PROD101: Mastering the Fundamentals of Hip Hop and Trap Production"

1. Introduction!: What's up, guys? My name is Desk burgers. I am a music producer, content creator, videographer, musician, but most importantly, I'm working to be the number one influence in the world on here, on this website because I'm trying to help as many people as I can on my way to the top. Today, I am bringing to you guys a course on the fundamentals of music production. We're going to learn how to make high in hip hop in trap beats in this class, the course will be broken down into different modules and sections that will allow us to explore different ideas, such as creating dope grooves, learning how to make a high-quality melodies, how to make your Ada weights and your low-end knock, and most of all how to put it all together and create your very first composition. Now my favorite part about this class and why it could be the best one for you is because this class requires zero equipment, zero experience in zero knowledge, all you need is a laptop, headphones. Let's be honest, you might not even need headphones. Now of course, I eventually figured this out, but I wish there was somebody in the beginning who told me, Listen desk, you don't need anything to make music. You can make banger with the welfare plugins that come with your dog, FreeBSD, and free drunk is that you can find all on Google. And nowadays, Ableton Live offers a free 90 day trial. That means you can use the complete unedited unlimited version of Ableton Live for free. Three, for three months, Like literally for three months. But before we get too deep into it, I do want to address through this course is not for, this course is not for somebody who is considered an intermediate to advanced player. If you're looking to take your production to the next level, this course is probably not for you. This course is perfect for those who have no basic knowledge of music production and are looking to learn how to use Ableton to take their production skills to the next level. This course is also not for somebody who may use FL Studio or Cubase or another program that's not too similar to able to live as their primary. If you're using a software like cake walk Studio one, Logic Pro X or maybe even Pro Tools that I think you'll be able to follow along. But I will say that in this course we are using Ableton Live. Finally, this course is not for anybody who's looking to learn music theory. This course is focusing on one thing and one thing only learning how to make banger, hiphop and trap beats, given that this course is ground zero, I don't expect you to have anything already in your possession other than your laptop and your headphones. So feel free to download all of the resources linked down in the projects and resources tab. You can find the link to Ableton Live itself, the link to vital, the FreeBSD that we'll be using throughout this course. And link to my free junk foods that I provided for you guys by the end of this class, I really hope that you guys will have created your own projects and you'll submit them down below. I'm excited to hear what you guys have made and I cannot wait for us to learn from each other on how to become better producers without further ado, let's get into the class. 2. What Does A Drum Pattern Look Like: Now what is going to dictate your music is going to be the way that it grooves, the way that it moves people. So as I'm sure you can guess, we're gonna go ahead and get into the course and we're going to start with drums. Alright, getting straight into module number one. In this module, you're going to learn step-by-step how to create drum tracks, aka create a group which drives and motivates your song. You're going to learn about different hi-hat patterns and options, snare patterns and options. How to fill in the gaps, and how to top off your groove with low-end that'll make your track noch. So first we're going to dissect our inspiration for this Instapoll, I'm thinking, big fish die Chance, the Rapper, St. I was always delight, which I downloaded it with a UTI YouTube converter. And I'm just going to drag it right into my Ableton. Ableton does a pretty good job of warping your files and getting them on time. That's just double-click to open it up. And it put us here at ADA BPM because I already studied this tracker. I already know that that is correct. So what I'm gonna do is I'm going to go to the top left of my screen, tap my 120.88, that is our BPM, it KR tempo. Now I can come here, zoom in a little bit, and that's where we got so far. I can also turn on the metronome to make sure that on big man named gloves clean it in a task. I remember. So we're just trying to get the groove from this so we can close this right here. Zoom in and up top is our zoom in bar. Alright, and I'm just pulling down with my mouse. So now I'm going to start at this five. Drag and delete. Now what I have left for mating when to pull that forward. So now our beat starts at r one. The mirror we got so far. Sounds pretty good, comes right in on the one. So now what I'm gonna do is I'm going to highlight 4 bar 1234, and it's going to stop at r five. I'm going to group command L, by the way, guys, knowing the commands in your preferred door is the best thing you can do for yourself. That's what separates the best producers from the WACC wins. So Command L, That's the set R loop. And now put at the end. Loose write back and forth. Perfect loop. And we're going to break down what we hear. Now what I can do is to help us break it down and we'll talk a little bit more about this later in the class. But what I'm gonna do is I'm going to open up our track by double-clicking it. Go here to our audio effects, open up EQ and filter and drag this EQ Eight on here. Okay? Now what this will allow me to do is to filter out specific frequencies. Once again, I'll get more into how to use the EQ later on in the video and I'll do a more in-depth class on mixing in the future. I can use this bell tuner to kinda pick out some of my main frequencies that I want to hear. Let's hear what the hi-hat or the high hats are doing first actually. So to find what the high hats are doing, I'm going to open up this first track. I'm going to do this, this, this deep cut. And I'm going to cut all of our low-end off, just looking here at the high-end of the hi-hats. So the hi-hat sound very simple. So now we're gonna do is we're going to try to mimic what our inspiration is doing. Remember, like I said earlier, the biggest feet that I think producer space is trying to be two original. The best way to learn how to do something is to study those who already did it. Don't try to reinvent the wheel. So I'm going to open up the drum kit that I have previously prepared for you guys, which once again is found in products and resources. And then I'm gonna go to our hi-hats and let's just try to re-create kind of what we're hearing for the high hats. And outside of this one down here, what I'm doing more. Okay. So I'm opening up the hi-hat and I'm going to drag and drop just like we did earlier. And now you can see as I zoom in these lines that you can see on the, on the graph, they get smaller and they zoom in more with me. Okay? And you also can see that right here on the bottom corner, you see a fraction. It looks like. Now what that fraction is, is it's showing what the timing, if you will, of that said graph. So right now this one ate, it shows that each of these lines are indicating eighth notes. So now what I can do actually, and this is why I love Ableton so much, is I can highlight the open space Command D to duplicate. And I'll know let me mute this by pressing the one. So now this is great outline notes muted. What I can do is highlight the open space. And now I know that for this whole bar, that is, that those are eighth notes. Highlight it Command L, like we did earlier. 1.2 and 3.4, and 1.2 and 3.4. And if I come up here and I'll zoom in a little bit more, we can be as 16th notes, just by highlighting where the line automatically puts me. Command D, command D, command D command D. And is the quick way I do it because I do for duplicate again. And then duplicate that now 16 nodes. And let's put it back with the beat. And then let's duplicate it even more. Let's go back to our four-bar loop. And let's see how we got so far. Okay. I think the high hats are pretty good. Hey, I'd like to ask Rob, okay, we're dissecting and now now what else do I hear? Now I'm hearing a snare. If we're counting it out on them with a metronome 12341234. And now what that's doing is that each bar, you can see it's divided four subdivisions. 1 s subdivision, third subdivision for subdivision. Okay. I'm hearing the snare on the two the two and the four. Your church books already knew that because we always make fun of the white churches for clap on one and 3.2 in the fourth. You get it. We'll use this standard one. And I'm going to put it, you can see here I lined it up with the one-point to put another one on the 1.4. And because music is kinda like math, it loops, it rotates. So I'm going to just drag this whole bar. You see I highlighted from the ones that the two That's a bar, and I can just Command D and duplicate it. Now what that does is that just makes sure that this first bar is the same as the second bar, three bar, fourth bar. Now we have everything on a loop. Let's play it with the beat Nam block. Now let's mute it for us. Okay. What other elements do I hear? I hear some type of rim shot percussion. And also, if you guys don't yet know the names of all these elements that comes with time. And that is a part of what you're gonna be learning in this course. So make sure you guys stay tuned. And we're gonna, I'm gonna make sure to cover all of the basic elements and even some of the more intermediate elements that you need to know if you're trying to make the best hiphop and trap beats, you can. Because it's a little bit more thing, but I guess we can go with this one. And now you can see here in this waveform at this is where the rim is. But I cannot put it there, right? It doesn't line up. So what I'm gonna do is I'm going to come up top zoom in a little bit. And now I can just kinda cheat by lining it up with that. This looks to me like a rim. So if I just line it up and then I can duplicate it, how do I get this? Also to here? So instead of duplicating, I could do this command D. Another way to duplicate an element is by selecting it. Holding Alt if you're on Mac, which is the option button if you're on Windows and then Option if you're on Mac, hold it and then drag it, you can see this little plus sign that pops up on the screen. And that's a trick that actually stays with most technical programs like Photoshop, Premier Da Vinci, resolve Final Cut, all of those programs, it's the same thing, highlighted, hold Alt and drag it and it duplicates. Okay, so now I can see we have our snare. Absolutely. You guys are going to know this pattern as soon as you hear it, because it's the most common pattern in hip hop. Sound familiar. That's all the way through the beats. Let's just take a beat again. See what other elements we hear with that progression sound. Like a damp, clean it and build better than DJ cabinets van. Okay, so that's what shows up right there. So I see that here. We have these right there. Same thing again, a bar later. So I can just highlight this bar just like we did before. Duplicate the bar to make sure it's right. So how I solo this, by the way, so soloing is, is the S button, click the X button, anyplace that track only. But in Ableton, if I click this S, it doesn't solo both of them together, it only solo this track. So how do I solo multiple tracks? I press the S hold command and then press the other S that I want to solve them. So I have this selected. I'm going to hold Command on my keyboard and press this S. Now both of these are so low. Okay, back to finding this row matrices, right? Yeah. Now this was different than DJ camera. It just has that one. So that's what we're gonna do is we're going to duplicate this bar, duplicate it. And we only have this hit right here. On this one. They don't have it on this beat. So we're gonna delete that one. Simple highlight and click the Delete been forgotten DJ cabinets fan love, the rock that gave prior to a man called. Now we go back to the double, ****** blocked by hand building all this DJ does the rock that gave prior to a man, like, **** it in advance. And we have something different here at the end of the bar. I can see this is my head, right after the snare. Alright, let's see what we got without the beep. Okay, this one's different member. Yet, back to regular. Beautiful, beautiful, beautiful, beautiful arias. But they'll be back arms to be those we've got to add. Build better than DJ cabinets. Man love is the rock that gay pride. Of course, I hear the kick. So I'm going to come back into our desk burgers drum kit that I put together for you guys, we're gonna find the kick. We're going to use a click when because they have kind of like a thick cake. And now what you're going to see is this is going to get really, really money. Don't worry. Later on in the course, we're going to address how to fix the Medina inside of your beats. When you have too many things laid on top of each other, it starts to get distorted and maybe it clicks. Maybe just sounds ugly. We're going to, we're going to address that later on. But for now, what I'm gonna do is I'm going to just highlight all my tracks by doing Command a, turning everything down by using this blue, this blue volume bar turned everything down. So to compensate for the Medina. Okay, and the audio may be lower, but it's just so it's not distorted and you can hear what I'm actually doing on top of the beat. So now it's the same thing. You see all these thick waveforms here on the beat. Those are your kick in your anal weight, as you can guess, the thickest waveform is the loudest thing and your weight and your KYC are pretty heavy right there. So we could just do the same thing as we've been doing before. I'm going to just drag this up and just line up our kick with the kick that is doing in the beat. The beat is doing camera, of course on the wind, like to ask. All right, and then we're gonna go into subdivision between the three and the four. And then I heard it was like a whole note. Is that a coordinate? I don't know music there anymore. It's actually like Hasbro. Okay. Then DJ cabinets and I'm sorry, you guys can hear what I'm talking about with the clipping. Well, Hasbro, cabinets, man loves boom, right on the floor. And then the same, the same pattern in that, in that subdivision, which gives it that like stator field almost you can hear just the rock. And then he's got the boom. So kicks, their kicks near room is right behind each other that I liked that. The stratosphere kick, snare, boom, boom. Yeah, I see what we got without the beat or this here together. Okay, like **** it. I'm going to mute the B now. And then I grew, grew. And now it'll better than DJ cabinet fan love, the rock that gave product. Now I do here a couple of hi-hat chosen there. I can't pick out necessarily what they're doing. But later on in the module, we are going to get to how you can make your own hi-hat trills. Regardless. And we're gonna kinda do our own flavor. I don't really hear anything else going on in the beat other than those trills. Of course, the melody and the eight, oh wait. But as far as grew, but we got to lock them out. They were we got it into a good place. And I would say that we're ready to make our very own group. So after you find your inspiration, I always suggest that you take that beat, that he liked, that you enjoy, recreate it verbatim so you can see exactly what they did, see exactly what it sounds like without all the extra, sometimes it's hard to hear and understand the beat. Whether it'd be how complex the beat is, or whether it be how simple the beat is when there's other stuff around it, when you have your melodies going on the wrapper app in the ad libs, the singing, the vocal stacks, the effects. It's hard to hear how, like I said, complex or how simple the beat is. When you're able to just slow it down, break it down, redo the beat. You can hear. This does Chance the Rapper, big fish, isn't how simple that is. But it got a groove on it alone without anything else in it. 11 11 111-111-1111. 3. Create Your Own Drums: Keep in mind after you still the beat because that's really what we're doing. We're still in the beat. It's time to create your own file and start from scratch in your own, in your own sound. You want to create something that speaks to you now. So now we're going to open up a new Ableton file. I'd have to say that one. And we're going to start from scratch on our own thing. So now what I do remember is we add like an 88 BPM double of ADH is around 17179. I'm going to put us at like 175. Now I do this. This is actually not, this does not follow. This does not follow music theory. But I put mine a double so my metronome clicks twice. That's all. You can change these metronomes settings if you want. You can have it half the pace if you want. It's up to you guys. But you just say I like that it clicks double. That's preference. So what I always do when I open up a track, I create a loop off top. I create my first 4 bar at a loop, I'm going to highlight that open space Command L. Yeah, I was trying to see if you guys got it. It's like Dora command. That's why I am going to zoom in just like that. Nice and big pause. Now we're going to throw in our sounds. Let's, let's start with the hi-hat. I don't always start the hi-hat, but why not? Now? Because I do my double the tempo, I do the temple double. Everything is going to be on the one in the three to two and the four. And I'll show you guys what I mean by that in a second. Okay, now that we have a basic high headline in there, I want to talk about how we can get those trills that we heard in the background. So there's a couple of ways that you can do it. Some of them get a little bit of complex. So I'm going to stick with the most simple way built into Ableton. We have a welfare instrument. Welfare, meaning the one that comes with Ableton. You didn't pay no money for it. You can watch a program and it's gonna go to instruments and is called sampler. It's not, we're going to just drag it into our open space because these are all audio tracks, right? So these are all audio tracks. We can't put sampler on an audio track. And audio track is for audio for recording your audio for samples. Sampler is a midi track, so we need to create our own midi track. Me, shift select, Delete. Okay, and now I'm gonna go back to our folder, which you can find in your Finder, or I put mine right here, so I have quick access. And I'm going to throw our hi-hat sound on here. Now, for our root, I'm going to put C1 because it's what I prefer. And you'll see what that means in a second. So now since this is a midi track, you can't just throw your audio on here, right? It's gonna make you do a convert, which you're going to do is create. In logic. They call it a piano rotten, or we call it a here. But I'm going to highlight the open space and I'm gonna do this command, command shift M. Now, you can see here, could these headphones, if you can't hear it, when you press the piano, could the hip bones up top right here? Blue. Uh-huh. Now I can hear our hi-hats. Now. I believe you guys might be catching onto why I say that. This may be a more beneficial way, a beneficial way to do your hi-hats. What I can do is I can use my hotkey be the letter B, as in boy, and I can just drag across, and now I have a series of high hats that are 16th notes. We don't want 16th notes though. So how can I change 16th notes? I can zoom in to make it tighter, right? And do thirty-seconds, or I can zoom out. But because we only have 4 bar, it won't let me zoom out. So what's another way that we could change our grid? We're going to right-click and open space. And we're going to just click eighth notes. It's as simple as that able to enter so straightforward, I doubt you're having any issues like that. You're going to drag. And now we have a pattern of eighth notes. Yeah, I'm liking it. And as you can see, this is why we made our root node C1, because I like to use C1 instead of C3, just preference. Yeah. This is our velocity down here. If you don't see velocity, then you can just click this option right here. Let's bring it up. It won't make a difference. Remember, we're in here because we're trying to get that trill effect. So how do we do that? So I can go back to right-clicking the space and I can do a triplet grid. Now what does the triplet grid? If you have four beats in a measure, a triplet divides those four beats into three. What that sounds so confusing, right? Not necessarily. Let me play a triplet of them is playing a triple pattern so you guys can hear what it sounds like. Okay, so you hear the metronome. Now as you can see here on the bottom right, we have one eighth triplets. What have we do a one-fourth triplet? Well, we can just simply right-click in the open space. And then do coordinate. But because we're still on triplet grid right here, these are divided into triplets. You can see here this subsection is divided into 123123. Applause to when we're not in triplets, leave the AAA grade 1234. So it takes that for division the quarters and it divides it into threes, into thirds. Okay. But that back on and let's see what we got. And then let's add a triplet division at the end. A slow one. Yeah. Now that's an overview of what triplets are. Now, the question is still stands. How can we use them to make a high level production trap beat? Well, let me show you what I would do. So the hotkey for triplets is command, or if you're on Windows Control three. And I'm going to delete this and start over. Let's put on our eighth notes. And I would start with eighth notes all the way through and I will do. I mentioned I'm back on so I can hear what's going on. Now. Definitely ending the bar with a speedup. That's right-click on our open space. And let's add some 16th notes to end the bar off a double right there. Does that the end of the four? Yeah, and then remember our snare is right here. I want to be clear using the excess features and really publishing your hi-hats. It can get more intermediate to advanced only because you have to keep in mind what the other elements of your beat are doing. You can't just put trills and flares and I'm using terms not in the proper manner, but, you know, putting all of these effects, you can just put them wherever in the beat. Because if they don't make sense with the other elements, then it will not work. It won't sound correct. So crawling on my floor right before the three. Then I might go ahead and add a triplet somewhere. And this, by the way, is how quickly I would make these decisions. Because it doesn't have to be too thought out once you know where your other elements go. I'll give you an example. You can hear the metronome. If I were to put a triplet and start the triplet right here off, this is where my stair would go on the three bar to start my triplet right here. You'll hear what's out. What's going on? What's going on? Is this Machine Gun Kelly or wet? So like somebody, pardon? Plus take it back a little bit. Let's take it back. Command Z, standard undo. Yeah. We're going to add some triplets right here on the floor. And I might even slumped down more than that actually. Soon. Yeah. Okay. We got a groove now. Now what about to add some notes shifts into that? Well, we can simply, let's press B to leave too. Let's press V to get off of our Pen tool and get back on our arrow. And what we can do is, as I'm sure you guys have been hearing, once you bring the note down, it shifts it down in pitch. Which is the final benefit of using sampler, that you can shift your pitch in a more simpler way. So how would I use that in the real-world? Well, I would probably use it on a triplet note that is too long, like this, right before our snare. I might start this slope nowhere. This note lower. Bring it up to our snare. And let's hear how that was selling. Me fill in the snare for you guys so you guys can hear it. Yeah. And then you can even do something like this. Bring all the notes lower. Yeah. You can double them. Do all of them. Yeah. Bring them higher. Why not play with it? And also remember that when you're done with your triplets, you want to command three or right-click and turn off triplet grid so you don't get confused and wonder why your beat sound and all wonky, because our grid has to be on the right timing. Okay, now what I can do is I can double-click on our track. To open up sampler and I want to bring our gain up. Wanna go here to filter in global. I'm going to put this at zero. Now, I'm going to put it at negative four just so it's louder, but it's not peaking. Yeah, I'm going to delete this first hi-hat track and now let's hear what we have. And that is our hi-hats. Now moving on to snare and clap. I think for this one is switch it up. We should add a clap. Let's get our hi-hat pattern going. And if you're ever not sure what B2C going, kinda just listen to it. Listen to where your heart tells you to put it. Your heart probably does not tell you to put it on this beat unless you are into praise break music. This is Disney enchanted. You might want to do that. But because we're making trap and this is Fundamentals of hip pop, we're gonna put it on the third beat. We're going to drag our bar Command D, duplicate it all the way down. Now we can go into our snares and add in some of the flavors. I like to put one right at the beginning of the beat. I stole this from Cardi B. I like you like that. She has a rim right at the beginning. And I want to show that I practice what I preach. All of the things that I know I have obtained from hearing other songs, enjoying it and putting it into my door and duplicate it and replicating it. And then some of the tools you just, you put it on your tool belt and then you bring them out for the songs and you're able to be this no producer that right here on this beat. Just like that. And then remember if you don't know where to put it, cottages here it here it out. Watch where the line is when you want to hear the sound. Follow that line. Follow the line. Where was the line that I thought a line right here. And then I see it right here. And then eventually you'll just have to kinda be able to see, oh, I know what this pattern it looks like and I know where I want to put it. And then if we wanted to keep it simple, we really can duplicate that and do it again. And now we gotta beat that group. Yeah. Now we already understand the movement of the beat. Now, what can we do to fill in those gaps? Obviously, we still have to get to the low end, but we want to create a groove that so immaculate before we get to the low end, that the low-end just, just, just takes it to the next level. Okay. We're going to open up the precautions folder or the perks folder. And that is not making drugs. It means percussions in the in the Lindh project file or drunk it does burgers. I'm good. Okay. I'm going to use this one because I like this down the cow bell. And I'm going to just want to zoom in. So we're at 16th notes here on a 16th note grid. And I'm going to just drag it wherever. Like literally wherever. Now obviously, I kinda know how this is gonna sound, but I'm just putting in a random place, beeper, same thing. I'm going to just put it wherever. And now your goal is to not stacked up on top of each other. But other than that, put it wherever you got to scratch. Let's put the scratch and maybe right here or something. Let's put this down. Right there. Maybe maybe put this right here. Why did we use this laser? Let's move this rim over here so we can end the beat with a laser and I can do something cool. And with the laser. The laser, I wanna do like a triple like that. All right, Let's do three, and that's just 16th notes. And I know that because I have the 16th right here. And I just duplicated on each other bars in the grid. Now, delete all this open space or extra stuff. Now what I can do is I already know that our progression is to not be as loud as our high and our snare. So I'm going to just select from our percussions and down. And I'm going to turn all of those down with our blue tracks. And now let's just hear what it sounds like Looney Tunes. So let's see what we can do to polish this beat up a little bit more. I love that color right there off time so that cowbell can stain. Let's close it up so we know click this arrow, close it up so we know that that's good. That's staying. Maybe we can put this beeper forward a little bit more. Let's try to put it right here. That's not bad with the people right there. But I feel like that's kind of a waste of space. The way my mentor, Saturday Rogers, the way he always explained it to me, is that think of it like two speakers. You have sound coming out of each of the speakers, right? What do you do to fill in the gap in-between these speakers? How can you make it sound as if the speakers are right here? That's the kind of the metaphor. So you probably aren't using the speakers very well if you're just stacking all your sound on top of each other, Let's try to maybe put it right here. Now we have this snare, Bieber and then the clap. So at the beginning here we got That's way better right there. The scratch is gotta go. So that's closest to me because I liked the way that'd be for sound. And let's figure out what we can do with this scratch. Maybe we can just move it forward just a little bit. Sound out of place. Where can we put it in place? How can we get the scratch at home? Well, that sounds way better right there. I posted this out of place, but with it forward a little bit more. And all I'm doing is hearing something in my head and notating it on paper or enabled in CLRS second half. So this got to go. Where can we put it? Where can we put it? Because this, this, this, this one doesn't, this is alright. That actually adds a lot of their similar to what we saw from big fish from the previous song. Like I said, it's all about trying new things and then filling up your toolkit. So bring something out. This is something that I probably heard get done many years ago and I just never forgotten that I liked the way that sounds with the rim to come right before the clap. That's like this stutter effect. But this one got to go. I'm not hearing anything of it. So what I think is gonna happen is I think I'm going to delete this RAM. And that's okay. Sorry I rim but we don't need you later. Sounds perfect. What was in my head. Now what I think I want to hear is this beeper one more time. I just want to hear it duplicated in the second half. So in our first have, aka 1-3, we have our first half, then our second half. I just want the same thing that happened twice with this beepers. I'm going to highlight from the three mark to the one and then Command D. Now what happened in our first half? Happened to the second half. I love it. That grooves. Now there's one last thing to take this groove alone to the next level, and that is gonna be our low end. But really just to kick because when I get into the airway just yet it away for later in the course. So we're gonna go back to our desk, burgers, drum kit, open up kicks and we're going to use this. She's just click one. No. You the tablet as you use the tech, attack. What is drag it in. And here's what I'm gonna, I'm gonna switch it up mode, switch it up. Before I play this, I'm going to mute it. I'm going to sing what the cake should sound like. What I want to hear. Okay. 56567. Boom, boom, boom, boom, boom, boom, boom, boom. Something like that. Right. So now let's see, I can replicate it. I know I want to hear the boom on the one. Boom. Want to hear it again? I think that sounded like it was right in this area. Let's try to put it somewhere. Boom, boom. Let's try right here. See you. That is what I heard. Oh, no, it was too early. Let's move it back a little bit. Boom, boom, boom. Yeah. Now maybe right? I think I heard it right here. Try it again. Boom, boom, boom, boom. And of course that's on the three again. Now as our second half way, I think that what I heard in the first half worked for the second half. So what about a highlight? This first half, just like we did with the beeper. And then Command D to duplicate it. Because beats or just loops after. Alright, especially trap, boom, boom, boom, boom, boom, boom, boom. Same thing. Now to avoid that being so boring, what can I do to spice it up? Well, from my toolkit, I can just duplicate this one. It had to go twice. Let's try that now. And it would, it should go, is when the beat tax, you should go, boom, boom, boom, boom, boom, boom, boom, boom. Perfect. Wasn't the notes that I can do when went back and tried to reverse effect, which you guys might have heard. So what I'm gonna do is I'm going to put this kick, remember, hold Alt or Option. I'm going to drag it to the end. And now I'm going to make it just this long. So all of this excess after the if I want to delete, okay, So now stay with me. This is more of an advanced trait. So if you don't get this, this is fine, it's fine. This is more of an advanced trait that might be able to take your production to the next level. So I'm going to collect, or I'm going to select that and then click are. Now what that did is it reversed my kick, open it up. And I'm going to use this fade tool, this block up here, that's the fatal, I'm going to fade it in. And I would actually do is give it a reverse effect, going back into the top of the beat, Let's hear what it sounds like. Yeah. Now what if I don't want that reverse effect to happen so often? Well, what I need to do is extend my groove. So my groove right now is 4 bar. Let's highlight the entire thing to make it 8 bar long. So I'm going to highlight all of it, all of the 4 bar. And I'm going to Command D, and that's going to duplicate everything except for our hi-hat for some reason, which is fine. We're going to just select the hi-hat and then duplicate that as well. I don't know why that didn't work. So now remember, our loop is still here. Now what we can do is to elongate our loop is bringing it over the whole thing. So now our loop is 8 bar long. So I can go back, zoom back in and get rid of this first reverse. Now the first time it won't have the reverse kick. See a reverse. But now in his last time, reverse. That grooves. All right guys, So, so far we've learned how to create a knock-in group. And to be honest, this is probably 80% of the beat when it comes to making hip hop and trap. If you guys are getting value from this course, please, please, please go ahead and leave a review. I'm so excited that we're almost there and you guys have almost created your very own beat. I cannot wait to hear your guys is submissions. Feel free to leave me a review. And if there's anything you'd think that I could do better for my future courses. Or maybe if I need to do a revamp of this one, please feel free to send me a DM and I will be happy to respond and listen to your criticism. I can not wait to communicate with you guys and see how we can help each other become better producers. Back to the course. 4. Creating A Catchy Melody: In this module, you can expect to learn how to chop samples, warp them, adjust their pitch, you splice sounds, create melodies, chords, and maybe even counter melodies. Alright, let's get into the module. For this module inspiration. I'm going to look at rock-star by the baby. And once again, we drag it in, give able to in a second and it should automatically warp it. Sometimes it gives you this defect, does this glitch. And what we're gonna do is just click zero. The activates and reacting with our clip. This says here that our BPM is at 89.98, which I'm going to just round up to 90. Go back to our tempo because 90, and that's where we got. So if you don't know music theory, once again, this is not a music theory course. That's fine. Be sure to look out for my music theory course that I have coming where I'll give you the fundamentals of music theory. For now, I'm going to just give a quick overview of what these chords are. But if you want to know more, you can always view the Project and Resources tab. And you'll be able to download a folder that I created, which contains many files for every single scale. And I, I probably shouldn't say every scale is just the major, minor, major pentatonic and minor pentatonic scales. I actually opened them, one of them up right now from my ear, I know this song is in G-sharp minor, aka a flat minor. So let's open up that folder. So I'm going to open up our D-sharp a flat scales and drag it on import tempo signature. You're going to see this probably when you dry years and just click now, let me solo this and let's hear all these scales. Nothing's playing. Don't be alarmed, guys is not supposed to be anything playing because this is a midi file and we need to tell the computer what sounds to play with what note we're going to go to our instruments. As you can see, if I go here to instrument rack, piano, just throw on his basic EPS when I play it. Now we should be able to hear our major. Second one is the minor. Third is the major pentatonic. That's the minor pentatonic. Now, you guys might notice that I've put this note at a low clicker headphones. If you can hear a sound. I put this one that are at a lower velocity, it's called, but it had a lower velocity. And that's because this node is not actually in the scale. But when you're creating hip hop and trap, you often will use that node that is like the pinnacle of making that, that weird trap by, right, but so we're in G-sharp minor and this is our G-sharp minor scale right here. All right, so I'm going to delete everything else. Highlight it, and delete it except for our minor scale. And once I hover over here, you'll see this little speaker and I can play that. Perfect. Unfortunately, like I said, because this is not a course, I'm going to play out these chords really quick. We have a G-sharp minor that goes to a, I believe. Let me hear it. Sounds like used to be. I got an F sharp a time, so that goes to B major. By the way, for those of you guys who do understand the music theory, it sounds to me like it's the 6154 progression. And I'm pretty sure that is what it is. And we're going to find out. I want to keep this thing here so you guys can see how to do it. But I'm going to breeze through it. And then shift up arrow to put our notes up an octave. So I just selected it, hold shift and the up arrow, down arrow for down. And adages goes from F sharp three to four. But actually that is on the lower octave. So now we can hear easy. Obviously there's not a guitar sound, we're just dissect the notes. I'm going to highlight it and then duplicate it. And then I'm going to close this small section, open up this section, Highlight Command L. Now we're in a loop. So that's the a melody. There's actually a secondary melody, which some people can call it a counter melody. I wouldn't, because it's not countering anything is just a second part. But you may hear that term. You pull up or you put, you put. Earlier, we talked about triplets. Now is the perfect time to go a little bit more in depth because those are triplets. So I'm gonna go like earlier Command three. And it sounds to me like we have our triplets, you know, because there's a T there. And it sounds to me. Like they're on an eighth note triplets coming back up and they've just going up and down the notes. Let's delete these. So it's up and down. The the the the court oh, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait, wait. I think it's 16. Oh, snap. I was wrong. It's not triplets. I'm tripping on the triplet, triplet. And then you can just duplicate it. You can do the same thing here. And just 16th notes. Going through the cord is interestingly simple, which is what you'll notice amongst all hip hop and rap music that is usually so simple, it's interesting. I was this close to dissecting Gucci Gang for this course on the reason I decided not to, because the mixing bothers me too much. But the simplicity of the, of the song, the track, the lyrics and everything. It's insane. Now let's see what we got. Boom. Now we're going to come, we're going to duplicate everything. Community. You can ask them on the kitchen. So now let's hear, without our original track, you're gonna hear the chord progression first. F-sharp major, E major, one more time. G-sharp minor, D major, F-sharp major, E major, and now go to our plucks. So now what if you don't want your main melody to sound like a whack broken E Piano. Well also in the products and resources tab, I've included a free VST. I didn't make it, so I don't want to make some like I made it, but I want to put you guys on to something called Vital. The instructions are pretty simple. I won't go through how to install it, but you can check their website. Once you've gotten vital installed, it should show up here in your plugins tab if you're having any issues installing it. I'm no expert on this program as I didn't make it, but I don't mind helping you guys. So feel free to comment down below or shoot me a message, and I'll get back to you guys and assist you. So we're gonna go to our V as T3 and vital. We're literally going to just drag it on to our track. Now if I tried to check it out to an audio track, you see what happens. It says only audio effects can be inserted onto an audio track, right? So we're gonna make sure we're dragging it onto a video track. I mean, sorry, a midi track. We're gonna make sure you're dragging it onto a midi track. Let's solo this so we can hear what happens when we open it up. It is on the Init Preset, aka the initial or initialized preset. Now, a quick rundown on synthesisers. The way they work is based off of oscillators. Now, each oscillator, this one has three oscillators that have worked with, which is what a lot of synthesisers we'll have. Each oscillator has different effects that you can do to mold the sound. Now, what a synthesizer is, is it's a device or an instrument, or wood, or a tool, whatever you wanna call it, that allows you to create your own sounds from scratch is going to take frequencies and waveforms and mold into sound differently. And so you can have effects like an E Piano or a pad or whatever it is. So here we have our initialized preset. I can click here on in it. And we won't get in it. I'm just absolutely bad joke. I'm sorry guys. But one could basic shapes and as you can see, I can go through, let me click Play. And as I say, I'm going to just select them and I'm going to scroll up Sea Hawk. And the more sharp it is that sound sharp. So this is the sine wave. That doesn't sound too bad right there. And triangle. Like the more gamer. Alright, now we have here are unison. Our voices is how many boys that are on it, that it sounds disgusting, but what I can do is I can bring it up. That's not too bad. Now you can see over here on the red, when you're on the red is bring it down. We won't get too much into the mixing part of it. A quick overview of it, your voices is how many nodes can play it one, see if I put it on one voice, it will just randomly choose which no one wants to play. But it won't play the other notes of the chord to play. Two chords are two notes. Three, it'll play all three. And then our glide is the way it slides. And that's pretty much the overview of synthesizers. I think we're ready to get into making our own melody. So let's go back into our project file that we just created. Skillshare beat. And let's figure out what kind of a melody we can put on top of this. Let's Play and let's get a refresher of where we are. So off tops, if you guys don't have any musical experience, you might want to use a software called I'm not naming it because I got beef with the customer service reps. So splice off, forgot to say the name company Yani to get together if you want me to be sponsored. Mentioned you all in my course. So whatever I'm saying because y'all come service, which is bad, I'm saying but whatever. So we're going to open up the program that should not be named. And we're going to just find this out. If you don't have an account already, you just feel free to business-wise dot com and sign up. If you use the link that I provided, I believe that I get a kickback, which I have to mention. But yeah, I think you also get a free trial, so it's a win-win, right? But after one already here. So now what you could do is you can go in here and tapping screw it. And I'm going to show you guys how to do that. If you guys want a more in-depth class on how to chop and screw beats, which is primarily going to be like you're boom bap stuff. They made sure you guys let me know. But as of right now, if you're making regular trappers, standard hip hop, able to do most of the work for you. Let's solo this and here what we have. So you can see we already have our warp on and let me turn worthwhile so you guys know what he does. So warp is how you're going to put your thing on beat. So right now if I play with the metronome, with the work off, you can tell it's not on beats. I'm going to put warp on. And then let's say this is not on there. What I can do is I can go and find the beginning. Usually there's a market for it. I can double-click it. And then I created a marker, a solid marker, and now I can put it there. That's wrong though. These should be up there. And it's all about putting it in, out and meet, anchor it down. Bring this one up a little bit more. Bring this in a little bit more. Looks good to me. Now I can delete this tail right here. Delete that. More thing about warping is I'm gonna go here and I'm gonna go to Complex Pro. Now, I'm gonna do that because I hate the way this sounds. All of these different features, they preserve different things or beats is going to preserve the different beast, the waveforms. It's trying to preserve this sounds or the beats, the tones is going to preserve the autonomy. I need complex, which is going to try to preserve as much as they can. Right? Sounds good to me. Now what we can do is use our pitch tool to maybe pitch it up a little bit. Yeah. Now one great thing about splice is that it usually tells you the key. The key is hardly ever accurate. I think these guys were uploading it. Don't really know music theory. No, Hey, but this one says D minor, abbc, I love ABV sees stuff, so I'm pretty sure that's gonna be accurate. Now once we got our sample, we're pretty much good to go. Now once the sample is in there, we're going to gain stages. We're going to double-click it, brings his gain up. We're going to do that. So it's just about, you know, a decent level. I'm making the next generation of greatest producers out here. Yeah, we made this beating like 15 min. That'd be is already proven and we don't even have know Ada weights on it. Can you believe what we doing out here? 5. Knockin' 808s/Bass: Now for this next module, we're going to dissect it awaits. Listen, if you all have made it this far, then you are actually learning how to become a great producer. I really want to encourage you guys to share it with a friend. Shouted out, tweeted, posted in your story. Literally take it front. Alright, Apple's doing a story. Tag me at desmos burgers or on your TikTok or whatever it is. I want to see what you guys are working on. I of course want to see you guys share it down here on Skillshare in the project section, but also shoot me a DM, send me an e-mail, send me a message with a less. Let's talk, let's collaborate. Let's see how I can help you become a better producer. Alright, so for the aid of weight, I want to dissect a song called staying alive by the decals of Michigan over one. Now I want to use this song because the Ada weights so stupidly simple. And it also is the solid Ada weights that you're hearing on the radio right now? I don't think it was indeed a good job of catching his beat. Let's put the metronome on and see how we can affect this work for our community. We can adjust it. Wanting me to, wireless is a great time to learn how to properly use the word features. So I didn't know this was going to be in this course, but because I have to adjust it, let me walk you guys through it. Crowd. So what I'm gonna do is I'm going to find the beat, me on the first beat. One immediately like the weight of it right there. And you can see at the top, there's a tiny little marker. I'm going to double-click that marker and that's gonna become our anchor. Let me double-click this back one so I can make sure that this is our anchor. Want to take this and put it on the top of a beat? What beat kinda doesn't matter, but it's best if you go in it by four. So this is the fourth, the fifth bar, the ninth bar, 13th or the 17th, 21st, 25th, 29, if that makes sense, I'm gonna put it at our 17. Now what I'm gonna do is I'm going to find the next one. So I'm going to count to 45. Sorry guys, I didn't try that. I'm going to count to four and that's gonna give me a bar and I'm going to use the green one. So now I need to make sure that this has on the one which just seemed like it is. I did bring it back just a hair. I'm going to anchor that down. Now what that tells me is that I've got on or four months. This is most likely on beat. Let's hear how it sounds, let you know. Or we can go down here complex to give that. You'll hit you with this now and you'll hear what the difference between the tones are or texture on it. Wanting me to allow me to more complex and allows then allows. Another one. I never heard that he had that harmony on that with that. The guitar harmony, nice. Hold on. I never heard that before. Allows us to adjust our tempo to be right here, 130. Our tempo. Tempo is the same as the samples tempo. Okay. Sounds pretty good. So I guess you guys got an in-depth lesson of how to properly adjust samples, which I did not think that would happen in this lesson, but let's, without further ado, die 68 away. So let's delete all of this fluff and then bring the start of our 808. Oops, start over 8.8 to the one. She ran over one side I got on the phone was just type it allow me to tell you what. It's not like I know what I wanted. The fundamental part of the eight oh wait, is that it is like an elongated kick which actually short history lesson with a TRS-80 weight, which was what we know to be the first commercial use of eight await was just the elongated kick waveform, right? So it's a kick with a tone on it. The more audible tone I should say. We're going to open up our folder that we've been using. And then we're gonna go to our Ada weights. Now, I kept the spins in here and the voice ate away the voice because it's just a more neutral, It's a more neutral sounding one. But the spins, because that's what everyone uses. You can hear it has a lot more tones on it than this one does though. So just like with our high hats and our drums, we have two options. We can either drag and drop these sounds directly into our project or we can use a midi to control them. I recommend, recommend, recommend, recommend using a midi to control your Ada weights. Because the tonality of the iterate is probably going to want to be one of the most important things that you can do. I'll explain that a little. Actually, I'll explain it right now. So we're gonna go to our instruments and then we're going to open up sampler, drag it onto the open space, and we have sampler open. Go back to our sounds. Spins. They're going to drop spins on to our simpler. We're going to adjust it to its node. Now what should we make the root node? Well, we should make the root note, what the note of the sample list. So let's, let's, let's play around a little bit and figure out how we can see what note is this. So I'm going to drag into open space again, except this time it creates an audio track. As you can see, we're going to go here to our audio effects utilities tuner. So now let me mute this. So now when I play this, you can see our tuner will give us the note, so it isn't note C. So I can delete this now, go back into our sampler. And I'm gonna put this on a C1. And remember that's just preference, but that's something that I like to do because that's where I like to see my Ada weights. Let's create a loop, four-bar loop. Remember the command is Command L, and then we're going to create our piano roll command shift M. Okay, so now we can play our check again. Gushy NOVAC ran over one's own. A phone was just type it allow me to tell you what. It's not like. I know what I don't want to miss even over one unknown a phone was just type it, allow me to tell you what I'll do. The same thing that we did with our drums is we're going to just play it and then you kinda seeing where we hear it hitting. I believe that the song is in D, so we're going to use the de novo ones that I got no phone lines. I think that was right here. Cauti in Michigan, Ohio was side I got no phone lines. Allow me to tell you what. I don't want to have that little like, boom, boom, the stator versus a Gaussian nervous even otherwise, it's not. I got no phone lines. Allow me to take one-on-one. It's not like I know what I want, especially if it has a stutter again. So I'm going to think that is this one right here. She ran over one side. I got on the phone last night. But allow me to tell you what. It's not like. I know what I want to discuss. Now. How do we keep it from cutting off right there? Well, what you can do is you can just drag it to be longer. Or we can Command a and press this legato option here in RP interval. And what legato means is that each node is going to play until the next note begins. Now, obviously it's on a plane or length of our sample. If you want it to play longer than you can either loop your sample, which is more of an advanced trick, or you can just add another sample that's a longer Ada. Oh, wait. But for the purposes of this breakdown, I don't think we need to because as you can see here in our waveform, the weight is only about this long, which is shorter than ours. So now let's make sure our timing is good, which I think you didn't know Michigan, Ohio was. Just type it allow me to tell you what I want. It's not like I know what I want to start. I got no homeless, just type it, allow me to tell you what. It's not like. I know what I want. Simple, simple, simple, simple, simple. So let's actually go ahead and dive into our, our song that we've been working on. Because the further steps that I have for this are so simple. Like creating a nominator weight is so simple. Just, just bear with me, bear with it. So some glassware. So we're gonna go just like we did on our previous track. We're going to open up our instruments and then drag and drop our sampler. Then we're going to open up our spin data weight. We're going to go to C. So let's say you're not like me and you don't like playing the eight away. Let's say you want to record it. Well, that's very, very much possible. So what you're going to do is select the key M or up here and click this piano. So now what this does is it gives you the ability to play the piano on your computer keyboard. Remember this is a tutorial on how to produce beats with nothing, right? So perfect, right? What I do before I make my airway is always Command a and bring every track down. Because you ate away is going to take up a lot of space and you want your weight to knock, right? So always just prevent it being muddied because sometimes that Medina is at the beginning, just it comes in so strong it might throw off my creative juices, so I always bring it down so I can avoid it sounded too bad to rough because I noticed the rough draft right. Now what we can do is make sure that your track is armed by clicking this red circle, right? Makes sure that this is selected or by pressing the empty your hotkey. And then we can hit record. And then once I hit Record, which the metronome is on, should give us a one-bar intro. Now I don't know, is gonna give me a one-bar intro, because here, it's actually not. Here. We have our counting and I want to set it to 1 bar. So now when I click Record button or the hotkeys F9, give me. That sounds terrible. Two things about that. First of all, those notes were atrocious. Second of all, it is so quiet. Now, why is it so quiet? Well, glad you asked. This is quiet simple, so we're going to just go here to our volume. We're gonna bring that up. And it's still not clipping, so we're still at a good level. If it was clipping, it will be red right here. Now, because we're working with the sample, we can actually bring this down and do all these for now, because we're working with a sample. We don't know what key it's in and we don't know what notes those are, right? So right now the million-dollar question is, how can we fix both of those problems? Well, a little trick that I have is to go here to your audio effects, your EQ section, and then throw on this AQHA. Now this is, this is for now because I'm sure you guys if you're struggling with your ear or you're not able to hear out the notes as clearly. This, I'm sure this will help you guys tremendously. So we're going to use click the eighth one, which is going to cut off our high-end and we're going to bring it down so that we're only going to have low wind plank. Bring your gain up so you can hear more clearly. And now the allele frequencies that are going to play or a low enough frequencies. And this is how I figured out. I just think it create our Ottaway track. Or what you can even do is just tap it out like I just told you guys the keyboard. Make sure MS. Selected and then you can have your boom. It didn't you just think it out. And if it's still too hard for you to hear it, put it up an octave, and Octave is going to be 12 notes. You're going to double-click it and bring it up 12th because we picked this up, pitch, this sound up already. I'm going to need to shift it up 15, that's 12 plus the three that we already have skewed. 15. That arrow is, it's crystal clear what the notes are doing. I'm seeing it. You can even pick it around if you if you're having trouble seeing in it, speak it out. And a lot of this stuff does come with time. It really does. I'm able to pick this out. I know what the notes are, but just pick, pick layout is, is, it's fairly easy. As you practice. The more Just making sure it's the same thing again and it is. Now what does that means? Like we've been doing all day, highlighted all we're going to duplicate it. I'm going to command a. We're going to bring everything down to the notes. Yeah, so now what we can do is adjust. We can actually delete this EQ. Let's add another one. No, no, no, no. So we can do, now is actually delete this EQ off of our melody track. Because I think that we got it. We can also bring this back down to plus three. And that's where we got. The notes are right. Now, how do we create an eight await pattern? That not something that's similar to what we heard is staying alive, maybe similar to this one, it'll be just heard staying alive. Well, number one thing is to talk to your cake. The bass and the kick should have a conversation. There. They're literally boyfriend and girlfriend. So we're going to figure this out. We can see here that this is where our bass note starts, but our kicked doesn't start to write here. So what can we do? Let's play with it. Let's figure it out. Let's figure it out. Let's figure it out. Let me just solo these two hold Command S and that's just those two tracks. They're not talking to me. Let's see. Let's bring this down and habit start with the kick. And then this kick comes right here. Let's try to delete that C and just hold this out. And then maybe we can start there. And then instead of doing the octave droplets, just keep that the same octave. And then let's actually just do the same thing twice. Let me show you guys write it there. Because I just do I duplicate it up here this time instead of down low level we've been doing before, Command D, I'm highlighting both of these separate tracks. I'm going to Command J, and that means joint. I'm going to command join them. Now I'm going to come in a in the God of those for sure. But I still think that this might just be too complex. Remember staying alive and even other songs you name? Yes, indeed, the charts that we've been, the songs that have been charting the past 567 years. They're simple. The 808 lines are hard. They knock, but they're simple. So how can we get a simple eight line? Let's see how that sounds. Okay, so now that we've got a nice simple, it'll wait, line knocking kicks in, in a great melody. Let's figure out how we can give a basic structure to this song. Well, the basic structure of most of music, you're going to find this intro verse, hook, verse to cook various three hook tag, the name, repeat or ending or altro. So following the standard song structure, Let's give our, this is how I do this. I do. What I'm gonna do is I'm going to duplicate the entire main loop. So this is our main loop. Duplicated, duplicate, duplicate, duplicate, duplicate for about a minute. Right? Now I'm going to delete all this tracks in the first one. So now we're going to open up with just our intra, okay? Then maybe we want to come in, delete everything except our hi-hats. Then our hi-hats coming for a little bit. And then maybe after a high acts came in for a little bit, we want to give it a little bit of snare, right? So we've got our intro for a bars, then our intro and high half or four, then our intro hi-hat, and our snare for 4 bar, right? And then maybe when I come in with the entire beat at the 16th bar, okay, The winner back there for a little bit. So let's kinda hear what that sounds like. He's been up here. Okay. Yeah. Okay. 6. Embellishing Your Beat: Now that we've got our beat in a place where it makes you do this. He just think based in this module, you can expect to learn how to embellish your beat to a point where it's no longer just a bunch of cells stacked on top of each other, but it is an actual composition. So first things first, we need some, we need some sound effects. So let's open up our kit. Ethics. Him and I liked his rise up. I want to just let it rise up. And then not what this is gonna do is we're going to, instead of just coming in to be like this for my intro, it'll give it a little bit more flavor hopefully, Let's see. Now you see this fading in a little bit more. And then go to R, where let's go to our symbols, adding a top of the beam. So in today's modern day music, what you'll see is that after the first 8 bar of the hook, this the second half of the 8 bar, we'll add a little bit more flared. Something new to switch it up. Now, an easy thing that you'll see now in properly music is just adding either something called a haze or chant or adding open hats. We're going to do both. So we're going to do is I already know the pattern that I want to use. So this is our second half, or second half starts here at 25. Okay? When did this give us something subtle? Let me see. One uses A1 and I'm going to cut it off. So let me see where that is. I think it's right here. I'm going to go in and shorten it. It looks like it looks for the bar. Let's see. Yeah. Alright, so now that we have a build-up to our hook, the duplicate, this crash actually. Ok, so boom, now we have a butyl to our hook. We have a crash the beginning of the beat. Let's duplicate it to where it's again. And then now we have a beat switch, if you will, for the second half of the hook. So now what's the intro verse, one hook. Let's get V2. So here what you're probably gonna do is do a breakdown where you might just have, let's say it's just snare. For awhile. It's heavy. Just be the snare is the back stairs. Break down. And then we might want to have to Mecca. I feel like these effects are two alleles bringing them up. It's going to wait until later on where I think now's a good time. Yeah, they gave the wrapper 16 bar. Are the singer 16 bar to say what they want to say. Now let's highlight this portion because this is our hook portion. We're going to hold Alt and drag it right up to here. It's also go back and dragging up rise. Now. 7. Mixing Your Beat: All right guys. We almost made it to the end. If you made it this far, I really hope that you are elevating your production in some way, shape, or form. Make sure you guys are sharing your projects with me. I can't wait to hear from you guys and see how we can better help each other become better beat makers, producers, artists, and whatever. This is kinda like a sub-module of the embellishment, but this is going to give you a base level of mixing. We're going to, in this module, you can expect to learn how to manage your low-end, how to properly balanced your tracks, and some cool effects that you can do as far as mixing that embellish your song a little bit more. So step one, we're going to look at panning. Panning is something that only happens in stereo tracks where you can shift sound from your left and your right ear, is that it, it being in the sensor remain the same in both. You might just have it in one year. If you're in headphones, this track should be in stereo. So what I'll do is play the high hats. Now just to be going through your left ear. Now, naturally in your right ear. Double-click it to reset it. Now, what I like to do, let's highlight our effects tracks, solo them. Let's bring this laser up because I loved the laser. Let's put our cowbell and one year, Let's put our scratch and another ear, regression and linear. Let's try that. What it sounds like, what the beat them. Alright, I loved the painting. Another effect that we can add is reverb and delay. Delay is something that you would consider like an echo in the real-world. Echo, echo, echo, echo. Reverb is just the reverberation that happens in a room. Think of like echo with no second transient, transient mean in the beginning of the beat. So when an echo goes, echo, echo, echo, echo, echo. Think of it like that. I guess instead of sitting here and just singing for you guys, I could've just show you, right? So I want to add both. So we're going to use the welfare delay. We're going to make it from scratch. A solo are beeper track, which is what the track that I want our delay on. I'm going to use these numbers. They look familiar. This is one half, half note, triplet and then a coordinate. We want it to be half that. Oh, sorry. We wanted to be on the eighth. Let's bring our feet back down. So now our feedback is how long it will continue to echo. So let's play it. See what's short feedback. It just stops after the warrant. Okay. Now with long feedback or never start will be here tomorrow till it stops. All right, so I'm gonna put it at like 30. And then our dry and wet is just how much of the effect that we have. So 100% wet is it won't play the initial beep, it'll just played the echoed one, right? So let's see. So I'm going to click Play. You see it ever played the first one? Because that's all wet. Nose by just to dry when there's no echo there. So I'm going to put it at about maybe 40%. Now, ping pong is going to pan through the years. This is something that's able to in specific to my knowledge. Right. Now we're going to add some reverb, which is going to just basically give it a room, space, some room. I can use this church, one that I like using bring the pre-delay down, then our decay down. Now your Frito-Lay is going to be how long it takes before the reverb starts. It's the delay in which the initial sound and the reverb starting right, and then your decay is similar to live. Your feedback is just how long it lasts. So I'm gonna make it about maybe 250. And then our dry and wet, I'm going to put it about 40%, just like that one. Let's see. I actually want a longer decay in a longer pre-delay. The challenge with mixing is it doesn't really matter how it sounds to you when it's loaded matters how it sounds with the beat. So let's hear with our other percussions first before we play the entire beam. I love it. Now does it give you the space? And now we can hear the beat. Photo thing, but these percussion sounds too, I want to, I want to mention, is that not all of them are meant to be heard. Some of them are meant to be filled where if you play then you might not even notice they're there. But once I remove them, you probably if you're listening to the melody, you can hear them. When I mute them. Empty, put it back in there. About adding stuff that can be felt and not necessarily just heard right now, I want to talk about embellishing a track by managing your low end. This can get very complex, so get your notebook out and be ready to get with me. We're gonna go to our audio effects under the dynamics tab, I like the glue compressor and decompressor works, but the glue compressor is my favorite as far as built-in plug-ins. So we're gonna drag out Glue Compressor onto our airway. Open up this flap here, one-click side chain. Now with side chain does is it basically connects to another tracks. We're going to side chain it to the kick track, which is named kick tap. Now what you can see is here once I, let me just label these, every time our kick hits. You'll see what I'm doing here. See that moves. So now I will just give you the presets and the settings of my preferred way to duck. I like quick ducks because I do and yeah, I just don't see that we can get too deep into that cow compressor actually works right now. So the way that I do is I turn the attack all the way down there, at least all the way down, the ratio up and then bring it back threshold up, not too much. And so basically what you'll see is when I put my threshold at zero, okay? That's like basically off, let's say it's off. It's not really doing anything with zero. You can see right here, this is our audio levels were here in the red. Okay. As soon as I start ducking this, you can even hear the difference. We're clipping this command and bring this all down and bring it all down. Let's bring it all down. Okay, We're no longer clipping now. So now what you can see is here you can hear the difference, listen to it, listen to it. And I bring this down. Fabric all the way down. The eight await is literally ducking its levels in making room for the kick, kick thing of the kick like the king in this sense. And it's like, oh, the, the the, the Ada weights says when the kick walks in and you bet it's turned down, get, get it together. The kick is in the room. Alright? And I'm going to, let me exaggerate it for you guys. I'm going to bring the release up so you can hear it. Anyway. Anyway, it in there now. So that's just exaggerated urgency can hear exactly what it's doing. Alright, let's go back. This is pretty much how I would do it. I don't have too much of a duck on there. Is just so it's not clipping. And then your makeup gain is just basically gain. Now staying in the vein of Ada weights and other thing you can do, It's imbalance of tracks is change the tones. Let's go back to our nifty friend EQ Eight, Reagan onto our anyway track. And I'm just going to be straightforward. I'm bringing that up. I want that base to talk to me. That's what I want. Opposed to yeah. Give me that. It needs to make my booty ticker when I'm in when I'm in the car. And then we can bring some you can hear these stones up here. That almost is like ugly, but I like it. Give it that gritty sound. Same thing up here. Whenever I drive, I'm gonna go to overdrive and when to add a little bit. Yeah. Now before the effects, that's where we have. With the effects. What that overdrive does is it almost sounds like you're in a car when you were one of the older cars, or if you put your union soldier on speakers and you turn it up too loud in the car. That's almost what it sounds like an S to give it that gritty, gritty sound. And so remember now that we've kinda gained stage a little bit, that's called, that's what it's called when you're testing your games, your levels of your tracks. We should no longer be in the red. Let's see. Let's make sure at all. 8. Mastering Your Beat: Lastly, a big problem with this is that once you're no longer in the red, you're like, Okay, I'm not in there anymore but my track is low. My track is low. Like I needed to be able to knock on my headphones, right? So now what we can do is like a baby baby base level master. This is nowhere near and neither was that mixing. The mixing wasn't even mixing. That was just like level management and low-end management really. We're going to do a baby level mix. We're going to open up our master track here, right? And our master track is where everything is routed to. Everything is routed to the master track. Okay, we're going to open up utilities. And then we're going to go to audio effect rack mixing and mastering. And then we're going to open up master, bright and edgy. Know, we're going to open up masterful chain. Now this is the built-in one. I would never use this if I'm really making, making music. But for beginners, people who are just learning how to make beats, they don't know about mixing and mastering, but they want us to be able to play their song and make the car thump, then this is what I recommend using, is going to skew your base up a little bit. So your base is going to go up a little bit louder and then you can adjust your own limit again. Okay, so now we're going to be able to play our loudest part of the track, which is our main part. And then we're going to just turn them in again. We're gonna do is we're gonna adjust it until it's as loud as it as we can get it without it being stored there. No cat. I think we can push it a little bit louder, so let's turn it off. So now what we're gonna do is we're gonna go to the loudest part of our track and we're going to add, so now we're gonna do is we're going to add a limiter. Because you can see with this, it was still pretty good on levels. I don't hear any distortion. We're kind of up there. We're kinda thinking a little bit. I think we could push it a little bit more though. So we're going to open up Dynamics. We're gonna go to our limiter, drag it on. We're going to make this quick look ahead and we're going to turn off auto short release. And now this is just going to make everything fast, abrupt, crispy. Okay? Once again, this is not an in-depth math brings Israel. This is just a base level of how to get your stuff out loud so you can hear it in the car and your friends were going to bring it up until we start to hear a little bit of clipping. And we see a lot of movement with this. Right here is I probably wouldn't go no eye-opening for me. Now, we had before we add in, now we have what we got so far. Yeah. I love it. Remember? It's all about hearing what you're doing, what you hear in your head. I heard something in my head. The tortoise becomes in 123. And I'm going to just kinda get a little bit advance. I'm going to just show you what it is as more so than the theory. So I'm gonna do 1234, boom. So I'm going to just do the hips. But I heard something with the aid. Oh wait. I just command shift M when it up. And what key we're reading. We are in a guess like a D-flat, a ragged D-flat, I guess. You guys how to do it away glides. Alright, since we're here, let's talk about how to do anyway, glides in modulation. So we're going to open up our eight away. And this is the way to do it in sampler. Does another benefit of using the sampling for your Ada weights. So we're gonna go to pitch and oscillations, oscillators, I mean, now in Glide we're going to turn it to glide. And then our time, you can kinda pick, I'm mostly going to use 70 milliseconds. That's mostly what I'm using. And then as you start practicing, experiencing more, you'll know what you should use for what, right. So what I'm gonna do is I'm going to duplicate these and octave up. And I'm going to skew it off a little bit. So now it has time to this hits first and then right after the Arctic comes in. And I'm gonna change the notes in a second. Right? So what I have, the idea that I have is this actually going to be a B flat? Then the mean there? Let's see. Then. Now what this should do. It's giving me a cool effect. Mind you, this is just what I heard in my head. There's no reason I'm doing this. There's no theory behind this. I guess they're kinda it is, but yeah. And then I'm going to have it just start is going to just be a quick hit. The rest of the right there, I'm going to cut the melody until this 808. And it's better to show you that it is until you turn our loop off and that's where we have Linda change those notes on that. Okay. Yep. Perfect. And now let me try this. When it take all of this part and reverse it, Let's see what that sounds like. A stupid dude. Stupid. Remove all these Buddhas cow bell. Maybe just first one. Maybe that. Then. Yeah. 9. Your Project/Conclusion: Alright guys, since you made it to the end, I do want to offer you guys a prompt for your project. The beat that you'll make for your project has to be in the key of a sharp minor or B-flat minor, but it has to be between 15160 BPM and it has to contain at least eight total tracks. I can't wait to see what kind of creativity that you guys come up with. I'll be on the lookout and I'll make sure to listen to every project that's submitted. Once again, my name is deaths burgers. If you want, feel free to follow me on all social media platforms at dad loves burgers, DZ LV as burgers like the food. And I just want to connect with you guys. If you do happen to follow me, comment down below on my latest video or post the book emoji. So I know that you guys are from the Skillshare class. That'll be our thing. Nobody else's know what it is, is that for us? But yeah, that's all I got. I'm out like two fives and a Cadillac, like a darker with the lights off. See you all on a flip. Boom.