because I don't think they sound good. Let's remove also this. Let's put here, up there. What code that we have. We have A-flat, E-flat. We add the a flat, a flat, and adding the E-flat tried here. Year we had node a and C and F. We use the F right here, and we use the a. And let's add the last one. We have the note a jeep, and then we add some gene. We add some detail. That's here again, altogether. Again. What do you know? I think it sounds better. 43. Start Of Part 5: Slap House Main Elements: So let's sort by downloading our plugin that we are going to work with, which is called vital. Go to your browser and just type in vital VST download. If you go, we have right here, this link right there, and you'd be headed to this page. All you have to do is click on the top pride and press get vital, Press get vital. And we simply press on the basic free, since we are going to use the free version of it, you press on it and just wait. So you either need to create an account to continue or sign-up sign-in to your new account? Personally, I already have an account, so I just click create a new account and press already have an account for you. You just type in your e-mail, your password and create a new account, you will be headed to this page where you see our grade two plus upgrade to pro window, MacOS, linux and etc. We press Windows and if you're using macOS, you just press macOS. And we will be having a download. You wait until this download finishes and just launch it. You just press on the installer and press yes and continue. Normally. Accept the agreement to keep continuing and of course let all of those be downloaded. Now here, you will be asked many times where you want to install your VST. I recommend you to go and press Browse, go and install it in the big FL Studio folder that you already created. So whether you created this on your hard disk or on your desktop or anything, I recommend you to click Browse and install this VST on the big folder that you already created for me, I used the demonstration folder. You can just create another big folder inside this folder, we created one folder called sample packs. You can create another folder called the plugins. And every single plug-in that you put you put it in this folder because keeping stuff organized will help you a lot. Trust me, if you install it in this specific folder, it will help you a lot. You click Next and just press Install. For this VSD. It's made easy. But for other VSTS, they will ask you many times where to download and where to download, where to download. You keep pressing, browse and in solids in this specific big folder. So you hit finish. After pressing finish, you go to FL Studio and simply press options and manage plugins. Here you have to be very careful. We have all those plugins. So you select that big folder. This is the biggest folder. You press on it and select where is your big FL Studio folder. Then, after you've selected your big FL Studio folder that contains the sample text and the folder of downloaded plugins. You press X and press on the second small button. This small button here tells FL Studio in what folder it needs to search for your downloaded plug-ins. First, here it asks for the FL Studio folder. So here is the big FL Studio folder that you downloaded, everything, sample packs, and plug-ins. But here is the specific folders that FL Studio needs to search for your downloaded plugins. In my case, I just press on this and select the subfolder of the big folder called downloaded plugins maybe or test folder, and this case of this course. And the way you organize your folder it comes to you. You can name it whatever you want, but just understanding the hierarchy of the folders is important. So after you've selected your specific folders from for me, I just this is my path, this is my selected Folders. Don't worry about all of those. This is my selected Folders. And you selected what you do. You just press find more plug-ins. And it will keep searching right here. For more plug-ins. It might take some time depending on how specific you were. And it will search inside the folder that you put in. It will keep searching, keep searching, keep searching until it finds this new plug-in. As you see directly appears in front of me that this plug-in that I newly installed, as you see, the new plugin is an orange. As you see, it shows you in orange, the new plugin. This is my new plugin. I don't know why this is an orange. I didn't download it in recently. But for here, let's focus on here. You can't see that vital, which is an orange, is my new plugin. Therefore, I want just suppress a star on it. So I select star on there plus v SEC or VSD. It won't matter if I press store, I press X, I go to my challenge wreck and press Plus. It will appear in front of you for me, I already organized all of this, but for you, I just want you to press on the plug-in that you already installed. And as you see, although I organize everything, it showed up a second time because I install it recently. Right now I install it just for the sake of this course. So I installed the trite here, and as you see, it chose down the section called instrument. Since I press on Vital and I am going to have this vital and everything in it is because I have those presets. But for you, you will have nothing in it until you install it. Sound bank, which we are going to do in the next lecture. So vital is empty. You can press any keyboard shortcut to try the sound. And we are going to add some better sounds through third-party sound banks, which we are about to do in a second. 44. Vid 5.2: Sound Banks: Right now, I need to install some sounds for vital line to install some presets that makes good sound. I go to this link, echo sounds work. It will keep asking you for if you want to insert your e-mail and get some discount. But for us we just want to use everything for free. So you go to this link. Of course, you will find every links and the descriptions of the platform. And you go to raise basis. Basis is a kind of base that is used in slap house. Simply press Download. You'll be headed to this page where you can see everything that is in it. So we have 35 presets for vital and serum. We have 20 presets for serum, which is a plug-in that I demonstrated in the beginning of the course. We have 20 presets for this, but we are not going to use it because serum is a paid plug-in, we will not be able to use that. And we have 15 presets for vital, which are completely for free. I press on Free Download and download it. 45. Vid 5.3: Importing Sound Banks: After you've downloaded, you will have something like this. You will have macOS and echo sound work raised basis. You go to raise basis and you head on to vital and not serum. You go to vital. Here. Do you see this NSW raise basis v1 dot vital bank. We want to select this folder, this file, I mean dot vital bank. You copy it, right-click and you press copy or you can press Control C, Control C and paste it in the specific folder that we made for plugins. We didn't make a folder for plugins. You paste it inside this folder for plugins. In my case, it is the folder called demonstration folder. I just press control V. And here we are. I pasted this bank into that demonstration folder, or for you it will be just the plug-in folder. If I go to FL Studio, I opened vital and I press on those three lines. Here we are. And we press Import Bank. Import Bank means that you are importing a bank from a third party place. Here. We're importing bank. We press Import Bank and select the place where we just created our folder. In my case, I just go to my demonstration folder. And inside my demonstration folder I can find this bank that I've just pasted. So I select this and hit Open. After you do that, you just have to check here. Press, press on here. So you press on Edit preset, you press on it. You will have your selected bank down there. Now for me, I have multiple banks, so you don't have to worry about. But what you have to worry about is that right now, you will have the bank right here. You will be able to see it right there. It's called NSW raise basis v1. And you see we have all those risk-based sounds. We have all those kinds of basis. And I'm going to explain why you have to use Reese bass. But if this worked for you, congratulations. And if this didn't work and you got lost in the documents, just make sure you ask a question on the platform or ask it on the Discord server or whatever you want. Just make sure you ask me because I'm ready to answer you. If it didn't work using the folder and you got lost. 46. Vid 5.4: Adding Reese: So let's add some Reese base. Of course we add a new pattern and we can call it trees and give it a random color, maybe a dark one. Here we are TO of course, and this pattern we need to add vital that plug n. And if you want, we just can name it another name. So let's do it. Right-click Rename and color. Reese bass, because later on when we add multiple vital plug-in, it will show vital one vital to vital three, and you'll be confused. Let's show you if you open another vital. If we press on x and we'll see that vital, vital to that is goes on and on and on. So it will be lost. What vital it is. So what preset it is, let us name it trees and also give it the same color. Here we are. And open it again. Piano roll or before, Let's open it. We have to choose a preset. What are we going to put in it? By default, it will come with something called init preset. Press any random keyboard shortcut and made sure this is enabled. It will give this sound first before starting, you click on this and press detached. Before I press it. Let me tell you why. Because if you need to move this more and see what's under here, because sometimes it's not good-looking to just see the half of that plug-in or not half of that plug-in, but there's a part of it underneath that is hidden. What you're gonna do to have more flexibility as just click on here and press detached. By detached, what it does, you can move it freely all the windows and FL Studio to as we see, we have API right here, now there, and we have those knobs that we don't have to worry about. Let's choose a preset by either clicking here or simply going to hear and press Browse presets. You go to ES, WE is based V1. And from there we start choosing. This one is good. This one is also good. You can go over them one by one. But for me, I already choosing this. And by the way, this is my favorite preset or my go-to preset. I use it if I need to make something quickly or if I had a quick idea over my mind, this is why I put it in my favorite. And it sounds like I'm just pressing some keyboard shortcuts, but that's press X. And we have to write the baseline. We're right-click on it and choose piano roll. Here. We want to put the same notes of the chord. So we had that degree 1645, then six, then four, then five. We can't put this lower. We can lower this in octave. And it sounds like this. That's put on pattern mode. If we put it in the song, drag it and drop it. Let's hear it. As you hear, it sounds fuller, so the sound sounds fuller. And now we have a bass, chords and vocals. Again, you don't have to choose exactly the same presets. If you're already familiar with free spaces and you do some music producing and stuff, you can use your own risk-based. It's no problem. But for me and for people who are just getting started, it's better to follow along with me with the same presets. Because later on in dynamics, we will be mixing it based on this base. 47. Vid 5.5: Adding hihats: Now that we added our Reese bass, it's time to add some other elements. Let's head on to our sample bag that we just downloaded and press two samples and try to search for some drum loop or some hi-hats or some shakers. Let's search for something that excites our song. Let's search in this sample back and see what we have. Okay, here we have something. We have this. Let's hear how it sounds like altogether. Here we are. This is something that shakes, so this sounds good. What do we have to do? Let's try to add it on that track. Let's add on that track. And I will do a mistake and I need you to focus on this mistake. Do you think this will sound good? Of course not. At least at the end. Why? Because they can look right here. This is 128 beats permanent and our check is 126 beats per minute. And as you see here, that small space right there, It's not that spaces are wrong. But if we try to select it and press Control B, we will have even more space right here. It should have been the n. So what we do, right, to pause the video and think about the solution. What you have to do is simply extended or tried to change and fit the rhythm of this sample to FL Studio. What we do, double-click, and of course put it on stretch. Put it on stretch. What I do is simply press X, press here to tempo and type in BPM, the value of this sample, which is 128, press Accept, and it automatically fills that gap. Because let's hear it before with the metronome. As you see, it goes off beat easy. But after extending it, Let's see what happens. If I press back and back and back and back and back and back. So let's lead all of those and it's not working for us. So I will replace this tempo and type in BPM 128. And again, let's listen to it with the metronome. It's exactly on the beat. So before listening to this track altogether, why would it try it here? Simply selecting all of those and pressing Control B. We have piano in the beginning and vocals and stuff. Then we add something that excites. We add those two, duplicate it. I either can press Shift and drag it, but maybe you drag it like this. I prefer pressing, selecting this and press Control B. Then select all of those and press Control B. But let's take a lesson from here. I think that those hi-hats are too obvious. So I need to turn down a bit the volume on until they Sounds good. I think for me that good. 48. Vid 5.6: Adding Ambience: Now what we're gonna do is simply make the song more fool. So there is something called ambiance. This is the ambience. Ambience. What I means is does it fails as the vocal. So it gives more space to the mix. The song becomes fuller. For the sake of this course, let's try to add some ambiances. But if it doesn't sound good, we will remove it. Because by adding it, I will give you a small challenge. You can do it. Let's try to add it. By adding it, what we have to do first, make sure it's on 126 because our temperatures on 126. Let's click on here to tempo. And don't forget before we need to put it on stretch. Here to tempo. Let me be PMB 128, Less bit with the ambiance to see how it goes. As you see, it covers everything we can hear nothing except this ambiance. What I want to do is just try to turn down a bit the volume. I feel that this is good because right now I can just feel that it's present but it's not present. You know what I mean? That it's now here. But it's, the volume is stored down so much that people tend to listen to it, that people can't hear it clearly. I have a challenge for you. Try to pitch it down a complete octave. Try to pause the video and pitch this vocally complete octave. We might not use it, but this is just a challenge. To pause the video and pitch it down a complete octave. To pitch it an octave, what you have to do is turn down the pitch. Of course not. What you have to do is put the range on 12 and turn down the pitch, the maximum. By this, they can look how it was sounding like. Now after we turn down the pitch, it sounds like. Now let us try to play our track. Let's hear it. I think that now it's better. That makes has more space and it sounds more dynamic. Now, again, it's a personal preference. You could add it and you cannot. But for me, I have to show you all the options and how I personally make that makes sounds cooler. 49. Vid 5.7: Building Drums: We added vocals, were added chords, we added reuse basis, we added some hi-hats, you added some ambiance. Now, let's try to add a buildup drum. What is built up drunk? Usually for slap? How songs? There is a buildup, then a drop. So this is before the buildup. Then there's the build-up and you will in a second. Then there is the drop That's open sample packs, ultrasonic, and try to find some buildup drums. It's called buildup drums. And you can find the buildup drum in the beginning. So here it's if you want the fifth one, the sixth one, I mean, 123456. It is the sixth one. We drag it and drop it. Let's take a listen and hear how it sounds like. So as you here, this is a buildup drum. You can maybe add the vocals with it, and we can add all of this. But let's press Control B, and let's listen to it all. Of course, what was wrong? First, we need to cut out the ambiance because here we didn't place it in the beginning. We need to put a try there. And also the buildup drum. We need to put it, we need to put it on stretch and then fit to tempo. And we type in the value type in BPM 128. And of course, this, we put it in the beginning. Here, we decrease it, it right there. Here we have it. Let's listen to it. Later. We will have the drop. This is the very basic structure of slap house songs. And keep in mind that this is before that drop. And the next lecture, we are going to make our project bigger and bigger until it really sounds as a song that is well-mixed, that has a good base and stuff like that. 50. Start of part 6: Basic Mixing: Why didn't we continue to drop? We created some excitement right here. We added the high hats that added that buildup. But why didn't we continue to the drop making this buildup, making it this buildup drum, it's called buildup drum, is only to show you that general structure of the song. Usually, I want to start by just showing you how usually the slap house sounds sounds like and have a structure. What you are going to do in the next lectures is focused on the mixing of the sport. Then we're going to switch to make the actual drop. What differs from other music producers is only that makes, making your mix so much better will differ from other producers. I see a lot of people who are just getting started with moodle producing that are too much excited to start with a drop and finish that track without the actual mixing. But because you are NFL should your course, we're going to try and mix everything perfectly, though it sounds decently good. Then we are going to switch our drop. 51. Vid 6: Quick Organizing: So now what I want from you, go through everything and reset the volume. For example, here, I want you to double-click on it, Right-click we said volume. And also in the course, if we double-click on, it, would be drived into the FLC ears. If you double-click on it, we will be drives the FL kids. What you need to do is go over here and check if the piano haven't a lower volume. And the same thing for the Reece bass. We go here and check if we didn't change the volume for the hi-hats. Right-click reset for the ambiance. Double-click, then right-click reset. And also for double-dot drawn, double-click, right-click and reset. We didn't change anything in it. Why we're doing this? Because we are going to put everything in our mixer, which I will explain in a second. We're going to put everything and have control over the volumes right here and our mixer. This is why it's important. Do not change something here and in the mixture because we are going to get confused. What I want from you also is tried to organize, thumb the things, right-click on it. Rename color so you can put it vocals and give it a random color. Just don't spend too much time on it. Then here, four chords, you can just press auto name. Because here I just made something wrong. So you can go on here and right-click auto name. So by autonomy, it will give the name of this pattern to this track. But let's show it auto name, period. Then we right-click here and also auto name. Then right-click here. You can do it auto name also. But maybe later on we will add some stuff to it. So let's leave it as it is right now and we can let on change the names. But for me I prefer just putting rename, saying drums. Here is the part of the drums. And later on maybe we will add some other high hats. So what we do, we right-click here and put, insert a new track. By this, everything from here and below will be related to the drums. But let's see this. It's just for organization. Here. We add FX, rename it fx. It means special effects. Let's color it like this. Again, don't spend too much time on the coloring part of things. And here also drums. Drums. This is build-up drums should be under this. So we right-click and insert one. And we put this right there. From here to here, it's called jumps. Let's show you. So if we added something from here, everything between drums and FX, it means special effects. It means this is drums. So that's this again. And now we have our truck that is more organized. 52. Vid 6: Using The Mixer(1): Let's start by just opening our mixer or simply pressing F9, as you see right here. Let's open it. And first thing I want to tell you about the mixer size options, we can click on here and make sure it's detached. Because if it's detached, you can, you can you can use it all over fl Studio. After that, there's plenty of options for the size. Maybe you have a small screen or maybe you're working on a big screen. It doesn't matter because there is the mixer size. Here is the more Dwight. As you see there is the mode compact, which is very small, but shows you all of the tracks. That is the most compact too, which is a bit larger, compact Alt. And that is the mode wide that hours using. And you might have it by default also, there is the mode Y2. You can see it's much bigger. That is the mode while three, which is also bigger. There is the white OLED. So for me, if you want, you can use the wide or Y2. Maybe for now we can use the Y2 so we can see clearly. But for me I just prefer to use the default one, which is white. But if your screen is small, you can simply press on here and j it like this. You'd be limited and you will be seeing only those checks, which is good for now because we are not going to create a hundreds of checks. You can just do it like that. When you wish. When you want, you can just press here and press X, it will be disappear. What you are going to do, we are going to link the base, that piano, the hi-hats, everything. We are going to link it to the mixer. So let's start. Let's link our piano to the mixer. We go to that pattern chords. Don't forget if we double-click on it, you would have the piano roll. But we click on it to select it and go to Channel wreck. We click on the actual plug in and not on the piano roll. If we click on that piano roll, I clicked by mistake here on vital. If I click on piano roll, I will not be able to link the piano. Do that. Make sure I press on the plugin and simply press here the settings as you see it in green. You see in front of you that we have the volume, we have that pitch, but it was all hidden like this. You press here on track, this small button. If you take a look at the hand panel on your top left, it's written assign three, mixer, check what it does. It will go to the mixture, and it will search a free mixture track. This case, all of the tracks are free. So if we press on it, it will assign this plugin to the mixer. This plug-in, as you see here, and that channel drag will be in the mixer right there. Let's try another example. I press X and let's try to press on varies. I want you to try to discover and pause the video, how to assign this to the mixture? Pause the video and try it. Alright, so to do that, we simply press on settings and press on track. If we press on it, you will see that it directly assigns the name and the color to a random mixture. By doing this, we can take control over the volume from here and set of taking control of the volume over there. But what if we wanted to link something in a specific place? I wanted to place that base in the beginning. I want to place the piano, for example, at Channel Seven. How do we do that? First, let's unlink them. So how do we unlink them? We right-click Set Selected checks to default. Press Okay. And don't forget, also remove this. Then also right-click Set Selected check to default. And also remove our piano rule. Using the scroll wheel. Remove it to 0. Like this. I can do it up and remove it to 0. So don't forget if you unlinked something from that channel wreck. It will keep in the actual plug-in. But now let's go back. How can we link piano to a specific track? Simply, you can choose, for example, five. Here we are. Now it's linked, although it's not written that we have piano right here, but it is linked. How can we color it and soft light that we will figure this out later. But for now, I just need you to keep in mind that if you need to link something to a specific place, all you need to do is press on the plugin and press on the settings. Here. Here we are. Then here, what I do is simply assign it to a specific tribe for. But it will be a bit scary because you will not know what is the plug-in that is linked from here. This is why we have a problem. Later on. If I close this, how can I know if this is the base and this is the piano? It's true that they are linked. And to prove that, I will try to solo play this. So I right-click solo play and try to take control from the volume right here. If I press on piano, it will automatically guide me to track five. And to make sure I can see that this is on track five. But let's try to play it. As you see, this is my track. But now, what if I don't need to test every time that track? How do I do that? Well, if you remove this and click on piano, hover over this track, take a look at the hand panel. It will tell you that the keyboard shortcut to assign free mixture track, that mixture is Control L. What you do is simply press X and make sure this green rectangle is selected. Now go to the mixer and simply press Control L. By this, it's like you just press here and press track. But you can do use it a specific. Let's go back and use it on the Reece bass. I click on wreaths. Right here. Let's suppose I didn't assign anything. I didn't assign anything. What I do, I simply selecting this, let's suppose I select this on that mixture. I select the track that I want to link it to and simply press Control L. Here we have it. Let's say here I have created something, anything. So let's say I created some blue base and let's press X. I can name it, color it whatever I want. Well, let's call it a try and name it a random color. If I want to link this. But let's say that track number nine, I simply press on year. If I press it two times, it will select it all together, which is what we don't want. I see that only this and select this press Control L. Here we have is the parity on the mixture. You see that it will be assigned to that track number nine because we don't want this. Let's delete it. And of course it will be right here, but it's empty. So what you have to do is right-click reset, selected track to default and press. Okay? So right now that you know how to navigate and that makes sure it's time to actually put the elements in the mix. 53. Vid 6.4: Using The Mixer(2): Let's try to give you a tricky question. If I also try to solo play something from the mixture by simply right-clicking on it. It's suppose to play alone. The piano is supposed to play alone, but let's try to play it. Why is it playing together? Why did we have the piano, vocals and the ambiance play together? Isn't it supposed to only play the piano? Let's try on various base. So I right-click. And as you see, all the tracks are de-selected. Let's try also to play it. As you see, there is base and other tracks are also playing together. What's happening? This is because only the Reece bass from the mixer track will be playing. Here we are telling FL Studio that, okay, only this track from the mixture is going to play other stuff. We are going to leave it to the playlist. If you wanted to play only there is base. We should have only selected this. And it will play alone. Because if we didn't select this, it will only play what's inside that channel. It will only play what's inside the mixture. For example, if I selected only piano, it will play everything on the playlist normally. But if there is something from here inside the mixer, it will also played only here. In this case, in the mixture, it will only play the piano without the base, because other elements are not in that mixture. It will play them normally. Let's say I linked another element, which is the vocal. How do we link the vocal? Let's double-click on it. We can either give it a random track or simply assign it to a specific track. How to assign to a specific track? Let's assign to that track three. I simply use my scroll wheel up. And now we have three. Right here. I pressed Control L and it was assigned to this specific track by simply pressing Control L. Now, do you think the vocal will play? Let's try this out. If I see the piano only, select everything on that playlist that is on. Let's try to see if the vocal will play. As you hear it's not playing. Why? Because we linked it to the mixer and we de-selected it. If we selected it, it will play. Did you get that point? If we selected a check from the year, the vocal, it will go and search and that mixture, it will play only the vocal from the mixture, and it will play the rest of the elements from the playlist. Right now, let's link all the elements. Let's link the hi-hats. Also. It will assign it to a free track. If I press randomly. It will assign it to a free track randomly. And let's associate the ambiance. Let's also associate that buildup jumps. Here we are. Now to make it looking better, I want to put domain things before. I want to put the vocal right here. I want to press Alt and to the left. So anytime you need to move something, you press Alt and move it to the right or to the left, right here I have the vocals. I can move it to the last. For example, here I have various base. I can move it to the left. Then I have the piano. Then here I have the ambiance. How did I know that this is the ambience are simply reading on the hint panel. This is the ambiance I want to put it in the last. Here we have the buildup. I also want to put it after the ambience. We have that drum loop. I also want to put it at the end. Here. We have nothing. Let's delete it. But if we delete it, we can't actually deleted. So let's move all of those to the left. But we try to move it to the lab. By this, we have all those assigned. And right now, if we press solo, it will actually play only the risk-based. For example. As you see, it only plays there is base. And the same thing applies if you only press, for example, here on the drum loop, right? Like this. Maybe we mean by this. Here we go. It will only play this alone because we selected this from the mixture. I want you to pause the video and try to do this on your own. And try to play with those, try to do anything so you get used to it. 54. Vid 6.5: How The Mixer Is Used : But why do we use limiter? How does it actually work? Why do we put something called mixture for this, Let's go and understand it more. Before the mixture will be having some elements, will be having vocals, instruments, some plugs that you are going to use, what it's like to be using plugs later. We have some base. And before that mixture, we simply have those elements going right into your ear or your speakers, or your headphones or whatever. But after adding the mixture, those elements go into the mixture that we are going to use it to change the volumes and soft like that and add effects. Then after going into the mixer, they go right into your ear. Playlist ear. But if we added that mixer playlist, then it goes through the mixture and directly goes your ear. It's important to know how does it work. Because later on we will be adding some effects and changing stuff like that. Now what do we need for mix? All I need from you, some laptops, speakers. They are decently well. You can just make the very basics of mixing and the laptop speakers. But I recommend you that you have some pair of headphones or earphones and mix better. Because when we add some effects and add some EQ, it will be very, very difficult for you to distinguish between the base and the high frequencies and lower volume and higher volume on the laptop speakers. So I either want from you to have a pair of headphones, any type of headphones. It doesn't have to be super expensive. Or earphones. Earphones works too. Or I need a big speakers, like very big speakers and great quality speakers. You have a great quality sound. For me. When I got started, I simply started on earphones. Then when I upgraded and I had some money, I just bought some ear, some pair of headphones. And then I have some studio equipment and stuff like that. But to get started, you don't need all of that. All you need is a simple pair of earphones or pair of headphones. And you're good to go. 55. Vid 6.6: Mixing The Track(1): So instead of focusing on individual parts of the mixture, instead of explaining what this knob does, what this does and this, and this, and all of those plugins and etc. We will be focusing on just mixing at the beginning. And while doing that, I will explain those patterns along the way, though to not make it boring and not go over through the theoretical part of each bottom and said, We are going to put it in practice wild actually mixing the vocals and learning along the way. What you need to keep in mind that we need to mix based on the vocals. We can just mix based on the base, for example, or the codes. We need to have the vocal clear. After the vocal comes. All those elements. For example, what elements should be the dominant element, the vocal. Because the vocal should be heard. Of course, it doesn't mean that the vocal should be too loud and the drums should be not loud. We should use the vocal as our main drive to our mix. For this, let's start by listening to our track. We can clearly hear that this ambiance is too loud. What do we do? We go to that mixture here. Let's change the name here to the ambiance, because right here we can see, we can only see ultrasonic. Let's try to make it Y2. We also can see Y3. We can't see wide Alt, we can see compact Alt, we can see compact two, we can see compact. We also can see why I did all of that. I did all of that because sometimes you can't see the full name. What you have to do is either change the size or simply extended. By doing this. By this, we can see more details of the sample. Let's try to do it like this. What I want to do is rename it so I right-click on it and press three name. Simply write ambience. Because sometimes it's written ambiance something or another detail. All you need to do is not to rename everything, is either change the size or simply make it wider. As you see, we are having more and more details from here. But in our case the name is so long, so we can't read it for here also, let's name it build up because here and the hand panel we can see buildup. Right-click, rename it. Also here. Name it, hi-hats it. Let's give it another flashy color. Here also, let's give it another color because it's from the drums. And here the ambiance, let's also give it another color. Here we are. It looks better. Here we have the vocal, the main one. Right now, Let's turn down the ambience volume. We play that track and turn down the ambience volume until it sounds good. A big mistakes that I see beginner producers make is that they mixed based on the vocal only or based on the base only or the piano only. What they do is just select the ambiance. Listen to it, and turn down the volume like this until it sounds good for them. But they didn't know that if it sounds good right now, it might not sound good in the mix. This is why we should play all that track and focus on the ambiance. Then turn down the volume of the ambiance until it sounds good. That's great. That track and focused on the ambience. We keep turning down the volume until it sounds group. We didn't select it, so let's select them all by right-clicking on it. I feel that on this level it's pretty great as it's here, but it's not. I need to make it here present. Of course not put the volume on 0, but at the same time, I don't want to make it too obvious. I think by doing this here, the volume is good. Of course I don't want it to just look at me doing things. I want you to actually go to your track and try to do it by your own. 56. Vid 6.7: Mixing The Track(2): After this, I listened to it again. So we know what's going on. What do you think we have missing? Focus on the piano. Can you listen to it? Personally, I'm not being able to hear the piano. Maybe the vocal R2 loud, or the piano is not loud enough. This is a problem. Another problem is that the vocal and the base are the two most lessons stuff. We want the vocal to be at. The more dominant. What we do is first turned down a bit the base. So let's listen to it. As you see here, automatically, we can hear more than piano. So the problem was that I was hearing the vocals and that base together loud. I don't want that bass and the vocals to be the most true loud sport endemics. I wanted a vocal to be the loudest one. Because when the listener focuses on the song, he will not focus on the base, will try to hear the lyrics. And you can relate that to because when you are listening to a song, you don't focus so much on the base and said, you focus on the vocal. Imagine that any song was a base that was too obvious. It will not sound good. We want the vocal to be obvious and want the vocal to be clear. Then comes the base. Right now if we try to hear it, I want you to try the different values of volume. If we have varies based on its default value, piano will not be heard. But if we turn it down a little bit, we can now hear the piano and that background. Now you'll ask me, why don't we turn up the vocals instead of turning down the Reece bass? The answer is if you turn up the volume, you will not be able to hear the piano anymore. And if you turn up the vocal, it would be so much dominant that it will not sound good. This is why we always try to go down. 90% of our mixes will be just lowering the volume and not making other stuff sound louder. This is why I turned down. There is base. Let's listen to this spot with the high hats. Again. If you didn't put your mixer on detached, every time you click outside the mixture, it will go away. And it will be disturbing if you want to open again and again and again. This is why you can't put it on detach. By this. If you put it on detach, you can first move it whenever you want. Second, you can press on the playlist without removing this. But let's try to hear the second part. The first thing that I see is that the high hats are too loud. They can listen again as they are at the same level of the vocal. We want the high hats as something exciting, something extra, not something dominant that goes over our whole check. This is why we want to turn it down. If we keep it at the same level, it will be so much dominant that it will not sound very good. When I started to mix, I thought that the more I make my track loud the bedroom. But it turns out that I have to turn down other elements and leave the main elements to be dominant. Let's turn down the high hat. And keep in mind that you don't need to be afraid to turn down the volume of things. If it sounds better than doing it. Again, this will come by ear and you will be able to know that quickly. Right now you might be confused a bit Y and turning down the volumes, but just try to listen to it and listen. How does it sound? Do you think that having dominant hi-hats endemics sounds good like this. If we turn it down, Let's listen how it will sound like. What do you did you hear the difference? If we have them on the maximum volume, the high hat will sound and the trunk. Let's replay that track. And by the way, if you want to select something, you just click Control, select Control and double-click on it. You select this part. It will keep looping on the spot. I will put back the high hat to this default value and try to hear the difference. Here it was on the front. Here the hi-hats on the front take lessons. About when I turned down the volume, it will seem in the background. So the more I push this up, the more it sounds in the front, the more I turn this down, the more it sounds in the background. Um, so what do you feel that this is the good level of the hi-hats? Now again, don't forget to try this on your own and not just watch me. And you'll be able to discover more things than if you just watch me doing. We'll try to pause the video and go and try this mixing on your own. 57. Start of Part 7: Now we are switching to a more professional level. If you made it so far, it means that you're probably more interested than others and music production. This is why we are now going to do real mixing. Did we before do fake mixing? Absolutely not. Mixing the vocals, mixing the base, mixing the chords, have all a common place to start. We start by setting the volumes. So even before setting the EQ and the filters and everything that you know, we start by putting in the volumes. Then after fixing the volumes, we start by adding some effects which you are about to do in a moment. But let's start by learning what our frequencies. You have to know the truth really. We have the high frequencies than the mid-frequencies and the low frequencies. I'm going to quickly show you on the filters. If we go to fruity parametric EQ, which we will not choose. But this is a good way to visualize it. You will see that we have many equalizers. Don't worry, we will not use something like this. But usually if we try to see here, we have 90 hertz, 250 hertz, five hundred, fifteen hundred, thirteen hundred, fifty hundred, eighty hundred. So what are those? This is to have control over the frequencies. There is something called high frequencies. For example, if you go to our piano roll, we have the high frequencies. Those are high frequencies, and we have low frequencies. We also have lower frequencies, which is right here, for example. Those are all low frequencies in FL Studio and also an all digital audio workstations. We work with frequencies to understand more. We have to of course practice this. But before we put it into practice, let's take a look at an animation. We go right here and see that we have first the high frequencies that usually are with vocals. Once there is any singer, especially if it's a female, we have high frequencies in vocals. Then comes the instruments. The instruments can be guitars, piano, anything, even pads are instruments or ambiance or something like that. This is more of a mid frequencies. If you want, it's lower than the vocals, but still it's between the high frequencies. Then we have the base in which in our case we added the Reece bass. There is base is from the low frequencies. You can say that the base is from high frequencies. Debase is mixed based on that, it's on low frequencies. And finally, we have something called sub bass. Usually in Trax, you don't clearly here the sub bass. But I'm going to teach you how to hear that sub bass. Because when we put headphones or earphones, and if we put that track on solo, we can listen. The sub bass sub base is something that has lower frequencies. Then the base. This is the structure. First we have the vocals that has the highest frequency. Then we have the instruments that have a bit lower frequencies. Then we have that base, which have low frequencies. And finally, we have the sub bass that is almost on hearable. We can't hear it only if we play it alone. And to understand more, we are going to take many examples. But the good thing is that we are not going to take only theoretical examples. We are doing it while progressing throughout that drag. 58. Vid 7.2: How To Add Sub Bass: Let's hear how the bass sounds like versus how the sub bass sounds like. Let's create a new pattern. Or we can just make it in the same bedroom. So let's have this banner without creating a new pattern. We press channel wreck. Unless search for some sub bass. I press on plus and add our vital plug-in that you are going to use intensively throughout this course because it's completely for free and it's so good. I click on Browse preset or I can simply press on here. And let's search here for some sub basis. In your case, you will not have some basis because we did not download a sample pack. What can we do? We can either go and search for some sub basis and some other sample packs, or we can just create our own sub bass, which I'm about to teach you right now. Usually for professional producers, they already have sampled packs that are paid or free. It depends on the quality and the US, the sub bass. Remember when we downloaded our Reese base, we went and downloaded it from a bank or online. We had a vital bank. Vital bank means a group of sounds. But for the sub bass. And to teach you how to make your own sub bass, we are not going to download it from a third party website. So let's close vital without creating it. And let's right-click and choose Replace. After we choose Replace, you go and search for a plugin called a3x. It means our CEO scope. If you didn't find that, try there, you'll press Open plug n or use you and you search for it. Or you can simply go here and more plug-ins and search for it. So here I have it in front of me. You can write it. It's called a3x of scope. I double-click on it. Here. I have it in front of me. Let's see how this work. First thing, when you want to see something, what you do if you simply press a random keyboard shortcut after making sure this is on. If I press a keyboard shortcuts without having this, we have no sound. But let's try it with this on. And let's press a random keyboard shortcut. As you see, we can hear a sound wave. If you want to make something a white noise, you can press on this, press on this, press on this. We will have some white noise. We can make sine waves, we can make this enable all those trees. We can make all those type of songs. But what we are interested in is this wave and this, and this. It sounds like this. Now, to make it sound like a sub bass, what we need to do is pitch it down a lot. So how do we pitch it down? We can either go to I Piano Roll, right-click, enroll and put it down, down. Like this. Now you can hear it. And maybe we've put to try it here. Or you can simply delete it and go try to put it here and pitch it down using this. As you see, we have the number of semitones. Do you see here we had 24 semitones. So do you remember that I told you 12 semitones. It means an octave. Here. We have 24 semitones. We can pitch it up, we can pitch it more, or we can pitch it down to the maximum. And of course we pitched them all down. Let's try to pitch them all down. Those are three oscilloscopes. This is a3x or CEO scope. It means that it has three elements that we can have with we can mix between this and this and this for example. We will have sine waves and white noises. But for you, the only thing that you need to worry about is used this sound sinewave and pitch it down and let's hear how it sounds like. Now it sounds like something deep. So let's press X and go to our piano roll. And let's try to write down some notes. Let's hear how they sound like. We can't hear it clearly. So let's put this. Now. We can start hearing something and we also can't hear it clearly. So let's put this. Now. We can hear something. If I turn up the volume, I can hear this. Can you hear it? Yes. This is too high. I wasn't able to hear this because I was turning down the volume for me. Let's try to add the same notes that I put in this base and put it in the sub bass. The same notes that I placed in my Reese base. I'm going to put it in my sub base. So here I can right-click and call it sub bass. I give it a color. I can put it near this. So instead of being so far, just make sure I selected this rectangle, press Alt and my up arrow. I move it up and up and up and up. Here we have this sound alone is not good. But when adding it with the base, it will be better. Let's try to add the same notes as the base and add it using the sub bass. You will ask yourself, why didn't we just create a new pattern? Of course we could do it. But again, it's pretty favorable to leave all the basis alone and the codes alone, the vocals alone. So everything created a pattern. Because sub bass is also a base. We can leave it with the same pattern of the base because we are not going to create other nodes for the sub base, then the base, always, the sub bass, has the same notes, but it's pitched down more. 59. Vid 7.3: Hearing The Sub Bass: Now let's add it, but don't forget that the sub bass should be lower than the base. It should not be higher like this. It should be lower. It could be maybe here. But it's better to make it lower and lower. So as much as we can make it lower, it's better. We hear something here, but it's not clear. But let's make it on this. Let's add the same nodes. And as you see, we have something called ghost notes. And ghost notes are what there is in the account role of various base in the same pattern that we extend it. And also proved the same node. Then this node. If it was too low, we will pitch it up a little bit. Let's try to hear only the spatter. We cannot hear it clearly, so let's switch it up a bit. So the bass sounds fuller. Now of course, you will ask yourself, it doesn't sound good because we did not mixed it yet. This is why we are going to use our EQ by simply going to the mixer. Associating an EQ for various base and associating another EQ for the sub bass. Simply go over there. I associate sub base for a certain track. My case, let's put it on seven. Let's actually put it on eight. And there is base, we put it on seven. Let's move this. We proved that is based on seven. Let's put it on six. And the sub bass, we put it on seven. So we have them near each others. Now, we can simply have it like this. I simply select this and press Control L. I have the same colors and the same name. Now let's pay them in solo so we hear them clearly. What will happen is that I have to EQ there is base n equals a sub bass. I go over here and select a plugin called fruity parametric EQ to. You could have chosen the one which is this plugin. But that too is much more sophisticated. You go and find it. And we have tried there. Let's read the rest. And to move this up, to make this the first one, if you simply use the scroll wheel, I'm scrolling down. And I'm scrolling simply up. Here, I have it in that first slot. Let's add the same thing for the base. I press over here and press here fruity parametric EQ into. Here, I have it. This is the EQ for the base. This is the AQ for the sub bass. Lets first close the sub bass and let's just mix the base. Following the logic. We don't want to have a sub bass. Bass. Let's try to listen more clearly. If you can hear, we have a sub bass included. There is base. If you can turn up the volume and try to hear it better, you will hear that there is some sub bass into there is base, which is something that we don't want to use. Let's hear it more clearly. Again. Try to remove the sub bass from it. If you see, I will keep going up and up and up. See, we remove that base. If we have it like this, you're going to boost the base. If you are having it like this, we will remove the database. Let's try and listen together. Did you hear this sine wave? You hear something that is similar to the sub bass. This is the sub bass. I boosted it so we can listen to it. Again. Let's try to listen to it, but this time we want to remove it. So why I did this? This is just to show you the difference between having a sub bass. I boosted it just to show the difference. Removing the sub bass. 60. Vid 7.4: Using EQ 2: Now to remove it effectively, I want to play the sound. If we are trying to remove it from here, it will not be very good. I have a technique that I often use. Simply press three sets and try to repeat this, so make it down. When you have something like this. First thing, you right-click on it, type and select high-pass. By High-pass, it will shape the EQ any way that only lets high frequencies pass. Let's select high-pass. And as you see, we only have high frequencies that goes in. This is especially for removing the base and the sub bass. For example, let's repeat, Let's put this on low shelf. It means the default one that we were using. And let's try to make this right-click on it pipe and put it low pass. By Lopez. It will only let the low frequencies pass. Let's repeat this. Let's remove it and keep it on high shelf. Let's reset everything and reset this also. What I want you to do is before starting to remove the sub bass from the base, because we want the base alone and sub bass alone. I want to drag this down, right-click in type and press high-pass. After doing this, I want you to use your scroll wheel and drag this down to the maximum. Drag this down, not up. Usually, it might be on this position. It would be like this maybe for you. For me it was like this. Try to drag this down to the maximum. You'll see this small logo changing. This will let it be more sharp. So you see that curve right here. Let's zoom in. If you see that curve right here, if I drag it up, the curve will be like this. So it will not be very strict. If I drag it down, it will be more sharp. This will let us distinguish more between low frequencies and high frequencies. Finally, try to mess with the scroll wheel, drag this up, drag this down. We want to keep it on the same level. It was like this. We want to keep everything on the same level to put it like this. By having this type of EQ, we are now able to remove everything from the sub bass. Clearly, I'll repeat it quickly. It was right here from type low shelf. And this was like this. It was like this. The first thing I wanted to do, of course, I could have just made this down, but it's not very sharp. We have, we still have some low frequencies. And if we want to move it to the right, we still have also low frequencies. We still have this area. We want to completely remove this area. What we do, we simply right-click on it. And high-pass, we only let the higher frequencies best. Now to make it sharper. To make it sharper, instead of having it like this, we simply scroll down. You see we have a chopper. And for you it might be like this. You just press your scroll wheel like this. We don't cut anything out and don't boost anything. And so we are now ready. As a challenge. I want you to try by your own and remove the sub bass using this technique from the base. Try it. And of course, who will try to get back to this and do it together. 61. Vid 7.5: EQing The Bass: So let's now use the EQ. I am going to simply play the space and try to remove the low frequencies from it, the very low frequencies. Remember, we don't need to remove the base from it. We just need to remove the sub bass from it. Let's do it. I feel that at this point, this is good. We are not eating from the base. We are not having too much sub bass. So I'll give you a tip on how to exactly know what to do. How you know when is the sub bass and when is the normal base. When you hear the sine wave, when you hear this sound wave. When you hear this type of sound wave, it means that this is the sub bass. You'll understand more when we simply mix the sub bass. So click on the sub bass and press on fruity parametric EQ a2. Let's try to do it. Let's close this. Let's actually keep it open. We put this on Right-click type and put the low shelf or low-pass I prefer because low shelf will not do the work. To make it sharper. You also see like this and drag it down to the maximum. Then boost this up a little bit using your scroll wheel so we don't eat up from the base. And let's put this down. So I will keep putting this down until I only year sine waves. Let's try it. I feel that this is a great point. So let's try to hear the bass and the subbase together. Again. Maybe for you it will sound differently depending on the devices you have. But of course, where you can change it later. And if later I discovered that this doesn't sound good, I can just simply change it and make it sound good. We are done for mixing the basis. And that's tried to listen to everything together. And of course it will not sound very good because we did not EQ property of the volumes. But let's try to make it. What I did is I press those two buttons so we can hear the difference root effects or without effects. So when I press this button, I simply, it's like I removed the AQ. It's like there is no queue. When I put back on, it's like I turned on the EQ or the effects. If you are able to hear the difference, That's good. If not, there is no problem. When you progress through the course, you'll be able to hear better and try to mix better. 62. Vid 7.6: Mixing Other Elements: Did you notice how I just put the volume of the sub bass higher than the volume of the RES. This is something that I usually do when I clearly want to hear how the sub bass sounds like. But usually putting the risk-based lower than the sub bass is not a good option. Only if you just want to hear it and hear how the sub bass sounds like, it's a good option. But let's repeat and keeps the Reece bass higher than the sub bass. This is a good exercise to do to put the sub bass higher than there is bales. You know, what is the sub bass and you learn how to hear it. Now, let's mix everything that we have. You will mix the vocals, we mixed the chords, we will mix the high hats that ambience. We will mix everything. We have them already routed. Let's start by mixing the vocal. We also load the fruity parametric EQ to try to remove the low frequencies. Let's hear it alone. What do you, what do you hear? It will not be as obvious as it was in the base. It will not be able to hear it clearly until you have some very good monitors or very good headset, which might not be the case for music producers beginners. But for now, you can just keep in mind that you have to remove some low frequencies from the vocals. Maybe if you have your earphones turned up to the maximum volume, you might hear something as well. But for now, just remove the low frequencies. But you have to understand why. Because we will leave space for the base to play. We don't want to other frequencies disturbed with the frequency of the base. We will leave this space for the base and the sub bass. And so this is why remove those frequencies. Let's do the same for everything removed from the chords. I simply go and here I present this by mistake. So I press on the mixture. And for the codes, I simply also remove the base. This is the piano I load and the EQ. I simply press here and I can do it quickly, maybe without a high shelf. And using my scroll wheel, I can just do it like this. Maybe I do pretty quickly like this. And I think we're good to go. So if you don't want to adjust, press, right-click. I pass. You can skip this one sometimes. But I adjusted it in the first place to make it obvious because end of the base and sub base, we need to cut it exactly on where we want. Because in the piano and other instruments, it won't matter too much. But usually you can't do it quickly. For the hi-hats. Also, I removed the low frequencies. We keep only the high frequencies for the base and sub bass, and maybe other instruments that we will add later. Well, I remove it like this and put it on this. Like this. I press X, x, X, x. And I moved from the ambiance. Light can simply go to check three and remove it from the ambiance by pressing parametric EQ and removing it. It's no big deal if you don't listen to every single one. Because the point of this is just to leave some space for the base, especially for you when you're starting out. You might not have very high quality earphones or headphones or monitors. It might be difficult, very difficult for you to hear the low frequencies the course. But for the sake of this example, we will try to hear the low frequencies of the piano. Let's select this, and let's select here piano alone. Though. Here we go. I feel like here is a grid point. We can try and also do it on your own. Of course, never just watch me doing things. Instead. Try to do them on your own and make sure on your own. And who knows? Maybe after making the strike and having all the skills you might mix better than me. So let's try to do it. 63. Vid 7.7: Adding Reverb: Now for the piano, let's add another effect. Listen to it first. Let's add another effect. This effect is called reverb. Let's try to add some reverb. We select this alone, press on it, and press on the slot to go and search for more plug-ins. And type N reverb. Press on slot tool and go to this plugin. We have a plugin called fruity reverb to try to search for it. Don't forget there is two. And we open it up. It will directly be applied. Let's try to listen to it. Let's try to remove this lesson with reverb or without prefer. With reverb. So let's add more river. How do you add more reverb? We simply press X so we can remove from the mixer and use the wet and dry. What is the wet and dry? Dry is how much of the original signal we want. And wet is how much from the reverb signal we want. So we have the dry cymbal and wet symbol that you are concerned about. Let's try to drag the wet up. When we dry the wet up, we will hear more reverb. Let's try to drag that dry down as the wet to the maximum. So the dry and the wet means how much we want to make the original signal with the wet signal. For us, if we remove that dry totally and we remove the wet, we will have no sound. Almost no sound. Why there is no sound? Because the dry signal is at 0. We have no original signal. Let's put this up because we want to keep the dry signal. And let's have it a bit down and let's add some wet signal. I feel like at this point it's good. Again, I want you to experiment with yourself and try to put some reverb. Wet saying no is how much we have from the fixed signal. And the dry signal is how much we have from the original signal. We tried to make it by ear. And again try it by our own, and we can continue. 64. Vid 7.8: Keep Mid Frequencies: And for the ambiance, it's true that we mixed it. But let's try to remove the high frequencies. So before Let's take a listen to that track, how it sounds like. They can listen at the piano and how it sounds like it sounds larger. Piano, that background. For the ambiance. I wanted to go here and press on fruity parametric EQ, E2. Let's remove the high frequencies. Usually an ambience, we don't leave high frequencies. Ambiance is especially made for middle frequencies. It's a common practice for all the producers to remove low frequencies and high frequencies from the ambulance? Well, how do we do it? We simply press here. And we won't, Lopez won't only the low frequencies to pass. We put it to be more sharp. And now here we go. We can also put this on a high shelf, high-pass. And here we have it. As you see in front of you. We can only have the middle frequencies. Let's hear the difference. Usually the ambiance is for me to make the body of the song. It means don't make the song too high, neither too low. So we want to keep the ambiance as the body of the song. This is why we only keep middle frequencies. Let's keep those middle frequencies. By this. We have great middle frequencies. That is going to make our trek a bit better. Again, this personal taste. But for most people, queuing the ambiance to have the middle frequencies is a good practice. Let's hear all the attract together. This is for mixing the ambiance. 65. Start Of Part 8: Adding Elements: Alright, so right now it's the time to add some elements. We can just leave our clock like this. We need to add some elements. To start. We're going to add some effects. By effects, I mean, crashes, symbols and stuff like that are going to see in a second what I want you to do. It's first, let's remove all of those because, you know, putting all of those are meaningless because we are not using them. I want to simply select a snap. Let's suppose the snap five or snap four. Let's suppose snap five or snap for snap six. It doesn't matter. After you selected a certain snap, you go and only open this folder, the sample pack folder. Ultrasonic slap house. In your case, you will not have this folder. Maybe you will not have the other folder. You will only have this back. You only open this PEC and press on here. Only Open Folder. What it will do, it will simply show the Open Folder. Whenever you press on all, you will have them all. And if you press on snap six or maybe a snap four or snap five and your case, you will have only the sample pack that you open. Let's repeat. If you want to only see this sample back, let's say, let's say this sample black only. You want to set it in the snap seven. You open the snap seven, then open this back. Then select here, and show only open folder. It will only show the folder that you open. Right now when I open snap seven, it will only show this. When I open snap six, it will only show this case. Just select any snap and open the folder. And select Show only open folder. It will facilitate your life so you can directly see what's in front of you. Right now Let's add some symbols. Let's search here for samples. Search for some reverse credit, search for some crashes or some symbols. Here. What is it like? Let's go to the letter C, a, B, C. Here we are. That we have the crash 0 too. Drag it and drop it. Let's hear how it sounds like. Now let's turn down the volume of this a bit so it sounds better. Now, it's better. Before we start working with it. I just needed to say two options. Here. If we double-click on it, we have the N and out. What does the N and outdo the n? If we tried to turn this up, it will change the volume. Whereas here, you see, instead of sorting like this, it will start like this. It's much, much lower. I can also make it smaller. As you see, it cuts only from the beginning. It leaves here. Let's turn down this. And if I put on out, what do you think it will do? It will remove from this spot like this. Instead of finishing like this. It will finish like this. As you see, it's finishes much faster. This is just to know it. Now what does this knob do? Try to click on this knob and figure out what it does. And we will explain it in the next video and how to use it. 66. Vid 8.2: Reverse Cymbals: Now what reverse does? It simply reverses the sound. If we listen to it. Let's try to put this here. And I want to add the same crash and put it normally. What I want to do is try to put this so it's like an uplift, uplift or up, up, up, up. Then it simply goes down like this. It simply goes down like this. But I want this to be up. What I do, I simply double-click on it and press the reverse is true. If I tried to press reverse, I should have this reversed and this normally. But let's try it. Both are reversed. Why is that? Because they are the same sample. We can't add the same sample and put in different effects. This will be reversed. This would have the same volume as this. If we turn up the volume of this, we will also have the volume turned up for this. But how can we do it? How can I add a sample here and add the same sample here, but make some minor changes. Well, there's this button called make unique. Make unique. It makes this sample unique. As you see, it's not anymore the same name as this. This is crashed 02, and this is crashed 0 to number two. Right now, I can simply have this and we move it from the reverse. So we have them together. Just to repeat what I did. For example, let's have this flap. Let's select here. I want this clap. I want this to be a reverse, and I want this to be a normal club. If I tried to put this on reverse. The second one will also be on reverse. How do I do that? I simply go here and select the one that I want to make it unique. And I select make it unique. Now it's unique, so it's independent. If I double-click on it, I press reverse. Now we have them in reverse. It doesn't sound good, but you've got that point here. And our symbols, we simply have them like this. Let's turn down the volume a bit. It's already turned down. This is what we wanted. Now, let's put this also on the second part. I want to be on the first part. Then I want the same one. B on the second part. Here we are. Let's take a listen. Now it adds much more dynamics, which is better. 67. Vid 8.3.1: Bleeding(1): We made those reverse crash. Let's hear them clearly. You see this clicking here. If you go back. If we listen to the whole track, I don't think it sounds good. We want to remove this clicking right here. Let's drag them down or separate them. Let's enable this. We will have the same thing. Let's introduce something called the clicking mode. I double-click on this. Don't forget this. And this are two independent ones. If you made changes to this, doesn't mean we are changing this to this is something called the clicking mode. What is the clicking mode? It means removing that click which is right here. We want to make it one smooth crash. Let's double-click on it. And we have different D clicking modes. We have transient, we have transient Wilson reading. The first one was no bleeding, and we have smooth and crossfade. This is the four ones that you are going to focus on. Transient, no bleeding, transient, leading, smooth reading, and crossfade with bleeding. Let's try to put transient bleeding and see what happens. Nothing will happen. Why? Because we've not got, Let's try to press on it. As you see, we have something right here. We have something right there. If we select another one, you select Smooth bleeding would have something right here. We have another one. Crossfade bleeding. We will also have another thing right there. What does those mean? Let's go back to our first one. Transient, no bleeding. In transient, no bleeding. There is nothing. Let's go to the second one. Transient bleeding. Bleeding. You see that at the end of this, we start seeing something, something clothing. If you drag this to the left, you see that instead of just ending, instead of just ending on this side, it's through the ends. To understand more nice double-click on it. And let's go to smooth bleeding. You see how it ends and set of just ending. It ends like this. Let's try to hear the difference. Let's remove this. Let's hear the difference between transient no bleeding, generic bleeding, smooth bleeding. The final one which is crossfade bleeding. Let's try to hear it. But for CrossFit reading, we have to drag it a bit to the left because it's cutting from here. Let's now hear the friends. Let's listen for the first one. As you see, it directly ends. Let's try the second one. Ends also directly, but it's smoother. Let's try the third one. Smooth bleeding. As you see it's much smoother. Now let's try the final one. As you see, it's also smoother. The more we go down, the more we have smoothness. I don't want you to memorize those. I just wanted to experiment those. Treasury pause the video and experiment the difference between those. One important thing to remember is that if you didn't cut from here, if you left it like this or like this, nothing will happen. Unique to cut from side to have something. Because here it's like its journey down the volume a bit. It's like it's turning down the volume slowly. This is why you need to cut something. You can't leave it like this. Need to cut something. To cut something. You either de-select this fletch. So if it was selected, it will not cut. It will only stretched it. You have to de-select it. Or if you want to cut it, you can simply make it normally and press the slice bottom. We cut it whenever we want, like this. And we select that row. And we delete this by right-clicking on it. So by this we just cut it out. I needed to pause the video and try to experiment this by yourself and try to think about it. How can we just put the same thing and the second one? How can you make it smooth? For the second one? Let's try to listen to it. It's still not very smooth. Also drive thinking about it. 68. Vid 8.3.2: Bleeding(2): So did you figure that out? Let's do this together. If here we put a cross fade. Again, you cannot put across. You can put something other than crossfade. You can put it smooth. If you put it smooth, effect will be less strong. We need something very, very, very smooth. We choose cross-fade because we needed to go down very slowly. Also, we can select transient bleeding, but it will not be as smooth as the smooth mode or that cross-fade mode. Let's do the same. But for the second one, what do we do? We simply double-click on it and select the bleeding mode. What we do is simply double-click on it and select the bleeding mode. We go and see that cross-fade to make it as smooth as possible. But be careful. If you just press crossfade. Nothing will happen. Why? Because we did not cut from any place. We have to cut from somewhere. Let's make sure it's selected. We have to cut from someplace. Where do we want the cross-fade to be? Here? That's got it. Here we are. Just drag this and move it to the left. Or I can simply select this move right here, and I press here, and I delete it the same. Now, we have those together. Let's try to listen to them. What do you have to do is simply now drag them and drag them. We have one from this side and one from this side. And let's listen to it. It's so smooth. We did a great job during this. Now for professionals, the person you don't use this way to March, they use transient bleeding or smooth reading or crossfade, but they combine it with something called automation that you are going to learn later. So this is still not very enough to make very professional tracks, but it makes the job. Instead of paying for sample size, for paid sample packs and having some crashes, we can just make our own. And this is what you did. Let's listen to it and the whole track. As you hear it smashes smoother than the beginning. What I want you to do is just do the same for the second one. Try to pause the video and do the same. Alright, so how do we do it? First, we separate them from each others. Then we need to cut something. Because if we didn't cut, nothing will happen. And to prove that, I will just press crossfade bleeding here. And why did it Is it like this? It was here on default, it was crossfade bleeding. Why? Because don't forget this sample and this sample are the same. If we change something in here, The same will change in here because we did not set unique to this. This and this are the same. And this and this are the same. We prove that, Let's turn down the volume, the maximum. We will hear nothing here. You also will not hear nothing here. We will also hear nothing here. This is because we turn down the volume for both. So what do we do? If we want to set it unique? We can simply set it unique. If we don't want to set it unique. In this case, I don't see a point to just set it unique. We can just make sure that its own crossfade. Good. Now we have to cut it from one side. I can also cut the second one. Here we are. And it's also on crossfade. And I put them both in each other's. Let's listen to the second one. Now it's very smooth. This is how you do it. Of course, I needed not just to look at me, I just need you to practice them. 69. Vid 8.4: Layering: But why didn't we EQ them or why didn't we put volumes in the mixture? Why didn't we just put them right in that mixture? We can have control from the volume right over there. Well, it's the same. You can either just leave it on here and have control over the volume or put it in the mixture and set the AQ and change the volume. But that is not a point of making some EQ in a high-quality sample bag. Because usually in high-quality sample, they just make it easy, cute for you. But be safe. We can simply press here. Press on an empty check, and let's call it, for example, crash, brush one and give it the color. We can simply have the volume from here. Let's reset the volume. Let's listen to it. We have two crashes. We have the one going up and the only going down. Let's link the one we're going down. And let's link it to the sample. Unless link into the track number eight, because it's different than the first one. And we can name that, for example, the reverse crash. Reverse crash one. Let's name that reverse crash or crash one. Here we go. Now we can have the volume of each of them. So let's try to make it, I think like this, this still a bit. So let's try to make it like this. It's still not good. This is happening for a mistake I made. That is a very big mistake because I thought that this was linked to that mixture. But it turned out that only this was linked to the mixture. So I should have linked this to the mixture. Although I link to it. And link this to that, make sure I don't know what happened. But mistakes can happen here in FL Studio. Let's listen to them again. Here we have a smooth one. Let's listen to the whole track. Now. It's good. But what do you think by adding another one? Let's try to add another one. And again, if you have the snap six selected, you just can go here and press O. But let's go back and go down to drums. Drums or joule. And it doesn't matter as long as you find a good one. But for me, I will go for the drums and choose the group crash number one. I put it here because layering is a good option. I will layer it. So what I do, I put another one here. I want to make the same using this group crash. Maybe it will turn out that it doesn't sound good. But let's try some layering. I just want you to go and do the same for the group crash, make reverse and make a difference, and use cross fades. Back to pause the video and do a track now. All right, so how do we do it? We simply go and duplicate it by pressing Shift and dragging it to the left. Now, let's put this set, this unique. Make unique. I simply put it on reverse. Put it right in front of this, because it's not right on them. What I do, I press Alt and drag it to the left. Now what you do is simply. Duplicate on it. Use crossfade. You can use smooth, but it will be less smooth. Let's try phosphate here also. Because it didn't apply. Why? Because we didn't cut out something to cut it out. So what we have to do is do the same for the second one. And we cut it out. Let's drag them together. Let's listen to only those. Let's listen to the again to see what happened. Something is wrong. We need to make it even more smoother. So how do we do it? Let's drag this more into it. Let's listen to it. Let's put this back a bit or simply drag this back. If it didn't work, then we should use the smooth or this sample is simply not good. Let's try it. It's maybe a bit better. Let's listen to it. Now. It's a bit better. We have to use some trial and error. There is certainly no rules for this. Because if I tried like this, it didn't sound good, so I just made it back and it worked out. Now to be honest, this crash doesn't sound as good as this. But let's add them and turn down the volume for it. Though. We go here. Open to that mixture. Let's link this to the check number ten. We go with the scroll wheel up. Don't forget to name it. Crash or reverse crash one. We right-click to reverse. This time because it's true random color. Just to make the mixture look good. For the here, we're just give it another name. Check 11. Then right-click Rename color icon. So crash too and give it a color. And except here we go, Let's turn down the volumes. And to have the same volume, what we're gonna do is simply fix the volume of the first one and copy and paste the value for the second one. Let's try do it. I right-click Copy value and right-click paste value. Do I have the same values for both? Let's also turn it down more because we want the crash number one to be the main one. This is just a layer or I copy and paste. Let's hear them. Now. Let's hear them both to see what happened. Well, adding an extra, well, adding an extra layer might be a good choice. So let's listen to the whole track. Now it sounds fuller. We copy and paste this and put it on the second one. Here we go. We can't keep adding on and on and on effect. And again, if you want to add some other effects free. But for me, when I progressing through the track, I will just add some other effects and soft like that. There's no rules. Just do whatever you feel like it and whatever sounds better for you. 70. Vid 8.5.1: Organizing Files(1): Now we will add some clubs and snares in the song. But it can get frustrating when you have lots of samples and stuff. I'll do we find the cake? How do we find the snare? It is tiring at this point. This is why we need to organize our files. So I go to my file explorer and find the folder where I put my sample bags. As you see, this is the same. So I have other and ultrasonic slap house folder called sample. Back. Here is the folder called sample pack. And I have the other, ultrasonic slap house volume one. What I do is you go inside this folder. Here on Windows, I can right-click simply and press open a new window. What I do, I simply go here samples. And inside this sample, I started putting them into folder. For example, I put all the collapse in one folder. The close tie has in one folder, the crash and one folder, down filters and one folder. Let's put them here. Create a folder called simply drums, and another folder called effect, and other folders that can express what there is inside it. My case, I already organized it in the folder called Auto. I organized it in folders called drums. Here I have the one-shot, the vocals, the loops, the effects, and stuff like that. So let's say here, I organize it. I put the special effects. I have the ambiances. I have that down filters. I have the fills, which sounds like this. I have the impacts. I have other stuff. I have very versus I have risers. I have the loops. I have the one shot. One shot means the claps or that kicks something. One shot. I organized it one-by-one. So for example, what I did, I arrived click New Folder and code, for example, claps. Here. You will see in FL Studio, if I go to my snap for you will directly see that I have this folder called The claps. It's empty. I can, for example, put in it some stuff. Let's put in it some things. Here I have my second folder. And let's put, for example, the clap. Drag it and drop it. I go here to FL Studio. I see inside that clap. Let's press here and let's try to refresh it. I have inside that club. Let's put best snap four. Inside the club, I have ultrasonic slap houses central clap 46. As you do those folders, you can do them by your own. But let's try again. So this actually can be completed because the folder is open on another process in another program, and it's open in FL Studio. In this case, I have to close first FL Studio and then delete this folder. But what you can do by yourself, it simply organize them or go to the Resources page and download the organize that I already organized it for. You. Note that this is the same sample pack, but in an organized way. So instead of wasting time finding claps and snails, I organized it for you and made everything so you don't have to worry about it. I'll try to go and download it. Then we will continue. 71. Vid 8.5.2: Organizing Files(2): So inside this sample back, inside the ultrasonic slap house demo, you will have this file called organized. And in this file is there is all the sample packs that are organized. You have the origin of the ones. We have this pressed something by mistake. You have all those presets, you will not use it because I think it was already downloaded by mistake. And what you have to do Is simply look for the organized. If you put it inside your sample pipe folder. If you've already placed at inside the big folder sample pack, FL Studio will automatically scan it because you already went here two options, fire settings. Selected this. Because you selected this. Everything in this folder. It will keep always scanning and scanning and scanning. Let's press X. And let's simply start. We have this sample pack and we have the organized, are interested in the organized. We have the drums, effects, and vocals. Vocals as to what you already used. Fx is, for example, if the ambiance, ambiance, you already know what it is. Down filters. Let me show you the DOM filters. For example, I place it here. It's an extra like this. You can try to experiment this by your own. This is filled between the drop, between the buildup, I mean, and that drop you put some fields. This is the impact. This is like something big. You could also here there is other, the reverse that you already saw. What it is. That is the risers, that is the vocals. And what's important here that you are going to use that runs section. We have loops. By loops, we mean a group of drums were not only one drum. Here we have the one-shot. It means one-shot. So clap. For example, here we have high hats. It's one. So here we have rights. We have kicks here and loops. We have buildup, so many loops. We have many drums. And here we have drawn loop, so we can try and see this. Another thing I need you to do is press here and use show only one folder content. Let's say here, let's press here open sample bags. And if you want Right here, use the snap six that you already used. So here we have this open. I needed to also press here. Need you to press here, show only one folder content. What does this mean is that if you open this, then reopen this. It will automatically close the one under it. Like open this. By the way, you keep organized and you don't have so much stuff on your screen. But if I open this, this, this, and let's open the other one, it will close the first two records. The first all I wanted to is now try to find a good cake and put a cake here on our track pad to do it and we will count and you'll come back and see what happens. 72. Vid 8.6: Adding Kick: Now let's search for some kicks. First, we need to free up the space right here. We need to put right-click and select, Insert one. By this, we are leaving everything related to effects underneath. And we'll add the cakes here. So here we are putting drums. So as you see, we put drums. Everything underneath is related to drums and effects, everything underneath related to effect. But because we already made those, I can just select them. Select this and put shift and up arrow. Right now I have a line, I saved a line. It's still sounds the same, but it's not anymore on different lines, so it sounds the same. Why not save up space? Let's try to do the same here. I select this or I can select them, bold them up using Shift and select this up, and select all of those, put them up. Of course we can put them up also like this. What it will be so hard to distinguish between both. But let's see if it like this. Here, we will put our kick. Let's search for a cake. We go to drums. Were not go to loop. We go to one shot is because it's one shot and go for kicks. We don't use trap kick track. Kick is like more four beats. We want the ADM cake to use this cake or this, or this. Now for now you can use this kick. This cake. They both sound good. And of course this is not the perfect cake, but this makes it good. Of course, with paid sample packs, it will be better. But when using free sample bags, we have to get a little bit of lower-quality. This is why this is a good cake, compare to the price. But of course there is a better cake. Well, let's choose it. Let's go and let's put them together AS go. Here. You see right there we have this. Let's try the second cake. I will put them right, mirror each other's. Let's cut a rich from it and put them in each other's so I can listen which one is better? I cut it out from here. Let's listen to them. Again. Let's listen to this. I feared that this one is more punchy than this one. Let's remove this and click. Click again. Let's just include the whole track, how it sounds like something you might mistake. So let's try it again. I duplicate it, but let's try it. If this sounds good. Again, if you have your own sample packs or prefer to use something from here, from drums, there is absolutely no problem. I'm just creating a check from our personal stays and then you will later try to mix them. Now I want to as a challenge, to go and try to add your own snare. Go and search for a snare. This is keep going on. So let's put snap six. Go and try to search for your own snare. And let's put it. 73. Vid 8.7: Adding Snares: Alright, so let's search for some goods snares. We have here, the snares. We use the EDM snares and now that traps snares. Let's try to put this. You will ask yourself why I put it here on this cake and not this cake. Well, let's try to put on this cake and see if it sounds good. Let's put it here again here and here. Now select them, press Shift, and drag them all here. And also the same thing for the rest. Let's try to hear it. I don't think it did sound good. What do you have to do is remove one snare at a time. We moved. Here we are. Let's listen to it now. Usually in most EDM songs, we have cake, then kick and snare, kick, kick and snare, kick and kick and snare. Otherwise it will not sound good. Always when you add this snare at kick, then kick and snare, kick. Thank you again, snare until you want to stop. This is why right now we're going to remove this and divide it into parts. I want to try to play with the structure of the song. Try, for example, to put in the beginning only the code and there is space. Then introduced the kicks, then introduce the snares, of course kick and snare then introduced the hi-hats. Try to make something out of this song. We don't want to directly start with kicks and snare. We want to make it cold. Then make it exciting. Using the high hats. Then maybe making it exciting using kicks. Try to play around and try to make something, try to make a structure out of this song. So while the video and go try it by your own. 74. Vid 8.8: Adding Plucks: So how do we do with this song structure? Here, it comes to your personal taste. But first, let's lead vocal because unfortunately, we don't have so much vocally, we only have this part. Let's delete the vocal. And let's also remove those jumps from here and leave the chords and the ambiance alone. Then later, I want to introduce the vocal, so the vocal comes here. Then we start by the high hats. Then at the end, I put the cakes and snails. So let's try to do that. Let's try to execute this idea. I put them here. Now what will happen is we have the courts and the US alone, so it's super calm. Then reintroduce the vocal, introduced the drums. We could do it like that. This is a personal preference. Or for example, we could do it like that. So let's remove those. I put the cake, Zoom n, so I make it here. Then I still have some cakes, but I add the hi-hat and the snails. Let's put them right here. Now we have this. We have the column port right here. Then we have the EBIT exciting part. And now we have the most exciting part right there. That's listen to it. Then finally we add this. We can add it with vocals or with ambience, but we will figure that out later. To add more space they mix. We'll add something called the plucks. What our blocks. Before learning what our blocks, we have to hear it. This is something I created this for demonstration. Let's delete it. I create a new one and name it plucks. So here we are, blocks and give it a random color. Here we go. What I do is simply go here. This an amazing plugin called flex. This plug-in called a flex, simply use plucks by press here. And we have flex. Here. There is amazing plucks that you can find. You go to here plots and you can lessen all the plots. You can also listen to the base, that is A2A2, which sounds like this. There's also some media library, some accordion. There's also those kinds of sounds. You can figure that out. But what we need to do now is import some presets, some plucks preset that I gave to you. Instead of just choosing, instead of just searching for the right preset, I was searching for one and found something great and vital. It will give you this preset and vital. By clicking on the resources of the platform, you can find it a preset called block. When you find it, it will have the logo of fatal at the left. After you download the preset, which will have this logo of vital. And we'll have the extension dot vital. All you need to do is just put it in your big folder of FL Studio, inside the folder of Plugins. Let's suppose it doesn't matter here where you put it. Because after we download it, you go and head on to vital. Let's go to vital. And after that, you directly press here. And instead of pressing M port bank, we do not have any bank. A bank is a group of presets, but here I just gave you one preset. What do you do? You press open external preset and you go and search for the location where you downloaded this preset. Your case it will be the big FL Studio file. After we have it, you simply press X or it will plus alone. You go and search for that block. In my case, I go to here and press block and open. I will have a directly in front of me to listen how it sounds like. I simply press a random keyboard shortcut. So here it sounds like this. What I do is first let's read this and delete this. Let's rename it block. Let's give it a random color. Here we go. What I have to do is simply click on it. Let's create some plucks. Slap house. It's very common to see blocks. But how are you going to do it? We are going to simply creating some random nodes like this. It was some rhythms. I go to here. Let's start the check from the beginning. Let's create something like this. Let's put it here. Let's put it here. Let's put it here. Let's also put it like this. Let's put it in our track. We have here, we insert here, insert one, and put that plucks. Let's actually give it another color, random color. Let's put it here and our track here. So it sounds like or we can actually move it a bit. It sounds like this. What do you what do you? Then we have the final structure. But first, if free to always duplicate it, Let's create a big warm from the beginning. Let's see. Here we go. Now we shifted a bit to the right because it's like this. So instead of putting it manually to the right, we simply shifted it from the piano roll. Because if I put it at the beginning, I have two here and a playlist shifted to the right. By this, I automatically put it in the piano, roll. This, and then this. And we can put it all over. I think it sounds better. Now let's link those blocks that make sense. By doing this and plugs and linking it to the mixture. We want to give it a random one. We go and click here and give it a random seat on the mixture. Repress here. We had the number 12. That's good. Now, let's have the volume of this. We see if the volume is good, like this as good. But now let's actually add some reverb. But if you add some reverb by using the fruity river T2, we add it. Let's see how it sounds like with the mix. I think this is another trick that I tried to make is try to add an octave of that block. Let's try to add an octave of this block. And if it sounds good, we keep it. If not, we'll delete it. Delete it. So let's try to add here or here. Maybe here. What I do, I select them, shift down. Let's make sure they are on the same bid. Yes, So let's hear it like this. I think they sound good. In this way. We're just adding space to the mix. Try to make it more dynamics and enhancing what the users is listening. And don't forget to save your project because you don't know when FL Studio can crash, especially on slow computers. And this is no problem, but try to always save your work. 75. Start Of Part 9: Bass Drop: So this is a remixed song. We're going to hear it. But first we will focus, add that drop. Our priority would be that job. So we can clear lesson, what is it like to make a slap house drop? This is not very well mixed and not very well arranged. This is not very well made. This is just an idea of a drop that you can make using the presets. That's here. Just saying almost the end of story. This story. Let us dance. We are going to focus on that drop and see how that drop was made. It was made first from a slap bass drop that sounds like this. It was made from kicks. It was made from we started off by making me that kicks, the slap bass and the kick. Then slap bass and the kicks and the snares here. A cake, then kick snare, then kicks snares and some high hats or some anything that you want to call it. At the beginning, we make it very emotional, try to make it very calm. Then we make it more exciting. Then finally, it's a buildup. Here we want the most energy. Then here at the end, we make it very tense. This is the structure of songs of slap bass. We are going to make it like this. We want a slab base that sounds like this. Now this was added something called side-chain that you are not going to use right now. But of course, by the end of the course we are going to use the side chain. It's shouted, it's all routed to the mixture. Again, this is a basic idea of song. Don't forget we layered some base. This was not just one base. If you want to get a look here, this was almost, this is the layer. This was 1234566 layers of base. In our case, we will not clear this March because here it was taken time to use the specific sounds. It sounds good, but we are going to make the same using some free stuff. Here, the track, it was all made using serum, a paid plugin that is not cheap, but it's very good. And using some silence and stuff like that. But you are going to try to make it everything, to make it for free. Now we are not going to remake the strike and sad you are going to continue our track. But because all slap bass song sounds like this, we are going to make almost the same baseline and having the kicks and snares and stuff like that. 76. Vid 9.2: Importing Slap Bass: Now before I close this project, we want to hear the slap bass and the kick alone. Now before we close this project, Let's listen to that slap bass and the kick alone. How does it sound like? First, we have the slab base, it sounds like this. 1112. There is no specific rhythm. If I go to the piano roll, you see this rhythm like this. It sounds good with the cake. Let's do the same, but using three viable presets. So after this build-up, we have to create that slab base. Let's create another channel and call it slap bass. Let's give it a random color. While I'll keep choosing brown. So here we go. What we have to do is create another slap bass. Now of course you'll ask me, why didn't it to create that base and the same pattern as there is base. Again, it all comes through. But personally, I like to defer the slab base from the Reese base because I like to think of it that there is base as the one before the drop. Slap bass is the one on the drop. But you have some layers. We want to go and download other presets. The other presets that you are going to use are the same echo sounds work. Of course I will leave the link for the download. You can go right here. And they're free download. You simply press on free download. You will be headed. Try it here to the checkout. You can just press checkout and have the presets. You put your name, your email, and here we go. How to have it from vital. You simply go to vital. And what you do is simply press here. You press Import Bank. From here, you select the bank where you put it. Let's suppose it was downloaded. When it was downloaded, you put it in your big FL Studio file and then you go and locate it from here. The more you organize, the easier easier your life would become. Try to go and locate it. After we located, you will directly have it right here in front of you. You will have all of this. And this is our slap house presets. So this is the first, this is the second. This is the third. Now there's a lot of goods sounds that can be used like maybe this. And maybe like this. This is the file. We have this. We have this. We have a lot of stuff that can be used. But for now, we are only going to use those clubhouse presets. Now again, try not to confuse between preset and bank. Bank is multiple presets. So right now we imported a bank is multiple presets. But previously, when we imported this only pluck, it was one preset. 77. Vid 9.3: Choosing Layers: So let's try to add our slap bass. We go right here and open vital. Let's rename it, do something. So slap bass, we give it a name and also a random color. Here we go. I go and choose my presets. But before doing that, let's add our kicks. Because by adding your cake, you'll have more flexibility and you will know how the bits work. So again, you can do whatever you want. But for me it's better to sort any decade. Let's choose a cake. Maybe let's shoot this cake. We don't have three cakes. We only have three kicks. Let's go and truth decades where we were putting the cake, so we're putting them right there. Let's, let's put a track this and rename color kicks so we can no more quickly. Here we go. We have Greek. We can put it right there. Maybe let's put this underneath because it's a bit disturbing. That's saw by adding the cake. We add many cakes. Don't forget, try to put them like this. Now why to put them like this? I will tell you in a second. But first, try to put them like this. Now if we didn't put it like this, Let's select it. And let's put many tick. Don't you want to put many kicks? We won't want 456, we want many kicks. How do we do it? So let's, let's press Shift and put it like this. Shift, this shift like this. If we want to keep making shifts like this, I think it's not too fast. What do you do is simply select this press Control B. But by pressing Control B, this other cake you see with where it will be, it will be not exactly on the beat. It will be after the next cake. If you want to add another one, it will be a write after the next game. But if we delete it and put the escape like this, using either all to put it like this. This. If we put it like this, we select it. Press Control B. It will be exactly on the beat that we select them. Control being control B. Control B. Here we have, we have like 16 kicks. We made it in 1 second. Let's listen to it. It's too fast, so let's make it less cakes. Here we are. We can also extend it. If we extend it, I'm pressing Alt and extending yet right now, what do we do? Simply control being simply controlled me. Now we want to add that slap bass. You go over there and put out and put our presets. Here. We don't have so much flexibility over the presets. Usually, if you have a lot of sample packs and a lot of sound banks, it would be hard to know the difference between good and bad layers. But here we only have three layers. But what we are going to do is simply go and try to have those three layers. This is the first one. You go to SW origins. Or if you're not finding yet, you can simply search. Slap. Here I have the first one. Like this. I put it like this. This is flat base and let's name it slap bass. Number one. Now let's add another slap bass. But what I do, right-click and I press Duplicate. So after I pressed replicate, I can simply go and have the same one. Or if you don't find replicate, you will have the clone. We have clone, and as you see it will be the same preset. This is the same preset as this. We clone also this. So now we have three ones, but we want to change them. We have this slab base, the first one. Let's rename this and call it two. Let's change this and call it three. But now we have to actually change them. We only changed the names. We go go here, head onto slap. If I wanted to type slap, I choose the second one. Maybe this is not available for you, so I'm sorry. We chose this like this. Let's make sure the first one was selected from antibody will preset. Yes. Yes, It was choosing from an available preset. But let's make sure by simply clicking on here. And for the third one, I just change it. Go right here and change the preset by type and slap or I go to my sample back. And here we have 123. Here we go, press X, and we have them together. So we have the first, second. But now how to actually put them together? So I need to write a metal D and put them together. How to do it? And how to actually write the malady. We will figure all this out. But first, we need to actually write them out for one of them. Then we will explain what is layer, then we will learn how to actually layer, then. 78. Vid 9.4.1: Making Slap Bass(1): So let's start by writing our slap bass. Let's try to actually on this layer because it's the main one. So it's the most, That sounds good. I think. I think this one is better. So let's right-click on it. And again, it doesn't matter because later we will be mixing them altogether. So they will be like one sound. Let's close this. Now let's actually write our slap bass again to know that nodes of our slab base, we directly referred to our piano chords. This is our piano chords. And we have the baseline of C, then a flat, then F, then G. Or you can refer to the Reese base because it's the same as our piano chords up yet. And that actually pays a try there in the slab base. But let's double-click on it. Or PDFs piano roll, and you will have it and paste it. Let's listen how it sounds like. This is our reason base. We made something wrong. Let's go here. Go to slap bass, right-click and the rule and paste it. As you hear, this is sounding like this. But we want something that grooves, something grooving. So remember that you have those notes that's created starting from here. Let's start by this soundbite here. And then we have this, then this, then this. So let's start by making something. So let's first set it on half, reset on half EBIT to have the most flexibility. Then set those up like this. I double-click on it by accident. So let's set those up like this. Let's put four notes in each measure and do the same right here. So I did this with this and shift The down. Now the same here. But let's try to listen to us. Let's listen to the rest like this. Shift down. And the same for this shift like this. Now let's listen with that gig. Always try to refer and listen this with that kick right here. And let's listen to it. We forgot we didn't remove this at the beginning extreme of it and put this instead right now. But how can we make it more groovy? Of course, we don't want it like this. So how can we make it? Let's press on it. And here, those notes, Let's actually divide them by half. We have four nodes, we have 1234. Let's divide those nodes, the last three notes by half. Why? Because we want to make it groovy. We want ourselves to dance. So let's select them and put this, drag it down. By this. We have like this. Let's actually try to move it to the right. Now it sounds like something nice. What I did, I simply have those notes at the beginning. I had this. I simply select them and made them smaller. I make them smaller. From here, I made them smaller. Move it to the right. Because if I move it to the left and play, it will not sound good. So let's try to move it to the right. So let's try to make the same that S of the nodes. So here we make it smaller and move it to the right. If you're not being able to move it smaller, it's because you didn't select the half beat and the same thing here, or we could just remove this and copy it. The final one. Let's listen to it. But let's actually try to make them smaller and make them more groovy. What I want from you is strategy. Pause the video and go. Try to make the rhythm more Groovy. By playing on the half quarter, do something in it. Just try to make it sounds more like a slap bass. And don't worry, I'm just telling you this. You go and try things on your own. So you are not just copying and pasting my rule. I just want you to go and try to create something, a good tritium. And of course we will create it together. 79. Vid 9.4.2: Making Slap Bass(2): Now it's turned for the magic. Let's try to make it more groovy. We go. And if we try to make it more groovy, it means we have to go off rhythm. So how do we make good rhythm is by trying different rhythms. So how can we do something different than that? Can we move it to the left? Maybe I'll move this to the right. Let's listen to it. I don't think that sounds good, but let's put them back. Let's actually try to put this on In quarter by quarter beat. I can move this a bit to the right. Let's try and listen. Now it seems nice. Now let's try to move this other one to the left. Let's give it a listen. Now it sounds like a real slap bass. Let's actually try to do this on all the nodes. But let's select it and put it on a flat and do the same for the rest. I press Shift and just go up. Let's now listen from start to finish. It will sound exactly like a slap house. Did you hear how it sounds like? Now, we can say that this is like a slap house. Now what I did differently, I simply select this and put it on a quarter, so I have more flexibility. And just by trial and error, I was able to reach at the end. But if we want to exactly how we made it, Let's put this back on half. I just selected this node, made it like this. I have four of these nodes. So I filled the whole measure. It was sounding like this. After that, I simply put the last three nodes, divided them by a half, and move them to the right. I have it like this. Now what I did is also just try to move this to the left and this to the right and played it. It truly didn't sound well, what I did is simply went here. Water will move into the it a bit. I wanted more groovy, so I moved it to the left. Here I have the rhythm of slap bass that sounds like this. Now want to make it more groovy? Let's try to make that first like this. The second one, Let's actually divide it by half. We had the first node here. Now let's try to divide this node by half. I simply go and divide it like this. And let's replicate it. It's far better. So let's make the last one the same. Let's select it and drag it at the half and put the second one. So let us listen to the whole baseline. We might put the strong, we put it like this. So let's put it on g instead of f sharp. Here we go. By this. We created a slap bass. But now how can we actually layer those? How can I make this? This, this, the easy way would be just to copy and paste this right here. But because I like to save time, I have an easier way, which we are going to cover in the next lecture. 80. Vid 9.4.3: Making Slap Bass(3): So how do we layer? We can of course select this, press Control a, Control C, and go to each individual one. Control V, control V, and Control V. But what are the downsides of it? If you want to change the baseline, you have to go over through one by one and change them. So for example, if I went over here, okay, Let's say I did like this for all of the three. If I want to change something, if I want to change a note in the baseline, I have to actually go through and change everything. So let's, for example, change this. Let's put it up like this. If I change this and listen to their baseline, it will sound different. That's the last thing that we want. Let's press Control Alt, Z and less introduce something called layer. Layer is when we put all those three together, just placed a piano roll for one of them. But let's go and delete all of this. Delete all of this. Let's press plus and search for a button called layer. Now if you search in more plug-ins, you will not have it. This is why go to M ISC. It's written like this. And you will have layer right there. Now for you, you will not have the same interface, but it will be under this part. Try to search for layer, bi-layer. We have those options. We have something called Set children. How do we set the children? This layer, you have to say that this layer is the parent of all those children. The parent has the same properties as the children. If a parent has black hair, that children have black hair. But here it does not apply. What you are doing is we set all those three as that children of this layer. What I did, I simply rest on here. And I put them like this, so I drag it. Let's only drag those. Set those three, that children of this layer by press Set children. Right now, if I play this layer on a keyboard, those three will be played. Let's try to put only two. I put SAT children and try to play it. Only those two will play. But we went them all. Select, Go Set children. By this, we have them all. What we're gonna do next is simply go to this Piano Roll, Control a, Control C. And because we have it under control C, then go to piano roll from the layer and press control V. Now let's hit play with this specific pattern. As you here we have them altogether. So what I did, I simply press on plus search for layer. Then I press on that layer. I put them near each others. I select those set children. Now, be careful when you select those, because if you double-click on it or you simply click on it, it will select everything. So try after it was selected everything, just double-click on it or simply click on it if you're on the mouse, because right now I'm using my trackpad. You click on it. You select them and you set as children. Less press X and listen to it again. As you hear, it's much more powerful than just selecting one layer. Layering is a common practice musician is used. And the more you layer, the more your CPU will be tired. But maybe if you knew properly how to layer, you will have a better sound. 81. Vid 9.5: Drop Structure: So all those stuff missing. For example, we need to add the sub bass. Maybe we need to layer more. But I'll go into leave it to, after putting the drums. We are going to put that drums first to see that general structure of the slab. How sound? Then we are going to add some stuff like the sub bass and maybe layer more stuff and other things. Now, let's see the song structure. Usually in the song that I showed you, we have the slap bass and the cake, then adding thus lab-based and the cake and the snare. Then finally adding that slap bass and the kick and snare and the high hats. Maybe we can also add some melody. Let's start with the cake that we added. Then let's add the same thing. But put it with snare. We're at some snares from our sample pack. Right there. The folder organized. You go to drums and one shots because it's a snare and let's search for a snare. Don't worry, by the time you are producing, you'll be able to find more free resources. And therefore you will have more flexibility over your music. But for now we are limited for a few sample packs. And this is not a problem since we are only learning how to do it. But let's listen to this snare. Maybe. Let's try this snare. If it works, if it doesn't work, we'll just leave it. Let's choose this, maybe. Let's hear how it sounds like that. Zoom in and make many more of this. No, it doesn't sound good. Let's stay on this. All right. So here we are. But don't forget that in the first place, we just want the kx. Then we introduced the snares, write it like this from here, and then duplicate them. Then also duplicate them all happened. We have this strong. We put it back. And after that, we put the same thing. But add some high hats. This is the rides, maybe not here. We want to search for some loops because the hi-hat is a loop. So here we have the hi-hat loop. Maybe you won't another loop. This is the same loop that we use in the beginning TO, let's add this right here. Why this is happening right there for a reason because we forgot. You simply extend it. So do you remember at the beginning, whoever we extended it, we just choose Fit to tempo and BPM and type in the current value. It will fit to the current tempo. We select it Control B. And here we have, here we have them on that Dropbox sounds like this. Now of course, that stuff missing, but at least we can see the general structure. It's Kp Kc, then kick and snare, then kick snare, hi-hat. 82. Vid 9.6.1: Sub Bass : But don't forget that with every base, we had to put a sub bass. How to put a sub bass? We simply go to write this the same pattern and choose the a3x oscilloscope. And simply those together, which it down to the maximum. Add a sub base. We are going to add a truck now. But I'm going to introduce you to a new sample back from which we will use it to have the melody and have more presets for the base. This sample bag is called the cleaned. And it's great because it's for free and have some stuff in it. But for now, let's simply add the sub bass. Let's put the same nodes. Right-click Control C. And you will ask yourself, why we simply do not put this. Let's put old and up arrow. We put this, we put it inside this layer. By the time all the bases are playing, we will also have the sub bass. The answer is because we need to pitch down the sub bass more. Let's say that the base was on here. If we put a sub based on here too, it will sound like this. We want it pitched down like this. We want more down. This is why we can put it on here. So let's try to have those and copy and paste it. So we copied it. Let's paste it. It was based at try there. Let's press Control and the down arrow. So let's listen to it. Listen to it again. But let's listen to the sub bass alone. Right-click solo. Let's actually put this up an octave. This to them all. Here we are only watching me. I want you to apply this in front of you and try to make the sub bass and make this kind of drop. The next lecture, we are going to go and download the clean sample back from a tree will have the melody and have other base presets. 83. Vid 9.6.2: Third Party Resource: So to download the link sample bag, you simply head on to clean music.com slash products and all this link that of course I will leave a link for you and the resources. You have, the clink slap house, and let's press Add to Cart. Be added to cart. You simply go here. And in my case, a test two because I simply just went to it previously before filming this video and simply go to checkout and stuff like that. You go and download this sample back. This is not actually a sample pack. This is a bank. This is a preset bank in which it contains many presets. For a bank contains many preset. You go and put in your details and stuff like that, then continue to payment and you can't add it. Normally. We will not dive into those details because we already did many of it. I go here and after I download it, I simply go here and open a new vital. Think. I go simply right-click here or simply click Import Bank. At that place where this bank was downloaded or it was added. You simply go and press on the location and you will definitely have it tried in front of you. In my case, I already have it. That's habit. And I have this lead, which we are going to use it later. But that is here, some bases here. And here. There is some stab. There is some good sub bass that in my case, I'm going to use this sub bass. Now you'll ask yourself, why are we using another sub base? As long as we can make our own sub base, you're 100% trite. You could use the a3x or CEO scope sub bass. Or you can simply use the sub bass. But usually for presets or vital banks that are online, they are usually higher-quality then the ones here in FL Studio. So every time I have that chance to use a third party vital bank for free, I directly go and have it and try it if it's screw. In this case, this is a sub bass that maybe sounds good. Let's try this. I mean, this sounds 100% the same, but I will just use it for the sake of this course, use some vital presets and try some mixing and stuff like that. So let's remove that again. You can have it the same. You can use a3x oscilloscope because it is sub base. It is the same sub bass, but I prefer using just vital subbase to say that I just used by the sub bass. What I do, I simply have this placed clone by mistake, so I press delete and don't forget to press here on Piano Roll Control C and go to vital, right-click general rule and select this. What you do is simply delete it. Again. You could just use three actual CEO scope, but because I prefer to use everything and vital, I use every single one and vital, you could use three actual CEO scope or vital. And don't forget to change the name. We right-click on it and rename, Let's name it sub bass. Let's give it a random color also. Here we have the sub bass, and we can simply use the sub bass. 84. Vid 9.7.1: Mixing The Bass(1): Now we shouldn't forget that we should mix the base b for mixing. We have to put it in the mixture. So we go here and simply start associating every single one of those to the mixture. Instead of going manually inside it, I'll teach you a trick that you can do it. First. Let's put the sub bass after this. Then you go to the mixer and find which check is empty. So this strike is empty. You seem to select those. Now, they are selected. Right-click on this and go to channel routing. Then you have those two options. Either routes elected channel to the strike route selected channels starting from this check. By doing the second option, it will route those channels starting from this strike. This means that the first one will be in the 13, the second one will be in the 14. But let's try it. They are directly linked one after another. After we do that, we start by mixing every single one of those. And how to mix them. You simply remove the sub bass from the base and remove the high frequencies from the sub bass. We don't want to have a base that contains some sub base. We want to leave that track empty for the sub bass to play. Your challenge here is to try and mix each one of those. Try to go over them like this and play it. Or you can simply press here and select Pattern. And we have them like this alone. I want you to remove the very low frequencies that sub bass from those. And after doing this, simply remove the high frequencies from the sub bass and we'll go to it after we finish. 85. Vid 9.7.2: Mixing The Bass(2): So were you able to do that? Now before starting with the correction, I want to just add some basis from the clean preset or from the kink phi tilde bank that we installed by press plus and go to vital. Then I go and die. The key choose clean. Here we are. This is the clink. We have this slap house base, which doesn't sound good and our track, and this might sound good. So let's try to add this. And this. Restart by this. We added it. Now we add the second one by right-clicking. Now press Clone. Of course you can simply press again plus. But like this, we just have this preset so we can show that the second one, feel free to just add another one and work that way you want. Because right now we are not beginners anymore. And you are able to do things in different ways and don't forget to name them, so we don't confuse in it. So slap bass for let's give it, let's try to give it the same color. I think that I chose this color. Let's try it. Yes, I showed this color, maybe it's a bit more. But anyway, let's try to have this slap bass five. Let's try to have also the same color. Maybe this, I'm not good at choosing color. And here we go. We have them all. Let's put them up, up. And this layer will only take those three. Why is this? Because we did not clear then you want so we should layer the new ones. What I do is simply press here. I make the sub bass down. And after this I select all of those. Its own layer, then it will be removed because we've not put them near each other's, put them near each other's, select all of those and set children. So right now we have all of this. Now what I want you to do is route those two on the mixer. What I want you to do is try to pause the video and route those two between the sub bass and this. I don't want this after the sub bass. I want the sub bass to be here. On 1841617. We'd leave the space to the newly added presets. Try to pause the video and do it. Alright, so how we do it, we simply press on it and press Alt and right, right arrow. It's so easy. Then for those, simply select them. Go to the mixer. Right-click channel routing, route selected channels starting from this stripe. And we have them ready. Now, what you want to do is start to EQ every single one of those. And we will do this process together to have a clean slap bass. 86. Vid 9.7.3: Mixing The Bass(3): So let's try to EQ the base. I want you to put your headphones or put your earphones or have any monitor in front of you. So we can EQ the base together. Now, a disclaimer that I'm going to turn up the volume of the desktop audio. It might be disturbing for you a little bit because I've just turned up the volume of the audio from the laptop. You can hear it properly. Because if I didn't turn up the volume of the recording, you wouldn't be able to hear clearly the sub bass coming from the slab base. Therefore, it might be a little bit disturbing. I'm sorry for that. But anyway, let's try to EQ the space. How arguing to EQ the base are going to simply remove the sub bass out of this base. We are going to remove all the very low frequencies. And we are going to try to make it by ear and not just look where it is. Because we have many slab basis. I'm going to teach you how to remove everything by ear. I see a lot of producers simply removing this by eye. So they tried to look at the EQ and they start removing it. And nothing really wrong with that. But maybe when you are producing another song or soft like that, maybe just looking by your eye isn't enough. You need something to hear it. Therefore, I'm going to teach you how to remove them by ear. Let's start by simply soloing this strike. Don't forget that we put this in the drum section. Let's put it in the bass section like this. And we'll put it up by a shift. Up. Here we go. We have it on the instrument. We haven't thrown by each section or the instrument or whatever. Right now let's solo this. Let's play it alone. Let's see this. Why is this true octave? So that is true octaves maybe because of the sub bass. Here is the sub bass from the lower octave. And this is a debase from the higher octave. I thought that we were wrong. So what we have to do is start listening to each preset by itself. I listened to this preset only. I listened to this preset and I remove the sub bass out of it. So how do we do it? First, we have to load our parametric EQ into. After doing so, we put this aside, start dequeuing. I want you to turn up the volume of your headphones or your earphones. It might be again disturbing. But let's try to make it. So I said that if you want to EQ something, you can simply remove it like this. But to clearly removed the low frequencies. And as you see, there is still low frequencies is right here. There is right here. Low frequencies. What we do is first set this to high cut. We put high-pass. By this. I don't have low frequencies, but still I have some of them right here. So take a look. So what I do, I simply go and scroll my mouse down right here on this point. By this, I have them cut out. I have a sharper cut right here. And I turn up using my scroll wheel to, I turn up a bit right here. So I don't always cut from here. So let's turn up a bit. Here we go. So right now we can start putting right here like this and start seeing where we can remove the sub bass out of it. If you didn't do it. I want you to retry, try it now and try to remove the sub bass out of it. 87. Vid 9.7.4: Mixing The Bass (4): So I hope you did it. Let's try to make it right now. I'll turn up the volume of my headphones and let's try it. So I made my mistake. Let's do it. Let's hear this. And if you want to keep hearing this on a loop, simply go press Control and drag it through here. I opened the parametric EQ. Here we go. Let's start. First. What I notice is that there is something wrong down here. I'm here like there is some kind of river me. Let's hear it together. I might be mistaken, but I feel like there is some kind of delay or some kind of reverb, something on the base that is wrong. I head onto my preset and go. And thus slap bass one. I press on it and make sure that the vital effects there is nothing wrong. Let's figure out. Yeah, There is the reverb. So there is some reverb and the base. The last thing you want to do is put reverb and debates. You'll ask yourself why the person who made the sample pack will put reverb and a base. Well, maybe he was working on another track. Maybe he was doing something, maybe he forgot putting River on the base. The last thing you want to do is put reverb on the base. Every time you hear some river on the base, directly remove it. This is why we are going to remove the number base. Or you can just say activated from here. This is the effects from the preset itself. What's the difference between adding reverb from here and that mixture is the same. You can add river from vital, and you can add river from the mixture. But of course, when adding river from raw mixer, you can have more control and see what's happening. Let's go back and let's hear it now. It's much cleaner right now. Hope you're able to hear it and less now remove the sub bass out of this. What I am trying to hear is this sine wave. Let's open reaction of CO scope. Maybe this right here, this is a base. Right here. We can play it. So let's put them all together and let's maybe deselect this. So what I'm trying to hear is this. Or if we open this scope, I am trying to hear this and not this. This is a base. This is a sub bass. I'm trying to hear this sine wave, and I keep doing the EQ. So I keep removing from the EQ like this until I start until I stop hearing it. If I keep hearing it, I keep removing, removing, removing until I stop hearing the sub bass. This sound will be right here. I keep removing and removing and removing until I stop hearing it. Right now that you have an idea of what we have to stop hearing, Let's go back and let's press here solo. And let's stop. We open again our EQ and sort by mixing so you don't want the kick. So let's also on solo. At this point, it might be good. Now the difficult thing and that challenging thing is that you don't want to cut too much. Because if you start cutting too much, it will eat up from the base. We still want to have a strong base. Therefore, we don't have to remove the base only the sub B. I feel that at this point it's pretty good. We removed the sub bass and we kept the base. So let's do the same for the other ones. What you do is directly either press this un-solo, either do the same. So open that parametric EQ, select for 800k U2 and do the same thing. So put it down, put on high-pass, and drag this down and all that stuff or less delete it. You simply take this and press Save Preset as you don't click it, you just drag and drop it into the second one. By this, you will have the exact same EQ of this applied to the second base. Here, the EQ of the first one applied to the second one. You can start doing this and you can, for example, make it for the third one and the fourth one. But we want to make sure that we actually EQ the second one. That's off the first one, and let's EQ the second one. I also feel that this is a good point. Again for you, it might be different, but because you are doing it by ear, it might differ a little bit. Let's open our third one. We can also do the same thing here. If we set as drag it and drop it. This would save us the time of simply doing all these options. So high-pass and like this and stuff like that. So let's put on solo here. If I put it on here, it would be eating up too much of that personality of the base. So it will be removing all the good frequencies. Take it like this. You feed that it's pretty strong even though there is a little bit of sub bass. But if we totally remove the sub bass, it might be wrong. Maybe at this point, we would be removing the sub bass and not eating too much from the base. I will turn out a little bit that computer audio so you can hear clearly. Hope it's not disturbing for you, but just to listen. You hear the difference between here and here. Here it will be eating from the base. Here. It's too much sub bass. The middle is a good point. Maybe a bit to the right. Let's do the other ones. We press X and goes to the other one. Let's start. By the way, you can move it from here. So you can move this knob right here. At this point, you can clearly hear that this sub base year. So take a listen. But if you move it a bit trite here, we're still hearing the sub bass, so let's move it more. We totally stop hearing the sub bass. Let's also listen. At this point, it might be good. 88. Vid 9.7.5: Mixing The Bass(5): So for the final one, the one number 17, which is a bit of an exception. Let's hear it. We can clearly hear that it's not really a base. It's too high frequencies to be. Why is this happening? Because let's hear the lead itself. This is like this. It might be too much pitched up or it might not be pitched down enough. So we actually go to this vital and see if it's pitched down. Yes, it's pitched down minus 12. This is why we need to write its own piano roll. I go and write the piano roll for this in octave down. Let's try to have the piano roll off the layer, copy it and paste it. And let's try it for this slap bass piano roll itself. We pitched it down and let's try to listen it and it will not be pitched down. Why? Try to guess? Why do you think it's not pitch down? Even if we change the piano roll, it will not be pushed down. Try to pause the video and think about it. Well, it's because we did not remove the layer. So this slab base, it's still tied to this layer. If we see this and try to pay only this layer, we see that all those for our plane. What we want to do is simply remove this by selecting only those children. So we say like them. Go such children. I like this, it will have it alone. Did you hear it? So let's control I am put it up. Yes, this is the good one. As press X and EQ it. We press on here and try to occur it. Before this. Let's delete it. Let's have this EQ so we don't do all the work. So save preset as like this. Right now we have this strategy. At this point, it might be good for the sub bass. Let's remove this. Let's enqueue the sub bass. We also put a parametric EQ, but this time we want to keep the low frequencies and remove the high ones. I go in here and simply press here. By. This time we want a low-pass. Let's put this down. Let's put this up. I put this down and not this. Let's try to remove the high frequencies and keep us some base. We want to only keep this sine wave and remove everything that seems like base. We're going to only keep this sine wave that we tried to remove from the actual base. At this point I feel like it's good. We might have change it later, but at this point it might be good. Let's try to listen to them all. With the kick and everything. Now the bass sounds much more powerful than before. If you can't see mixing. All of that. Great job guys. 89. Vid 9.7.6: Mixing The Bass(6): Right now that we execute every single one of the base, we want to make the volume. How do we make the volume? It's true that in the beginning we said that we should first the volumes, then EQ them. But right here and that slab base, because we just wanted to focus on how to EQ them. We can write now, move the volume nodes. In the slap house, the process can differ. We can start by E queuing them, then the volume, or we can solve by the volume and EQ in them. Usually try to do what you are most comfortable with. Burst only, I'm most comfortable in dequeuing. Then what I do is I search for the main slab base and have the higher volume. So what I mean is let's remove those. I want to search for the main base for the name preset and have it for the higher volume. So let's try, let's try this. I don't think this is the one. Neither this maybe this. Of course not this. Of course not this. This is the main one. How I chose this, because it is the most powerful. It's the one that gives the most lives their base. So I keep it on the higher volume. Now let's see the second main one. Let's see the second most powerful one maybe, or the second one that we like. Maybe this, maybe this, maybe this, maybe this. We put it on a volume a bit lower than the first one. Let's see here for the third one, maybe this, Let's put it lower than the second one. A bit lower. Third for the third one. Let's search for the fourth one. I like this more so that's what it emit lower than the third one. Let's search for the fifth one. We put it also lower. This is like this. Let's listen to it all. I'll repeat what I did. First, I search for the main one. The one that sounds the most powerful and that I personally like the most. For me it was this. This is one that I feel that I want to just put it in the bass so I want my base through overall sound like this. Now the other 41234 are just to give it more life and more colors. I searched for the second preferred one. I found this. I want to give my base also a sound like this, so I put it a bit lower. So I leave this that sounds the most powerful. Then I wanted this. So it was just a personal preference. And I start thinking what kind of sound my bass want to sound light. And I came up with those. Every time you feel that a sound is less important, put it, but lower the volume because higher the volume of this. The base will sound like this. Take your lesson and let's lower the volume of this. It will sound so electronic, which is what we don't want. So let's put this back because it was on reset. Let's put this down to their maximum. Like this. I feel that this is the base that I am using by enqueuing all of those and putting the volume. It might be better for the sub bass. You can maybe turn it down like this, maybe depending on your personal preference. 90. Start Of Part 10: CPU hacks: So at this point, your computer might start lagging. We are adding tons of element and you're adding all of those soft. You are adding many vital presets and mixing EQ, QE effects, all that stuff. Maybe if you have a slow laptop, it might start lagging. This is why I prepared for you some settings to change and tweak. It might help you. Again. Fast computer, this is nothing. It takes no space. And my computer is not that fast. And I'm screening recording and it's still doing well, doesn't mean that my computer is so good, but it does well. So if your computer is average, it will do well. But for some people, it might help them to give them additional options and simply tried to optimize their performance. And even for fast laptops, most the biggest producers tried to always optimize their laptops because they add tons of stuff and tons of stuff. If your computer isn't like me right now, it might lag later. Let's try to make some stuff. Let's go to Options. Let's go to general settings, and let's go to all Joe. Here we have something called buffer length here that is music production is live. So everything that you put in here played live, it does mean that let's say you are seeing that the chord progression is working right here. While the computer is processing the chords, you are hearing it. Of course, even the people who has fast laptops has to know this because it's good to know. The buffer. Something called buffer stores the audio data before it's sent to your audio device. In this case, your audio device as your headphone or your speaker. Here. If the buffer length is 12 milliseconds, what you have is what you see directly here it, if you see that this is switching the code directly here, it's not that you start seeing something. And then here, know everything. If you enable everything, the computer is processing all this stuff. So maybe here for example, the computer is processing the vocal cords. There is the plucks that kicks, and here it will be the hi-hats. And then here the scenarios, the ambiance, everything. When we add multiple elements, the computer will have to process more and more, which leads to use more CPU, which leads to maybe crashing the application, or it will start lagging. This is where comes the buffer length. If you change the buffer length and you make them longer, when you make them longer, it will use less CPU. What it means that if you put this on five-twelfths, for example, what will happen is when you see something, you will directly here, directly here, I directly here, what I see. But a free put the buffer to a long unit. What will happen is that the buffer will sort the data. Then after a certain period of time, you will be able to hear longer buffer means lower CPU. For example, if I put it on 1024, what will happen is you will see something and then you'll be able to hear. So let's put the buffer on 384. If I put the buffer on 384, you will see that my CPU right now is add 3334. Right here. It is how much CPU is being used. But if I put on 1024, my CPU directly drops to 18, then go back to hurt you. That's directly. See the difference. If I put a two right here like this, Let's press and let's hear the audio. As you see. It's using half of my CPU, it's using 50 of my CPU. But let's try to put it on 2048. What will happen is it will use a bit less. As you see, instead of going up to 50, 50%, it went up to 40%. Why is this? This is because I'm not directly hearing what I'm saying. But if I'm seeing that down below there is this symbol. I don't directly here. It's a bit delayed. You might not notice this delay. But I'm telling you that the more you increase your buffer length, the better for the CPU. The CPU was overloaded with this buffer length. Then you might need to go to increase the buffer length because it's make the smoother. It lets the computer have more time to load. You will tell him that, okay, It's fine if you if you are a bit late, therefore, your machine will be smoother. If you having some lag or you want to prevent from laying on your machine, just increase the buffer length. 91. Vid 10.2: Lagging-Sample Rate: So let's put back our offer length to 512 because for me it's doing fine. Maybe later on I will increase it because I'll be using more soft and I'm recording my screen. Retreat really eats up from my CPU. The other option that I will tell you is lower sample quality or sample rate. Right here in the audio settings. I have something called sample rate. It's set on 44, et cetera. It's set on this number. If we see this number is the industry standard. Usually most producers use this sample rate. Now what will happen? If you hire the sample rate? You'll be able to hear the kick more clearly, the snare more clearly, everything that our samples and not instruments, for example, the hi-hat, everything that are in the sample back, you will hear them more clearly. Usually, I put this on 44, I don't change it. But if I'm really making an important collaboration, but if I'm working on a really important project or working for a client or something. I usually put it on 48 because I can hear the kick much better. But for you, I prefer that you put it on 44 if you don't have any problem with the CPU. But if you feel that your machine is slow, you can simply put it on 22. You will not hear a big difference, but this is less clear. If your laptop slow lowering the sample quality when you play the kick, it will be a bit lower quality. But don't worry, when you export your check, you can set it up to the maximum, what it will take longer to Export. And it will sound very thing. The whole idea is if you want your machine, work faster than FL Studio, lower the sample rate. You will hear the kicks and the sales and stuff like that in a lower-quality. But when exporting yet, don't worry, you can turn it up. And simply it will export in full worthy. So it will not affect the final result. So the lower the sample rate, the faster your machine. 92. Vid 10.3: Lagging-Other Details: So a few more other options. And I'm not going to go in depth in it because I already explained that two important options. Now, try to put this on always ace your drivers. Maybe you have more than two, maybe you have less than two. But always try to put them on Azure drivers. And if you have many, just try them all. Try to see what works the best for you. Again, it doesn't matter too much as long as you're just using FL Studio ASU drivers. For me, I'm using always Asia drivers. Again, it doesn't matter too much, but it just helps a bit. And make sure those three buttons are enabled one to three. And we talked about cloning the sample rate. Now, if you go to the project, there is something called time-based BBQ. If you put a higher BBQ, you'd be able to zoom in more in-depth playlist. It will take much more CPU. For example, if you put a p, pq of 48, reducing the PPE Hume might result in loss of data. Are you sure you want to proceed? No, I don't want to lose my data, but I already did. Let's put it back to 96 if nothing happened. But if I lower, if I hire might be PQ, be able to zoom more. So take a look right here. Let's put any hi-hat try there. Let's try to zoom in. And let's press Alt and Zoom and vertically. If we zoom in, you see, I can't see the very details of it. If I put my p, pq higher, like this, I will be able to see more details. Whereas the hi-hat, I'll be able to see him more and more details. If I put it on also hire, you see how much detail I can see it. If I put it on also higher, I'll be able to also see more and more details. So I can't see the details of this. If I simply put it on 96. Yes. Let's try to go. As you see, I can zoom in as much as I was zooming in before. This is the maximum that I can zoom. And if your laptop is lagging, you can simply go here and turn it down to 72 or 48 where you feel comfortable zooming in. For me. I usually keep it on 96 when I start by mixing and all those stuff, maybe doing something in details, I just lower that occasionally. Then I put it by because it takes a lot of CPU. This is a very important one. If you turn it up too much, your laptop will process and take so much CPU less demonstrate how, though if I put it like this on 96, I keep it here. Let's see how much CPU is, load is 45. Let's put it on 768 and try to see it. You see it's using 90% of my CPU and it's lagging so much. This is why you have to keep it low. And if you want to make it lower, the lower you make it, the better, you will not be able to zoom into the maximum, maximum. But personally, I rarely use this. Maybe if I want to work in a very detailed sample pack, I just use it. Another thing that is important is used purge unused good audio clips and use smart disabled and make less layering. We'll go over those in the next lecture. Those are key for putting less sram and less CPU. 93. Vid 10.4: Rendering: I know this is getting boring, but for some people it's so important to optimize for using their laptops. And even people who has fast laptops, I think it's good to know them because maybe after adding so much plugins, you will have your machine slow. Let's go over some final stuff which are the most important stuff. The first option is, for example, let's say I imported some sample packs. Here We are. Some drums. I imported this, imported this. Then I deleted them. Let us say I imported ten stuff, maybe 20 stuff, and then I deleted them. These are still present here. So if you see they are present right here. They are added right here. And if I delete them, they are not removed. Although this doesn't take up from your CPU. Cpu, it means that something running live. It doesn't take up from your CPU, but it takes up from your RAM. What you have to do if you felt that you added so much stuff and deleted them and never use them, you go to Tool macros and you go to purge unused audio clips. This means that all the audio clips that you are not choosing in your track will be deleted. And as you see, those that I didn't choose, turns out that I used so much stuff that I didn't know I used it. All the stuff that I used it, then detail and never used it back will be deleted. Tools and Macros, then purge unused audio clips. A second thing that you can do is put less layering. So for example, in the slab base, of course, by putting five layers, it will use five times more CPU than just putting one layer. If you feel that those layers that we put meaningless or you don't want to put them, simply remove them. Because maybe there's some layers that are the same as each others. Maybe when you layer other stuff, you layer too much. So layering is always a good idea. Only if it will take up so much of your CPU, you can put less layering. Because when you layer, instead of using one vital plugin, you are using five vital plugin. This is why it's not always a good idea to layer only if it makes the sound better. What if you want to layer too much? We want to layer many, many stuff. You don't want it to take up from your CPU. What you do, Let's say this clip, a bit lagging. So when I play this, it's lagging too much. What I can make something called render. So I go to here and right-click. We have three options. We have quick render as AudioClip, rendered as audio clip, render and replace. Let's go and press Quick render as AudioClip. What it will do is transform this pattern to an AudioClip to a simple like the vocal to an audio clip. And it will take less, so much less ramp. Let's right-click render as AudioClip. And we are done. If you see right here, you will have in this section of audio clips, you will have a try there. What you do is simply drag it and put it right there. This is the same, the, exactly the same as this. Let's take lessen. The same also. But the biggest difference is that as I play this, they can look at the CPU right there. It's about 32. And let's play this. And also they can look at this. It's about 4647. It takes so much more if we use the real plugins. So what you do is just transform this into an audio clip and you can simply use that. So let's press Duplicate or simply Control B. Let's cut it from here and goes so cluttered more. Here we are. Let's go here and press Control V or Control V or Control V. And here we have the same slap bass. This is the biggest trick that is used in music producing. If something is lagging too much, you simply transform it into an audio clip. So what if you want to do it and another, in another way, make sure you select it. Always select this and not select this. You select this, right-click on it. You have Greek render, rendered as audio clip. Then Render and replace, surrender and replace. It will simply delete this and replace it. So let's click on it and simply press Next. Start and waited till it finish. It will delete it and directly replaced it and said, Well, if you don't want to remove this and put this manually, you can simply press and replace. If you want to put this back, you simply drag it and drop it back. It's so easy. Surgery this is used if you don't want to remove stuff and keep it at the same place. But at the same time you're interested in simply just reducing the CPU usage. This is a good one. You reduce from the CPU. You can use this trick again, right-click render and replaced or quick render as audio clip. This is useful. 94. Start Of Part 11: : So let us start with the melody. How we create melody? First, you need to know how to create codes, which we already did. But there is a few information that you need to know more. We have to know the melody, is the melody. Now, also we need to know the layers. So we have to choose something to create from it melody. So how do we create a melody? As we have a slab base, we also have some leads and stuff like that. What are leads? As we have presets for that slab base, there is something called leads for the melody. So the melody is made from leads. Leads. It only means a sound. Now, for this file, varied me, don't worry about it. This is just for me. So I can be able to guide you through creating the melody easy. It's adjust, make that process easier, faster, and smoother. I also created two files right here called read that mu1 and mu2. Inside those files, it contains stuff. Who helped me explain you how we are going to create the melody in a step-by-step process without knowing too much music theory or knowing songwriting or melody creating or stuff like that. So first let us start by adding our preset. So first, let's add a new pattern and call it melody. Give it a random color. Here we are. Let's choose a different car because we chose too much of those colors. So we press Enter if you want to hear it live. So if we want to hear it with the base, you can put it right here, but I don't want to hear it. I just want to hear it alone by selecting that pattern bottom. I go here. And of course our friend vital, you open this vital plugin, then we need to choose a preset. What you do, simply go here. And if you want to press detached, let's press the attached. Right now we have it all detection. What we do is browse presets. Are this, you are now familiar with the interface of vital. We need to use this new sample pack that we downloaded that cling one. Of course, don't worry about that. This is just the preset that I chosen. But you are going to go over them one by one. We want something that has elite of slap house. Now, you might not have listened to a song of slap house. This is why I am telling you that the leads sounds something like a trumpet. Something that is white, is maybe bright, that, that has some high frequencies. It sounds something like this. All dallies in slap house, you can search any slap house songs that you want. 90% of them have leads like this. Of course it comes down to mixing and how much the producer is professional and stuff like that. Let's listen to other leads that we have inside the sample pack or the sound bank. I mean, again, if you want, you can click on this sound bank and you will have them all in front of you. Let's go to the second lid. This is of course not edit off slap house. This might be similar to the read of a slap house. This is not elite. Now we quick one that BS means base, LD means lead. Pd means pads. You can see them directly in front of you. This is TAB. We might use them and this is a sub base that we already used. Right now we are going to choose this lid. It's called LD colors. If you're not finding it, you can simply go and search for it. Press on here and press X. And here we have it. It sounds like a trumpet, anything that you want. So let's right-click, Rename and call it leads. Let's give it also a random color. And here we go, we have the lead. Now without actually linked it to the mixer. Why? Again, you cannot link the mixture right now because we are not going to add effects right after we chose the plug-in, the preset time in. But you can simply go press on here, then choose the one that you want to link it to and press Control L. In our case, let's link it to here for a reason that I'm going to mention later. After the basis, just leave something empty. Leave this track empty, and press Control L. We are now going to replace something inside of it. We are going to play something inside the 19th. Now what I want from you is simply right-click Piano Roll. Try to create a melody. So I want to to take five minutes. Try to create any melody that you think as Melody. I just want you to experiment. Don't worry, maybe you never heard analogy of slap house or you never heard even, even MOD of EDM or soft like that. That's no big deal. All I want you to just try and do something great melody and we will get back so we create a melody together and I show you my thought process and how you can do it without even knowing too much music theory. 95. Vid 11.2: Creating Bass Bus: But before even creating the amantadine, What do you think by this problem? We put the melody and we started hearing the melody and the base was too loud. So we created the amount of D and the base is too loud. What do you do? Do you go and manually turn down each one of the base. But let me extend this. If the base was too loud, this is debase one from 13 to 18 included the sub Beta. Of course, if it was too loud, what do you do? You will turn down the volume of each knob of each one. So if this was on 57%, I'm reading year from the hand panel. If it was 55%, you will turn it down to 40. Let's say you turn down 17%. You will do your calculation. And during this down also 17, 17%, 70% percent. Of course not. This is why it's common practice to create something called Bayes bus or get a bus for everything. What is Boss? I'll show you how I create something and routed through this bus. So I route all the basis to one track of the mixer. So for example, I put this base 123456, I route them all to one track. This one check is responsible for all the basis. Meaning that if I turn down this, for example, 10%, it will turn down all the basis by 10% to, without having to worry about anything, without having to worry about anything. Let's try to do it. What I do is simply click on this. Then you see this. This is routed to the master. What happens is all the sounds that you see. For example, that block we call the puck. But let's just correct it. Block. This block is routed from here to the master. From the master goes to your ear. For example, if we remove this, if we delete it, Let's delete it simply. It will stop playing. Or if I wanted to stop playing, I can just unlink it from here. So let's try it. I will only put like this. So take a listen. Let's only listen that blocks. I'm sure you can listen to them. If we actually remove it from the master like this. Let's listen to them. We can't even listen to them, even though we can see they are playing, but we can't listen to them until we link it to the master. Everything in here is linked to the master track. From the master track, you can hear by your ears. The same thing applies for the basis. Here in the base. It's linked to the master bus. From the master bus, you can hear it. Now what you are going to do is link everything, this track and this track. We will link it to the master bus. How do we do it? We simply press on here. And we press here, we link to it. But now we have to remove it from here. So let's remove it from here. Here we go. Can we hear this? Yes, of course we can hear it because this is linked to this check. And this is linked to the master. So again, this is linked to this track. Now this check is linked to the master. Let's do the same for the second one. We press on the second one, the second base. We link it to here. And we remove it's linked from the master because now it's linked to two stuff. Here. This one is already linked to here. How do we do the third one? Instead of doing two stuff, Let's just click on here. I'm just clicking on here. I mean, right-clicking on here. And select trout to this track. Only. It will only be routed to this track. And now let's go and do the same for the third one. The fourth one. We right-click on it, we right-click. We click first on the track on this base, and we right-click on this button. Route to this track only. The same thing goes for here. For this. Even the sub bass. You do see all of them. They are all routed to this track, to this boss, or routed this bus as routed all the way to the master track. Now let's name this mixer bus or base boss. Base bus, and give it a remarkable color. Give it in brown. They are. We give it this color. Right now if I wanted to turn down the volume of all the bases together while maintaining the same level of the basis. I don't want to turn down this this this this I want to turn them down equity. What I do, I go to debase bus and turn them down. Let's demonstrate to you. Let's listen. If I had turned down this to the maximum, we will hear nothing. Let's turn it up. For example, if you want to apply an effect for this, that applied to all the basis. Let's say I want to put River on the base. Don't do it. But let's suppose I wanted to add river or an effect. I can only add it on this and it will be applied on all of those y because this is linked to this. 96. Vid 11.3.1: Creating Melody(1): So here we have the base bus. And if you want to apply any effects on it, we simply click and add the effects on it. For example, this, it will automatically be applied to all the bases. But let's remove it and focus on creating our melody. Going to create it. We have some chords. And from those scores, we are going to create an actual melody. What are our codes? Are? Codes are simply like this. Copy it and paste it. From there is base. And we go to the melody and go double-click. And maybe if we have this button and we paste it, we have those. Let's try to play it. This was race-based. Mistaken. But let's go paste it right here and that lesson. You'll want to make it faster and make it catchy. But first, let us know what are the cause of it. We have the fifth. Let's actually delete it and put it down here. Actually the fifth of this, of this, although we have it, this is something called the third of the chord. I'll do we know the third of the court? We simply put the node in the middle. What note is there in the middle of this, of this, that is the node E. But e is E-flat and our scale, we put it E flat. Here. What there is in the middle between a flat and E flat, there is denoted C. C, we do not have C flat. What note is there in the middle between f and c? That is a. And we have the A-Flat, so we put a flat. What note we have between G and D? We have denote me. Do we have B and B flat? Yes, we have V flat. No, we don't know. We don't have B flat, so we keep it normal. If we listen to them, there'll be so RBD. Maybe we also can play a chord and the melodies. And of course we will not do it. But I found their way for you to simplify things. Once you are going to do is simply RPG eight. What RPG it means? It means that you are going to create out of the chords, we are going to create many nodes. Let's go here. Let's put a small note like this. Now let's put them here. I have them like this. I do the same for the rest of the notes. I see like them. Make them shorter. If you want, you can make it two lines. And again, I'm putting the division of water a bit. You can put half and still do it. I remove this. And this. Then put this again. Here we are. Let's listen. Now let's do the same for the rest. Again. Make it small. Turn it down with this melody here, with this melody here. The middle one. Replicate it. Now the same goes for the here. And like this, like this, like this. Let's listen to it. Let's put it actually in the playlist. So let's listen how it goes. All right. Let's listen. First. It's too slow, So we have to make it faster. You see that here? It's changing code. And the slap bass. We have to change codes by here. Go from here to here. We have one-quarter. We have to change the code. So what we do, we simply make them shorter. Let's make them shorter. Let's put them near each other's like this. Like this. And put this in the middle. So let's try it. Let's do the same for all the nodes. I will do it and go back. So what I did, I simply put denotes closer to each others. Like this. Instead of boring you, I just made them. Now you can just take a look at what I'll do. Right now. I press X. Let's remove this. Let's listen to it. Here we are. Now what I want from you is simply go buy your own to make something out of it and get back to make the same LD with the slab base. And then of course we will make a better melody. But for now, try to do this very basic melody and we will get back to it. 97. Vid 11.3.2: Creating Melody(2): So how to make this melody sound bachelor? As we said, you make it sound better. We might have to go outside of the rules. We might have to move something to the left, something to the right, and stuff like that. Finally, by trial and error, and we will be able to create some malady. What I want you to do is first, try. We go here and try to cut this. So anything, try, try to cut it and move it any place. I would try to cut this. Move it to the right maybe. But let's try to listen to it. We have something. Well, let's try to cut this and maybe move it to the right, whatever. Let's keep it to the left. Now we start having something. Why not have this tan, tan, tan, tan, tan, tan like this? Maybe let's try to do this two times. So let's cut this and put it two times. Instead of ten. It will be tn, tn. Let's try to put it like this. Let's keep it like this. 2d space between here and here. Let's move it like this. Let's listen. Let's maybe move this. Maybe move them and move them to the right because we need some more space. So I need a space between the tan, tan. Tan, tan, tan. Okay, now we have something. I want. How did I do it? I will repeat my thought process on the same chord or the other cord blood, the same melody. So I will repeat to this. Let's listen to this from here. I press on here, and let's listen to it. Let's select control. By this. It will only keep looping in this. How did I do it? Let me repeat. What I did is simply try first OneNote. I selected one node and try to cut it. I simply go and cut, cut and move, cut, move. Now I cut it. Why not move it to the right? Because if I moved it to the left, it will be right on the first node. I don't want this. I just want to cut it and move it somewhere else where it can create some silence and hippy rhythm. I move it to the right. Now why not cut the second one? Let's try moving it to the right. I will try. I'm just trying. And then I listened to it. I want something done. Danton. So 1010 photon dentin, those two nodes should be near each others because I don't want dun, dun, dun, Danton one after another. So now we are starting to have melody. But to make it better, I thought that why not divide this by half? I go to the slides tool and repress the here and try to slice it by half. I either can slice it or simply expressed like this. Put the second one right here. If I listened to it. I want the intent and I don't want tan, tan, tan, tan. I want I want a greater silence in here. I want something greater, so I don't want dentin. Dentin. I want it a bit slower. So I move them to the right. I want this. I want then I just move it a bit and try to experiment. I'm all, I want more space between this and the soap. Let's try to prove this because they are under each other's. Here we are. We have a melody. So let's try to listen from the beginning. What I want from you is try to do the same melody and try to put it on all those notes. Do the same for all those nodes. Try to do what I did and try to be creative with it again, maybe you came up with a second melody. Just leave it, Just leave this melody because it might be good for you because you created it. And let's try to pause the video and the next lecture, I'm going to teach you how to make more variation to this melody using the chords that we just created. 98. Vid 11.4.3: Creating Melody(3): Now let's fix it together. We create the same thing. And for me, I will simply delete it. Control C or Control V, or simply Control B. I can copy paste using control C and control V, or simply Control B. I simply go here. And instead of starting right there, I know that I wanted to sort on the F. I select this and put it down on the F shift Jack job. Let's listen to it. Here we are. Now the final one that G down here. Let's just do it. Here we are. I didn't try them down one-by-one. I just press Control B and dragged it down. But let's listen to the whole thing quickly. I wanted to make some more variations. So how do we do it? Let's listen. I don't want this. I want I want to change something. Well, let's change this and put it on our chord, which is C. So on dynode. Lets me put this down here. Don't worry. If you are not following up with me right now, I will leave everything. So I will leave the FLP for this melody at the end. And I will leave the FLP for the second melody that we are going to be to create. I'm going to create two metals, these in front of you. We give you the flexibility of creating any melody you want and in any style you want. Let's listen to this. Okay, maybe let's create here. Instead of putting your slide here, Let's put it up an octave. This, let's listen to it first. Maybe put this here. Listen to it. Maybe put this here. Then let's listen to it. Listen to this, like this, but let's listen to it. And maybe also this, this, Let's move them down. Let's try to listen. This node. We don't want it. We put it like this because we don't have a B flat. So let's listen the whole melody. What I did is simply know that, okay, we have this chord. I distribute it all the nodes all over the chords. So instead of putting two nodes here, instead of putting that to note on this year, I put one here and one on the E-flat. I simply did that here. For example, we had then I'll try it there. Instead of putting them both on a flat, I put one on flat, one on the C because C is included in our code. The code was this. And this. Instead of putting this and this, I put this, then what I did is simply like that wasn't this right here. Okay. Now what I did is simply I know that we have 123. I mean, instead of putting it like instead of putting it in here, I just put it down there. I could have put, for example, this like this. Because the code is from here. There is no rules. So let's try to listen to it, how it goes. I think it's a good one for our first melody. Now in the next lecture we are going to try and layer this melody so it sounds better and try to mix it a bit and stuff like that. Or we can simply create another melody and to have more creativity and stuff like that. But what I want you to do is simply stop and try again. If you didn't create it that your melody in the first place. By creating MOD, try to create something and keep in mind that there is absolutely no rules. We can do whatever you want here. But of course, if you want to be held, you can follow along with me in this course. And again, the resources for this melody will be left in the resources section. I'll give you this FLP and teach you how to use it. 99. Vid 11.5: Importing MIDI files : So how do we import the midi file that I gave you? Let me tell you what I did. I simply created like this, press here and file. I pressed M port, I press export midi file. Because for me, I'm exporting this modifier. After I press this, I simply name it and it will be exported as MD5. But for you, when you go and download the media file, you go to file. After you go and open the European rule, you make sure that you have that ID. In that iid. You'll right-click and roll. You press here. And of course you will have it empty. You go to file import modified. In our media file. When we click Import midi file, you will simply have this and it would be, for me, it's a VLC format using repress on it. It will have the extension M, I, D. It means midi. You press Open and you'll have it directly in front of you. Let me first try it. Let me try it here. Another one. Press here, open Bible. That's close it. Right-click the rule. I press here, File, Import midi file. I press on this one. Those two are for me. Press Open and make sure it has the extension MID open and you will have it fried in front of you. But if we take a listen to it, it will not sound as our melody. Why? Because we did not create the preset. This is why I told you that you have to have that preset first and create the vital and add this preset. And after that, you go to the piano roll and add this modifier. But the only limitation of that is that you can't import it if you have a lower version of FL Studio. If you don't have the latest version of FL Studio 0.8, you will not be able to have this. This is why unfortunately, if you have lower than 20.8, you have to just copy it from me. Like this. I just put a quarter note beat. I mean, the rhythm like this. Now, I don't advise you to simply copy me. Very simple reason because you will not be created. So try to be creative with it and simply do your own. But if you want, you can pause the video. And this is how I created the melody. 100. Vid 11.6: Layering: Now let's put some layer. We close this and let's add some layer to this. And fortunately, when we downloaded the echo sound work midi pack or the back, I mean not media back. What we had is the presets in it. We go and press duplicate or clone. I mean, I'm keeping confusing between the two because it's the same. And we go echo sound work. We will have some leads. For me. This is the way that I've chosen, but I'll go through every single lead and try to choose it with you. Let's hear this. As you here. This is the most similar of our lead that we created. Let's press X. Let's name it, another name. Name it lead to. Here we are. And let's save this lead one. And after we name it lead V1 and V2 like this, we now can link them to different tracks. So 20, and you have to link them on 21. I pressed it by mistake. So 21. And here I simply press on here, and that mixture goes 21, Control L. And I have them read. Again as we did. You simply create here a lead boss by right-clicking name it leads boss. Give it a good color. Here we are. What you do is pause the video and try to link those two leads into varied boss. And that it was leading to the master. Alright, so how do we do it? We simply go here, press on it, right-click down there we are to the strike only. Click on this right-click route to this track only. But don't forget that we should put some layers. So how do we layer both? We either copy and paste the same thing in here. Right-click camera roll. I paste it. And as you see, we will have the same melodies. But if I change something in one lead, how do I change it and the other one, I will have to go manually and change it. How do we do, how do we fixed it? We simply create a layer. After having a layer, we select both. Press on this, re-select it. Press on this. Children. By this. If I press a random keyboard shortcut, I have them both. You did this first. Let's copy it and put it right here. Because we forgot to delete it. Let's hear it. Let's hear this individual one. Here we are. This is what we made four layers. Again, if you have your own preset bank, you have something and you have your own personal preference. There is no problem. You can simply go and create one on your own and create your own sound. Just be flexible. The sake of this course is not to tell you what to do and said to teach you how to think and not what to think about. Just teaching you how to think about layering. And of course, you can do the same. By layering. You make that sound sounds fuller and maybe it will be better. Sometimes it might be worth. But with practice, I promise that everything will be alright. 101. Start Of Part 12: Extra Elements: So we added a good manner D, we have the slab page, we have the kicks, snares and everything. But there is one thing that is missing and is always available and slap house, it's called the brass sounds, something like this. Let's add plus brass. Also give it a random color. And here you go from here, let's add also a vital plug-in. As usual, we are using vital intensively in this course. Let's go here and in that preset that you downloaded, let's put detached. But we can have more flexibility over it. And in the sample pack or the sound bank that he used, we go to clean and we have something called step. It sounds like this, so it's a bit scary. True is it? And let's press X. Let's rename it. Of course. Given some random color. Here we go. So I want, on every change of code, I want to have a new sound that sounds scary. I'm going to explain what I mean. Let's drag and drop this right here. I want on every change of codes. By that, I mean that here and here, and here and here. So take a look. Let's open the piano. Let's try some nodes like this, maybe this, this, this. So let's take a listen. This preset is actually a breast, but it didn't sound like this because we add it to the melody that's deleted, Control C and Control X and paste it right here. Because I heard something weird, some delay or stuff. This is why I have to be careful when inserting the amount of D. Always if you paste it in some, somewhere wrong, like I did right now by mistake, just delete it and be careful to the sound. In this lesson. It sounds something like this. It's a scary. It's good to listen. So take a listen alone. We can add an octave. But let's add an octave. Maybe a pitcher down. Let's hear it. Here we are. This is how the breath sounds like. Now, this is not mandatory. But in many slab based songs you'll hear something called brass. Here. This simply putting it isn't Trump. If you don't like it. Again, right now you're not a beginner anymore and you have the flexibility to add and remove stuff that you don't like. But for now, we are going to learn how to get the attack release and try to put those knobs together. We learn how to do it and use those knobs. Because it's essential to know how to use those kinds of envelopes. We learn it in the next lecture. 102. Vid 12.2: Advanced Vital: So what are those knobs? Let's go here. On solo. Let's try and search for our vital. You'd goes, I made it by mistake. Here you go. But let's listen to it first. Take a look right here. When the sound will play out, press right now a random keyboard shortcut. So when I press a keyboard, a keyboard key, you'll see that there's something going from here to here. Then I remove it. So I remove it. Now I press I remove it. We are going to sort by the first one, which is delay. Let's put the delay on 0. When I press something from the keyboard, I can directly hear the sound. But as I increase the delay, look what happened. Now I will press 123. It takes time. You hear the sound. Why? Because there is something called delay. By delay, we mean how much we want the song to be played after repressed our keyboard. Let's put the delay to the maximum and one through our press. Now we heard the sound. It might have taken maybe three or seconds. Here it goes. We had three seconds. This was the seconds. If you take a look right here on the network, let's work with attack. First. Let's copy the value or let's remember the value though, enter a value. That value was 0.304, almost 0.305, that we can keep it back. And I'll teach you a method to not memorize the numbers and simply go back to it. What I'm memorizing the number because if I put it like this, how can I know what it was at the beginning? There's no problem. I'll teach you how to know later on. But let's put it back. Almost it was here. So what do we do? The attack? Let's press a random keyboard. Let's put the attack longer. As you see, this ball takes longer to reach the top. Let's put that attack more. As you hear, attack is how much time it takes for the sound to reach its maximum level. If I put that tag right here, the maximum level will be reached within 0.05 seconds. If I put the attack like this, the sound will directly be at the maximum. If I put it like this, it will take a little bit of time making the sound smoother. Now what is hold? All if you increase it? Received that how much we want the node to be on its maximum level. For example, if I wanted the hole to be like this, then it will be only its maximum level for absolutely 0 seconds. But if I want the whole read like this, the node will stay on its maximum level, or this March or 0.6 seconds. Let's put it back. What is the decay? As you see, the decay is how slow we want denote to decrease. If we put the decade too much, it will take so much time to stop at the end. Let's put it back. What is the sustained? Sustain is also similar to the hole if you want and if you put it on the maximum, we will hold the anode for a maximum of 1 second. Sustained is how much, how fast we want denote to decrease really is how fast we need also the node to release itself. For example, let's put this to maximum. If I put a note, I will release the node N1. Do you see this is the release. If I put the release more, I create it, it will take more time for the anode to fade away. So right now I'm pressing, I'm holding the keyboard shortcut keyboard. Now I will remove my hand in 123. You see how it takes time and said If we put down the list, now I'm pressing on the keyboard shortcuts. Now I will release my hand. It will directly fade away. So 123, as you see it directly goes, are we going to use this too much? No, but it's good to know because for example, in this case, in the brass, I want to modify the sound a little bit. We are going to use it. This is why we learned it. And now we are going to use it. And keep in mind that those buttons are not only in vital, you'll be able to see them in serum. Silence. Any synthesizer that costs money or cheap or expensive or anything, we'll have those knobs if you know how to use them, especially the release and the attack, attack and release, you'll be fine. The next lecture we are going to modify that brass. 103. Vid 12.3: Using Advanced Knobs: So let's say your modified to March. And now we forgot where we were at at the first position. If you press right-click and set default value, press right place at the default value. We can press right place at the default value. Right-click to default value. Right-click to default value. It will not return initial value, the initial value that the person who made this preset. Instead, if we wanted to go back in the original one, you simply go here and go to the sample pack and select it again. In here, this selected again, as you see, now it's back to the original. What we want to change. If you take it isn't in the track. I want the sound to be like this. Tn and directory fade away. I want it to be strong at the beginning, but directly fade away and go slowly, slowly, slowly, decrease till the end. Then slowly, slowly, slowly, slowly, then go away. So what I do is go. Now double-click or simply click. There's no need to double-click. What I do is take a look at the shape of the sound. So it's like this. Let me put this on solo. Let us take a listen. I want it to fade faster. What I grew. I want this to fade faster. I go and turn down the decay. I turned down the decay. It will be going like this. Let's turn down a bit that sustained. Because I want it to fade away faster, so but try it now. It's too much. It's like it's it's like it exhale david. Let's increase the release. We can, by the way, shape it from here. We can shape it simply from here and have this like this. What will happen is it will give the sound and it directly fades away to this level, then slowly fades away to this level. They can listen. Now let's put this a bit here. Maybe I want to fade away faster. Maybe a bit faster. But let's take a listen the whole track. I need to slightly increase the attack like this. So it doesn't sound too punchy. Maybe decrease it a little bit. What I made is just shaped my sound. I wanted to be like this and that as you go down, then go down very slowly. This is what I did. And now I have it completed in my mix. If you want for personal preferences, if for example, keep it long, like this, maybe make it down. So all of this, anything that is good for you and that sounds good for you. You can try to play with it and try to see what you come up with. But for me it's fine. 104. Vid 12.4: Layering Brass: And because we as music producers or had a big fan of layering, I'm going to give you the link for a sample back, or actually vital bank, which is called slap house for vital volume on. It's by higher dimension sounds.com. Of course I'll leave the link. We go press and have the free download. And I will not repeat that process. How to get your sound bank. But I'm just going to go to vital. And when you download it, added of course, your big sample back or to your big FL Studio file. Then press Plus, you'll divide from vital. What you actually need to do is simply press here and click on Import Bank. After you do that, you will find that in your sample packs or in your banks that you have. My case. I just put it on favorites. And I have from here I have this brass. I just have it from here, so I put it on favorite. But in your case, you'll not have it unfavorite of course. But try to choose this one. Again. You can choose whatever you want. Any vital bank that you want. All I need from you is just to learn how to think and dry, add layers and stuff like that. This is why I'm using this. You can use other stuff. Let's press X. Let's go here, call it brush to breaths and give it a color because we forget, we forgot to give it the color, then the color here, Let's actually name it brush1. If I press on it by mistake, Let's name it brass one. How to layer? Simply press plus and go to ISC and press layer. What repress we put it near each other's shoes. This, this set children. If you put them together, It's a great layer. First, let's put them in the mixture. Although right now we will not mix them just to practice how to put that boss, put them both. And right-click here. Channel routing, route selected channels starting from this track. It will route them together. And from here, I simply create something called breaths. Boss. Give it a random color to, let's give it the red color. What you do within this, this, this, this, and here we are. This is already linked. If I press on the layer, the whole layer will have a full sound. So the difference between this, this is that this contains more voices. I feel that this is the very base. This is a more wide sound. We can go and this, of course we can play on those attack and release. First, let's listen how it sounds in that track. Let's remove all this traffic from here. I feel that this is giving too much space to the mix. It's not playing. Let's make sure that you have everything enabled. But let's put this. Of course, because we made a big mistake. We didn't press on that rest. Here. We should have put a layer for this year. We only put the piano roll for this. But what you should do is control a, control C and D, D it then go to that layer. A general rule and put it by this. We will have the sound for both. Let's rename it here. Right-click, Rename Bayes bus, and also a random color. And now we can listen to it. Let's try click and right-click again. Let's listen to it again. Let's listen to this. For this, let's remove actually a bit. It's saying too long. Maybe in the warm mix, it didn't sound good. The restroom rule from this, Let's remove like this right here, make it less. But that's just intuitive. Let's make it sharper and sharper. That's also removed directly after this. I remembered that. I agree. Maybe it's still too long. We'd like this. Maybe because we had a long note. So let's remove from this. Let's make it an old shorter. Again. Now it works, so let's hear it altogether. Right now. It's perfect because we simply want them to be quick. One, then two, then three. Like this. We have a good mix for me. Right now. I left this until we have so much CPU. So let's play it. As you see, my CPU is getting up to 76. It's close to explode. One thing that I'm going to teach you right now, this trick, we don't be for how to make the CPU better and how to increase our performance. Now, we are going to use something called macros and switch smart disabled for all plugin that we are going to learn in the next lecture. 105. Vid 12.5: Smart Disable Plugins : So because I'm recording, the CPU might be overloaded. As you see by default, my CPU is 40. And if I press Tools, macros, switch, smart disabled for all plugins. Take a look how this number will get smaller. Directly decreases. Why? Because when playing. So let's suppose our splaying, this, all of the plugins, all the vital plug-ins that I put will be playing together. We have from the melody, we have two vital plugins, Putin, that slab base. We have five, It's seven. Here, we have 29. Here we have that kicks. Then we have the snares. And later on we have the hi-hats. And we're going to add some vocals. So it will really be intensive. When you are playing. You will either render this, Let's say here. I right-click render and replace, or Rick rendered as audio clip. I wait till it's finished and it will be rendered. Here we go. We have a try there. I can simply delete it and drag it and drop it. Right now it's a bit better. If I do the same for the slap bass and the melody, there will be actually no CPU usage because it will be so easy for the CPU to just play. But in my case, I will still leave it if you can follow along. It cool trick that I'll teach you is when playing, when I play. Some people, if I want to record my skin, for example, just to post it, maybe on Instagram or something. I press play. While playing, I keep pressing tools, macros, switch, more disabled for all plugins. So take a look, they keep a look at the number. What do you discover? Is that, for example, here there was one to two vital plugins, and here's there was five. So we are seven vital plug-ins here, this two here we have nine vital plugins playing together. But here at this point, we will have only seven because this breaths plug n stopped playing. One. I put this, this vital plugin will keep itself active until I press here tools, macros, switch small disabled for our plugins. What I mean by that is that if you really want to play the track altogether, you can, when it goes to here, press here. Rich small disabled. What it will do. It will constantly remind FL Studio that okay, if there is a plug-in that is not in use, remove it. Remove it, not remove it, stop using it. Stop using the run. And every time, for example, here, if you are here and you are not using their breaths, FL Studio will keep loading their breaths in the CPU. But if you simply press smart disabled too All plug-ins, it will stop using this. Therefore, it's a good practice to know this tool. If some, sometime you got into trouble and you want to use it, you can. For example, here. Right now, FL Studio is using the breast plugin, but when I press Tools, macros and tell, tell FL Studio to switch small disabled for all plug-ins, it will stop using it and the CPU will directly decrease its usage. 106. Vid 12.6: Mixing The Brass: So let's do some mixing. Let's remove that base from the brush. Right here. I want to remove the low frequencies from this. Are you here? Whereas the breast, we go down there and we press here. We can either go here and link it to a random track. So let's press on here. And we had that 26. Let's put some EQ. Let's remove the low frequencies. So how do we remove the low frequencies? We simply go there and press it down. To make it sharper. We can simply scroll that down to actually remove everything and set off leaving some of the low frequencies. In this part, we right-click and go to type and cmd, you set it on high-pass. Let's roll up so we don't cut out from anything and let's try to hear. But didn't you see that there's something wrong? The idea is I am playing the breath. I'm seeing nothing right here. If I take a look on the mixture, there is nothing in here, but there's something in here that makes a problem. What I have to do is take a look back what happened. So I have hear that breath. What is this breath? The mistake that I made is that this breath is something that I rendered. This will take a look. This is something that I randomly, I put it like this. And the idea is that I just did it for demonstration. So this is the actual breaths. This is the actual breaths Also the second one, the layer. And if we remove this, I mean this, we'll have the same sound. Because this is just the rendered version of this to reduce the CPU. So I made a big mistake. Let's delete it. Always remember if you want to render something, make sure you mix it, then render it because otherwise you will make the same mistake that I did that I render it, then I wanted to mix it. Of course nothing is wrong with that because I can simply go back like this now here, whereas the breast, I simply go back, here's the brush and mix them. This is brush1, brush tool and I can mix them. After I mix them, I simply render them. I just did that for the sake of this example. So you can see in front of you how to actually render. Let's actually mixed the brush. We go here and try to mix it with the overall track. Try to listen to the old to all that track and see how it goes. But let's first put the AQ and disabled this. Here we go. Let's take a listen. I can't clearly lesson that this breath is taking too much from the low frequencies. I want to keep the low frequencies only for the slab base. But let's remove the brush from here, the low frequencies of it. Let's put it on solo. You hear it more clearly. Do you hear the difference in the first place? We had the reverb Of this press coming up in the low frequencies. Let's stop the kick. Let's go again. I feel, I personally feel that this is a good point. Maybe you want to add some more base to it so you can't do it. Again, it's your personal preference. But anyway, let's try to do it on the second one. I can clearly hear that there is a base in here. They kill us. I don't want the base from here. I just want the sound of the brush. What I do, I just want the sound of the brush. What I do, I just want the sound of rebrand. I just want the sound of the brush. What I do, I simply held onto fruit it parametric EQ to go right here. So try to eat you this part, because this part I can hear the most that there is low frequencies. Why I didn't EQ here. Because here I didn't listen too much to low frequencies because this was the piano roll. This was much higher than this. The difference between this and this. Maybe from here there's no high frequencies, but one coming down for example here. I mean here we can, here we cannot hear the low frequencies, but here we can hear low frequencies. We don't want too much low frequencies. Again, it's something that comes out natural to you and you start feeling that, oh, okay, we should remove those low frequencies. Though you go and remove the low frequencies. But usually if you don't have to do it by ear, you have to know that breath don't usually come as a base. You should remove the bass out of it and leave a space for the base, for the actual slab base and that cake, because the cake comes in and the low frequency. But let's go and do it. Let's try this. This is a bit annoying. But let's put type on high-pass. Here we go. I wanted to do the same as I'm doing and try to go down and listen to the low frequencies and then start removing them. I'm sorry if I, if I did this, but I usually do this just to remove that rule frequencies. Again, you can do this by your own. Maybe it will help you. Let's listen to everything together. Before we got the cake. Alright, this is everything for E queuing that brush. What I needed to take out from this lecture is that leave the low frequency space, the kick and the bass. Never let the other low frequencies clash with the slap bass and the kick. You always have to leave a space for the slab base and the cake. And let me show you right here. You have to leave this space, for example, for the sub base, the base, the cake, and other frequencies tried to leave them for the chords, the melody, the vocals and stuff like that. 107. Vid 12.7: Mixing Leads: Now let's mix. Now let's mix the leads. Those are the leaves or the melody if you want to call it. And here we have the lead, lead to and delete boss. Let's actually mix them. How do we mix them? First? We go to vital. Here we are, and make sure there is not too much effects from vital. So usually vital comes in with integrated effects. It has a special section to add effects. As you see, it has lots of effects that it put it by default. Or the person who made those effects with it, without us knowing. This is why I wanted to remove the reverb. As you see, of course it sounds bad. But the reason why I'm telling you to remove the river is because I want you to actually put this river on the mixer and try to do it by yourself. Why do it by yourself? Because by putting reverb on the mixture, you can have more control over that. You can actually see that, for example, let's say that u sound something wrong in the mix. How do you know what's strong? You simply go to the mixture and see like, oh, okay, I have the lids and I added some reverb. I don't want to add this marsh river, so let's remove it. But if you didn't have the river on the mixture, I think you'll forget that you have reverb inside the vital plugin. So every time I have something for example, or a lead for example, or a base for example, or anything. I definitely go and try to disable as much effects as possible. From here. I can see them. I can see actually that I have something in here. If you take a look here in the EQ, they actually removed the low frequencies. Because this is something logical that we want to leave those left spaces or the low spaces or the low frequencies, whatever you want to call it. We want to leave it for the base. We have also to remove everything from here to leave it for the base. This is why it's the EQ that so the frequency is don't clash one with another. For us, let us disable the reverb and disable the AQ. Or if you want to leave them, for example, you can simply disable them from here. So maybe in case you just want to see what they did and stuff like that. The rest remove the EQ also for the compressor and the chorus and the distortion. Just live them. Let's see. Let's hear it. Without distortion. It sounds much smoother. So for example, if you want to make something that sounds stronger or soft like that, you just enabled the disorder. For example, the compressor, let's hear without the compressor. The compressor compresses the frequencies. Let's hear without the chorus. Chorus, for example, it means that you will start hearing multiple sounds. As you hit the sound, sounds lonely, so it's alone. But when we add chorus, and the more we add voices, the more it sounds. Any group. For example, let's play it like this. Now, let's put less vocals, less voices. I mean, I drag it to the death. Now let's put more voices. We can't put more than 16 voltages. Let's put less and less. As you hear it sounds alone. And as you see here, we have four voices turning around. Well, let's actually put 16 sounds altogether. This is why F effects like that are hard to remove and replace them by yourself. Because to be honest, those who did that job, they did pretty much better than us. So the thought of how to do the chorus and stuff like that. But in our case, let's see if the chorus compressor distortion. Let's leave it. Let's actually get used to EQ the river. Let's remove them and try to do and work by our own. So let's press X. We go here and type in. First we have to EQ it. How do we use something? We simply think that where we want this sound to be endemics, we want them to be in the low frequencies. The high frequencies. In our case, of course, you want them to be in the high frequencies. So what we do in our case, we of course want them to be in the higher frequencies. What you do. It simply start listening to them. From here. One trick that, for example, if I click on this, this EQ will disappear. Let me show you. It will disappear. Why? Because it's attached to this. It's attached to the playlist. One thing you can do is click on here. Press detached. Not only you'll be able to move that around as much as we can. For example, you can move that up. But if you press detached, you can move it up. That's good. But if your best detached, if and if I press on another thing, The good thing is that it will not remove itself. So it will keep itself until we pressed clothes. But let's hear the melody endemics. I think it's hard to listen to it when we have the kick, the brush that's removed the cake and the brush. Let's listen to it. I feel that this is a good place. Also you can try to mess with this. We can try to boost the high frequencies. Let's try to do it. Do hear how it sounds like. Let's try again. If you boost the high frequencies, you feel that there is more vibes to this melody. Again, it's a personal preference, but I feel that putting here on this, it's a good spot. So let's try to hear Let's try to hear the loan. Okay. So usually when getting started with EQ, you always feel that I only has to remove the low frequencies. What can we do with those knobs? But all I want from you is try to experiment with those knobs. They'll try to see what this do. Try to boost something slightly. When I got started and music production, I started in boosting everything dramatically. But I want you to try and move things slowly. Try to move this a bit up and see what happens. Maybe it will sound better, maybe not. If it sounds, if it sounds better than good. If it sounds not, then just remove it. If you don't hear a difference, just, just move it a bit up. Maybe you will sort here in the difference when you get used to music production. Now for now, I just want to boost a bit those lower free to do those high frequencies. Now let's add some reverb. Go here and simply add some reverb, where the reverb here, this. Now let's do the second lead. You're here and of course for the parametric EQ into and try to remove the low frequencies. But let's put it like this. Let's remove they're either form here because I hear that there is some reverb. Let's have control over it. Go here and go to effects. And of course there are some reverb. Let's remove it. And let's hear this filter. But first we put it on solo. But let's hear it. Go here and listen to it. As you hear this filter puts limits. Let's keep it here and try not to mess with this. But what I want from you is the EQ. Did you see what they did? They just boosted the high frequencies. Let's try this bit of difference with EQ and without EQ difference is that this part you feed that there is more fresh air to delete. I don't know if you are recognizing this, but I just want you to try and put this down and put this up, put this down, put this up until you feel that there's something different. Let's disable this. Press X to the mixer. Go to here, add some reverb. Now for the AQ, we can slightly move dose like this just to give it some air, just to make the mix more and higher frequencies. Just to give maybe some bright virus to the melody necessary to this all. 108. Vid 12.8: Use Other Plugins: So there is a good plugin that I wanted to tell you about and it's widely used. It's called Sound good Dicer. This log n just makes the sound better. It tries to make the sound more bright and try to change to it. But to know more, let's actually go to the lead boss so we make that changes to both lids. And by the way, we could have put root your reverb on varied boss. It affects both of them. But we just did it by ourselves. But now let's go here. Search and sound good ICER. More plug-in. Sound. Good ICER. Here it is, without space, so good ICER. I click on it. Let's take a listen with this effect and without the effect. But let's press x first. Let's play on the this. And let's press on this. By pressing on this, it will remove the effect that's here to the melody itself. Now let's hear it with sound good either. Let's hear this other option. Now it sounds more powerful. This is why I will leave it on option D. Now, try the difference option a, B, C, D. For me, I found that that D is better. You can decrease how much the effect you want and you can increase that. Let's leave it on here and try to designate that track. Other thing that I wanted to tell you about. For example, let's say that if you want to decrease how much sound good ICER is involved. And that makes you simply go here and decrease this mixed level. For example, let's try it on the lid. Let's play this only. Remove this. We take a look. The more we put this up, the more this plugin is involved in that mix. I'm turning it down. So now there is no reverse. Turn it up a bit. Now this works for example, if sometime you want River, but you want, you don't want the river to be fully involved. You just decrease the quantity of the mix. 109. Vid 12.9: Using Delay: So now let's try some other effects. We learned about the reverb. And the reverb. When you put this on wet, it increases the artificial sounds if you want. And when you put this on dry, it simply increases the actual effect. For example, if you have this, if we put dry on 0, we would have everything. It's like in a dream, we have everything fake. And if you put wet up, it will seem so much in this space and it's lost. Right now let's try to add another effect. But let's actually put it on the brush. Let's go here. And let's try it. Now. I will add an effect called delay. Go here and hide onto an effect called fruity delay. If you want to search, search for fruity delay. In this, we have so much knobs. We are going to learn about few of them. The first knob that you want to learn about is level. First, let's take a look at how it sounds like. Let's turn this up. I'm sorry, I'm mistaken. I just added this on the lead. And let's add it on here. Let's hear it. It simply gives a delay for this. Let's play with this, with this knob. What does not does it simply controls how much delay we want to add. If we turn this up, you hear that the delay is so obvious. But if we turn that down, we will hear a bit of delay. This is the first node. Now let's go to this time knob. This time decides how much we want to hear. Delay. For example, if I want to hear da 1234, Let's actually double that. Let's put it on here. Let's put it on half. So let's put it back. What it means here is that time required to put the delay. How much time you need to live between one signal and an author. Right here. If I put the time on this, it means that I want to leave this March time between one signal and another. If I put it on here, it means it will leave this much time between one signal and other. Another thing that you need to also know, the wet and dry. For example, here, wet as we had in the reverb, is how much bake signal we want to leave. For example, if I put the wet on the maximum, I want to hear everything and I want to hear their fake signal. Let's put the dry on. Dry is the real signal. As you hear. We hear nothing. We might hear some stuff, but let's put the wet on 0. Here. Nothing. We only hear the dry signal because we don't have any wet signal. If we turn that up. Let's put it on here. You can't play with this and try to see what happens. In my case, I wanted to put a bit of delay. Maybe if I don't like it, I simply remove it. Let's hear it. It might be good to add it. Maybe later on I'll remove it. Because who knows, maybe I feel that this is not good and they mix. And I want to develop your own ear and try to see what sounds good and what doesn't sound good. All I need you to know is how to use this delay plug-in and how to take care of that time. For example, if you want to put this on here, it will be much slower. If we wanted to put it on here. It will move faster. If you want to put it on here. But it also on here. It will be much faster. Try to do all of this and figure something out. Maybe you like it, maybe you're not much for me. I'm going to stick to this and again, maybe later I remove it. Here we go. 110. Vid 12.10: Using Distortion: Let's try and add other effects. Let's also press X and keep the like this. We put it on drums, we should've do that. We put it on drums, were confused ourselves. But let's go here and use the distortion. I go here and type distortion. Pretty fast. Distorted. Scrolls, Trudy, fast distorted. I double-click on it. Let's hear the difference. Will this plugin and without the plug-in. But let's put on this. Let's remove the delay so we don't get confused. Let's put this on. As you see, it's not only stronger, but it's a bit distorted. But let's do it again. Now let's try this on maybe the metal D. Let's go here on that. And let's remove this so we don't confuse ourselves. Go to the did you play it alone? Play this alone though. We had it. Here we go. Let's hear it without the effect. Let's hear it with the effect. As you hit at kind of distorted the sound not only made it stronger, but it made it distorted. So let's go to dd it. Let's go back to our breaths. Right here. Where is it? Here it is. Right here. We want our rescue sounds strong. I want it like this. So here we go. We want it to sound strong. I feel that it's too weak to what you do. We go and add fruity distorted. So it sounds like this. After the distortion, it sounds distorted and stronger. Of course, I don't want that march, what I drew, I play with the knobs of mix. Here makes it will change this graph. What it does is it reduces how much of the plug and we want to involve in our platelets. This knob the same as this knob because they can look at the hand panel. We have mix. We can reduce the mix from here, reduce it from here. Let's try to do this. I want this mix to be the smartest. So I feel that this is strong enough. Here we go. Now let's add the three to delay. Usually if you want to use it, It's when you want to make that sound fuller, or maybe made that sounds stronger and more distorted. But be careful when using it, because when overusing it, you can clearly distort the sound and making sounds. Not very good. This is why you need to take care while using this plugin. 111. Vid 12.11: Getting To Know Phaser: Another effect that I want you to know about is something called phasor. That's simply enabled the brass alone and go to slot for at something called phasor. So we go to more plug-ins and search for phasor. This phasor plugin is not so much used in slap house, but it's a good one to know because take it OK, let's remove it. Play the brush alone. Now let's add the phaser. As you see it kind of make that sound weird. But this is not used in slap house, but it's an important one because maybe solve someone using a phasor, we will directly recognize it. But let's try to increase this. As you see it kind of plays with frequencies. And so I just wanted to know that when you hear this kind of sound, that it's like it's opening our mouse and closing them out. I just want you to know that this is a phasor in nothing too important. And I don't want to go in depth into phasor, but this is just important to know that this is a feature. Let's remove this because you don't actually need it. 112. Start Of Part 13: Secrets Of A Powerful Track: Now that we added different facts, let's now actually add some elements. What I need you to know is that this is not a good build-up. We need something more powerful and we maybe need a powerful drop. This is why in this lecture and the next few lectures, we're going to learn how to make a powerful buildup and a powerful drop. For the buildup. Let's go to our sample packs. Let's open the demo of ultrasonic, and let's try to find some risers. Let's go and find some risers. By the way, I have organized them. I forgot. I have them organized. This. Here we have the f x. Right here, we have the risers That's listen to them. Listen to this. This might be good for us, put it. Let's of course put it on 126 instead of 128. We can either just the press stretch, stretch it out. It becomes on 126. Or if I want, I can simply go here to tempo and type in BPM. I've been that the tempo of this becomes automatically like this. Let's hear it. I want to turn down the volume a bit. Let's keep the vocals. Maybe. Let's try it. I keep the vocals. Let's try to keep the ambiance. Let's try to keep it there. Let's hear how it sounds like. All right, so let's go back and try to do other stuff. Let's use something called automation. What is automation? Automation is when I tried to change something, for example, the volume, I wanted to change the volume accordingly. For example, I want in this board the volume to be loud. But in this bond, I want the volume to be louder. In this spot, I want the volume to be louder and louder. How do I do it? I use something called automation. Let's do it a quick example. And the next lecture we are going to see it more in depth. Right here. Press like this. And right-click create automation clip. I just wanted to watch me and later on you can apply it. But let's put this automation a bit smaller. Because it's so big. Let's just see it. Let's just see it. I go here and put the low and high. Right now because I put an automation for this, the volume will start getting up and take a look. As you see the volume restored getting up and up. Why? Because I use automation, for example, I can use it like this. Go up, then down. Let's try to see it. This is what automation looks like. We can control the volume or other things using this deed it, this automation. I right-click and did it. Here we go. During the next lecture, we are going to explore more what we are going to do. How are you going to use automation and stuff like that. 113. Vid 13.2: Using Automations: So let's use automation to make our drop more powerful. How do we do that? Let's simply go here. For example, for the vocals that you have right there. Let's double-click on it and we have it on the first check to make sure. Here, you see that we already put some automations. What I need you to do is simply take the criteria. I will right-click on this and we'll copy the value. I don't lose it. Because this is then all the changes. This thing right there. The rest try to play while I'm changing this ticket isn't. What I did is I automated this. I made it disappear. So take a listen again. It's like I am cannot be this guy and removing the sound slowly out of it. But let's pay the value. Here we are. Now what I need you to do is right-click on this and create automation clip. What it does is it will create an automation clip. From this. This knob will be having an automation clip, but it will recreate it on all the track. Let's see what it does. Here. This, as you see, this is the automation clip for this vocal and using this knob, band one frequency. This is the band one frequency. I can now use the vocals. I can add here and put it up there. How I'm doing this, I'm simply right-clicking. By right-clicking, I add a point. You can add as many points as possible as you want. I mean, I had a few drag them. What this does is it makes it smoother or harder. For example, you can the control of how fast you want to do it. But in our case, let's state that all. I mean, let's delete this. I cloned it. Now let's go here and create an automation clip only for this part. I only want this spot, so I selected. Now I go here, right-click, create automation clip. It will only create an automation for this part. Press x. As you see, we only have this spot automated. Let's keep the automations down. And let's see what we can do. Let's simply go and turn this up, this up, and makes it smoother. Like this. Unless listen to it. Let's see it again, but here, let's see what it does. They can look up here. Hi, I'm noting this is what we call automation clip. Increases from that sounds like readdress or decrease it. For example, let's play it from here. If I increase it, I can simply have it through here. Let's put it on detached first. We don't remove it. I can't put it on here. The destination would be on here. If I put it on here, the final destination will be on here. If you want the final one to be on here, you can simply put it like this. It will keep going up till here. If you fall and the final one to be here, it will slightly increase. So the difference between here and here as small. For me outputted try this. I think it's here we are. 114. Vid 13.3: Automating Frequencies: Let's do the same thing for the base. This base. I want to slowly remove it until the drop hits. How do we do it? We simply go to our mixture. Whereas our drop, our Reese base here it is. Fruity parametric EQ. This knob. We will right-click on here because this controls this. You can know it from this. If you move this, this will actually move. Let's press Control Z. Right-click. Copy value. We don't use it. Let's put an automation. Actually putting copy value is useless, but I just did it in case I wanted to go back and show you something. Go here and right-click. Create automation clip. What it does, it will create this. There is base. Let's put this down because we need all automations to be done like this. Let's actually remove it from the base to extend it. Let's start removing right here. I put those here, put it on detach so we can see everything. Let's do it. Let's play that track. I want it to be removed by here. But I can clearly see here, I mean that there is some sub bass involved. Do I go here? Whereas the sub bass here it is. I do the same for the sub bass. I click on here. Let's close this and right-click. Create automation clip. And don't forget that. Let's copy it. Don't forget that I have this selected on. Because if it was not selected, I would have an automation clip all over this playlist. That's right-click. They did that. Underneath. Let's go down, down, down, and let's put it the same. Let's copy the value of this and paste it here or maybe not, Let's not paste it because if we pasted it, it will change everything. But let's actually try to go here and cut it like this. Let's put this smooth. Let's hear how it sounds like. I think that this sounds good. All that you are doing is just selecting a pattern that I think somewhere where it keeps repeating itself and going to the frequency. Simply pressing the Create automation clip from this will create an automation clip that we want to recreate anything that we feel it makes the drop better. Right now it's fuller. Instead of just leaving this random sample. 115. Vid 13.4: Adding Fills : We want to even make it more intense. Let me tell you what I'm thinking about. When this ends. I want something to be like, boom, boom. I want something to be some intense. I wanted to add some fields. That's where streaming with that. I want to add some fields so it be like, boom, boom. Let's go sample bags, organize. And let's try to add some gigs like boom, boom. Let's go add so to get this cake, there are multiple clips that you're dropped. File p is choose one. Let me try this. Let's try it again. Let's set it unique, maybe replicate it. Remove this from that track. The volume in here. Let's try. Let's put them near others and see like them, called them a bit so they don't clash. We remove that stretch and caught them. Let's put them closer. Let's put them even closer. Maybe a bit. Let's add some effects. Maybe let's add some risers are, let's add something that gives them a little bit more momentum. We go to maybe fx. Let's try to find some reverse. This is good. Let's put it, press Alt and put it at the beginning. Here we are. Let's hear this. We have a small fill that makes it more intense. So we can have more intensity right here. Let's try to use everything that we have in our sample pack. Maybe use some percussions. Let's go here and choose a percussion. Sounds good. Let's add it. Let's maybe try this. I'm just trying get maybe on the first one is better. Here we go. Right now we added this and try to make it more intense. Again, it's your personal preference. You can add it, you cannot edit. But for me I like to add some fields. Here we are. We made it more intense. 116. Vid 13.5: Automating the Bass: For the drop, Let's try to add some down Filters. Go here to the effect section. We choose f x, you have some down filters right there. Let's try this. Let's turn the volume down. Let's turn it more down. Let's try to add another one. Maybe it will work, maybe not. Here we go. Let's turn it a bit down. Now what's better? What I want to do is try to add the vocal. Maybe let's add the vocal and see how it sounds like. Maybe there'll be something wrong. Maybe not. I'm pretty sure that there's something wrong. Because here we have two patterns while playing one melody. Here. First, we have two mistakes. Forgot to turn back the EQ. We don't have good chord progressions. It's like we made it too fast. To what you have to do is first remove the equalizer. Like this. Why this? It will stop everything. And if you want, it will get back to its value. So I can right-click here. Copy value and paste. It will return to its original value when it's down to the drug. Let's take a look how it does go here. And see you. It was it was here at the beginning. At the end it becomes year. After that. If you zoom in, it goes back to the beginning. Do you see? By this, I just fixed everything. Now there's one more thing. Base. We have to extend it. So let's remove them. Let's use this slap bass. Let's put this back. We should put it on double, double the value. Let's listen. Now, let's put this, Let's remove that brush and put this also. Put a double-dip value. So our mistake is that they could request here, we have ghost notes. We should remove them. So let's press green row all GI, get everything back. Now we have to modify the layer and not the slab base itself. We go here, go to slap bass. Modify the layer itself. Right here. You have added something. We have it the same. Let's remove that. Right there. I simply go and duplicated. Go here. Here. And as you see, we still have the sub bass. This is the sub bass. But as press your back, Let's take a listen at how it sounds like. Of course, after modifying the sub bass, modify the sub bass, I press Control a, Control C. Then go here and paste. Let's delete those missing. Again, let's delete everything. Based it down an octave as it was. But we're still left with this. What is the problem? Let's figure it out. This is the base, this is that base that already that you already had. Let's play it again. We should put those snares today. Right there. I put this hi-hat two later. Here we have it. In the next lecture, I will show you the structure of how you are going to do that drop. I want to simply try to use the metal d and put it in another section and put it right after the vocals. I want you to try and put them onto somewhere, not here. I want you to put it somewhere else and see what happens. I'm telling you you will find that something is confusing. This is the point because I wanted to try to confuse you a little bit. You get used to how to do stuff alone. 117. Vid 13.6: Making Second Melody: Okay, so I hope you tried it. Let's try to add the melody. What I want to do is simply this melody. Whereas it right here and drop it. What I want is have the vocals, then continue, continue till here, then repeats. And have the snares. So first we have vocal base, cake, then vocal bass, kick and snare. Let's put this later. Then. Let's put this cake. Then we have vocal slap, vocal base cake, then vocal bass kick and snare. Then I want vocal, bass kick, snare and hi-hats. Put them like this. Now we have the high hats. So let's hear it right here. Let's add the melody like this. Let's hear it. It's completely off beat. For the sake of this course, why not creating any another melody but modifying them of the melody and from it, I create another one. We right-click and press clone. Let's put it right here. Let's modify this melody. Let's make it simpler also. Why not make it like this? Let's make it maybe here. Maybe here. Okay, we got that point. Maybe more. Okay. That's the dose that's put it here on pattern. Let's do the same. But this time on the second node. And do the same. Here. Let's do the same on here. Let's put it down here. Maybe here. Put this down here, all of that. Let's put this down. I'm just trying to notes. Let's try them all together. Let's maybe add the final nodes. Here we are. Let's listen to it. Let's put them closer to the left. Here we go. Now how I created all of this, I followed the simple rule that our first chord is made from the node C, G, and E, G, G flat. This is our first code. Like this. It's only created from those nodes. This is our second chord. Only created from those nodes. You see, this is our third cord. Those are the nodes. As you see here. This is our last chord. Here we are. Now to be honest with you, you can truly create just a perfect melody from the beginning. This is why I always stress that don't do exactly as I do. Try playing around, try doing something, try having fun with it. But what I want you to right now, pause the video and simply go to create this melody. So I will leave it, of course, for you. So you can see it. I'll leave it on immediately. But I want you to also experiment with yourself. You create this melody. You just have the code and try to play with that rhythms. Tried to put a random rhythm. This is why practice makes it better. 118. Vid 13.7: Automations On the Second Part: We made the first part of the song. Let's now create another part. But before creating another part, Let's remove this melody. Unless maybe add another bar with the vocals. We can duplicate this. Ad. The spark. Vocals become like this. But it's too long. I feel I feed that. I'm putting this part here would kicks, then kicks and snares, then cakes and snares and hi-hats and melody. Then everything together is too long so the listener will be so much board. But Lesley, that I press Control D did everything. Right now we want a second part. We want something to calm down. What do we do? Let's put those and drag them. Drop them right here. That's put them right there. That's your heart. Now let's also put those. Maybe it can help make it more dynamic. Alright, that's also put this, maybe this, it feels good. Now we need to add the second part. How can we add the second board? We can either copy it and paste it. This as it is, and duplicate it through there. Or try to make some minor difference. Let's make some minor difference. Going to put that blocks, of course. But first let's organize those. I want to put them at the opposite. They're based up there. I'm simply selecting them, press Shift, and then I have those right here. Why the snares are one here and one here. But let's put that up there. I mean the hi-hat. And let's have those right here where everything is. Alright. Let's give the automations down or we can keep it like this. There is no problem. And here we are, we have here that kicks. We cannot name it here as blocks and everything is on place right now. That just make the second part. Two, what I want from you is try to pause the video and try putting a second part. How we are going to put a second part simply by putting the blocks like this. Then putting also there is base. Then also putting some codes or some piano. Maybe here. But let's put it. Here we go. I wanted to try this and see what you come up with. Let's listen to it. First. What you hear is that there is only the sub bass playing we're not hearing that is base. Why is that? I'll let you figure that out on your own. Second, I don't want that blocks to directly play in. I want you to think a bit about a solution for this. So let's suppose we didn't have various, I don't want the plugs to directly play. I want the blocks to slowly, slowly increase the volume. This is why I want you to think about the solution from what we've just learned. And I think how we want that blocks to be slowly increasing in volume and not directly starting like this. Pause the video and try to think about that. 119. Vid 13.8: Common Mistakes In Automations: So how do we do it? Let's simply go. There's two methods to do it, or actually there's three methods of them are wrong. The third is correct. That's a star by the two, wrong. We go here and go to blocks. Whereas the blocks, here it is. This is the blocks. And recreate an automation clip. In this way, it will start slowly and it would increase. But if we simply right-click and create automation clip, it will create on all the tracks. Of course what we can do is simply press this tool and cut it from here. Also got us from this part. Then add two points by simply right-clicking. And at another point, I can drag them it down like this, this way. But this is too risky because it might damage those blocks. Let's see if it damage them. No, it did nothing. Usually, we don't use this method. Because if you turn down the volume of this, but if you put the volume of this on 0, it might sometimes affect the volume of this depending on how you use the mixture. But for now it did nothing. This is why I don't recommend you to use this method. Just select it like this. Instead. I simply want you to do this. Go here and go to our clocks. Right-click. Now we create automation clip. Because we selected only the sport. By this, we directly have the knobs and we can turn down or turn off the volume. Let's put the volume like over here. But first copy the value, right-click Copy value till we put this value here. That's actually turn it down. I want to, I want it to reach the maximum value on here. Of course, you can use a curve maybe to make it grow faster. It will increase a lot from this part and then slowly increased from this part. You can do like this. Slowly, slowly, very slowly, now increased dramatically. You can do this Personally, I will leave it on here. We have it like this. Now what I want you to do is try to think about another technique. Can we do the same using the mixer? Can we do this same automation using that mixer? Try to pause the video and think about it. Of course we can do the same. What we can do is simply right-click. And of course let us select it first. We want over here, click, create automation clip. So let's put it down. This is the same as this automation. We can simply drag it down and drag it up by those two methods. Not wrong, but they are not preferred. Why? Personally, I don't use them. And I never advise someone to use them. Why? Because let's say that you want to turn down the volume of the blocks. So you want to turn down the volume of all the blocks. How do you do it? Let's read the one from the channel. Did it? And let's copy. Let's put it down. Put it like maybe let's change it a bit here and paste the value. It's still the same, but I just do it for security. Let's say that I wanted to turn down the volume of all the blocks. I wanted to turn down everything. I want this. I don't want this to reach this level. I want to turn it down more. If I use this using the mixture, it will not work. It will go up again. Let's say I don't want FL Studio to reach this point and have this maximum plot level two here. I just don't want that blocks to reach this level of volume. I don't want them to reach this level. What I do, what I think about it is simply turn it down. But if I turned it down and it will go back here, you see it will directly and move itself. Why is that? Because we simply have an automation clip. That priority is for the automation clip. If you turn down anything right here, it will move with you, but it will not get affected since we have an automation clip. This is why never, ever tried to automate something using this volume knob, because it will always go back. What you do instead is go here and search for a plugin called fruity balance. Press on fruity balance. And from fruity balance, you right-click. Create automation clip. Let's put it down there. What this differs from here. In terms of automation. This is exactly the same as this. But if I put down this, for example, up, down, Let's do just anything just to demonstrate. Let's delete this automation. Delete it from here. If I take the lesson. Of course, you hear the volume going up and down. So for example, turn down the volume of this. I'm turning down with the overall volume of the blocks. So this will not get affected, and this will also not get affected. Let's say a1, an easier example. Let's put it here. Let's put like this. Like this is group. If I wanted to turn down the maximum volume of this, I don't want that blocks to reach this volume. What I do, I simply go down and turn down the volume from the blocks here. And this will not get affected. Why? Because simply you are moving to this. Let's put it here, detached or we can click other on other than the screen and keep it like this. So take care of this will change. This is changing, but this is not changing. Therefore, if you want to control them maximum value of this, we can simply turn down this. Turn up this. Maybe you own the blocks to sound very loud, though we turn this up. But if you turn this down from here, it will not listen to you since it's affected by the automation clip. This is why I always use the automation clip using fruity balance and volume and set of automating yet from the mixer. 120. Vid 13.9: Fruity Filter: Right now that we learned how to use automations, Let's actually put a good automation. Instead of putting this type of automation. That's it. Everything. Go to the mixture. Right-click. Automation clip. All the automations down. Always keep the automations down. Try it here. Press Control instead of shift. Here we are. We put the automation and down so we can always see what's happening. And if you want to see where are the plots, you simply can press Alt and scroll wheel like this. I can see both. Go down and let's put the volume like this. Let's put them back. Let's put the automation from here to here. I put the volume down like this. I think it's good. But right now let's add something better than the automation of the volume. Let's go to here two plucks. And let's add log n called fruity filter. It's called foo to filter. Again, you can go search for it. If you're just getting started in NFL and you did nothing with the plug-ins. It will show in front of you. You will have 40 filter, I mean fruity filter, not fruity limiter. But let us replace. And that's what you filter. Here we are. Now let's hear what this does. It on detached here. Let's remove the automation so it doesn't get affected. Let's hear it again. What it does, it cuts off from their frequencies. It doesn't affect the volume. But what it does, It's like it put a carpet on it. So it's like it covers it. Covered the sound. It's like the sound is underneath. It's like the sound is under the ground. What do we do? Let's try to automate it. Like this. Here. Right-click, create automation clip. Let's try this automation. Now start to put it down there. At the beginning. Then move it up slowly. Here. Maximum. Here we go. I think this automation is better than the sound. I think putting this automation, let's slowly increase the volume. It's like it put it under the ground, then slowly goes off the ground. Let's put it slowly. So let's drag this down. I wanted slower. Like this. We have a slow introduction. So by this we can also enable the volume if you want. Let's try it. Maybe we can put the volume better or faster. Like this. Now let's put them down. That's what this volume down. And again, you can maybe delete the volume, but it's better to automate everything. So we have everything under our control. This, we just created a smooth entry. Here we are. 121. Vid 13.10: Automating The Bass Again: Now let's put the other elements. So we add the Reece bass. I mean this the same. We add the tribe there. Let's add the chords. Let's make sure they are aligned. Yeah, they are old. We increase the size so we can see clearly, let's add the ambiance, whereas the ambience, we did not add any ambience. Let's try to add some ambient says, you go down, sample back, ultrasonic fx. Let's add this ambiance to see if it fits. Let's see if it fits. Returned down with the volume a bit. Listen to it. Alright, we want to automate everything. So that's the ambience. On what track Is it? Okay, we have to link it somewhere. Seven. Here we go. If you go there and link it, though, Let's put first in the queue. Let's try it. I simply remove everything that all frequencies, it has those frequencies. Simply tried to remove them. That's press here. Pi pass. Then I go here with you balance. And click over there using Control and select. Click here, right-click. Create automation clip. What you do is simply put this volume a bit down. Then I'll plug this. I wanted slower. Wanted to go slowly up, maybe to here. Even I don't want it on the full volume. So here it will be on maximum volume. I don't want it on maximum volume. I simply wanted right here. Yes, it might be good. As we said, it's better to not put the volume from here. Let's remove this. Give the volume like this. Use here to control the volume. As you're here right now, we can have control over what is the final volume. We have controlled that. Okay, I wanted to turn down this like this. Let's hear it. I want to keep it like this. I leave it, of course, with the automation down. Like this. Put everything. I'm showing the automation, put it down because it can't be very easy to have soft light that on here. You'll start getting confused, which is automation and stuff like that. Always keep it down. The weird thing is that when I right-click on this, I can hear the race-based and the sub bass. But when I put it here, I can't hear the raceway. We have to make sure of this automation because I think this automation for the slap house and there is, is making something weird right here. I think there's something wrong. What I want you to do is simply let's put them down. Let's put this down. Or we can simply duplicate it. But that's actually drag this down. You can go down as much as you want. There's no problems right here. This is the parametric EQ for the sub bass, as it is Bayes. Let's go here and extend them. Here. Let's put a mark here. Maybe I want what I want you to do is simply go drive there. We want to keep it as it was. The initial value was here. Let me show you, whereas there is base. Let's search for that is base. Here it is. The initial value was here. When we automated this, take a look where it starts getting up and up and up until it reaches here. And the point is that it stays here till this point. It doesn't change. Right here. It's still at this point. We have no base. You see the difference? This is why I wanted to get back here and add a point by right-clicking and right-clicking. And I copy, right-click Copy value, and paste the value here. I do the same. Copy. Paste. If you take a look, Let's see how it goes. But that's also copy the value here. And paste it. Also copy the value. Based it. By this, we will have nothing changed. Let's actually put them right there, but let's put it right here. By this we changed nothing. As you see. This will keep on here. It will keep on, keep on the same here we messed up. So let's copy that value and paste it. Will keep on the same, The same, The same, The same, until we reach the second part. The second part, it will directly go down. Like this. It will directly go down until at this point. It's already, Let's do this. Until at this point, when the second part sorts. It's already as it's sorted at the beginning. Like this. This is why we did it. Now it works. 122. Vid 13.11:Arranging The Second Part : Right now it's actually, I think of personal preference. Maybe you want to directly add the Reece bass directly. Maybe you just want to leave it till here. It's actually a personal preference. You might like it, might not like it. Personally. I will try to put it here. So I will have like this I will have something like this. I'll keep it right now. Let's try to add some kicks. On drums. One shots, and you go to cakes. Whereas the cake we put it down, cut them back. Let's double-click on it and put here bleeding. Put it smooth. Let's try them for all kicks like this. Let us have it like this. That's also put them smoother. Maybe like this is good. What I'm doing is simply and set of cutting the cake directly. I just put them on smooth. Personal preference. Instead of directly, boom, boom, boom, boom, boom. It's a bit slowly. That's actually put it like this. Don't get confused. What I did is simply cut it the first part of the blocks, then put it again on here. Let's put this cake on here on the tracks. And let's turn down the volume of it. But be careful it will turn down the volume of the previous kicks. If you use the same one. Apparently, yes, we use the same one. Be careful when you do it. In. Okay, it's alright. Maybe we put some vocals. Let's maybe add also here. Let's add the snares. From here. Here we are. Then also do the same. This time, add some hi-hats. First, put the same thing right here, and add the hi-hats. Let's put the same transitions right here. Put it right there. By this, we have a smooth transition to the second bar. Now again, right now, I think that you will have a pretty great insight on how to do it and feel free to just make your own thing. Maybe you want to add the same vocals and without there is base, maybe changed. There is ways. Just feel free to do whatever we want to try it here. We are just doing this and we will advance in the course just to teach you some new stuff. For example, later we will use the compression side chain and why we are progressing information. I will add the same time, make the track, and teach you those informations. For example, we are learning the automation will lead to unlearn the compression. Learn what a side chain. Now we are better at putting automations, at putting dynamics, at putting effects. When we got started, our check was simply a vocal line and a base. Right now it's getting bigger. Therefore, it needs, requires some good mixing and some good attention and some good arrangement. 123. Vid 13.12: Installing Plugins: So now that you did those stuff, again, it's all about personal preference. We're going to use actually two plugins. Those plug-ins are highly used, especially this one, it's called OTT. Here we are. This is OTT. Ott is a very popular plugin and is highly used by also professional producers. And I want you to teach you how to use this plug-in called OTT. Now, it looks like this. This is from where you downloaded, but you can also download it from here. Of course I will leave the link for you. It looks like this. And it's actually a compressor, if free Compressor by a very respected company that people liked and is highly used by all music producers. Even the professional ones, use this because it's very effective. We are going to use a side-chain plugin. Now usually there is a popular plugin for side-chain. And actually there is a lot of popular plugins, side chains or outpatient. So it's very hard to find some free plug-in for side-chain. You are going to use this one because it's for free and it does the job. Of course, other plugins are far better and they have some more options and more flexibility. But because this course, we used everything for free, we're going to use this. I'm plugin. This is why I will leave you the download link for both plugins and we are going to get started with them. But how to download it? When you press Add to Cart and go with all the steps. Let's suppose for this plugin, Let's suppose you wanted to download it. What you do is press Download and it will be downloaded. This form, it will be downloaded as a dot z IP files. What you do is simply go and your big FL Studio folder. And you should have already had a big folder called Plugins. The big FL Studio folder. You should have sample packs. You should have plugins. Plugins, you go. And right-click on this plugin that is already downloaded. You press extract files and you go and choose where the plugin is. You go in my case, it's on my local disk. I select my local disk and go and find the folder of the big FL Studio. Then go and extract it inside this plug-in folder. So please, you have to be careful on this place because if you extracted somewhere else, you will have some problems finding your plugins. So always, when you download a plugin, directly install it inside your plugins folder. My case, I will install it and go directly to show you how, how it seems like I extracted it right here. As you see, I have all of those have dysrhythmia. And you see that you have those stuff, right? You just drop this whole folder containing get into VST plugin directory, then refresh your program inside your doll. What it means is it tells you, just put this inside your VSC Plugin Directory. Just put it inside your VST plugins folder where you put all your plugins. Now what you do is simply go to FL Studio options, managed plugins. And right here you press Plus, press here plus and plus, plus. You go and select the folder, that big folder of the plug-ins, my case, I go to this PC local disk. Then you select the specific folder and not the big folder of FL Studio. You select the folder where you are downloading all the plugins. After we select this folder where you are downloading all the plugins, which in our case is this folder. Let's go back. In our case is the folder plugins. When you do it, you simply press OK. You press five more plug-ins. When you find more plug-ins, you will directly find this plugin front of you. You have just to wait a bit because it takes some time. But in your case, if you did the work correctly and you select the right here, where fl should do, should scan. It should do that. I'll cancel my plug-in scan because I already have it. Go. Don't forget when you press here, you will tell us well suited to search inside the folder that you selected, which in our case is this folder. If any plug-in asked you, for example, to Installation settings or soft like that, you do everything, everything, everything inside this plugin. You don't install anything outside of this plug-in folder. We keep everything routed inside this plug-in folder and directly go and scan it. Otherwise, you'd have to choose other folders. And every time you have to do millions of stuff and get some errors and stuff like that. This is why always stick to this folder. 124. Vid 13.13: Cutoff Melody: So we did something related to cutoff and we tried to use this. We don't have fruit, the filter works. Now what's your opinion on making the same thing? When we did in the melody? So right here, when putting the build-up and when it's building up and starting some tension. Let's do the same. But instead of using the vocal, why not use the metal d as a cutoff? I'll explain what I mean. Let's take the same element. Put them right there. I zoom in so I can't be accurate. It is right here. Maybe here. We'll figure that out. That's not a problem. Now, let's try to put this here like this. Let's add normally the everything. So let's add the RES. And what other elements is there? There is nothing left. So let's hear how it goes through on something more powerful and which is more intense. What you do simply go here. Whereas the melody, the melody is here on tallied, lean-to and lead bus. There we go here and load the plugin called fruity filter. Let's put it on detach. Because if I click on somewhere else, will directly this appear. I'll click on it and put it on detached. It doesn't disappear. Now let's go here and create an automation clip. Control. Select this right-click and create automation clip. Now what I want to do, I want to make it slowly fade out. I wanted to have it cut off to the maximum. Then I want it to appear. Here. Don't take a listen how it sounds like. You see how intense it is. It starts slowly, open and start to show up slowly, slowly. Let's make it like this. Now we can start with the drop. We simply put it like this. Maybe that's at those. Those are the drums. We simply drag them and drop them. Now that's the melody. So let's add the melody. Actually. We add it like this. But don't forget, we didn't remove we didn't remove all the cutoff. So we should remove it otherwise it will apply to everything after it. Now of course, the slab base. What other elements are there? I think we don't have, so let's put the kick and snare here. Let's leave the high hats the later. Of course put them. I'm just copying and pasting. You see that point? I'm just moving things from here to here. Nothing too fancy. Let's put it here between the kick snare and kicks snares and high hat. Let's put it right in the middle. You see this nice fade in, fade out. So let's try it. It's repeating around here because we have this Strathmore. So it will keep on looping here and here. We can add on this. We can add on the melody, Control B. And let's, let's add on the vocals. Don't forget. Here, let's extend it. Right-click and add a point and put it on 0. Because in this way, or actually let's put it up there. I put up to the maximum because in this way it will open up so it will return to the normal. Take a look. Here. It's still cutting off. When you're going up. When starting to this point, it will return normally. Press X. And here at, Let's end the song. For this right here. Easy, though we have a good looking track and a good sounding tray. That's right-click and click Auto name. We have this name. Let's put them on snare. Let's put those so we can color it or we cannot. Don't forget this automation. Let us put it down there. I'm pressing Shift and down arrow. By putting it down there, I simply put everything down. So I feel that this way it's better. That's actually put this up. So why put everything down while we can put a bit of this up and also this up. Because why not? Like we're leaving the automations from here and down so we can see everything clearly up there. Now, what we are going to do is some enhancements to our track. So basically our track is finished. But of course, we have some stuff to do for mixing and mastering and volumes and stuff like that. Therefore, congratulation, what do we have more to do since we are diving into the advanced concepts? And you can't simply make a good track without mixing it very well. And this is what you are going to do. And by the way, we mixed it while doing through it. So we mixed the basis, we mixed everything. But of course, we have to do more enhancements. 125. Vid 13.14: More Automations: So let's do some mixing right here. Because there's people who create that track and do not mix it like the partially mix it maybe mixed the base a bit and stuff like that. And at the end, at the very end, they do all the mixing. But for me I prefer just to do the mixing right after I finish the elements. There's no problem if you did the mixing at the very end or you did it right now, for us, we added the melody. We ask this now we need to have some volume things because here or here, I feel like it needs some volume, so we need to adjust some things in volume. This is why we are going to go through everything and the second drop. Alright, so here they can listen at this first node. So it's like, it's so ugly. We don't need to have a note like this. So we might remove it or fix something in the automation. But let's put this automation back. I mean, let's put it up so we can see what happens. Let's try to put it up a bit. It's still ugly. Let's go here. Can we extended? If we extend it, we will extend that previous melodies. But let's just try to extend it. Of course, let's put this back. Let's try to extend it. Now it's better. Let's put it back. We can extend it. Now. How can we extend it without affecting the previous nodes? Because take a look. If we extend it, it will extend for this and this. You see? I will leave it. How can I extend it without affecting the previous one? I simply go click here and make unique. By making it unique, you can see clearly that it creates a new patterns. So let's make those the same. Or if you want, you can simply copy from here. Like this. Let's make sure it's aligned. Here it is. Here in the melody number three. I will just extend this node. Now it sounds better. So let's reduce a bit that cutoff because I feel it's too much. All right, So for the Reece bass, let's do the same. This thing right here. So let's add the automation for the risk-based. I feel that this is the automation for other is base. Let's put it press Control B. And do the same. Base it is right here. It starts from exactly here. Go down there. I advise you to do like me and try every time you feel that I'm doing too much stuff. Simply go and apply those stuff for your track. So it goes up and up and up until here. Then it goes normally. We have it normally. Now, what's happening here? Let's add automation. All right, So let's hear it again. Maybe you should try to put the volume of the sub bass a bit down because we can still hear it. Let's go here and go to the sub bass. Whereas the sub bass, sub bass, here it is. That's open, fruity balance. Because if we automate it using this, you will not have control anymore over the general volume. We go here fruit you balance. Let's try to do the same. So right here, I go. Right-click create automation clip. Let's actually put the volume of the sub down. Like this. Let's put it like this. Yes, I feel it's better. Overall. Everything. It's so empty. It's empty in from here. Let's put it like this. Yeah, not much good. So when we put it like this, if you put your headphones on, you will hear that there's an emptiness. You hit this spot because the volume of the sub bass down like this, It's so empty, we don't want this empty. So let's put it like this. Now it's better. And of course after finishing from here, don't forget to turn it up again. Let's keep it on 0 and turn it up. We add a point and put it up and put this point. Right-click Copy value with the same value where it started and where it repeats. While we are putting KP value, paste value because we want it to go back the same level where it was. If we put this value right here, it will not be at the same level. If you paste the value. It will be at the same level. Although we don't have any sub bass from the a3x oscilloscope later on. But it's good to always reset things, the respiratory down. Or if you want, we can actually keep it here since we don't have anything. And even this cutoff melody, you can keep it there. So again, there is no rules for producing. But what's better is if you want to organize everything, you can put it down. My case. I simply know that. All right. I have those and I will keep myself organized. It's okay if you just leave some automations right here. Let's go over this. In the next lecture, we will do some automators, we will do some. In the next lecture, we will do some volume things. We will try to go over this hooks on volumes because here the high hats are too loud and the vocal as clear, but the high hats are clearer than the vocal. So we need to work on that. 126. Vid 13.15: Fixing Volumes: Alright, so this high hat was linked to track number five. But this hi-hat not you might did something wrong. Maybe I did some mistake. But let's put it back on five. And let's listen how the volume goes. Because this is the same at this right here. Automatically have it on file. And you also have it on five. Now it's called. Let's take a look at the cake. The cake, it's not linked. Let's take a look at this cake. It's also not linked. Let's take a look at the snails. It's also not linked, so we should have linked all of that. Let's go try this. And let's add some EQ from here. Let's add the EQ. Here. We won't try to remove the value very low frequencies. So we don't want to cut them out, but we do want to remove part of them. Right-click type high-pass. Because if I did this, be cutting out everything, everything related to low frequencies. But I simply want to take it easy. Let's cut out a bit of this. Like this. Maybe. We don't want to kick, to lose its personality. We want to keep the Kick strong. Like this. Let's see the volume thing. It's good. Now let's go to the snare. Put it here. Let's listen to it. The warning of this near as good. Of course. And the snare will remove all that, all frequencies. Because we don't want to low frequencies in this near like this. You see before it had low frequencies. It has a small cake and this snap. But we are going to remove it. At this point. I'm satisfied with it. There is no obvious base. Let's hear it all. Concerning the vocals. Let's turn the volume a bit down for the vocals, because it's taking over everything. So let's click here, whereas the vocal and track one. Let's add fruity balance. Let's put it unique. I mean, detached. Right here. I create the automation. I want to keep the same balance so I don't want to change anything before. I just want to change this. I add a point. Right-click w value. Here I paste the value. I have it, let's same. And right here, I create another point and put it down a bit, just a bit. Here it was at 80%, as you see here, it was 80% at the hand panel. Now I want to put it 55 is too much, so let's put it down a bit at 60%. Maybe. Let's try click Copy value. Let's hear base the value. We have them on the same. Let's hear it. Let's put more, maybe have 50% enthalpy value. We have the same value because we don't want the volume of the vocal to increase. Right-click paste value. It's too weak. But let's put on 55 exactly on 55. Not being able to put on 55. Let's put on 50. Yeah, this is H5. Let's try click Copy value. And by the way, we could have simply kick in value. Here we paste it like this. We tried to make some volume things. You can't, by the way, keep us this automation right there. That is no problem. As long as you remember that you have some automations. And you can of course put it down there if you want to keep everything clear and you want to keep the automations here and everything. But for me I have no problems. So even here, for example, I can put it here up there. I can't remember that. Oh, I have something in here. I have to remember it. This Let's put it up there. This Let's put it up there. Anything that makes you remember that there is automation can be good because it will remind you that the mean careful that as this automation right here. So let's put this up like this and we're good to go. 127. Vid 13.16: Producers Trick: So for our final touches concerning the volumes, because we have some work to do concerning them mixing. Let's add also the same automations. The sub bass. Right here. We made the bands for the sub bass because right here, take your lesson. We still can lessen the sub bass. Let's right-click shift. Drag it tried there. Here it is. Simply added like this. Take your lesson. Let's put it a bit less obvious. Like this. Maybe. We are good. Now another trick that professional music producers use, that they go to the master and try to put it down 20% and then put it up. I will show you how it goes. So we go to the master. Simply go here. Fruity balance. Let's try to remove it because it's not triggering itself. Sometimes it's usual to be stuck here. So when you stuck here, simply go and rest on X, hoping that it goes back. So it's not going back. Let's put this, maybe. Let's see what we can do. Like this. Put it like this, and we removed it. Sometimes it does. This thing. What you have to do is try to go between the x and the minus. So we go here, we create an automation clip. I go here. And what I do is simply put the volume down between 10, 20%, exactly between 10, 20%. So the volume is at 50% right now, or I mean at 90, at 80% here it goes. Not 80%. I want to put it at the end of the build-up at 60%. I right-click here and create another point. For me. I can't simply put it down. Right-click Copy value, right-click Value. We have the same values. And here, if it was on 80%, what you do is simply right-click Value. We put on 60%. Let's put it back like this. And after this, extend it and put it back on 80%, we type in value or we copy and paste. What it does is it will create, it will meet the buildup. Less loud, less loud, less loud. In that drop, we can see that contrast that the buildup is this small little person and that drop is the biggest one. So let's hear it. So by this, we are simply decreasing the volume of their masters. So I'll decrease the volume of the whole thing. Again. The master is everything. The master is responsible for all of those. If we decrease the volume of the semester, we decrease the volume of all of those. If we decrease it a bit, then put it back to the drop. We will be able to see the contrast between the build-up and the drop. So this is a checksum producers use. You can simply decrease it like 20% and then put it back again. 128. Vid 13.17: Adding Sidechain: Now, just a quick reminder that this course was intensively used by third-party plug-ins. Because to be honest, all producers simply use third-party plug-ins. I'm extremely sorry if I keep asking you to download external tools. But those tools are essential for music production. If you went on any music production course, you will always see them using a part of those plug-ins, go to any music producers. And you will see them using compression, using some third-party plug n. They have to know how to use reverb. They have to use, for example, those third party plugin that we use, especially plug-ins like vital, which are essential to make melodies. This is why we have to download those third-party plug-ins. Because whatever genre you are using, for whatever software you are using, you will always use those plug-ins. Of course, there is many versions of it. For example, there is many types of plug-ins that do the same thing. But the idea is that there is no music producer that only counts on the default FL Studio plug-ins because FL Studio is good. But to be honest, there is so much better plugins. For example, here. There is a lot of good plug-ins. But personally I don't use them all because they are not as good as the third party plugin who comes for free or even paid. From this, I want you to go and download this side chain log n that you already demonstrated in previous lecture. We can use it right now. Go here and search for site cake. You can put it on favorite. When you put it on favorite, when searching for it. You'll see it somewhere right here. So you will see it right here. Let's open sidekick on the slab base. We search for the slab base. Here's the slab bus because we want to apply the side chain for everything. We go here. Let's apply some side-chain. As you see it opened. Let's listen to it. With side chain. As you see, it will be much sharper. Let's try to put this here and play it. You are cutting too much. Let's try to put it up. And don't worry, I will explain what we are doing. Let's try to put it back there and try to put it less sharp like this. Let's hear this with the cake. Let's hear that slab base with the cake. Let's hear it without side-chain. Now let's hear it with side-chain. Let's make the side-chain stronger. It's eating up from the cake, from the base. I mean, Let's hear it with and without the side chain. What are we seeing that it's happening? The site cake, this plugin is called sidekick, but actually is it, It's a side-chain plug-in. It is a side-chain plugin, but it's called side gig. What is this side chain? It's like you are doing a volume automation for the base like this. Let's go here to demonstrate to you. And go here. Routine balance. Let's try to create a small automation right here. Creating this preset that you see right here is the same as creating an automation like this. Let's copy the value, the initial value. Let's put this down, they're them down. Now, remove this point. Let's put it back a bit. Of course, let's press the value. Let's put like this and like this thick. It's like we automated the volume this way. Let's add some more of this so we can listen to it clearly. What will happen here? What will happen in this, instead of that base directly going into the cake, instead of the base directly slapping into the cake. Take a listen. Can you hear that the cake and the slap bass are going to gather? What do you want is make the cake clearer by simply automating the base, that slap bass. I put the volume of the slab base down. And where the cake finishes, I put up the slab base. So take lesson with and without the side-chain. Now with the side chain. If you didn't hear the difference, outbid a final time. So we can clearly hear that difference for this output, the slab base, more exaggerated. So output this automation like this, so we can clearly hear, hear it. This is without side-chain. For example here, the slap bass and the kick together. We don't want this. We want the cake alone. Then the slab base. Anyway, That sounds good. This is without slap bass. Now with with side-chain. I mean, this was an exaggerated one. Let's put it a bit up like this and let's hear it. As you see right now we have the space for that cake. Why creating all those volume automation, you can simply do it in one plug-in. This is why we install this plugin, because it can save us the hassle of creating malady automation. Which clip? We can use this. Simply draw the automation that we all draw this shape that we want. Let's remove this. Remove it. Now let's add this, enable it. So let's hear it altogether. You can clearly hear this using your earphones or your headphones. You can hear that, that side chain, which is in the name of sidekick because this plugin is called sidekick, again helps us a lot. It can remove from the cake and the slab base. It's a common practice to side chain. And by the way, all the EDM songs as side-chain we are using yet try it now. But there is a lot of plugins free and paid me for the sake of this course. I used it using a free plug-in called sidekick. Now of course there is much better plugin, but we created using this plugin because it makes the job done. 129. Vid 13.18: Compression Using OTT: So now let's start with the compression. What is compression? For example, if I have a sound wave, the sound wave is going to match up. I want to compress it. I wanted to make it smaller. What I do, I use compression. Now. I'm 100% sure that you will understand nothing if we didn't see it in front of us. This is why I need you to install a plugin called OTT. And of course, when in Sony get, you expand it into the plug-in folder. Inside that big FL Studio folder. You expand it in this folder. And you go here to Options. And you go to plugin file settings. I mean, here you go to Option and you go to Options. And you go to Options. Manage Plugins. And you simply hit this fine, more plugin. Because if you add it, the folder of FL Studio, you selected the folder of the plugin. Fl should you will scan inside this plugin. So in my case, this is the this is the file FL Studio downloaded plugins. This is the file where FL Studio searches for my newly downloaded plugins. You go and add OTT. Let's go here ON delete boss OTT. Now let's press X and remove it. So it's as we removed the effect, Let's first remove the compression from valid here. And those leads, we have compression, we have already compression. And those leads, because the person who gives us those leads, he already compressed it. It's not that his compression is not good. But we want to remove the compression and the plug and n vital. We can do it on your own. Go to the lead to also go here. Effects. Remove the compression. Remove that compression so we can do it on our own. Let's hear that is how they sound like after it. With compression, they sounded like this. I removed the second one so we can hear the first one. As you see, they go in space so they are not compressed. This is what compression does. Let's enable back this and add our own compression. We want to glue them together, we want to put them together. We add OTT. Let's hear what OTT and without OTT, this is without OTT. As you see, OTT distorted the sowed more than it made it better. This is why we have to put the right amount of compression. We want to use this tool right here. We don't want us to put it 100%. Neither put it solo. Let's put everything here so we can see them. Now let's actually go and try to hear it with them mix. So always when you want to compress, try to hear that sound with the mix. We put this on a loop. Let's put it on a loop. Here we are. Let's hear how it goes with the mix. We start decreasing slowly until we hit a point where it feels good and it sounds good. You see in slight magic now we have it almost sounds like the original one. Although the original one was a bit more tall. So they put in the time to do a perfect compression. Here directly using this, we already made the compression. It's nothing, it's nothing complicated. It's just something you have to hear it. So of course this does not sound good. But this, when I turn it down. Now it sounds good, but for me I feel like there is something wrong. I feel like there is lots and lots of reverb. What you do, we go to that eat 12. You see where we add reverb? And here we didn't add the reverb on the two. For some reason. I don't know why. But here we added some river. Let's start decrease from the wet knob. We have a perfect river. Sometimes the compression can distort from the river. Let's use this wet knob. We put it up and down, so we put less reverb because taking lesson, let's be alone and let's put it on detach so it doesn't get affected. Yeah, I feel that this is good River. Again, do it on your own taste and try to make that balance between them. Let's enable or even on the second one and see how it goes. All right, So I feel that this is a good point. Again, I want you to try it on your own. And also if you feel that there is some modification needed right here or something needed, don't be afraid of changing something because as long as you can hear good and you feed like this is a good thing to do. There is no problem with it. Now obviously we put a lot of things right here. You should be careful reduced screen, especially if your screen is small and the laptop, as I'm recording right now. So by doing all of this, we have now a clean melody that we compressed, because without compression it would not sound good. So let's remove OTT and see how it goes. As you see it's more defined using OTT. Ott is this weird thing for beginners. But when you get used to putting OTT and multiple tracks, you will sort clearly seeing the difference with OTT. And without OTT. This is compression that many people don't understand it. Now there is nothing to understand in compression. There's just something who hear about compression in my opinion. Of course, there is some periodical part that we are not diving good right now. But this is compression and you can of course use it on your own. And I am telling you that it's better to go and stop watching me right now, go and apply those on your own, then come back. So we continue our lectures. 130. Vid 13.19: Some Knobs You Should Know : So let's put back to the brass. Let's put it right here. I mean, here on the drop. Right there. Maybe we should have put this down there. So let's put the automation down there like this and add the breast. Let's put it like this. Remove this because we did not modify it after we modified that slab base. So let's put it, we put this down like this, then this, then this. Let's put also the breaths on the second drop. Like this. I'm putting this down. Another brush here. Here we go. From here, I want to give the concept of panic. What is spanning? Although we didn't use it throughout this course, we will not use it since you are focusing a lot on mixing. But penny is when you put the sound right and left. So I want you to put your ear phones or your headphones and be careful that some headphones doesn't clearly make you hear that penny. Because some headphones, for example, my old headphones, when I started to produce where on mono. So a mono, it means that you will not be able to hear the difference between right and left. So let's put the brush on solo. For some reasons you are not hearing it. Alright? This is because the here, so I want you to go and bend. This is the right maximum to the right. You'll hear that sound is to the right. Now to the left. Let's see, move this down filter. Put it on here. Let's put the volume reset, though it was on 16%. Let's go here so we can remove it. Let's hear them all. Like good. So let's go back because this was so disturbing, this one. So I put it on the mixture. I can simply focus on the brush. The brush. Let's listen to it. What I want you to do is simply add it to the left and to the right. So usually this spanning is sometimes used in FL Studio when you want to separate things. Maybe when you have, for example, some or a loud concert, you want to make the breath well sounded in the right part. For example, that leads you want them to sound a bit to the left. This is something which is used in mixing. Sometimes it's good practice, but I just wanted to know what those knobs do. And it's panic. This is what those do. For example, here, if you want to remove the effects, for example, we have all those effects. Instead of pressing 111, you can simply give them, press on this. So take a look at the hand panel on the top left. It says that enabled effect slot view editors. Few disabled this. It will disable all those filters together. If we enable this, it will keep those filters. This is some knobs that you should know from FL Studio. 131. Start Of Part 14: : Mastering. Now what we are going to do in this section, the mastering part, we are going to install a plugin that helps us to do mastering. And I'm going to teach you everything you need to know for mastering. Now of course, it will depend from one mastering to another. For example, if you use paid plug-ins, of course the mastering might be a bit better. But the good thing is that by using a free plugin, you will get about 80% of that job done. As long as you understand the concepts of mastering, you will be able to do everything. What I want from you is head onto the resources section and go to this link, Tokyo dotnet. Now maybe for you it will not seem like this. Just click that link and you will be guided right here. There's a couple of plug-ins which seems scary. As you see. There's paid ones and free ones. So for example, there is a free version of this plugin and the paid version of this plugin pre fade. They are all from free and paid plugin. Now for us, we are going to do with this plugin. We are going to go with the mastering of this plugin. We press right here on free download, and you'll be guided to the pages where you start downloading your stuff. Now you can go and install it either on window, either on Mac. The operation system that you have. Here, it says right there. After you install it, you will have it on a zip folder. After you have it on a zip folder, you simply extracted as we learned. Right here, you go to the folder where it wasn't sold. Example maybe for you it will be installed in that downloads folder. But for me I'll just put it to you in the demonstration folder so I can show you. You simply go and extract this. This will be downloaded. Here it is. This is the solar of it. This is the zip file. You simply right-click and press extract files. And you extract your files in that big FL Studio plugin. I mean, you extract your files and that big FL Studio folder then inside the FL Studio plugins folder. But in my case, I put it in my local disk D and I extracted inside it. This is my big FL Studio folder. Inside my big FL Studio folder, I go for downloaded plugins. This is where I want to extract it. I press OK and wait for it to be extracted. It will ask me it's already exists because in my case, I already extracted it. Let's put cancel for me. But for you, you continue normally because you will not see this message. I go onto FL Studio, simply go to Options, Manage Plugins, and go press F9 more plug-ins. Again, you have to make sure that you already from the previous lectures, selected the folder where it contains plugins. If you did not select the specific folder where it contains the plugins, you will not be able to find that. Again, do not select that big FL Studio folder. Select the folder inside this big FL Studio folder, which contains the Download Plugins. I go here and you should find it an orange when you scan it. In my case, it will not find it an orange because I already have it. Now sometimes you will not find it. What if you went to here, Manage Plugins and you press F9 or programs, but you didn't find it. This is because for some plugin, it's just not enough to simply do this. It's simply not enough to extracted in the downloaded plugins or FL Studio folder and simply go. You have to sometimes go and manually try to install it. Let's see how it goes. Here. And my big folder, which is inside the FL Studio folder. And here it is downloaded plug-ins. As you see, I have the plug-in right here. I downloaded it from here, and I have it right here. So it's true that I expanded it or I extracted it right there. But I still have to double-click install it. It will ask me like this. Yes, I press Next. I press, I accept some plugins, just have to do like this. Now, every time you are asked to put a folder, or for example, put a location or something. Always press Browse and select the plug-in folder inside the big FL Studio folder. Never press Next. Always press Browse. And go to your big FL Studio folder. Inside this big FL Studio folder, that is the downloaded plugins folder. In my case, I go to local disk D and I simply extracted inside it. Here I am the FL Studio. I press here. Okay. Next. I let it normally. Again. It's asking for something. Again. I extracted, I press Browse, n side my downloaded plugins folder extracted, never press Next and let it extract in any place. Again, here I am in the FL Studio. Inside this FL Studio there is the download plugins. I press. Okay. Then next, asking for more, it's asking for more and more and more. You keep putting this inside the location that I told you about. Never leave it empty. Again. I put it inside the downloaded plug-ins. It's also asking you keep putting this as long as it's asking. Now finally, you will have this setup, will create the programs shortcut and following sort my new folder. Now here it doesn't matter where you put it. If you want, you can simply put it again in the download folder and the download plugins folder. But again, it doesn't matter because it's just a shortcut. Now here you are in the end install and you just waited until it's installed. Let's hit finish and go to our fl Studio. Now, you go managed plugins and hit find more plug-ins. Just wait to see you here, this right here. And in my case, I just removed it and install it again so I can clearly show you what it is. But in my case, I had it already installed. This is why in depth first time, it didn't show up in orange. But try it now here it is. So you press star, so you have it always press star. Now, what you have to do is go into the mixture, go on their master and try to find it. Where is it? And try to search for it. Maybe we are not finding good. Let's try search it. This TDR. More low doc. You are press X. Now we disabled it. But in the next lectures are going to see what it does. 132. Vid 14.2: Before Mastering: Now, before using this thing right here, that I removed it more. Before we move the food before using this thing right here, I simply want to explain something. Why don't you put it directly on the master? First, what I want you to do is simply go to File then expert. Let's remove that first from the master. I remove this. Let's go to File and Export As a file or as a WAV file. What we do first, let's locate it, let's put it in anything. In my case, I just put it in any file that I want. And after you select that, I just wanted to hit Start. Do nothing, simply hit start. It starts slowly. Why am I doing this? Because let's say that, for example, you have a limited amount of CPU that you can use. If you use the master on this, you will have some lagging. Especially if your laptop is slow. If your laptop is slow, you will have many problems while mastering. So when messaging we want to go from the beginning of the track till the end. This is Mastering. We go from the beginning till the end. Here what we can make better using 12 or maybe three plugins in our case, you are going to use one. What if your machine is slow? If your machine is slow, what will happen is, it will have difficulties going through this. In other words, you will not find joy while mastering. This is why we simply export everything. We have it as one, we AVI file. And after that, we start going through without having too much of CPU usage. Because music production is live. Instead of every time you want to go over something, you have some lag or something like that. When you export it, you simply put this plugin on all the Export and it will apply. I know what I'm talking doesn't make sense, but it will make sense. On the next lecture, we are going to see how this plugin can affect this. And you are going to see why we exported it, because it uses less jam. So here we are, we've finished. You simply go and save this, strike open a new track. When you open this new track, here, Let's wait till it's loading. So here you import your file, you import it to here. You simply drag it and drop it. When you drag it and drop it, for example, if you saved it on your desktop, you drag it from here and simply drop it right there. In my case here I drag it and drop it and let's listen to it. This is our complete try that you created. But this time the good thing is that it doesn't use too much CPU. You see, when I'm recording my screen, it uses 1% of my CPU. Before it was using up to 50 to 60 to 60%. Why? Because we had too much stuff on the mixer. We had so much stuff in that channel rag and everything was going live. But n here, nothing explained except this way V5. What's the difference between empathy and we AVI file? That we AVI file is much higher, higher quality than the Emperor's theme. That we AVI file is much, much higher quality than the MP3 file. The next lecture, we are going to go through this plugin and learn how to master. 133. Vid 14.3: Checking For Pops: So there is two things before adding this plugin. The first thing is to actually check if there is any pop or soft starting directly. For example, here, everything is smooth, but here you saw how it directly started. This is why we should listen for that track from the beginning to the land. We listened from here. And go all the way to the end, which I'm not going to do during this lecture because It's so boring. But I need you to personally go through all distract, try to listen if you personally have any pops or clicks or something, for example, a snare that is pre shifted to the left. It means that it's not exactly on the beat. I needed to check if there is, for example, some place where you put two kicks and set of a kick and snare or something where a treaty went wrong. I need you to listen to your track from beginning to the end. And final lesson. In our case, we have those, we can see it, Let's listen to it. We did a great job at adding their fields right there, but here we didn't do a great job. But right here. This is why we are going to go over there and go for example, here for effects, adding some, let's search here. Adding this Friday, I go put it there, put it on reverse. After I put it on reverse, I simply start doing what I usually do. So let's try it now. Do it reverse as we did previously. Let's take a listen. This is the click between here and here. So we don't want something like this. This is why I told you to listen to the whole track, but I'm not doing it because it's so boring to just go through what we do. We simply go here. Put it on crossfade leading. Put this on also crossfade bleeding. Yes. Don't forget to cut a bit from it, otherwise it will not apply that that's got here. Go to the left and also cut this. Maybe cut it more. Let's go here and zoom out. And go a bit right there. Let's zoom in. Also put it a bit the left. Let's take a listen. Here we go. Now let's lower the volumes. Let's put this like this. Let's try to copy paste the same value and see if it will be good. We need to make it louder, less loud. Alright, maybe you should put them more into each other's. Let's try it like this. It's all trial and error. This is the perfect. Alright, so here we have it. We don't have anymore this bump directly. Now we go to the beginning. This also pumps at the beginning. We need to sort it more smoothly. So remove all the track here a bit and we add the same stuff that you add. To add this. We go Put them right there. Let's zoom in so we can see more clearly. Here it is. You see why it's doing this? Because we did not cut it enough. But let's cut it enough. Okay, and then do the same for the second one. Let's zoom. Caught it more. Here we are. Let's go back and listen to the whole track. Maybe not the whole truck must just the beginning. But imagine yourself, you're listening to this track. Will you be satisfied? I don't think so because it took too long to arrive to layer 123456777 seconds to actually start with that tribe. This is why we don't want this. You want to use automations, which is what we're going to do. Our next lecture. 134. Vid 14.4: Start And Finish Automations: Now let's automate it. So I'm quite sure that the listener don't want in the beginning, wait seven seconds before actually reaching the song. This is why you are going to hear in the mixture and create another animation clip for everything. So I go there and add fruity balance. Here's Fruity balance. Now if you're asking yourself where I put it in the second one and this is the same. I just let the first one for the plugin right-click and create an automation clip. The first thing you do is right-click Copy value, so you have the value and put it down. Now what I wanted to do is listen, well, I personally want the sound to solve from maybe here. Maybe here, maybe this a good point right there. But let's just think how much the lesson we'll have to wait before the song is actually stored. Alright, so this is a good point. This is why I put this automation right there. I right-click. And also right-click here, where the song will start. Here, the song Goodwill store here. And right-click paste value will have the same value. Now I can play as much as I want with the previous ones. Let's see that. And put it right there. Maybe I should add one. Here we go. Let's put it up. So I feel that this is good. And after knowing that this is good, we simply cut off everything. We, I mean, we got we got everything. While I'm pressing on this. Let's go here. Put the cut right there, and press on here. Control a move everything. Let's maybe lower the volume of this one, so we set it on unique. Let's lower EBIT. This is good. Now at the end, we don't want the listener to listen this March to the end. We simply go maybe for you it will be a bit more. For you. It will be like this. Maybe. Let's go back and put it like this. I wanted to end, maybe here. I wanted to end here. I use automation clips. I want the full volume right there. So I right-click face value that I put In the beginning. From here, yes. And I lowered the volume until I reach the end. This is too fast, but let's put it like this. Maybe a bit more. It's just a personal preference. Like this. Alright, so we cut it. We go here. Like this. Maybe it ended too fast. So that's also tried to add this one minute of silence. I mean, a quarter. Okay. I'm pretty satisfied by four so far. So here we go. We created those. We ensure is smooth and it's smooth. End like this. 135. Vid 14.5: What Is Threshold In Compression?: Now let's add our famous plugin. So we go here and add it. It's called TED Talk. What this does. Now before you get started, I wanted to tell you that this blog n, what's good in this plugin is that first it's for free and second, which is most importantly that all the compressors you will see the same knobs. You will see something called threshold, something called attack, something called release, something called Rachel, which we will be focusing on during the next lectures. In those lectures, we're going to focus on ratio release at that threshold. To illustrate what compression is. I will go to paint, which I really never use. But for the sake of this course, we will just use it. I feel that painting on paint is, can be explained more so we can explain this concept mole. We have the threshold. The threshold is, for example, we have those sound waves. They could look, those are the sound waves. So we have different sound wave. What is the threshold as the name suggest? Let's put that brush more. So let's put it like this. Maybe that threshold is like this. Let's actually go back and put a lower threshold. Every time it sound wave will go above the threshold. There will be compression applied. Here. That is compression. Here. There is no compression. Why? Because this part is below that threshold. This part right here is above the threshold. Everything that goes above this part will have compression applied. Everything that is below this spot will have no compression applied. Now what is the goal of compression? Let's delete everything. Here we have a high sound level. Here. We have also a high sound level here. And here, and here. The goal and compression is letting those sound waves. So it's letting this part sounds like this. Instead of having those high mountains. So instead of having this, this, this, this, this, we want to remove them all using our threshold. By removing them all, they become like this. They become normally like this. Like this. Usually got you got the point. Instead of simply putting different levels. So for example, in a track, it's normally that sometime you have this, I'm sorry. It's normal that you have this for example. Then somewhere you have suddenly this, then you have suddenly this. Then you have suddenly this compression makes it easier for you to make this. Normally. It's true that it will not be exactly the same level. But at least instead of having like this, like this dramatic changes, it will be like this. Like small changes. This is the point of compression. Now if you didn't understand it, this is no problem because right now we are going to go to o FL Studio and see you that threshold. For example, if you put the threshold on 0, it means everything above the 0 gets affected by the compression. Anything below the 0 will not get affected. So here we work with negative numbers. And if you don't know negative numbers, we have here the 0, then minus ten, then maybe minus 15, and etc. The more you go down with negative numbers, the more it's weaker. By this, I mean that the more than negative number is up. So for example here, minus 13 is smaller than minus ten. So this is the lowest point. By minus 47, the threshold would be right there. So I'll design the sound waves like this. I mean, here. Maybe you can't see it. Night this randomly designing it by putting a threshold of minus 47. You are putting a threshold right here. Everything above the threshold will get affected. But let's put the threshold higher. Let's put it here. Maybe you are doing like this. You are putting all of this. Let's put it higher. Here. You are putting the threshold, right? They're not. All frequencies will get affected. And if we put it on 0, it will be the highest possible. So it will be right here. Nothing will get affected by it. Here has the numbers, for example, minus 40. Here we have, for example, minus ten. Here we have 0. The more you go up, the higher the threshold and the less compression will have place. That is too much compression here, that is less compression. Here there is no compression at all. This is how basically all the compressors work. Now, we are going to see how we can use this to actually make our track sound better. 136. Vid 14.6: Attack, release and ratio: So once you understand what those knobs do, what this knob do, I mean, the other knobs are very easy. This is the threshold. We said that threshold is how much we want it to reach the maximum. But what is attack, release and reach you? Here. Once the sound waves reach the threshold, how much time you want to wait before there is compression. How much do you actually to it before compression is applied? Here? If it's on 0.6 seconds, it means that when the sound waves goes above the threshold, we will wait 0.6 seconds. Then start applying compression. If you put it down below, we put it on 0.1 milliseconds. It means that directly, when there is a sound wave above the threshold, directly, we apply compression. Here. If I need to draw it, we have this is the threshold. When the sound waves go above the threshold, that compression needs to pull it down. Because when I put it down, put it down. It will be deleted. So how much do you want to wait before those sound waves are deleted? This is what attack dots. When you put that tag down, that compression will be much more aggressive. It means that it's waiting, it is waiting for the sound wave to go above this threshold than directly pull it down. This is what attack means. If I put a slow attack, it means it will slowly wait. Okay, when the sound wave go above that threshold, we take our time 0.6 seconds and it's not too much, but still is 0.6 seconds. So we take our time and then compress. Now what is released? Once this sound wave was compressed by the compressor, how much do you want us to go back to our initial position? Here? We have the sound waves. This was like this. Whereas there was compression. They went down. Once they got attacked. How much do you want for them to go back? This is what the release is. How much you want to wait till they go up. Now, the attack is more important than the reviews, but we are going to jump to the ratio where we explain it. So the volume is used in decibel, so dB unit of volume is in decibels dB. Now what is a one to one compression? It is 1.1. Do you see we have 1.1. Then two points than one. If you can't see it too, what a one-to-one ratio means. One-to-one means when the sound waves. So let's delete everything. When those sound waves goes above the threshold by one decibels. For example, if a sound wave went above the threshold by one decibel up, that compression will put it one decimal down. What is a two-to-one ratio? Whereas the two, Let's put it up. Here's the two-to-one ratio, 2 to one. What is 2? It means that Let's put another one. Let's suppose that we had this sound wave. This is the threshold. If the sound wave went up to decibels, dB compression, we'll put it down one decibel. New sound wave will become like this. Like this, like this. Then here, like this. It puts it down with a compression, put it down one decibels. What is a three-to-one ratio? It means that every time the sound waves goes above the threshold by three decibels. What will happen is that compression, we'll put it down by one decibel. So the more you put the ratio down. So for example, if here to one, it will put down with the compression by one decibel. If for example five or ten. Let's hear here we have 81. By 81. Let's read everything. We have it like this. Is eight. Here. The threshold. When the sound wave goes eight decibels above the threshold. Let's try eight. Compressor would actually compress it by only one decibels. Less compression. So it's less compression. And for example, here is one decibel. Decibel. If it was on five. So every time it goes up five decibels, it puts it down one decibels. But here we have 8-to-1. You understood the concept. This is everything you need to know about how the compression works. 137. Vid 14.7: Compressing Our Track(1): Let's actually try to hear this compression instead of just explaining it. Because I don't like too much theory. I simply like to do stuff. Let's press on here and start. Let's remove the compression by pressing bypass. Bypass it mean it will not get affected. What am I doing? Am I having fun? Yeah, maybe. But what I'm really doing is just showing you that when I put the threshold high. So the threshold will be very high, like this. It will be here. All the frequency below it. Let's did this. The frequency below this threshold, which is for example here, 0, will not get affected because it does not touch the threshold. But when I lower the threshold, so on, I bring this down right here. And it becomes here. The threshold becomes here. It's still not affected. Why? Because the waves, the sound waves are still below it. If we go here to the beginning, this is the sound waves. You see this variable right here, this changing right here. This changing right here is the sound waves. As long as the threshold is above those sound waves, there will be no compression. There is no compression, no compression. Still not compression. Still no compression. Now we start hitting a bit of compression. Actually we don't hear. Right now. You hear when those sound waves go up the threshold, what was happening is that we kept lowering the threshold and lowering, lowering more, booting it lower, putting it lower, putting it lower until we start hitting some sound waves. And we put it lower. And by putting it lower. So let's try to delete this because we can't see nothing. Why we put it lower and lower. The compression starts happening. We start maybe hearing a bit of compression, even though it was not so obvious, we starting a bit of compression. This is how also the compression works. Now, our job is to have those kinds of sound waves. Maybe on that drop, for example, here is, for example, here helped me. I am so lonely, I fall in pain when you're not around there. This is the hook if you want. Our goal is to make this part this part as loud as that drop. This is the drop where we start putting the base. Then we have lower volumes. So it's calm, calm, calm. Then we have high volumes. Our goal with compression is put a threshold right here. We can make they're very loud part of that drop equal to this part. We want that sound waves to seem like this. A bit more than calm, calm, calm, calm. Then a bit more than it. Calm, calm, calm, calm. We don't want suddenly to go up. This is the goal of compression. We want it, we want those levels to be deleted. By compression also be deleted and left like this. If I draw it again, have this, you have this. Then this, then this. Then this, using our threshold. If we put a threshold too low, it will remove everything. If you put a threshold too high, for example, here, we will still have a loud part. This will be deleted. We will still have allowed part. But if you put a threshold right there, Let's draw. If we put a threshold right there, let's try to delete it. If we delete those frequencies, will have, will be left with those frequencies like this. You'll be left with a frequencies that are equal. So our track will actually seem like this. Not very loud directly, not so quiet. This is the point of compression. Here, the threshold. We want to find the sweet spot where it doesn't do much this toward our whole track. We don't want our whole check to be, to be to sound distorted using decompression. But we want to, those levels decrease them like this. Maybe we start decreasing, gets stolen. Let's hear the difference between here and here. So let's see it without compression. Let's hear it with compression. Put a bit of threshold. As you see it sounds less strong. Instead of putting no compression, there would be a clear difference between the sound level of this and that sounds level of this. But with compression, that sound level of this will be almost, not exactly, will be almost equal to the sound of this. Fruits on. As you hear. If you can hear it clearly through the screen recording, you'll see that it was actually compressed. Go over other stuff. Maybe here, let's check this out. Let's remove the compression. Now let's add the threshold. Let's add more. You have to be very careful when adding. You can clearly hear that it's less punchy. I'll repeat. Let's select this part and play it. So as you see this part, because it was above the threshold, Let's delete everything. This spot. Because it was above the threshold. We had some waves like this, called waves. Then suddenly you go up. It was like this. Suddenly go up like this. Then the compressor came in and say, no, you didn't guess. You go here and we compress you. We punch those and we delete them. We delete them. They will become punched like this. They will become almost equal to this. But in our case we punch them too much. This is why we simply want to put the threshold a bit up. Maybe at this point it's good. So of course we want to see it on the whole track to zoom out and see if it fits right here. Yeah, I feel good. Now you'll ask me what's the point of putting compression if we could have easily put automation. So we can put, for example, a normal year, then automate the volume and put it lower. For example, here, we have the normal port. We put the normal volume, then we use automation in Eclipse to make the volume lower in here. Yes, of course you can make it. But maybe if you make it like this on more advanced strikes, you will have to make tons of automations. And maybe it will not become as accurate as putting decompression. By putting it there compression, you will have maybe more accurate sounds. And especially on not so much advanced strikes. And even most popular DJs, they themselves use compression. So there is no need. Do not use it. It makes sure your track sounds equal. So instead of jumping from one level to another, you stay on the same level. 138. Vid 14.8: Compressing Our Track(2): Now I kind of turned down the volume of my screen. So for example, I will be talking normally. And I turned down with the volume of my screen because I will be talking when the check is playing, because we now need to master it. So we need to use the compressor, try to master, tried to compress it, and hear all the levels. So what's happening is that our play that track from start to finish and white plane distract. I will tell you what I am thinking about and soft like that. This is why I needed to focus on that track and listen clearly what I am telling. I will be playing that track and while printing that track, I'll be playing with those knobs. The threshold attack critique is ratio. We can try it and master it. So let's hear from the beginning. Let's start by a 21 ratio, because it's by default it came like this. So let's give it like this. I first start by a high threshold. I sought by a high special, I stopped by a hard threshold and put it down to the point where it doesn't distort that track too much. So it doesn't distort all the check and doesn't make two-week like this, for example. It's distorted if you can hear it like this. And it just sounds week. So I'll be repeating here and try to put so I have a high threshold, then start going down and down. So the main thing that you have to worry about is the threshold. So let's play. All right, so there is a difference between this level and this level. So let's put the threshold a bit more down. We don't hear too much of a difference. Still, we can put it a bit lower. So let's try to be gentle on this. Perfect. There was a smooth transition from here to here. We did not have so much different levels because of the threshold that we put. I am very moving. Putting back the plugin to hear the difference. You see it's more compressed. As you see right here. There was no compression. Thank you. So here we had compression. Take a look at this right here. This was because this part was way below the threshold. So this part was here. Threshold was year. We had no compression. But when we start having a higher sound wave, we start seeing compression. From here. Let's hear that transition from here to here. I feel that it needs a bit more threshold. So don't forget, don't turn it down too much because otherwise it, you will distort this part. So don't forget that you changed from this part, it will also change from this form. So let's turn it down a bit also. Like this. Alright, so right now I see no changes because if I keep scrolling down, down, down, it will affect this. So this will become good. But it will become, it will have to have that tried to become too much week. Let's keep it back as it, as it was. But let's actually increase the ratio. So how do we increase it? Not by increasing the number, by simply increasing this where we put it down by this every time it would go 1.5 above the threshold, it will put it one decimal zone. You see? Right there, there's no, there is nothing. But how do we increase the ratio if we want to increase that issue, put it down. But if you want to increase the compression, we put the ratio like this. So it's a bit confusing and it depends on what is your term of increasing, maybe increasing for you. You are thinking of it as wouldn't get up to the right like this. By in fact increasing, this is actually decreasing the ratio. I don't know, how do you want to think about it? But it's all math so you can think about it that you put it up like this. You'd have more compression if you want to think about it like this. So let's put it down and try to find the sweet point. Alright, I fear that this is good. But let's actually check if we did something in the previous one. If it was distorted. No, it's actually good. Let's continue. That has no compression as you see right here. Slowly we start having more and more compression. Okay, So this transition was a bit. So let's put more fifth threshold. We don't want to distort everything. This was, this was too much. So let's go a bit here. Maybe a bit more will be good. Yeah, This is good. Let's make sure nothing happened in the previous parts. Because if we change here, it will change for the whole part. Let's make sure here. Good, but let's continue. Here. I want to decrease a bit the AgTech or like this. I don't want the compression to directly apply. So I put that tech more. This in this way, instead of directly punching it down, it will take a bit more time to punch it down. Here we go. You might not hear, dive to you the difference, but with time you will do procure. Here, here there was a transition. Maybe. Let's start creating that cutoff melody. Getting more excitement. Too much. You see here there's so much compression. It's going to explode. It was perfect. There was no changing of levels between here and here. Instead, if we remove the compression, take a look how it goes. So let's remove it. It would be so right here. Instead, when you put the compression, this part will become almost again, almost equal to this spot. Again, it depends on the quality of their compression that you are using. Because there is other compressors who does the work better. And that's not the same as this compressor. But what I'm trying to do is try to make you understand those, those 1234, those knobs because maybe later on you want to purchase a bid plug-ins. Personally, I don't use this, but there is other paid plug-ins are good. But here in this course we are going to choose the free one. You will not see too much of a difference. But I'm quite sure you can see what is your impression and you can understand what is the compression. Great job guys. This is everything you to know about compression. Again, it will vary from one plug-in to another. Maybe other plugins do it better. Maybe this plugin doesn't do the job. Very great, but in my opinion, it just gives you the basics into how to master attract so we can put it on the same level. 139. Vid 14.9: Publishing Your Songs: After finishing everything, if you don't want to do some changes, you simply go here, File Export and you export it as a final version. After we export it, you can simply head on to sound cloud.com. Here I opened already my account. You hit Upload, you create a new account. Don't forget, you drag and drop your tracks albums here. After you do it, you select private. If you just want to keep it on yourself, or if you want to have it to the public, you can of course, leave it on public. But if you don't want anybody to hear, you simply go to private. By going into private, they will provide you after you upload this, of course, they'll provide you with a link to share it with others. For example, if you wanted to share it with your friends, you use the private button and only people with this link can hear to retract if you don't want to expose it to the whole world. This is how you do it. Now, of course, there could be many more steps for messaging because messaging is something that you keeps improving. Even me, I'm always learning to master. But for now, compression, it's like 50 or 70% of that job. The rest is some saturation and sound loudness meter, some limiters and stuff like that. But this is everything you need to know to master this kind of drugs. Thanks for watching, and I'll see you soon. Make sure you leave a review if you're interested in and if you like this course, I would appreciate very much to leave a review. So we let other node how you like this course and stuff like that. Thank you so much for watching. And hopefully I will see you in other courses. Say strong and bye-bye.