TRAP FUNDAMENTALS: Make Trap Beats that BANG - Music Production For Beginners | Kia Orion | Skillshare
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TRAP FUNDAMENTALS: Make Trap Beats that BANG - Music Production For Beginners

teacher avatar Kia Orion, Artist & Music Producer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Course Intro

      1:26

    • 2.

      Welcome To Class!

      2:25

    • 3.

      What Is Trap Music?

      2:04

    • 4.

      Course Project

      1:29

    • 5.

      Lesson 1: Keep It Simple

      1:22

    • 6.

      Lesson 2: Break The Rules

      0:47

    • 7.

      Lesson 3: Use Resources

      1:57

    • 8.

      Drums & Melody

      0:53

    • 9.

      Drums & Melody Walkthrough

      19:10

    • 10.

      Drums Walkthrough Continued

      6:57

    • 11.

      Bass

      0:49

    • 12.

      Bass Walkthrough

      2:22

    • 13.

      Elaboration On Tuning Bass Notes With Sampler

      3:12

    • 14.

      Texture

      1:27

    • 15.

      Textures Walkthrough

      11:01

    • 16.

      Percussion Overview

      0:24

    • 17.

      Percussion Walkthrough

      11:42

    • 18.

      Tracking Out The Beat

      0:30

    • 19.

      Tracking Out The Beat Walkthrough

      13:43

    • 20.

      Transitions

      0:47

    • 21.

      Transitions Walkthrough

      10:50

    • 22.

      Mixing & Mastering The Beat

      0:51

    • 23.

      Mixing Walkthrough

      20:54

    • 24.

      Final Touches

      2:18

    • 25.

      Tying It All Together

      2:23

    • 26.

      Trap Walkthrough 2: Melody

      6:50

    • 27.

      Trap Walkthrough 2: Vocal Textures

      7:26

    • 28.

      Trap Walkthrough 2: Drums

      14:20

    • 29.

      Trap Walkthrough 2 Cont.

      10:37

    • 30.

      Trap Walkthrough 2: 808s

      12:30

    • 31.

      Trap Walkthrough 2: Vocal Hook Melodies

      22:15

    • 32.

      Trap Walkthrough 2: Mixing The Beat

      16:57

    • 33.

      Trap Walkthrough 2: Tracking Out The Beat

      35:01

    • 34.

      Conclusion & Next Steps

      1:19

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About This Class

Do you ever listen to your favorite hip hop music and wonder how they do it? 

Have you ever heard a song so inspiring that it made you want to create your own?

Or maybe you already make hip hop beats but are struggling to achieve the sound you want?

Your mix is off, the kick doesn’t seem to bump, and you get so frustrated you just give up...

Sound familiar?

Trust me. I’ve been there. 

If you’re anything like most producers starting out you have a vision in your head how you want your tracks to sound, but you can’t quite seem to make it happen. 

Now you can.

It took me hundreds (if not thousands) of beats to finally figure out what was missing in my production. 

I tried to learn on my own through random youtube tutorials and blogs I read online. 

I spun my wheels for years. 

And after teaching hundreds of students know I now why.

The answer is simple:

We think because the information is out there we can do it ourselves. 

But with the internet sending us new tutorials every other day it leaves us feeling even more confused than when we started. 

How do you get your 808 to not clash with your kick?

What plug-ins are best for trap beats?

How do you make melodies if you don’t know music theory?

There's no clear cut path. 

It took me years of trial-and-error, wasting time trying to learn concepts I thought I needed only to end up months later in the same spot. 

So what’s the alternative?

----

After being frustrated with how confusing my own journey was learning music production I decided to do something about it...

I created Beat School, an online academy that teaches the foundational elements of music production in a simple and effective way. 

This course on trap music production is one of the beginner programs designed to help students gain an understanding of beat making with a step-by-step approach. 

----

In this course you'll learn: 

-How to easily warp, chop, and manipulate audio samples

-The key elements that go into a trap track

-How to mix and master a trap track with mostly stock plug-ins

-Mixing secrets that are unique to trap beats

-How to achieve the gritty 808 sound characteristic to trap music

-How to make trap beats without wasting money on expensive gear

-How to create trap beats with only stock plug-ins and free resources

-How to design drums to get that signature BOOMIN sound

-How to design drums to KNOCK in the car and on headphones

-Only the necessary information that you need to make lofi beats, without the overwhelm and confusion of complicated techniques

-

My goal is simple:

I am here to teach you a simple process to easily make melodies, warp audio, create drums that BANG, mix, and master trap beats that you can count on to make your speakers rattle. 

In this course I won’t overwhelm you with fancy software or advanced techniques. You’ll learn exactly what you need to get producing as fast as possible. 

In doing so, I have built what I believe is the most effective way to easily make trap beats.

-

My courses are effective, impactful, and include extra resources to help you level up.

In the Class Project section you'll be able to download all the files I use so that you can create your own beats and follow along with me. 

That being said, your progress is completely up to you. I can’t do the work for you. 

But I CAN lessen the learning curve, provide an easy to follow blueprint, and shave years off your path to mastery.

I hope to empower you with the knowledge, practice, and resources you need to realize that this isn’t rocket science. 

You can do this.

If you are willing to invest in yourself and commit to learning a few hours a week, I have no doubt you’ll be able to achieve your goals with music.

You ready to rock?

Download the files, set aside a few hours for dedicated learning, and let’s make some beats!

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer

Teacher

Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at kia@kiaorion.com. 

Life is too short not to do what you lov... See full profile

Level: Beginner

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Transcripts

1. Course Intro: nothing comes easy. No, I speak the truth. You can make it happen. Choice is up to you. Want to make a change? Get it from the source. So you had a trip. Welcome to the course. First things first. Show you how to make a check once you started making beats. Trust me, never going back. There's not elected a serious. I only speak from experience. 10 years of trial and error. But I'll show, you know, the mysterious Taking a back to beginnings up. Break it all down front of basics came up with a system that's easy, Like Six steps Choice is yours. Take the lead. Make it easy, but talk is cheap. Wasted time. It's up to you. You could make mistakes. We can make some thinking trap beats is and rocket science. But there are a few key elements that took me a long time to learn this Course I want to share those with you, and these are ideas that could shave years off of your learning curve. That being said, making beats is a skill. It takes time and effort, but if you're willing to give it those, you will get better differences. How long is it gonna take you to get there? Let's get it 2. Welcome To Class!: ladies and gentlemen, welcome to your trap course. My name is Keogh Ryan. I'm an artist and an educator. I run online courses. I make music myself. You can check all of that in the description below. But I am here to talk to you today about trap music. And that being said, I want to clear a couple things up before we jump into all the good stuff. I wanna cover a little bit about what you're gonna be learning than what you can expect from the course. But the one we just the elephant in the room and that is I'm not from the trap. I don't claim to be from the trap. I don't beez in the trap, but I happen to love trap music. And so with that being said, most of the production that I've been able to make money off of nine enjoyed producing happens to be trapped Music. My background is in music production. Once upon a time, in turn the island def jam in the music industry in New York and realize that that life was not for me. So now, from an independent artist and educate other artists and teach folks how to learn music production and learn how to be an artist on their own terms, whether that's learning the skills or the marketing. So in today's class, I want to talk to you about trap music. In particular, I have other prices on boom BAP old school hip hop lo fi. Today we're focusing on trap music. We're gonna talk about what is trap music makes trap music and my tips and tricks on how you can make your own. And in his class, there are three things in particular that I focus on. The 1st 1 is how to make your own trap beat from start to finish, so I'll have course. Files will talk about that a little bit. You can download those follow along as you will. Another thing I want to focus on is how to create textures and melodies and feelings within this beat without needing to know music theory. Often, when I coached different students or talk to people in music production, that seems to be a big mental block. People struggle with is thinking that you need to have music theory to make dope beats, and that's just not true. You don't there. So many resource is out there, which I'm gonna talk to you about in this course as well. That's been at least ah, big part of trap music. To meet personally, I think is important is the mixing a lot comes out of the mix of courses specifically just on mixing. But in this course, they were gonna talk about trump music in my tips and tactics took me a very long time to learn some secrets that I'll throw it to as well so that you can take your own trap productions and mix them. So if they sound, that can really beef up that low in, and you can really get your snares to snap, get all to sit right? But there are a couple key tips and takeaways that we talk about soon. I hope that sounds fun. If it does, please download the stems were about to jump into the class. Let's get it 3. What Is Trap Music?: people ask me Keel, What is trap music? And answer is it could be a whole slew of different things, especially right now. There's a big E TM movement that includes Trap. I do want to talk about what I'll be teaching you, in particular, the type of trap that I make and that I love and then I listen to might have some electronic influences, but in this class, that's how we're gonna focus on the trap. Music that'll teach him in this class looks more like booming. Eight awaits. For me, having a heavy, very powerful low end is not just indicative of hip hop in general. In trap, it's super important. That's what you're going to be riding around with your windows down. Eight away. It's gonna be booming, like to me, have you low in base. Eight awaits your kick. That is everything. That's what I really focus on. And when it comes to Trap, eight awaits tend to be a signature sound to that music genre. Another element is your snares. Very crisp, short, snappy snares are also a trap staple, so these are little stutter snares these air going to be things that if I play them for you . And once you get into the course, you'll see you'll be like, Oh, that's what he's talking about very crisp, often very bright or pitched up, pitched down. That tends to be kind of a characteristic of trappers. Well, in another one that I tend to see, especially right now that's popular in 2019 2020 and the kind of wave that we've been moving to for a minute, they tend to be. There's a lot of synthesis that tend to be more atmospheric that create this environment. So they are kind of like these moody or broody, since that can either be more like pads and textures or gritty, grimy kind of lead melodies. And so these are a couple different things that we talk about, and in this course I'm not gonna teach you as much about writing ah, melodies per se. Those like hi synth melodies. This course I'm gonna teach you more about how to create an environment, how to create a feeling in different textures in the unique ways that you can inspire an artist or inspire yourself. BP's for you so you can capture that feeling without getting too busy and dominating your vocalist. So if that sounds good, let's jump into the course project. Next. We're gonna talk about what you're gonna be building in this course. See there. 4. Course Project: The next thing that I want to talk about is the course project. If you've taken any of my courses before you hear me say this in every single class, you've got to get their hands on practice. You've got to get gritty with it. Dude, you gotta actually start putting these concepts to practice. And one of the ways that I think is the best way to practice this is to actually take the files and follow along with me. So I provide those files for you in every single class. This is the more intro level of this class. Then you can find all of the project Resource is either below or in the bonus lecture for this course. If this the more premium version of this class, you have to worry about it. I'll talk about that in the next module, download those. Either way, get hands on, drag him into your dog. I will be working, unable to him. But that doesn't mean that you need able 10 to make this work. That's a bar for you. Uh, and so you can drag these in. They're gonna be MP three files and wait files. And then you can follow along, make the tweaks the different adjustments that I make. You can kind of see the creative decisions that I choose along the way and implement those yourself. So I think that it's incredibly important to actually put these concepts that practice. So please put a lot of work into these stems. These air normally what? I charge people a lot of money for these stun files, but I'm giving them to you because you paid for this course. And I want to be able to actually get in there and really kind of get into the nitty gritty elements of what goes into a track. So don't just watch download these files, put them to practice, and we'll see what happens next. We're gonna jump into a couple small things and then start building at this beat from scratch, all right? It's either 5. Lesson 1: Keep It Simple: So with trap music, I think that there are a few things that, honestly, this applies to a lot of hip hop production in general. But I think trap specifically as well. One of my big things when it comes to hip hop music production to me years to learn, keep it simple. I can't stress that enough. I'm gonna walk you through a certain case study where I can show you how their shoes producers, people that you look up through. I promise to keep it incredibly simple. We tend to overcomplicate things we get ahead of ourselves, and so much of music production is right here. It's such a mental game, and we think that it might need more than it does. But please, for your own sake, keep it simple. I have a class on arrangement that I talk about this almost every single course. I make it a point to say simplicity is the key, especially with trap. Choose your instruments wisely, your sounds wisely, and make sure that you give those things room to breathe rather than trying to cram in too much. Make some sort of a super sent or super sound or a super stare. Whatever it is, make sure that the sounds that you choose or interesting and you give them room to breathe . Because if you're making this for a vocalist of some sort, you got to realize that there will also be vocals on this track. You don't want to make it too busy. So in this video, I'm gonna walk you through three importance of keeping it simple. How would little you actually need to make a bang in trap track? It's not super complicated. Focus and follow along, and I'll show you right here What I'm talking about. 6. Lesson 2: Break The Rules: so keep that in mind, right? Keep it simple. Which ties into my next point, which I'm gonna walk you through right here, not only keep it simple, but don't be afraid to break the rules. I'm gonna teach you the rules and then feel free to break them. But it's important to at least have the groundwork in the foundation Is that you know the rules. You have an understanding of kind of how it works. So then you can kind of play within those boundaries, But still, please continue to push them. And so I'm going to teach you a way that I do it. We're gonna build out this be together. But here's an example. Again, this is number two. A key that I think when it comes to trap is to experiment. So here's an example. When walking through of a track that I think pushes the boundaries Justin song structure the way that it works in a certain way that you might not have even realized before So hopefully can take this inspiration and implement this in the same year tracks as well, Let's do it 7. Lesson 3: Use Resources : before we actually jump into building this beat out the last thing I want to keep in mind. Tip number three is that you don't have to do it yourself. I think we often is. Producers feel this need that we need to write our own melodies, make our all of our own drums with two source everything internally. And the key is that you don't What I recommend is there are so many resource is that you can get on my website Have downloads for you below at Keele Ryan Everywhere in social feel free to holler at me slide in the d m Ask me questions. I have so many resource that I can recommend you namely splice I love spice I use in almost every single track. What I'm gonna show you below is a way that you can source different elements to at least give you inspiration and give you ideas so you don't feel like you have to cope with everything yourself. Most of my tracks, including this one we're gonna build out here together. I take and I start with an idea that may be from a spice pack or from a film on black. It's something that is an idea starter, and then I'll tweak it. I'll make it my home. So that doesn't mean every single tracker is going to drag in loops from the people and call it today. But at least take a no idea. If you're having a hard time starting, don't be afraid to draw inspiration from somewhere else. Whether that's a track that you here and you want to try toe remake that tractor at drone Twist to it. I love that idea. Or it's something you here in this place packed in here. Oh man, that joint goes and you try to implement that into your own track. But I often recommend is, there's a loop that inspires you. Take the loop, but then try to add Rhone swag adroll kind of secret special sauce to it that makes it your own. That way it isn't everything just loops that you drag in, but do not feel like you need to do everything from scratch. I surely don't and I wish that I had a resource like this when I was first starting out. So here is going to show you a couple examples couple of resource is that I like and I enjoy. And then we're gonna jump into the track and actually build this thing from scratch with some spice resource is and as well, all of the files will be available for you. Download those follow along. Let's build this beat out. 8. Drums & Melody: like every hip hop beat. It's really gonna blow down a few things in this 1st 1 that we're gonna walk through our the melody and the drums. So the melody for this track is a spice sample that I took and then reversed it. I had a little bit of Kia magic, which I'll show you how to do. Chop that up to that makes sense and then the drums. I cannot stress enough how important the drums are. I'm kind of a drums guy. That's my that's part of my background. I like rhythms. I like banging drums, so that's gonna regroup on. But you can't have that. It's like Batman and Robin, peanut butter and jelly. You can have one without the other. So these are the two big focuses for any tracks, and that's why that's what we cover in these first videos. So if you have the files yet, drag these in your dog is gonna be the melodies in the drum section, and I'll show you kind of how it created this. You have a better idea how you can take sort of a general loop, turn it into your own and at least give you a jumping off point for your own tracks. Let's do it 9. Drums & Melody Walkthrough: So now that we have our sample here, I I like these pianos a lot, but I also like to I think, reverse. They sound pretty sweet. So I'm going to reverse it and see how this goes. Okay, so I really like this one. I'm gonna try to just see if I can get a little rhythm going with ease and we're going to take off this. I can tell those I feel like would be good for an ending. Let's get this going. - So I know what I'm looking for is just a way to fill up this melody, this rhythm with something a little bit interesting, but also make it a full five bars. I don't like I don't love this last piece. There it is. Cool. That's what I'm talking about. So that's coming here. Make sure the chops are a little bit faded so that they don't smack each other Cool. That's on a good. And another thing is, once we add some, we can add some delaying some reverb to really make thes. Spacey was gonna rename this main melody. And so, like I have this breaking here because I believe if we had some reverb, some simple delay. We can get this thing poppin. You won't even be able to tell. Let's make some magic cool. So I'm digging that and we can always add these back and later if we need you. But now we have our main melody, and the next thing that we build out now in the process, pretty straightforward. You get some sort of a melody, some sort of emotion, and then you can get some drums going. So let's start messing around with some drums, all right? I already have an idea of how I think I want these drums to go. But let's experiment right. Let's see how this goes. - All right, Someone there's we're gonna again use kicks the placeholder, See how it goes again . I bring this one way down. Just you feel it more than you hear it. I'm gonna just loop this second part, - not loving this kick right here. - So again, this one's pretty similar to this first part. It doesn't have to be. You have to get super complex with your kicks. Your drums don't have to be crazy. Matrix of a bunch of stuff. Simple. Remember, keep it simple. I just sometimes like to have a little bit of a different second half of the measure compared to the first, so I think that's pretty are pretty simple kick and snare pattern for now. I also think would be nice to have some difference nearer sounds in here just to switch it up a bit. So I think I'm gonna find another just a couple other of those sneer sounds. That's the one that I was looking for, I think maybe not. It's one of those, though. One of those interesting sounding once. That's when I was put in number six. OK, I'm going to try number six instead. Boom. Piece number three. Let's see how six be doing us justice. I want something that maybe I could pitch these down. That's another option. Just a little bit of variety. Let me try one more. I don't like maybe two more. Definitely not that one. Listen, this is what I told you exactly not to do. Don't get lost in your sound choices. Just put something in there. We're going to run with it. All right. Well, uh, remember what I said. Do do as I say. Not as I do. Um, that was me getting a little bit distracted by sent by picking sounds that can really ruin your creativity fast because you get lost in there looking for the right sound. Throw something in. We're gonna keep it moving. You already know. All right, cool. Boom, boom. Let's do this. So we gotta stairs, Let's get some hats going. I'm thinking some some pretty fast high hats for this one. Let's see a number five is doing. Oh, I think it's gonna be a good one. - I did it. I'm going to try one more just to see how it goes again. This is just a little bit of rough mixing over here. Just I'll come back to this later. But just to get you don't want you don't want your I has blown your head off. At least in this one. I think that's actually gonna be the money right there. That's the money shot. I'm sorry to keep doing the seal, but I'm just not feeling those snares. We'll come back to those. Okay, Now we're in business. So the way that I imagine this is I'm building it out just to share with you imagined. I just want this little snare just to keep kind of things moving along. Excuse me. This high hat just to keep things kind of moving along as you're building your drums out with the high hats I like to have one high had this kind of the main one. Maybe it has a pretty simple pattern, O r. It's a little bit in the background and then another one that can come in just to kind of keep it up. Give it some texture. Almost. Act is, ah, since percussion. So there you go, Melody, I'll go kick, snare and then my high hats and percussion. Next. I'm just trying some trap trap hatchet. See? No goes, not loving it. - Cool . So you've got the high ads down. Let's add some either some open hi hats or somewhere percussion, just to keep things interesting and might add in some interesting variability here, just as in variety 10. Drums Walkthrough Continued: Let's jump into some or hi hats. Maybe some open. I has. Just give it some energy and I'm gonna come back in here and look at these high hats again . Maybe drag him off the great a little bit. Give it a little swag, you know, Typical Kia Typical Kia tips and tricks. So let's let's do some of that. Remember, high hats a little bit late, sneers a little bit early beat making. It's all about the small, the small details. And so it's about subtlety, sometimes depending what you want, but it's usually about, ah, not overthinking it. And that stuff, it's really that's just kind of the swag sauce that you can put on a little bit more, uh, kind of intermediate advanced concepts down the line. If that seems crazy, don't spend too much time on it. Just get your rhythms down, get your ideas going. I just know that's kind of what I like to dio. I also like to drag my kicks just a little bit early, too, but, uh, excuse me a little bit late, but we'll get into that in a second. OK, so this is what we got. I'm feeling some open. I had action. What about you? You cool with that? I Let's try it. Something in two or five. Let's see how it goes. All right, let's try five. When I did right there has pitched it down. I just wanted to give it a little bit of have it be a little bit less intrusive. So instead of this feels kind of tinny, uh, thin, tinny and thin. I feel like this kind of just gives it a little bit extra, a little bit more what I was looking for. Let's also see what happens if we warp it and make it complex. Not sure if I like that. That's what I'm looking for. - Still not loving that. But I uncorked him just to see what it would sound like. Let's try it again so I don't love those right here, but I think that those could be cool in a hook section to bring a little bit more energy. So let's let's turn those off for now and maybe duplicate that track and get another hi hat sound to actually go into maybe the verse section. - Get no love that one for this. Let's try this one cool, scratchy had. I don't have that one, either. Let's try it cool again. I realized I don't like it in this first part. The measure, I think just the end. Keep it more subtle and let's see how it sounds with all the percussion and high it's in there right now. Cool. So we kind of got our We've got a bit of our percussion. We've got our high hats and then the next two things that I like to do our. Then I focus on my low end when there may be some or one other melody or something like that. So just to review, start with the melody Main melody, Go for your your bread and butter with your drums That's gonna be your kick in your snare, your high hat kind of get the skeleton down and then maybe add some fun stuff with percussion. I'll come back and then work on my based on my ate away at this point and then end it with the fun stuff. So let's try. Let's try and ate away to our base for this track 11. Bass: another element when it comes to hip hop production. Boom back trapped lo fi, Whatever it is, is the base. In this track. We jump into some eight, awaits a little bit of base action, but I'll have Mawr trapped course I'm actually working on right now. They're really show you how to glide. Eight awaits how to slide. Eight awaits. There's so many elements that come in to face. I also love creating my own base sounds. The base is really a gap BP thing. That's the joint that hits you in the chest. That really makes you feel a track, and in this one you can find that the drums and the kick their find by themselves. But it's not until you really add that base in there that you get that beefy low end when we get to the mix. That's the part that I'll talk to you about as well is how to really carve out space for that base, because to me, that is one of the most foreign parts of the track. So I hope that makes sense. If it does follow along, let's do this 12. Bass Walkthrough: Let's come down here and see what are notes are again to figure this out. You're gonna come into your audio effects going to go to spectrum and see what comes up. Eso this one citizen starts with an A. The bass note is in a sharp with strongest note was in a sharp. So we're gonna start with a sharp a sharp F sharp f or C because you have to try it a sharp f sharp. Ever see cool coming to my aid. Await and insert. If you don't have your eight await already loaded. Insert your midi track and go load up your sampler Whatever kind of or whatever you're using for your Daw coming here will find a NATO. Wait. And then again, you want to find out what? This You want to find out what the note of this is again as well Spectrum looks gonna throw that throw in a midi clip and then make sure you have a sea loaded, some sort of a mini no on a C go to your spectrum, actually, So this first this comes in a day. So what I'm actually going to do, he's going to the root note and pitch this one up again. Toe A. So we know that that's playing a see you come back, You can check on your spectrum will be playing a C. 13. Elaboration On Tuning Bass Notes With Sampler: it's at a scene. But if we put the spectrum on or if we check in here what it's actually playing. Have a guess what? It's gonna be playing when Okay, Well, Oh, yeah, it's gonna be playing an f mm. Makes sense, Yes, because it's tunes to in F So if we change our route notes two NF Now, do you guess what it's gonna be playing a c my man, uh, makes us Yeah. So what I was doing in that video, the one that you thought was that is like, Oh, man, what were you doing? The I was I was playing a bass that I was using a sample that wasn't labeled. It didn't like If it's on splits most of the time, the samples will come labeled like this. It will tell you f the whatever, whatever. But if this isn't labeled groups and I bring it in here like this, say this is a random ada. Wait, I just got off line. I don't know if it's actually playing, See, So to make sure that it's true to the sound, I'll put a spectrum on and see what the root note is. I'll say OK, and the root note is always the first highest note there. The route? No. So what this spectrum showing is showing is that it will always be every note will have multiple frequencies. Yeah, you know, nothing is a true unless it's like a tuner fork. Have you seen those? No. No. So it's like a It's what people have. Have you ever like saying in a course or anything? I did. Yeah. You did an Oprah Coast before. Okay, so if you any time you're singing or you're in a band or whatever, they'll kind of have, like, a tuning mill that you play to eso Exactly. Exactly. So very rarely are any things like one true pitch. Yeah, So things are always going to be a multitude of frequencies. But the longest, most dominant frequency is what this is showing us is that this is saying this this is, is made up of all these other frequencies, but the most dominant I get it, Yes, is enough. And so you it's safe to say that this is 2 2.5 and then you can come in. No matter what this sample is, you'll be able to say what? This could be Anything over here. But you see what the strongest is and you say Okay said this is now looking at my spectrum . I say this is tuned to N f. So now come over here said my root note to my F and now when it plays, it'll play it a C. 14. Texture: So now that you kind of have all of that part of the track finished, this is what I'm starting to drop the gems on you. In the course your boy got some gems. I got some techniques when it comes to vocal chops. I don't know anything about music theory. That's the line that would live music theory, but not really that much. Not enough to really make that much of a difference when it comes to writing crazy melodies or figure out the keys of instruments or anything. I do have a technique when it comes to creating feelings and emotions and needs. That's why I always talk to people about me production and say it really boils down to creating feelings and emotions. That's what you're doing. You're creating palace for people. Think about it less about beats and more that you're creating kind of canvas for someone else. The pain on and that doesn't have necessary have to be some crazy jazz ninth chord progression. A lot of the times, my main melodies don't tell anybody. My main melody actually vocal chops that I just pitch in tune for ways. So this is some of the secret sauce. I walked through the textures How I create these different vocal chops and really, I create more of an environment in the atmosphere less than something that might be more prominent and in your face, like the vocals and a diplo idioms track. These are the type of brush strokes on the canvas, if you will, that really make the track and without it would feel to empty. But they really create a feeling, and sometimes you don't even realize that they're there. So let's jump in this video. I'll show you my secret technique. You I'll take. You start to finish how I do these and I have these in almost every single track. If you listen my beats, all right, I hope you're stoked. Let's jump into it. 15. Textures Walkthrough: All right, so now we're gonna come back to the project, And now that this we know that this is in See, we want to make it the right note. So remember, it was a sharp if and then I believe d or d sharp after that. So it's gonna it's in a sea right now, so it's not gonna sound right, But let's bump it down to a sharp cool. So we got a sharp in here that I believe the last one was a D or a d sharp. This will throw that in real quick. See, that sounds and again just to make sure you might pitch this up just to see if it sounds all right. Alright, let's try that on D and see if it sounds any better, all right? No. Doesn't know any better, So I believe that's a D sharp. And again, just double checking. Come back down here. There's gonna make sure. So what I'm gonna do now is just check that spectrum again. De sharp cool are So it is d sharp. It's just Ah, you know, there's notes, consumers because thes low notes the way that they come out, they can sometimes sound a little bit off cool. That sounds good to me. So started with our melody. Did the drums did a little bit of high hats? Some percussion hit the base. I think I might add a little bit more percussion to this. I'm now that things are kind of starting to shape up, but I want to, uh, just make sure that everything is good. Cool, cool. And yet, when it comes to your baselines, rumor. Don't overthink it. A lot of the times if you listen to super popping tracks like you listen to murder, beats baselines or like a lot of different, you know, poppin trap tracks that you might hear. Very rarely are there based other bases. Super crazy. Certain eight awaits. Can you can have a lot of fun rolling, Um, and kind of experimenting with them, But with this track, it's not. It's not a super I'm not going to go super crazy with my eight ways on this one. I'll show you in another track, how toe bend them and rollem and do all that kind of fun stuff. So for now, I don't believe this one as is. I just want this to be a bit to bring up the low end a bit, but I'm not getting super crazy with the with my base in this track of my other ways. So we're gonna delete that bass track and really the serum just in case. And so now is what we have. I actually want to make this a little bit. I want to put this little bit towards closer to the end. Cool. All right, so now let's get another melody going. I'm feeling like I just need a little bit. Need a little bit of something in this track. Um, So let's bring this back. And one of my favorite instruments to use is vocal traps. So if you if you seen if you listen to any of my beets, that's kind of Ah, go to that I use. So I'm going to go find a vocal chop that I think is coal and then come back and we'll chop it up. All right. So I found this vocal shop on displace. It's ah, this one from car who I wasn't aware of before. And then checking this place packed became a fantasy. I think her vocal chops were cool. So this is the vocal chops sample in orbit. And I think that that could be cool. Kind of fitting in here Also. Another thing is, I'm thinking this track something going to experiment with. You know, I'm a man that adjust on the fly. I'm gonna bump this up a little bit the BPM because I think it needs to go. I can hear this is going a little bit quicker. So this is how it sounds now A little bit faster Course. So now let's trap this vocal sample up, See if we see it. We can get set this work marker here. So we get a It's more definitive kind of start. Maybe not. You actually like more like this gonna fade this little end out a little bit and then with my vocals, anytime I do chops or Adam is textures or instruments. I'd like to go pretty hard with the V a burb with the reverb in the simple The way so it's checked it out. Mm. Reverb delay against the Texas. Why was keep the volume pretty low on these Right now, I'm just trying to get a maybe a little bit of a longer sample and extend the tail so that it doesn't have that last bit in it. There it is cool. So I like that one. Now it's starting to take shape, so let's chop the rest of this up, see if we can get another element in there. - That's kind of cool. Is trying to maybe pitch it a little bit. Not that there it is. When I was trying to figure out when to bring it in, this isn't a science. It's just kind of Ah, adjusting to taste. - Cool . All right, so that's that's not exactly perfect. I might come back to that once we add some other drums into this section. So what I'm gonna do is now coming here, duplicate the drums and get our full loop ready to rock so that we can start to nothing of most of the instruments. I want to kind of get the full loop, um, good to go so that we can start to arrange it after that 16. Percussion Overview: when it comes to the percussion. This is something that is very important to me because this is really where you create pockets for rapper are singers with your percussion that amuse a very important part in this track. I'll walk you through just a couple little things that we can do to add a little bit more bounce to this track. But we're getting pretty close to finishing. So if that makes sense, I hope that you following along all right, this is all kind of started to come together. Let's add a little bit of percussion. We're getting into those finishing touches to make this track complete. 17. Percussion Walkthrough: Okay. Okay. So now that we got pretty much this loop, I'm just gonna take this section just because I don't want I'm going to duplicate everything, but I don't want to have it interfere with this part. So then I take this duplicated actually going to take when you take that back and let me just move this. There we go. Cool. And then delete this part. Bring this guy back in. Boom. All right, so now it should loot. Cool. I'm feeling that. All right, so let's do some more now that we kind of have things pretty much nailed down. For the most part, let's let's make our percussion and our drums start to pop a little bit. I think it still needs a little bit of something in here, whether that's more fun. Hi. Hat pattern, some percussion or something. So let's jump into this. - Not feeling that I think it does need some and need some sort of some some high action going on with some some trap hat. Shit. Cool. There it is. Just something simple. Let's see if we can over here. All right, So I think what we're gonna do is keep these. These high hats chill for the most part. That's that's, um, percussion. Just to make some things fun. All right, come into looks come into the sample pack. Let's go to percussion in my template. Also, have a section for a vocal chop that you want Adam in here. But we put him down in the sample for this track, so I'm gonna actually just delete that one for now. - So what I did with this one, this is again Super simple. Don't have to, but I just turned it down a little bit. This first element of percussion, this first shaker just to make it Give it a little bit of a little bit of movement, make a little more dynamic. No. Most switch it up in the second half of this bar just to make it different. Cool. And then I also think with snare to make to give it some a little bit of swag. I guess we're, like, a better term. I want to add something to since we didn't add this snare after all. Uh, let's just mess run with the dynamics here. Let's see, Maybe we can just turn these down a little bit. I think since I didn't like that other snare sound, maybe just turning these down and then just to have some sort of a dynamic effect on these snares, we can work. We'll stick with the same sound and just turn These didn't middle ones down. And let's do something fun with this with this fourth bar precision of this fourth snare and let's we're going to duplicate that. Let's turn this one down and see if we can do something just to make that pop a little bit said that since you're duplicating it, it's gonna be a little bit louder. So just to be aware of that, but I think it'd be cool to either riverbed out or maybe at some delay on it or something. Some Ping pong delay. Alright, let's try this cool . I'm liking that. I just don't want it toe to bounce around quite so much. There is something like that, and I think I might just keep I think, having it in every single and every single bar. It's a little much. Let's try this cool. So if that's the case will come back to this one, turn it back up all right. And so these high hats, I wanna come back to these and these weren't working the first time. So what I want to do, I think that this could still be a cool pattern. But let's try a different sound. Let's come in and check out these some FX I really like mess around with. I'm just a guy who likes vocals. Apparently also like these vocal chops, huh? Maybe. Let's try. - I like that Something settled us to give it some energy. Maybe in the second part of the verse I like that was sounding a little bit pitched up, another sounding a little early. Let's try to maybe drag him a little later. - Cool . All right, this is starting to shape up a little bit. 18. Tracking Out The Beat: once you have the beat pretty much ready to rock, you've got to track it out. If you don't know what this means is pretty much means loosely arranging it. Gonna have your kind of verse or chorus, pre hook, bridge, whatever that is. Whatever your beat looks like, we're gonna take it in this case, and we're gonna track it out. I mean, I'm gonna take the different pieces and just kind of start to make this section because we right now have a cool loop going on. We're gonna build this beat out. We're gonna take it, track it out and create different sections that are definitive so we can go back, create transitions and mix it down. After that, let's do it. 19. Tracking Out The Beat Walkthrough: All right, So let's listen to this back one more time because I just heard Ah, I just heard some clicking in it in this in this second part of the Luke. So I want to fix something right there. So there's something going on. There's a click if you listen to it. So normally, I check the instrument first, make sure it's not this transition. Nope. So find everything else on this little chances will be. It will be some sort of strange thing and percussion. Or it might be, Ah, clash between your your base, your eight awaiting your kicks. Let's see if this is the click is here and it's not there would see if it's it. Let's see if it's in the kicks when I think that's it. I think for some reason this kit got when we when I duplicated it, it got Ah, cut off. There it is. Cool. All right, we're going to go. So now that we kind of have our loop, I'm going to just join things so that they that's command J on a Mac so that they're easier to see. So it's all these little pieces when were actually moving things out, moving things around. Cool, Cool. Looking good again. If you worked with Midi over any of this, you don't need to do this step. This is just for me. Sweet. All right, so we got this. We got this little loop going, uh, and now let's start to arrange the track a bit. So again, a lot of this can come down to you have to get crazy with the instruments, but if you can just take elements in and out, I already have an idea of how I see this forming up. So let's grab this and again, just to be safe. I like to take this section that we haven't duplicated. Just put it later in the track. Might come back to it just when we start arranging things before I've had Ah, I have had little pieces kind of go missing here and there. Another thing you can dio is you can go to file and you can go to save as and save another copy another version of your work as you go. Because you, uh, so knows when you're arranging things get lost or shifted around for one reason another and then you come back and it's hard to find the original. So just to be careful, all right, so let's get into it. So now let's bring this over here and this is it. We'd have some sort of intro here to be a placeholder for intro. Yeah, cool. So that's where our intro go. And then I think I want to drop this. Let's drop into this hook. Actually, let's not drop into the hook. Let's drop. Let's duplicate this. Let's make it. Let's a build this. Let's build this beat out. So if I know this is all of we have the most of our elements in this. This can either be our hook or second part of a verse or something. But let's push this a little bit later, and this build out may be averse. It's a little more sparse. Ah, so let's you know, any all this kind of fun stuff like the percussion and maybe this second high hat Ah, for this first high hat will take out, we'll take out the thes shots as well. So let's see what happens if we take out this vocal, I'm gonna turn a snare down just for now. Cool. So let's do this. Cool. I like that. So we'll build this verse up a little bit again. I'm gonna save these vocal shouts for the hook, and but we can add a lot of the percussion back in and let's just have the base in the hook . So So now I'm just going back. I'm thinking about maybe extending this is a verse or not. We'll see. Let's see how it sounds. - That's in basin here. So this is a little bit longer than your typical, uh, verse part perhaps, Um, so normally, you know, you know, you go 9 to 25 and that be typical, you know, maybe 16 bar verse. But I'm gonna extend this versus because it feels like a beat that someone would maybe want to do some storytelling or maybe get some bars off on something. So I'm for the hook. I'm not gonna add a bunch of other aspects I might add, maybe Ah, some sort of a bell or something in that vocal shout as well, but I want to to break up divers in the hook. I'm gonna come into a bit of a bridge so that we can kind of come back into the hook, Uh, just to give people a break from all the drums. Since this is a bit of a longer verse section. So let's I like that. I like these these, uh, vocal chops. So let's have let's have this breakdown be most gonna join this too. Let's have our breakdown be our main melody in this vocal. I was just hearing a bit of a clique in here, so I'm wondering if it's this Come on. This thing is really not gonna put there we go. Okay, so there's the click. Cool. And again in typical Kia fashion, I like to throw on auto filter A phaser. Uh, just something on Miss Bridge section just to make it for just to make a stand out some way or another are maybe. Ah, some sort of Ah ah saturate or something. Let's try an auto filter. This is our little backup section. I'm just gonna move this way down in the track. Just a have it in case. Although I think we have all of our elements already, so we probably don't need it, but better safe than sorry. Cool, Because we dropped from the verse. - I did. I took that little bit out just as a possible transition. Not what I wanted to do. Cool. Grab this. How? I not joined these clips yet for sweet. All right, so now we're going to take this section duplicated out here. See how that sounds, who automate this filter later. And this is where I want those vocal chops because it's gonna add a little bit of energy to the hook. And this is when it's the hook. Some bringing everything in, we go on going all in. There were duplicate verse again. Actually, I think I might. And I might take out this this Ah, this kind of cool snare effect for that first part of the versus. Well, just to have something to build into when there aren't as many elements going on, I found it was just a little bit distracting. All right, And then let's jump into let's add some transitions, then we can start automating and get into the mixing. All right, so we have all the elements we need, so we actually don't need this anymore. Cool. Ah, well, take this again. This is a verse in our little bridge. Well, duplicate that again. Sweet. All right, so we've got things pretty much ready to rock. In arrangement, let's add some transitions. 20. Transitions: So once you have the beat down, you have the basic loose structure of it. You want to start to make sure that it flows from one section to the next. This is when you talk about transitions and automation comes into play. I have a course specifically on automation you wanna learn about. It's incredibly important when it comes to range. Rip. If you don't know much about arrangement, I have even a course on that as well. So you can learn kind of how I take a structure of a song, how you small transitions and automation in different ways to kind of signal to the listener that transitions coming. And you can build up to these big drops in your tracks in smart and creative ways without having to reinvent the wheel or do anything necessarily super time consuming or specifics. This is when we jump into the transitions between the different parts of the track. I'll show you how I do that, both with risers, impacts and automation. Let's do it 21. Transitions Walkthrough: cool. All right, let's jump into some transition seat. We can get popping, uh, coming here. I know I have a reverse hot in here somewhere. Cool. So that could be one. And then maybe that could be one, too. And then I also want one of those impacts. Let's go toe on impact. Like this clap act. Try this. Clap impact. Cool. All right, so we got our impact. We got some sort of, Ah, the two trained possible transition symbol things. Let's see how it goes. I think this needs to be. We need to stretch this out a little bit more for a measure. Is that some reverb on it? Maybe a little bit of delay just to make it just to beef it up. Actually turned the sample up a little bit. It's that simple delay. We need some work. It's actually just tries hired to k cool. I think that works. And for this for this intro, we're gonna come back to that because I think it be cool to have something a little bit more beefy than that. So remember, transitions don't always have to be an impact in a riser. They can sometimes just be take out little parts of the drums or take out there, Maybe add other elements. So that's Ah, let's you focus on that. We don't have to do an impact every single time. I do like the impacts, though, when they drop into, like, a bridge or something or a hook. I do. Kind of like having some sort of or some sort of a crash symbol in between Those just to kind of have it be a little bit more height when you drop into Ah, hook. Uh, Okay, cool. So we're getting there. Let's maybe add a slight something with the drums or the kick just to take him out in these verses just to add some variety, - I might add another base back in to this part just to give it some flair. Gonna come in here to see if I can ah, seem like they might be a click or something going on. I think right there. So I'm gonna do is I'm gonna take this section and see if I can fade into this, huh? There it is. That's when I met Cool. And yeah, so that is I think most of our transitions there. Um, might come in, Do something similar again with this. Or maybe I'll just take the snares out of this part. Cool. Little things like that. Just taking a bit out. Couple snares, couple kicks here and there. Just to kind of let the listener no, that you're dropping into a new section. Cool. So that looks good. We've got, um Let's add some of these. It's add maybe one more impact too. Yeah. So before we jump in the mixing, let's do some automation real quick for that bridge part for that bridge element when it comes in here. You wanna have this photo filter on. So again, go to your automation settings, whatever doll you're in and were in the loop. This section, huh? And we're gonna turn auto filter on, whatever your felt there is. - And we're gonna do that same thing to the other bridge section. Cool. And we might come into some other automation a little bit later. Depend what we want, but I think that works for now. 22. Mixing & Mastering The Beat: Now we're almost done with the track. When you're almost finished, you've got the things arranged. You've got everything kind of down. This is the swag sauce. This is what you're paying for. This is the premium. This is the mixing element. I have an entire course, just mixing. If you want to learn that we dive into the depths of it there in this course, I'm gonna really show you. Trap specifically how a mix down attract. This is how you get your eight awaits. To stand out from your kick is how you get your cut to kick through a mix. That's how you get your high hat still really in your percussion to really kind of give you that Bob Really create a pocket for your rapper or singer, how to create textures that don't overlap everything else and so that you can create that perfect campus having minimal instruments, time to show, improved. Jump into the mix. I hope you're hanging in there. We're almost finished the last bit. But please pay attention because this is incredibly important to track. Follow along. Let's get it 23. Mixing Walkthrough: So now let's jump into the mix. So we'll choose our hook. Whatever is the loudest part of our track will loop that and let's come in and take out any extraneous tracks that we don't need. So I don't need the serum joint anymore. But my snares make sure everything's labeled correctly the hi hats Vocal show open I at cool Don't need this instrument sweet. So again, with our mixed first thing we're going to do is come in, grab everything. Turn away the hell down, Boehm. Just because we want a mix, some people mixes, they go and I throw roughnecks out as I go. But I always like to come back in and give it an official mix. We got some hair, some snare. Somehow I had spoken through. All right, so now we start with a mix again. Start the low in first, start with your kick. Roll out the bottom, uh, again when your when your kid comes in, you want to You want this to be the beefy part of your track. But you don't want to go too hard and have it kill other stuff. So I like this kicks out already. because has a little bit of kind of a clipping at the beginning. So it gives you Ah, just kind of punchy. And it, um, coffee. Like it kind of cuts through. I like this kick a lot. So let's go to our glue compressor or whatever compressive that you have when you turn attack way up, soft clipping on and bring the threshold down until it starts hitting About five. I'm gonna turn makeup, gain up. Let's see how it sounds with tomato. Wait, do a similar thing to the eight. Await. Uh, when it comes to rolling off the low end, you don't want them to compete too much in this 80 wait, I want this isn't a track where I'm gonna have super crazy in your face. It awaits, But I do want to give it a little bit more character. So I'm gonna throw on Ah, plug in camel crusher, which is a free plug in. I mentioned this in all my mixing. I love this thing. I throw on a lot of my kicks, it awaits all the time. And then another little pro tip I'm gonna hit you with so that your kick can cut through your mix. I like to have a compressor. I throw a compressor on to my ate away and I'll show you a couple other instruments when it's called side chain compression. You can look that up. I'm not gonna jump into it too much, but pretty much whatever instrument you side chain too. It the instrument will duck out depending on whatever you say I change it to. So I'll tell you what I mean. So I saw a change to the kick. I'm I ate away. It's no Had a sergeant compression on to the kick. I turned the ratio way the hell up Turn the attack down and the release down And I turned my threshold down in the Seattle saying, because you can't have two things in the same frequencies. And since these air both the low and instruments and I want my kicked, it could do more than my eight await. I'm gonna have this whenever my kick triggers my eight await ducks out of the way. As you can see here just to exaggerate if you turn it all the way down. And some producers like flying lotus knowledge really have fun with the sighting compression. Actually think it's really don't to, um, I use it a lot. So actually, in this tutorial, you see outside change, uh, authored the sightseeing impression of high hats. All sorts of stuff coming in about nine. That's looking good. Uh, again, I've said it before. I say it a 1,000,000 more times. If you can get your mix right, you don't have to throw on a ton of audio effects because everything is it. Keep it simple. Stick to your basics, get your mixing down. I don't throw a ton of effects on my snares and other things because I'm really I'm still learning to and still working on making sure my mixes. I'm constantly if it's one part of a beat that I'm always trying to improve its my mixing. And that's something just comes from mixing over and over and just experience hearing beats that you like. It's a big part of the method is finding beast that you like and listening to them and seeing how professional engineers and producers make their mixes. So I'm always picking up tips from other producers to listening to their mixes, and I'm painting this one just a little bit to the right so that it has. It stands out a bit more than the regular high at. And this is one where I'm going to throw on some sightseeing compression on these high hats just to have a bit of fun with it whips. It helps if you actually side chain it correctly. All right, here we go. So every time the kit comes in, it knocks these hideouts out, so it just makes it gives it a bit of bounce. Man, I really dig that with his vocal show. I'm not looking for to be any sort of a main presence per se. Like the hi hats, I really want to have a presence. I want them to be felt. This I wanted just add some energy, but your average listener is probably never even gonna realize that these air there to keep it a buck with you. This is one of those things that unless you're really listening intently, you won't even realize is a part of the track. But it adds a little bit of variety at some energy without you knowing it. - A lot of this stuff I'll throw on just kind of roughly right now and then I'll come back to it once I bring in the main melody and all the vocals and stuff. So we're coming around 5.6. So let's see how much we can get going with the main melody. And this, uh, this vocal sample, I'm not sure if I said this already. I think I may have. But when you have a piano, they have they can get a little bit muddy with their frequencies, especially on the lower end. So if I haven't already, I like Teoh roll off the low end. So, you know, if you just solo this like, what's all this shit down here, man? Like what you're doing. You don't need all this shit. Won't get that out of there. Can you tell the difference if you said you can, You lying? There's there. There is. But it's, like, so minimal that what this really does is allows more room once when I'll show you a B it again with with with the kick in the 80 weight and some other low end, and you'll see how if you could just roll off some of this low end on your main instruments and allows a lot more room for the instruments that are supposed to be their your your piano. What we're getting the feeling from the piano is that's all the stuff up in these mid frequencies this mid range are this isn't what we will. We want to feel we want to feel kick. You want to feel the weight of weight in the track down here so I can see the most. The most prominent notes are around in this range. That's I'm keeping this. But now you can feel the difference. Tell me if you can see this. A. - What I might do is also throw some such in compression on this main melody. Just because I'm having so much fun with it, I say chain a lot of shit to the kick with something like this, that's a bit more of a constant instrument. Uh, you just got to be a bit careful so you can hear like, some weird clips and stuff, some more artifacts from it. So, listen, if you turn it like this, you'll be able to hear it on. You don't want that and a way to get around that is to make the attack and the release a little bit longer. - We have a little bit of headroom left, so I'm gonna just bump up the kick a little bit. Cool. We're coming in about five. I think that's a well sounds about right. We'll see how it goes. Um, that too much? Uh e que. On this track. But again, with my limiter, I highly recommend this limiter. This will be in my recommend of Resource is it's the fab filter that Fittler Pro l two. So, again, this is how it is now, my master, my tracks. I come in here, I grabbed my headphones. I throw the gain way up and see when I start to clip. All right. So, again, I wanted to shoot one shoot around 13. 14. And so I'm gonna take these headphones off, watch your ears, because it's gonna be a little bit louder now and then I'll kind of do a mix once its master, the certain things kind of stick out, stand out. And so now that it's mastered, I'm losing the little bit of delay in the second snare someone a toilet that a bit. - Okay , there it is. But now, since it's I'm starting to get it because I had to bump up the volume on this guy. But so now what I need to go in to do is no. I feel like it's a bit too loud is turned down. These the snares. I need to turn down this fourth snare because it's now a little bit too loud. So let's see how this goes. There is cool. So then I'll take this or join it. I'll delete that. Duplicated. That sounds cool. Subtle, but it's there are. So now I'll replace these snares, joined those and replace him for the rest of the track. - I took this kick out in here cause now that it's mixed, I feel like in this part of the track in this first part of the verse, But when it comes back to the verse, it was just a little bit much so you could either turn that kid down. But I'm going to try it. Uh, I feel like this is a lot of kicks just to have in a row, so I'm just gonna see how it feels to take that kick out all right, and then don't forget, we've got to change the rest of these snares to So let's come into here. Kinship with the snares Boom. And then one last bit cool. Take it from the top. - So I didn't actually fix thes snare, so that would be nice to dio Cool, - Cool . Sounded good. So now I'll add my producer tag to the front, add a little altro and we call it a day. 24. Final Touches: the producer tag. I like to do a just a little bit of a drop. Ryan Iran. Cool. That sounds good. And I honestly think for this track, I think the outro after this hook, I don't even think we need one because of the delay. You know what? I might actually just take this bridge section and copy that bad boy. - Sweet . There you go. Another one bites the dust. 25. Tying It All Together: so wrapping up. How do we tie this whole thing together again? When it comes to trap and it comes to music production, no matter what type of music production you do understand, it's gonna take time, and it's gonna take practice. I hope that with these stems, you were able to start to implement some of these things into your own game. But understand, you aren't going to be Yoda in one night, right? You got with your jet, I phase. You gotta learn how to do the clinching the throat trick. You gotta learn how to throw your lightsaber around. You gotta learn how, like, fly one of those excelling joints like it takes a minute. So understand that do not be results oriented when it comes production. It's a skill like anything else. Be process oriented. Understand? It's gonna be hard. Yes, they're gonna be days when you're not gonna feel like doing it. Yes, we all feel like that. Understand? This could possibly take months, two years before you start to see the success that you want. Yes, but is it worth it? Absolutely. I cannot stress enough how important it is that you approach this with the mindset of learning a new skill rather than trying to get rich quick or get really good at something super fast. You're my big takeaways. Becomes music production and trapped production in general to wrap it up. Keep it simple. Please do not have too much crowding going on in your track. Gold. Listen to some Travis Scott. Listen to some drizzy. Listen to some walk a flock or whatever it is. Listen to those tracks understand simplicity is the key. Which brings me to number to know the rules. Learn the rules. Get really good that you can break the rules because that's when it really gets to be fine . When you can experiment when you start to be able to push boundaries intentionally know why you're doing it. Make knows, creative choices deliberately last but not least, don't feel like you got to do this whole thing yourself because you don't have shown you how big producers huge borrow and steal from others. You don't have to be a genius at everything. If there's something that you find is a weak spot, you don't like doing it. Don't feel like you have to do it if There's something that you like to do, but you're not great at it. You wanna practicing, become better. That's a different story. Don't feel like you have to reinvent the wheel, collaborate with other people, have them. If you're a drums guy, have them send you the melodies. Address drums. If you're a melody guy, find some drum loops on spice. Do your magic, find your strengths and implement those in a way that you could really capitalize on. The enjoyment of beets. That's supposed to be fun. If it feels like work, you're doing it wrong. I hope that makes sense. If it does follow along. We got a few more videos before we get out of here, making your own trap tracks. But please, those is a three big takeaways for this course. 26. Trap Walkthrough 2: Melody: All right, so we're starting the project. I found this little loop, and what I'm going to do is ah, start messing around with it. I feel like there is a lot of potential. So what you're gonna see me do is just right. Now, come in, Reverse it, chop it up at some effects and see if I can get something out of here. That might be a little bit different. Um, than what we're starting with. I feel like this reverse could be really cool. Mm mm. Uh huh. And mm mm. And you, from Dana in a changer on And, uh, danger on and changer A in? Mm hmm. Ah ah, ah, ah, ah. And, uh ah, ah. Uh, so that to me, that's the loop, right? There is the joint. So, uh mm. Start at 11 there. Mm. And, uh mm mm. Ah. And Mm um, Ana Day Food? Mm hmm. Mm hmm. And mm. Mm hmm. And, uh mm. Mm hmm. And mm mm and mm mm. Mm hmm. Mm hmm. Mm hmm. Mm hmm. Mm hmm. And mm mm mm mm mm. Doing you know, done. And, uh Mm. Mm hmm. Mm mm. Mm. Mm hmm. Mm mm. Mm mm. Waken Do is take will borrow from this one bar from that one and go like this. - Mm . Ah, Chena. Ah, I started. Ah. And then this may repeat. Let's pick this loop. Ah. Ah. Study. Um uh Ah. Uh um uh huh. That's on a good to me. All right, So we got this little melody going, and we're going to jump into some vocals, maybe add a little texture, Something to this next. 27. Trap Walkthrough 2: Vocal Textures: are. So I found these two vocals that were also in this same in the same key. It's d sharp. And so I'm going to start just messing around doing a little bit of that Kia vocal technique. That vocal texture. This is kind of my my secret sauce. Um, just gonna vibe him out and see if I can get some sort of a cool melody out of these vocals and out of these textures. Let's do it. Que you start that here? I can't Really? You Let's take these little edges off little fade in a little fade outs that they don't get cliquey. And don't get mad at me A Okay, eyes you could see a lot of It's just experimenting. Seeing what works. I'm just toying with things kind of pitching up. Is it down? Kind of seeing what works? - Mm . I dig that. I dig that run to something with this around or something. Que Well, that's on a good We definitely got something with this when you got some cool vocal. Is that what could be the hook? Um, and then we'll take it from there. 28. Trap Walkthrough 2: Drums: So what I like to do is I like to get some sort of a drum loop that I find inspiring. And then I'll hop in here and kind of making my own. So that's I'm gonna do. Now I'm gonna bring in this drum loop that I found and and then start speaking it Mr Run with it, making it a little bit more what I'm looking for. But I'd like to I'd like to this bounce. I'll try to find a bounce that I like, and then take it from there. Start from Uh huh. So, first of all it'll do is put it in here with some kicks. Start doing do my kicking. I really like these. Nick Dean kick shut up. Nickname attempt a Ah ah! Ah! Hey, that's just a cool grew right there. I like this. I don't know what this sound is, but it's kind of cool. I'm going to see it. Maybe I can steal that. Whoops. Still the wrong piece didn't mean it. No, not that. Let's see what this is. All right, So what I'm gonna do is, um because it has that high hat in it, and I don't want the high hat in there for my kick. So I'm just gonna rock with it for now. But then come up with something in here and just say Know what? This might just be Note to self come back to this. That should be something kind of cool. And some was gonna pitch it weird. Que? It's another one of those. It's like a Tom or something on a must is going to steal these hats, because why not? They're cool. High ads. What from? - I think those bad boys just continued throughout, - could you until their high hats are a little bit early. So it might come back and slide these a little bit later. But for now, we're gonna rock Rockwood as is cause I like those and then their snare. I've never cool snare to a That's kind of like a I almost want to say, like, that's a, um, like some sort of like a 909 R like an eight await type, real like machine gun, machine gun machine, drum type, snare. There's this back. That's a pretty cool snare. Let's see if I have anything like that Manic Dean, you really coming through a big guy. That's also a pretty cool Want to like that? Even needle joint. Um, let's let's rock with him. Nick Dean, Nick. Teens just holding it down for me today. Well, trial three of these undersea. What kind of fits? Right now again, It's just experimenting. A a a a a a Hey , hey, hey. A a A A a a a a No more. No, no, no, no, no. May not true. None a month. A fruit a day changing move. I like that he had these being kind of, like more splashy like, um crisp. And then these might have the kind of delayed snare about. Do it. No, A change of none. I'm looking for kind of like some weird. I just wanted to almost like a chorus. There was a gaggle on the street with smooth that's more like it moves and more I change No one on Here is the phase almost a flame, jer o more, more a feeling like 29. Trap Walkthrough 2 Cont.: All right, now we're gonna jump into some more drums. But I can say this kind of more percussion things that are, like, spice it up a little bit. You know what I mean? We need a little bit more something. Add some Bob. Something just make interesting. So that's what we'll be doing that was experimenting with some percussion, other drum sounds, things that nature change. Like t A. That's what Kit comes in publishing. Have something there. I really like that snare. But I think I might just come back to later, because I don't. So you think I need it right now, But I like that a lot. Cool, kids snare boom. The sun moves. No news. - I thought I was gonna maybe keep that drama, but realized Actually need any work, so I'm my own thing going on. So peace. So a lot of these, um are these high hats just kind of accenting those kicks And these are my, like, just having a couple of different things going on percussions to make things kind of interesting. What I'm looking for now is, um maybe some sort of a I don't spend too much time on these drums? Because I know we kind of are, but just kind of That's the main Bob. I would love some sort of another. Like this 909 kind of open snare to kind of like maybe start the measure with order, maybe land on a snare. Something like that. Since I'm looking for you . Feel me impact or something. - His only son. And you may ship food. Main sentence does thinking. So when a duplicate thes now and then come back in here, take these out. He's back. And here just we have a little more of a full loop. And so now that have the drums, these vocals are starting to sound a little bit off. So I might come back and change those two, actually, what I should have done Let me take that. Let me take that back. I'm gonna add edit these terms a little bit more, give a little bit of swing. Yeah, I'm gonna probably automate this delay just onto that last snare. So I'm gonna leave that offer now. Let's get it. Um, that sounds good. It's so good to me. There's it pretty much. My drums dragged these off just a little bit to get a little bit of of some bop to. It might mess on with the sneers little bit, but I don't have time for that right now. We've got to keep it moving, keep it pushing, let's get it. 30. Trap Walkthrough 2: 808s: You know, I'm jumping into my I'm gonna, um I am going to duplicate this now, and I'm going to Ah, by the way, if you hear strange. So if you hear strange sounds in the background, that's just my dog. Don't mind her. She's having a a dream of some sort, Um, and snore and pretty loud. So what I'm going to do is gonna come in here and add one of my favorite. It awaits because I think it would match well with this song. Um, so add n sampler doesn't adding Were you at sampler? And then I was coming here to it awaits. I think it's this one. Yeah, this ones don't. All right, let's get Let's get, Let's get it. Might come back. Try base later. Whoops. Did I add, man, this thing's tripping this thing stripping. All right, I come back and database later, but for now, trisomy eight awaits. Let's make sure that's not green. And let's get cracking. So what I'm gonna do, actually, for now is, um, coming here, grab these roads and we convert these two ah, melody track to see if I can find out what, uh, the notes are to go along with these cool works for me says that this is starts in D. So make sure that you set that wrote root note to D in gratitude with my eight awaits is I like to have them. Ah, follow my kick patterns. Pretty similarly. So I'm gonna actually push this up to make it easier to here. Uh uh. I'm gonna come down, make sure that I've acute this a , uh, a getting a, uh uh uh A one of the key is 80 waiting to tell you right now if you get these, Uh, if you make room for your kick in, your eight await and then here's the little Kia tactic. Um, I'll come and take you this more later. It's my favorite plug ins. Kimmel Crusher Free plug in, man. You gotta make sure fat motors on. Of course. Of course. Rookie mistake. Leaving that off and then I'm gonna come in here and get a little glide on. I'm gonna come and get my glide on. So the way to do that is you. When you're with your 808 u um hit this little automation thing. You choose your 80 wait. And then you choose your transpose and they're gonna come in here, glide some joints. I might actually take this eight of weight out, so I'm gonna say no automation for this. Just see how it sounds that I take this out. I actually might pitch this up to see what it sounds like. Someone's like to pitch. It was a productive Justo Trust in things out. Just I like gritty eight awaits, man. Can you blame me? What I'm gonna do is I'm gonna duplicate this and then I'm just gonna add a couple small changes in here at the end just to make things a little bit different. More money that might actually had one more in here. Uh, - that's how you rock out. Some eight awaits. Let's get cracking. 31. Trap Walkthrough 2: Vocal Hook Melodies: All right, Now, I'm gonna come back to that vocal melody because I feel like it doesn't quite feel the same as it used to. So I'm going to, um, come back. Me, reverse it a little bit. See, we can do Turn back that and reverse it and ah, see what we can do with a little reverse vocal ability. And if not, then get another kind of vocal melody going. I also might only put in this revert this reverb sneer at the end of, uh, every five bars or every four bar. Excuse me. - What ? - That's a piece of one right there. Okay, - a way. Got some. I think we got something for l. Hey, hey, hey, hey. What? 70 days when duplicate this guy is actually want to make a eight bar loop? Not sure what that was, but we're going to just rock with it. Um, we're going to duplicate this when it come in here. I like that pitch down those pictures on vocals a lot. I think those would be may be cool with it for an injury or a bridge or something like that . Um, but right now, I also want to right now just building out This would be, like the loudest part of the song. So this is I want some sort of a pluck or some other instrument to maybe come down on some down beats on this joint. I also feel like these vocals might be a little off timing, so I might come back to those. But we're not sweating that right now. I don't sweat the technique move. I was on a change. Does enough. May not know that. No, - it's kind of like that. Uh hey, hey, hey. - Um , don't, uh duh. Don't duh. Don't Dun dun duh duh. Hey. Yes, it groups. Let's get it. Uh, there it is. That's what I wanted. That's what I wanted. Don't Don't, Don't, don't. Don't at this guy over here. See that I'm not crazy about that one, but we're gonna roll with it. I also love choirs, so I'm gonna add a little bit of quiet action to this. See what we can get cracking with that I know about that choir life. What you know about it? - What I'm doing right now is I'm gonna sit there. Any weird frequencies in here? Resonant frequencies kind of like that, and I'm gonna take those out. You want to do a thin cut. So there's another one there. Still don't love this choir, but we might be rolling with it. Let me just see what once I got going on here. What? We won't be good for the Plucked. What rep? Yet? I need to go with some bells or some mallets or something. Cool. I think that's what works. So I'm just gonna come in here, look at these vocals real quick, make sure they're on time. - It now this time feels against rushing. - There it is. A Uh huh. That's how we do it this way. Getting down. 32. Trap Walkthrough 2: Mixing The Beat: now this is when we get into the mix. This is the fun part. We start to put it all together. It's, you know, it's all going to sound mixed down. So for a mix, what I like to do is ah, zero everything. But first I'll come and make sure everything's labeled. Stare one slash e Snare delayed snare reverb snare. Um extra snare. Not a I had I had to open hat one cow bell. Let's make this impact hat cool. Transitions we don't have yet sample. Uh, rev Keys. We're gonna have may vocal. And I don't think that we need this vocal anymore. I think this the backup John, right? You know what? I'll keep it anyways. Back up, vocal. I don't need that color. These instruments, I will say in a pluck, just will keep it just in case that the mallet sweet. So now I go to this view, it's a session view arranger. You I could never keep them straight. I'm doing is I'm just doing control all bringing everything down to zero. I'm gonna mix it all in one of the time. Cool cowbells sneaking in. Cool. No, - this glue compress it helps me a little bit of punch out of it. I don't think there's that little blip thing at the end. I want to make sure I get no little cliques and blips as much as I can. Coming in around eight. That's cool. I might principle of it. - I know you're saying that's a lot of base, but I'm rocking with a lot of base For now, I love that gritty base. I might even turn that distortion up. Just a mess of you. One thing is, if you aren't knocking by the times, it's just your drums. Something's wrong, like you want to be able to be able to wrap on like just your drums and bass. Um, I'm already feeling these. I feel like I could already has already inspired me to write, So I know that's a good sign. Moving on to the keys and the vocals, also keeping her eye on this. I don't like it to go too much past negative four, because when I master it, I want to have some headroom so I can bounce bounce so that I can still have some room toe to push up the volume a little bit later. Down down the line, it's eight away. I wanted to maybe have a little bit less might come in with these keys and in some of these resonant frequencies. But what is a bad one? That's a bad one. I'm not going to get all of them right now because we're doing so, tutorial. But you can go in this room with that as much as you want. Now that I'm hearing this back actually want this moment to play another note? I wanted to go dumb, dumb. You feel me? You know, I'm a great singer. Stop lying yourself Now it's competing too much. Now we're gonna throw in the master and channel. Ah, if I feel like I might roll off a lot of the low end on the entire track and then coming here, pick up some of the resonant frequencies, But because for the sixth Editori, we're not gonna do that. Also gonna limit this. So watch your ears cool. I think we're sounding good. Let's check this out 33. Trap Walkthrough 2: Tracking Out The Beat: all right to track this out of a couple ideas of what I might want to take it for verses and things of that nature. Um, but for now, what I like to do is I want to join all these clips from this part of the week that we made . But But I also want to make sure that I don't necessarily join it all without having a backup in case someone to come back to the samples and message them later. So I just like to duplicate out a clip by out here that we also I can zoom out. Kind of see, my whole board is one that will come in here. I'll join these clips. And now I'm gonna move thes old vocals. Thes air. Just again. Backup vocals. I believe that. And I'm going to duplicate this out. So I'm going to duplicate this else that we have a little bit of an intro joint and see what these room keys sound like. My intro. I thought their center pretty cool. Pitch down. - I think what I didn't need to do is actually take this. I pitched those down already. Uh, - I'm clicking there. Some extremely. Come over here and see where that clippings from. All right, there we go. - Take that and bring that over here. What's it gonna take? Thes vocals? Because I might want to Mr. And with a little bit delete those. I'm gonna bring this back to this part of the track and bring these in. Okay, - Uh , the reason I do that, I just did. It starts to kind of bring the energy up a little bit. - Remove those over gun duplicate thes. Maybe I want to play it one more time. - Maybe that's when we drop it on. What do you think? - Removing . That's now. I realize I didn't like that in the hook. The double snare there. Oh, that's a little joint, right? This little joint, - I think I'm just making do thrown into automation just to spice things up a bit. So this is my fold drums, Master track. I'm going to, um, have this device on que some some Rogers and impacts in there. Oops. That's what I wanted. One. A long one pause. - We have a couple impacts on this joint. Let's go. And then I really like breaths as impacts. Also like collapse there's this one clap impact This when I really like what? I wonder what I should do. I've got an idea. This might be a little bit, Um, this might be a little bit going into the weeds on your but Ah, I think this could be cool. So one of my favorite where'd you go is this little altar boy? So here what? We're going to dio we're going to duplicate this track just in case this doesn't work, but I just want to try it. Intro vocals. So let's try this. Let's try this guy Que que you wolfs that it mean pitch. Oh, okay. Que that, you guys, everything's gonna work. Sorry. Didn't mean it. Not quite coming out. How wanted que Also, just to make this fun, I might paying this back and forth with little auto pan. - The beautiful part about arrangement is that you would just add and subtract it for instruments at certain times. And it totally, um, makes your beat way. May it told you has come back for this delay. Erred. This delayed sneer. You guys don't remind me what's up with that. No way says no change in the way you chase it? Don't way . No job, no Make it of it up. - What you guys think about pitching these differently? No May . So a loving me number and change nothing. Me, the pain of loving ring of love in A that that that's all, folks. 34. Conclusion & Next Steps: Thank you so much for taking the course. It means the world to me. I hope that you enjoyed it. If you want more, resource is like this. You can find everything that I've talked about in this course. More producer resource is I put so much together. Sample packs, templates. I've got guys on gear on software at Kia O Ryan slash. Resource is I'll link it up down the lowest. You don't have to even worry about it. Hook it up. But if you did enjoy the course, please rate it. If you didn't enjoy the course, please let me know I'm here for you all. I'm constant making courses trying to improve to make things better for you. I don't improve if I don't understand what I'm missing. So there is something that you want to learn about. Please don't hesitate to reach out as well. I'm everywhere online at Kia Ryan. You could find me slide in the d. M. Asked me questions, semi beats. Let's chop it up. Let's talk politics, rap, beef, whatever you want to talk. Actually, don't send me about politics and military politics, but I'm so down to about rap beef Then again, I'm here to support you. I'm a real dude making my B'Tselem beats and teaching you how to make your own. So if that makes sense, please let me know. I hope that you have your own finished trap track that you can show a friend and be proud about. So if that makes sense, stick around. Got way. More courses and content for you to check out. Next time I've got a YouTube channel. Whatever you want. You here to level up from the man who is obsessed with making music and teaching how to do the same. Check you in a minute piece.