How Calvin Harris Dominates the Charts

00:54:16
https://www.youtube.com/watch?v=hWDBAxZuCQ4

Sintesi

TLDRThe tutorial demonstrates how to create a pop track by exploring production secrets inspired by Calvin Harris's hit 'Miracle.' The presenter walks viewers through the entire process, from setting the tempo and programming drum loops to mixing vocals and adding synths. Key techniques include using serum to craft trance bass, layering sounds for a full mix, and incorporating classic samples. The guide emphasizes the importance of sound selection, arrangement, and collaboration with other artists. At the end, viewers are encouraged to participate in music production coaching for further development.

Punti di forza

  • 🎶 Learn to create pop music from scratch.
  • 🎧 Inspired by Calvin Harris's 'Miracle'.
  • 🎹 Explore synthesizing trance bass sounds.
  • 🥁 Techniques for driving drum loops.
  • 💻 Use Ableton Live for music production.
  • 🎤 Importance of vocal processing in tracks.
  • 🌟 Join coaching for music production success.
  • 📁 Download free project files and samples.
  • 🔊 Understand mixing and arrangement techniques.
  • 🎵 Collaboration with artists enhances the track.

Linea temporale

  • 00:00:00 - 00:05:00

    The video introduces a popular pop music producer known for reviving old styles, specifically focusing on creating a track inspired by Calvin Harris's collaboration with Ellie Goulding. The tutorial outlines the process of starting the project from scratch, including setting the tempo, selecting kick sounds, and avoiding clipping in the master channel.

  • 00:05:00 - 00:10:00

    The producer emphasizes using a favorite kit collection for efficiency while constructing a pulsing trance bass and chord progression in the key of A minor using Serum synth. Tips on sound design such as envelope shaping, mono switching, and managing frequencies for the bass sound are discussed, focusing on bass optimization techniques.

  • 00:10:00 - 00:15:00

    Building on the trance vibe, the producer incorporates an iconic M1 piano to evoke nostalgia while programming a catchy melody that complements the bass. The repetition of melodic patterns and the use of delay effects to create movement within the sound is emphasized, enhancing the overall catchiness of the track.

  • 00:15:00 - 00:20:00

    Drum programming is tackled next, emphasizing the importance of groove in dance music. Layering claps, hi-hats, and using MIDI drums expedite the production process. Side-chaining the hats to the kick is introduced to enhance groove and movement, crucial for a dynamic sound in electronic music.

  • 00:20:00 - 00:25:00

    Next, the importance of vocals is highlighted, utilizing a Loop Cloud plugin to search for and audition female vocals that fit the A minor track. The process of warping the vocal to align it with the main tempo is demonstrated, followed by suggestions for effective mixing practices.

  • 00:25:00 - 00:30:00

    Vocal processing is discussed, including compression and creating dedicated auxiliary channels for reverb and delay to ensure clear vocal presence in the mix. Techniques for balancing the vocals with the track are applied, enhancing their prominence and emotional impact.

  • 00:30:00 - 00:35:00

    Strings are added to enrich the sound, using the bass notes as a foundation for chord construction. Chord inversions and progressions are introduced, creating lush harmonies to elevate the arrangement's depth and texture, aiming for a full orchestral sound.

  • 00:35:00 - 00:40:00

    The producer explores a choral gated trance effect using a noise gate triggered by a side-chain input from another MIDI channel. This technique enhances rhythmic elements in the track, emphasizing the electronic aesthetic prevalent in trance music.

  • 00:40:00 - 00:45:00

    An evolving synth riff is introduced, programmed with a focus on rhythm, and layered with effects to create an engaging sound. The importance of maintaining headroom in the mix is discussed while also showcasing sound shaping and texturing techniques using various effects.

  • 00:45:00 - 00:54:16

    Finally, the tutorial culminates in building the arrangement with breaks, drops, and mixing techniques. The producer engages in lively dynamic mixing and structure, creating an energetic drop that resonates with listeners. The video encourages viewers to download the project and highlights the benefits of music production coaching programs offered below.

Mostra di più

Mappa mentale

Video Domande e Risposte

  • What song is the tutorial based on?

    The tutorial is based on 'Miracle' by Calvin Harris featuring Ellie Goulding.

  • What software is used in the tutorial?

    The tutorial uses Ableton Live and serum for synthesizing sounds.

  • Can I download the project file?

    Yes, the project file and samples are available for free using a link provided in the video.

  • What are some key techniques discussed?

    The video discusses crafting bass sounds, creating drum loops, and mixing arrangements.

  • Is there a coaching program available?

    Yes, there's an accelerator program to help students improve their music production skills.

  • What genre of music is being produced?

    The music genre discussed is pop, particularly inspired by trance elements.

  • What is the tempo set in the tutorial?

    The tutorial sets the tempo at 143 BPM.

  • What is the importance of collaboration in music production?

    Collaboration with artists can expose your production to a larger audience and enhance the track's quality.

  • How is the vocal processed in the tutorial?

    Vocal processing includes adding reverb, delay, and EQ to make it pop in the mix.

  • What sound libraries are recommended?

    The presenter uses plugins like Loop Cloud and Spitfire Audio but encourages experimenting with any preferred library.

Visualizza altre sintesi video

Ottenete l'accesso immediato ai riassunti gratuiti dei video di YouTube grazie all'intelligenza artificiale!
Sottotitoli
en
Scorrimento automatico:
  • 00:00:00
    this bloke here makes insanely popular
  • 00:00:01
    pop music and in today's video I'm going
  • 00:00:03
    to be uncovering some of his secrets and
  • 00:00:05
    we're going to create this
  • 00:00:12
    as you can hear it's based on this huge
  • 00:00:13
    Smash Hit with Ellie Goulding Miracle so
  • 00:00:15
    I wanted to explore how he could revive
  • 00:00:17
    these old Styles and bring them up to
  • 00:00:19
    date to create something new I'm also
  • 00:00:21
    going to be discussing a few of his
  • 00:00:22
    other production techniques and we're
  • 00:00:24
    going to be creating everything in this
  • 00:00:25
    from scratch including the chord
  • 00:00:27
    progression
  • 00:00:29
    [Music]
  • 00:00:30
    pulsing trance bass so then we're just
  • 00:00:33
    tweaking the envelope so we've got this
  • 00:00:35
    creating driving drum Loops soaring
  • 00:00:37
    synth mixing Arrangement and so much
  • 00:00:39
    more as usual you can download this
  • 00:00:41
    project for all the samples completely
  • 00:00:43
    free using the link below and if you
  • 00:00:44
    want coaching with me you can check out
  • 00:00:46
    my accelerator program below this video
  • 00:00:47
    too where we've helped our students get
  • 00:00:49
    signed to some of the world's biggest
  • 00:00:50
    labels okay without further Ado let's
  • 00:00:52
    hop into the door and get it done first
  • 00:00:54
    thing we're going to do is put the tempo
  • 00:00:56
    in and that's going to be 143 BPM so
  • 00:00:58
    we've got that old school kind of Trance
  • 00:01:00
    Tempo then we are going to look for a
  • 00:01:02
    kick now I'm going to go into my
  • 00:01:03
    favorite kicks and I highly recommend
  • 00:01:05
    having a favorite kit collection because
  • 00:01:08
    that's going to allow you to produce
  • 00:01:10
    much faster basically and then we're
  • 00:01:12
    just going to put that on every beat
  • 00:01:15
    nice boom boom boom easy and you'll
  • 00:01:18
    notice I've got my kick peeking at about
  • 00:01:20
    -8 I'm actually going to turn that down
  • 00:01:22
    a little bit I want it peaking at about
  • 00:01:24
    -12 and that's going to help us avoid
  • 00:01:26
    any clipping on the master Channel when
  • 00:01:29
    we've got everything else in lovely
  • 00:01:30
    jubbly okay next onto that pulsing
  • 00:01:33
    trance base now Calvin Harris is a
  • 00:01:35
    master of kind of taking the old and
  • 00:01:37
    then Reinventing it into something new
  • 00:01:39
    and that's exactly what he did with the
  • 00:01:41
    track Miracle with Ellie Goulding and
  • 00:01:43
    we're going to touch upon more upon his
  • 00:01:44
    Secrets very soon in this tutorial but
  • 00:01:47
    let's put that trance base in we're
  • 00:01:49
    gonna have to pick a key so let's just
  • 00:01:50
    pick the simplest key of all a minor
  • 00:01:52
    very popular it's very easy producing
  • 00:01:55
    because it's only got all the white
  • 00:01:56
    notes in so it's very hard to get lost
  • 00:01:58
    but if you use the scale feature in
  • 00:02:00
    Ableton or any of the doors it makes it
  • 00:02:02
    even easier because you can just select
  • 00:02:03
    your scale and hit boom scale and now
  • 00:02:05
    we've only got the notes from within
  • 00:02:07
    that scale easy peasy so I'm going to
  • 00:02:09
    use serum today because I know you guys
  • 00:02:10
    have got serum or a lot of you and if
  • 00:02:12
    you haven't it's fine you can kind of
  • 00:02:14
    recreate this in any synth because it's
  • 00:02:17
    very easy to understand the workflow of
  • 00:02:19
    serum okay so first thing we're going to
  • 00:02:21
    do is just put in a base that's hitting
  • 00:02:23
    in between every kick we can actually
  • 00:02:25
    see here what's happening so we're just
  • 00:02:28
    going to go boom boom boom boom bow like
  • 00:02:31
    that like Robert Miles children's style
  • 00:02:33
    so let's have a listen
  • 00:02:37
    I often think it's easier to produce
  • 00:02:40
    bass higher up than it will be finally
  • 00:02:42
    just because it's easier to hear which
  • 00:02:43
    notes we're hitting so let's just draw
  • 00:02:45
    in the notes and then we are going to
  • 00:02:47
    craft this sound into that pulsing bowel
  • 00:02:50
    sound that's the technical term for that
  • 00:02:52
    kind of bass by the way so let's just
  • 00:02:55
    change the note to this and we're going
  • 00:02:56
    to have a four chord progression
  • 00:02:58
    [Music]
  • 00:03:01
    and where should we go now up to the F
  • 00:03:04
    Maybe
  • 00:03:05
    [Music]
  • 00:03:14
    so you can see I'm working within this
  • 00:03:16
    scale this template technique here and
  • 00:03:19
    it's very hard to hit a wrong note boom
  • 00:03:21
    so now let's start crafting this into a
  • 00:03:23
    sound that actually doesn't sound
  • 00:03:24
    completely gash so what we're going to
  • 00:03:26
    do is first craft the shape of it using
  • 00:03:29
    adsr that is the attack Decay sustain
  • 00:03:32
    and release and we're going to switch
  • 00:03:34
    the synth to mono and that's so we don't
  • 00:03:36
    have any notes bleeding into each other
  • 00:03:37
    because we don't really want that when
  • 00:03:39
    it comes to Bass
  • 00:03:40
    so let's take the sustain down make it a
  • 00:03:42
    bit pluckier
  • 00:03:47
    add a little bit of release
  • 00:03:49
    should he make that into a base
  • 00:03:52
    [Music]
  • 00:03:55
    cool so now let's put a filter on that
  • 00:03:58
    and we're going to use that same
  • 00:03:59
    envelope to just close that filter down
  • 00:04:03
    which is going to give us that pulsy
  • 00:04:05
    bass sound
  • 00:04:09
    it's pretty good actually so quite close
  • 00:04:12
    there already so what I'm going to do is
  • 00:04:14
    add some Unison just to spread this out
  • 00:04:16
    detune it slightly
  • 00:04:18
    oh that sounds good
  • 00:04:22
    but I don't want the sub frequencies to
  • 00:04:25
    be in Stereo because that's going to
  • 00:04:27
    cause what's known as phase cancellation
  • 00:04:28
    as those left and right big waves kind
  • 00:04:31
    of clash against each other and cancel
  • 00:04:32
    themselves out so what you can do in
  • 00:04:35
    serum there's a couple of ways I teach
  • 00:04:36
    this but this is a simple way to do it
  • 00:04:38
    within serum itself you can just remove
  • 00:04:40
    the fundamental frequency and it's just
  • 00:04:43
    going to take out the lowest
  • 00:04:45
    fundamental frequency of the note
  • 00:04:49
    but then our base is going to be a
  • 00:04:50
    little bit weak so I'm just going to put
  • 00:04:52
    it back in with a sub frequency and that
  • 00:04:54
    is not going to have Unison applied to
  • 00:04:56
    it and that's how it's going to be
  • 00:04:57
    avoiding Unison effect on the sub Bass
  • 00:05:02
    foreign
  • 00:05:05
    if we want
  • 00:05:08
    and I've set this to direct out because
  • 00:05:10
    it's going to avoid these effects and
  • 00:05:12
    I'm just going to add a little bit of
  • 00:05:13
    warmth to the base by adding some
  • 00:05:15
    distortion
  • 00:05:21
    dirty is up a bit
  • 00:05:25
    let's try it add another oscillator
  • 00:05:27
    but take it down and make sure we send
  • 00:05:30
    it to that filter as well
  • 00:05:39
    that's sounding good okay on to the next
  • 00:05:41
    thing magic list what do you say for me
  • 00:05:43
    you say to me we need a piano that
  • 00:05:46
    sounds like Robert Miles children so
  • 00:05:48
    what I'm going to do is add a piano and
  • 00:05:51
    I'm going to use the M1 piano
  • 00:05:55
    which is by Korg now this is the classic
  • 00:05:59
    piano sound for dance music and again
  • 00:06:01
    this is why Calvin Harris used it he
  • 00:06:03
    uses a lot of the actual old sounds from
  • 00:06:05
    the style of music he's kind of doing a
  • 00:06:07
    new spin on and that allows him to
  • 00:06:09
    really capture that spirit and capture
  • 00:06:12
    that feeling of it so what we're going
  • 00:06:13
    to do is just find the M1 I'm just going
  • 00:06:15
    to load it in I don't have my keyboard
  • 00:06:17
    set up but
  • 00:06:20
    so at the moment we've got these
  • 00:06:22
    different sounds on there as well so I'm
  • 00:06:24
    just going to go to browser piano and
  • 00:06:28
    just load in the one that we want to
  • 00:06:29
    load in is the m the piano 16. that's
  • 00:06:34
    the one
  • 00:06:37
    perfect okay so now we've got our piano
  • 00:06:38
    let's program in the melody now I
  • 00:06:41
    usually have my midi keyboard but I
  • 00:06:43
    don't have it set up today so we're just
  • 00:06:44
    going to do it using the piano roll
  • 00:06:46
    editor again choose scale a minor
  • 00:06:50
    and then just work out a few notes that
  • 00:06:53
    are going to work well
  • 00:06:55
    with your bass notes
  • 00:06:57
    and what I'm doing is repeating the
  • 00:07:00
    pattern like repeating the shape of the
  • 00:07:02
    melody to make it more catchy and make
  • 00:07:04
    it memorable
  • 00:07:05
    [Music]
  • 00:07:10
    so we can hear it's working as the bass
  • 00:07:13
    changes
  • 00:07:15
    and I want to repeat it if I can maybe
  • 00:07:18
    change one or two of the notes and the
  • 00:07:20
    delay will be carrying these notes on in
  • 00:07:22
    a couple of minutes
  • 00:07:27
    so I'm going from down to up and then
  • 00:07:29
    I'm going for up to down let's see how
  • 00:07:31
    it sounds so let's put on a delay first
  • 00:07:34
    I'm just going to load one onto an
  • 00:07:37
    auxiliary Channel piano Dell and or
  • 00:07:39
    decal popular made up word and then
  • 00:07:43
    let's put on a delay I'm just going to
  • 00:07:46
    use the echo that comes with Ableton
  • 00:07:48
    because it's really nice got this really
  • 00:07:50
    nice warm feel and then let's choose
  • 00:07:53
    I think eighths would be the right
  • 00:07:55
    length of delay and let's feed some in
  • 00:07:58
    [Music]
  • 00:08:03
    but we want it on ping pong so it
  • 00:08:05
    bounces from side to side
  • 00:08:06
    [Music]
  • 00:08:11
    yeah that sounds about right
  • 00:08:15
    [Music]
  • 00:08:18
    nice okay we're just going to work with
  • 00:08:20
    us at the moment next thing we need to
  • 00:08:22
    do is save this bad boy what are we
  • 00:08:23
    going to call this hmm what should I
  • 00:08:25
    call this it's 90s
  • 00:08:27
    tea and just reminisced back to the 90s
  • 00:08:32
    okay what I'm gonna call this is the
  • 00:08:36
    personification if I can spell it
  • 00:08:40
    what I'm going to call this is 90s
  • 00:08:42
    Banger okay
  • 00:08:45
    that's what's happening
  • 00:08:47
    okay on to the drums because this is
  • 00:08:49
    going to be really important when it
  • 00:08:50
    comes to getting that Groove going so
  • 00:08:52
    I'm going to use my own midi drums and
  • 00:08:54
    then I'm going to add a loop to it to
  • 00:08:56
    give it more character as well once
  • 00:08:58
    again using your own favorites folders
  • 00:09:00
    makes it so much quicker so first thing
  • 00:09:02
    we need to do is find a good clap so
  • 00:09:07
    okay something short and snappy will do
  • 00:09:10
    it so I'm just going to load this into
  • 00:09:11
    my drum rack and I've got these defaults
  • 00:09:15
    set up just to make it quicker for me
  • 00:09:16
    and then I'm going to program in a clap
  • 00:09:19
    on every other beat
  • 00:09:21
    so
  • 00:09:22
    just like that and then let's repeat
  • 00:09:24
    that boom boom boom boom clap clap
  • 00:09:27
    clapity clap and then we need a hi-hat
  • 00:09:30
    to go in between the hook claps so I'm
  • 00:09:33
    gonna
  • 00:09:35
    oh yeah let's use that one which is a
  • 00:09:38
    little bit dirty but that's how we like
  • 00:09:40
    it
  • 00:09:42
    and then we are going to program it in
  • 00:09:44
    in between every single kick like so
  • 00:09:53
    but I want to layer this up with
  • 00:09:56
    something so let's get a 16th hat in
  • 00:09:58
    there
  • 00:09:59
    sometimes just the simplest sounds are
  • 00:10:01
    best for these kind of tracks as I said
  • 00:10:03
    before Calvin Harris uses sounds and
  • 00:10:06
    techniques from the era in which he's
  • 00:10:08
    trying to you know draw inspiration and
  • 00:10:10
    draw a Vibe because that's going to
  • 00:10:12
    guarantee almost that you are going to
  • 00:10:14
    come up with something that has a
  • 00:10:15
    similar feeling
  • 00:10:17
    so let's go for a closed hat I'm just
  • 00:10:18
    going to go for a
  • 00:10:20
    808 closed hat
  • 00:10:23
    so let's just bring that in to our 16th
  • 00:10:25
    and then I'm going to program it in on
  • 00:10:27
    every 16th so we'll set our grid to 16th
  • 00:10:30
    and that means there's going to be 16 of
  • 00:10:32
    them in each bar
  • 00:10:35
    like so
  • 00:10:38
    but what I'll do is I'll just take out
  • 00:10:39
    the first one so it doesn't clash with
  • 00:10:41
    the kicks so you can see it's just
  • 00:10:43
    dropping out for every kick
  • 00:10:48
    foreign
  • 00:10:49
    to add some more movement to that
  • 00:10:51
    actually so what I'm going to do is I'm
  • 00:10:53
    going to we'll firstly take out the low
  • 00:10:55
    end with an EQ which I've done and then
  • 00:10:57
    I've added a compressor afterwards which
  • 00:10:59
    I've named SC comp and all that's doing
  • 00:11:01
    is taking the input from this side chain
  • 00:11:03
    trigger track which is hitting the same
  • 00:11:05
    notes as the kick and that's going to
  • 00:11:07
    duck this 16th hat so if we listen to
  • 00:11:10
    this on its own let's turn the volume up
  • 00:11:11
    so we can hear this is what it's doing
  • 00:11:13
    at the moment
  • 00:11:17
    and let's take that side chain input
  • 00:11:23
    so this is off
  • 00:11:25
    and this is on
  • 00:11:27
    so we can see it's just bouncing in time
  • 00:11:29
    of the kick which is going to give it
  • 00:11:30
    more movement to the entire track so
  • 00:11:32
    let's just fade that in quietly
  • 00:11:41
    that's a nice
  • 00:11:46
    nice okay now let's get some more action
  • 00:11:49
    going on in these drums so I really like
  • 00:11:52
    to use drum Loops underneath and you
  • 00:11:53
    don't have to use a whole Loop you can
  • 00:11:55
    just kind of take the bits of it that
  • 00:11:56
    you really like so I'm going to go to
  • 00:11:58
    drum loops and I don't know which ones
  • 00:12:00
    to use again nope not those ones
  • 00:12:03
    [Music]
  • 00:12:04
    but I want something with lots of action
  • 00:12:07
    going
  • 00:12:08
    I mean even that's pretty cool but we've
  • 00:12:11
    already got a clap so we probably don't
  • 00:12:12
    need the clap in this
  • 00:12:19
    but I like those kind of Duru Bongo
  • 00:12:21
    sounds
  • 00:12:22
    so we can take out the claps
  • 00:12:26
    and we'll take out the little
  • 00:12:28
    pre-transient
  • 00:12:32
    so that's pretty much enough just to
  • 00:12:33
    Loop so what I'm doing is listening out
  • 00:12:35
    for the texture of the sound and then
  • 00:12:37
    just getting rid of everything that
  • 00:12:39
    isn't absolutely essential and that's
  • 00:12:41
    going to allow us to have a nice clean
  • 00:12:43
    kind of clear mix
  • 00:12:45
    so now let's fade that in underneath our
  • 00:12:48
    drums
  • 00:12:57
    let's give it quite a cool feel
  • 00:13:01
    what I'm going to do is really compress
  • 00:13:03
    this just to bring out some of those
  • 00:13:05
    frequencies
  • 00:13:08
    it's already been compressed but I'm
  • 00:13:09
    going to do it even more because I'm an
  • 00:13:11
    absolute crazy mofo
  • 00:13:23
    yes that's got a Groove
  • 00:13:26
    loving that
  • 00:13:28
    I'm gonna spread that out using a free
  • 00:13:31
    plugin called the ozone imager 2 you can
  • 00:13:33
    download it from the link I'll put below
  • 00:13:35
    this video and what we're going to do is
  • 00:13:36
    just add some more stereo width to this
  • 00:13:38
    sound
  • 00:13:40
    pushing it out like this
  • 00:13:47
    so this is where it was
  • 00:13:51
    but we you can see this red means
  • 00:13:53
    there's peaking so I'm just going to
  • 00:13:54
    take the output down this is called gain
  • 00:13:56
    staging and we go into this in the
  • 00:13:58
    accelerator in detail but for now just
  • 00:14:01
    be aware that you don't want unnecessary
  • 00:14:02
    clipping and now let's load it in we'll
  • 00:14:05
    mix it in
  • 00:14:09
    okay we need some Reverb on this piano
  • 00:14:11
    like the delay is nice but we need it to
  • 00:14:14
    sound really epic so I've created an
  • 00:14:16
    auxiliary Channel there I've created a
  • 00:14:19
    Reverb on it and just put it to 100 wet
  • 00:14:21
    because we don't want that dry signal
  • 00:14:23
    being doubled up just giving it a boost
  • 00:14:25
    in volume and then taking out the low
  • 00:14:26
    end with an EQ so now let's listen to
  • 00:14:28
    the piano and just feed some of it into
  • 00:14:30
    this Reverb
  • 00:14:36
    so now it's Epica than it was that is a
  • 00:14:39
    actual term by the way foreign
  • 00:14:42
    [Music]
  • 00:14:46
    okay that's sounding pretty good like
  • 00:14:49
    I'm loving it already so what I'm going
  • 00:14:51
    to do is just call this Loop I'm going
  • 00:14:53
    to color it green the natural color of
  • 00:14:55
    drums anyone that says it's not is you
  • 00:14:57
    know it's okay to be mistaken that's
  • 00:14:59
    fine just you know don't come to me
  • 00:15:02
    bringing me your different color drums
  • 00:15:04
    when I know they should be green all
  • 00:15:06
    right just nip that in the bud next
  • 00:15:08
    thing is the vocals which are so
  • 00:15:10
    important you know if you think of that
  • 00:15:11
    Miracle track with Ellie Goulding it's
  • 00:15:13
    Ellie's vocals that really bring it to
  • 00:15:16
    life okay and that's another tip that we
  • 00:15:19
    can take from Calvin Harris
  • 00:15:19
    collaborating with other artists
  • 00:15:21
    collaborating with already famous
  • 00:15:23
    singers or up and coming singers just
  • 00:15:25
    because it's going to expose your
  • 00:15:27
    production to more people as well as
  • 00:15:29
    making sure that you've got something
  • 00:15:31
    that sounds good so we're gonna go for
  • 00:15:33
    vocals and I'm going to actually what
  • 00:15:36
    I'm going to do is I'm going to use
  • 00:15:40
    the loop cloud plugin and that means we
  • 00:15:44
    can preview loads of different vocals
  • 00:15:46
    whilst in Tempo with the track at the
  • 00:15:49
    same time so we can really preview it
  • 00:15:51
    load up a little midi track load in that
  • 00:15:54
    Loop cloud plugin and then I'm going to
  • 00:15:57
    go search
  • 00:15:59
    vocal we know it's track we've decided
  • 00:16:02
    to write in so we want a female vocal
  • 00:16:05
    a minor boom
  • 00:16:08
    we can search in our library as well and
  • 00:16:11
    let's let's just kind of preview a few
  • 00:16:13
    as we play this soon see what we come up
  • 00:16:15
    with
  • 00:16:17
    I'm surprised at how nice that's all
  • 00:16:19
    fitting together already
  • 00:16:24
    [Music]
  • 00:16:27
    epic so that's the kind of epic
  • 00:16:36
    don't wanna give you everything I have
  • 00:16:39
    oh yeah we've used that before
  • 00:16:42
    but I think that's working really well
  • 00:16:45
    like that's exactly the vibe we want for
  • 00:16:47
    this track so I'm going to create a
  • 00:16:49
    vocal Channel color it pink natural
  • 00:16:52
    color of the inside of the throat
  • 00:16:54
    I spoke to a doctor who confirmed that
  • 00:16:56
    by the way so once again
  • 00:16:59
    it's okay to be wrong but you know stop
  • 00:17:01
    it and now I should just be able to drag
  • 00:17:04
    that in
  • 00:17:05
    like so now we can see this is actually
  • 00:17:08
    128 BPM and our tracks 143 so it's going
  • 00:17:12
    to be out of time right so how do we
  • 00:17:14
    sort this out well we go into the clip
  • 00:17:16
    we make sure if it hasn't been warped
  • 00:17:18
    that we warp it with complex Pro
  • 00:17:21
    we're gonna warp it again from scratch
  • 00:17:23
    and then make sure that we program in
  • 00:17:25
    the BPM here that is exactly the
  • 00:17:29
    original sample BPM which in this
  • 00:17:31
    instance is 128. so now it should be all
  • 00:17:34
    nicely in time we can get rid of the
  • 00:17:37
    loop Cloud app if you want to get Loop
  • 00:17:39
    Cloud you can use my affiliate link
  • 00:17:41
    below throws a few pennies to me if you
  • 00:17:43
    do sign up for it but I think they've
  • 00:17:44
    got a free trial as well it's a very
  • 00:17:46
    useful tool anyway here we go let's just
  • 00:17:49
    try and mix this in
  • 00:17:54
    okay so what we need to do is have her
  • 00:17:56
    start singing just before the beginning
  • 00:17:59
    of that bar
  • 00:18:01
    because it's not really working
  • 00:18:06
    the right place
  • 00:18:09
    invasive Rhythm Of The Voice worked
  • 00:18:11
    really well
  • 00:18:20
    yes
  • 00:18:23
    so it's sounding a little bit flat at
  • 00:18:24
    the moment but don't worry we are going
  • 00:18:26
    to be going into mixing and Arrangement
  • 00:18:29
    very soon and this vocal would actually
  • 00:18:32
    go well well I'm writing a track at the
  • 00:18:34
    moment with Dua Lipa so I'm going to
  • 00:18:36
    link to that it's not good the video is
  • 00:18:38
    not coming out for a couple of weeks but
  • 00:18:40
    click that link there because if you're
  • 00:18:42
    watching this when it has come out you
  • 00:18:44
    can check it out and yeah it's it's
  • 00:18:46
    going to be fun but let me know if
  • 00:18:48
    you're enjoying this so far give me
  • 00:18:50
    or an almond brother in the comments
  • 00:18:52
    below and let me know what style you
  • 00:18:54
    want me to cover on this channel I
  • 00:18:55
    really appreciate it nice one let's
  • 00:18:57
    crack on okay so next thing we need to
  • 00:18:59
    do we've got our vocals we need to
  • 00:19:01
    process them and get them sounding
  • 00:19:03
    amazeballs
  • 00:19:04
    don't say amazeballs will come on it's
  • 00:19:06
    2023. good Lord right let's get some
  • 00:19:10
    compression on there that's the first
  • 00:19:11
    thing
  • 00:19:12
    and then we're gonna get some Reverb
  • 00:19:15
    some delay put a bit of EQ first
  • 00:19:18
    it's really actually already nicely
  • 00:19:21
    balanced but I want it to pop a little
  • 00:19:23
    bit more so I will add some compression
  • 00:19:27
    comes again
  • 00:19:30
    I don't wanna give you everything I have
  • 00:19:34
    and see you walk away
  • 00:19:37
    let's just bring it a little bit more up
  • 00:19:40
    front by sausageifying it that is a term
  • 00:19:43
    so many new terms today right next thing
  • 00:19:45
    we need to do is use the auxiliary
  • 00:19:48
    channels to feed some of that vocal now
  • 00:19:51
    we can share the Reverb we can share the
  • 00:19:53
    delay but my feeling is with vocals
  • 00:19:55
    usually it's a good idea to have its own
  • 00:19:57
    dedicated delay in Reverb because it's
  • 00:20:00
    something you really want to dial in and
  • 00:20:02
    get just right so that's what we're
  • 00:20:03
    gonna do
  • 00:20:04
    and we'll create two auxiliary channels
  • 00:20:06
    one is going to be Vox Reverb
  • 00:20:11
    one of them is going to be Vox Dell
  • 00:20:15
    and we will color those a pale purple
  • 00:20:17
    color so we know it's just for the
  • 00:20:19
    vocals and then next thing we need to do
  • 00:20:22
    is
  • 00:20:23
    get them dialed in so let's get a Reverb
  • 00:20:26
    on there
  • 00:20:27
    I'm just going to use Ableton Reverb but
  • 00:20:29
    it doesn't really matter there are lots
  • 00:20:31
    of good reverbs out there but we want a
  • 00:20:32
    long Decay 100 wet and let's feed some
  • 00:20:36
    of that in so that's e
  • 00:20:38
    [Music]
  • 00:20:41
    nice already I love that long Reverb so
  • 00:20:46
    now we're going to put on an echo and
  • 00:20:48
    it's all about trying to find the right
  • 00:20:50
    timing for the delayed signal so
  • 00:20:57
    so not that one
  • 00:21:00
    maybe it's one-fourth
  • 00:21:05
    I think that on ping pong mode is going
  • 00:21:07
    to sound amazing so let's try that
  • 00:21:11
    [Music]
  • 00:21:22
    Don't Wanna Fall
  • 00:21:25
    now I know that this is sounding a
  • 00:21:28
    little bit washed out at the moment in
  • 00:21:29
    terms of Reverb and delay I'm going to
  • 00:21:30
    show you a very special trick in a few
  • 00:21:32
    minutes where we can ensure that Reverb
  • 00:21:34
    is going to pop through the mix every
  • 00:21:36
    time but first boom on to the next thing
  • 00:21:38
    next thing is some Lush chords so we're
  • 00:21:40
    going to use the strings we have to
  • 00:21:42
    thank my magic list for informing us
  • 00:21:44
    about that so all together now thank you
  • 00:21:46
    magic list we appreciate you we think
  • 00:21:48
    you're very special and we love the fact
  • 00:21:50
    that you're alive in as so far as paper
  • 00:21:53
    can be alive
  • 00:21:54
    so now let's get strings in there I
  • 00:21:57
    really like the Spitfire audio strings
  • 00:21:59
    but since I've got my M2 Mac it ain't
  • 00:22:03
    working
  • 00:22:03
    so sorted out Spitfire audio so what I'm
  • 00:22:06
    going to use instead is probably just
  • 00:22:08
    some strings from Ableton so I've got
  • 00:22:11
    some good packs I think the one I really
  • 00:22:14
    like is the orchestral strings so let's
  • 00:22:17
    go find the strings ensemble
  • 00:22:20
    yeah you'll do mate get in there and now
  • 00:22:24
    we are going to use the same bass notes
  • 00:22:26
    to program in our chords this is where
  • 00:22:28
    it gets really interesting because a lot
  • 00:22:31
    of people get confused about building
  • 00:22:32
    Out chords but if you know the bass
  • 00:22:34
    notes it's relatively simple and here's
  • 00:22:36
    why
  • 00:22:37
    our base notes a to the F to the D to
  • 00:22:41
    the F to the G or we could just copy
  • 00:22:44
    them like so
  • 00:22:46
    we're going to copy them from base we're
  • 00:22:48
    going to go down to our strings section
  • 00:22:50
    we shall paste them in dutifully
  • 00:22:54
    like so and then we we just want the one
  • 00:22:56
    note from each
  • 00:22:59
    each note so we just
  • 00:23:01
    copy and paste that up there copy and
  • 00:23:03
    paste it up there because this is a nice
  • 00:23:05
    long sustained string so we don't need
  • 00:23:09
    you know
  • 00:23:10
    this pulsing pattern in fact we need
  • 00:23:14
    this kind of slower pattern so let's
  • 00:23:16
    have a listen to our strings at the
  • 00:23:18
    moment and they should just be
  • 00:23:19
    duplicating the bass notes
  • 00:23:20
    [Music]
  • 00:23:27
    and if we listen to the bass we can hear
  • 00:23:29
    it that's what's happening
  • 00:23:33
    okay so now let's build these into
  • 00:23:36
    chords now if we've hit the right scale
  • 00:23:38
    which as we know in this track is a
  • 00:23:41
    minor let's just choose it a minor and
  • 00:23:44
    then hit scale like so we can just skip
  • 00:23:47
    a note each time and build out these
  • 00:23:49
    really Lush chords
  • 00:23:51
    so that's the third that's the fifth
  • 00:23:54
    because it's five intervals above the
  • 00:23:56
    root which is this one two three for the
  • 00:23:59
    third fourth five and then six seven for
  • 00:24:03
    the seventh and now we've got this chord
  • 00:24:06
    don't tell me what you know is true
  • 00:24:11
    okay A bit of in excess there ish
  • 00:24:17
    with the Wrong lyrics of course is don't
  • 00:24:20
    ask me what you know is true
  • 00:24:26
    yes yes
  • 00:24:28
    so all I'm doing is skipping a note each
  • 00:24:31
    time you can see we've got this kind of
  • 00:24:32
    hamburger effect
  • 00:24:34
    weird looking hamburger mate
  • 00:24:41
    now this is going to be a diminished
  • 00:24:45
    call if it sounds weird just whack that
  • 00:24:47
    note up and it's gonna sound good
  • 00:24:53
    but rather than have this big jump where
  • 00:24:56
    we go from here up to here
  • 00:24:58
    let's just quantize that I think that a
  • 00:25:00
    slightly off grid there we go what we
  • 00:25:02
    want to do is have that all be a bit
  • 00:25:05
    closer together so I'm gonna do what's
  • 00:25:07
    known as chord inversions and try and
  • 00:25:10
    bring all these notes within a closer
  • 00:25:12
    range on the keyboard like that
  • 00:25:14
    so I'm just putting them down an octave
  • 00:25:16
    like so
  • 00:25:16
    [Music]
  • 00:25:23
    let's run down
  • 00:25:24
    [Music]
  • 00:25:28
    and bring this one up actually and then
  • 00:25:30
    they're really close this might sound a
  • 00:25:31
    bit weird actually
  • 00:25:45
    but for this one because this is just
  • 00:25:47
    the octave we don't want to move it up
  • 00:25:49
    there because it's then we're losing the
  • 00:25:52
    character of that chord
  • 00:25:54
    but that is nice
  • 00:25:58
    the bass notes in as well I can't be
  • 00:26:00
    bothered to do it so let's just use the
  • 00:26:01
    Bass from the trance base so here we go
  • 00:26:11
    foreign
  • 00:26:12
    [Music]
  • 00:26:22
    is kind of expensify them by doing these
  • 00:26:26
    chord inversions and bring everything
  • 00:26:28
    closer together so there's there are
  • 00:26:29
    more notes from each chord that lead
  • 00:26:31
    into the next chord which stops them
  • 00:26:33
    from sounding completely disjointed okay
  • 00:26:35
    on to the next thing we want again a
  • 00:26:38
    very nicest thing to do we want a coral
  • 00:26:40
    kind of gated trance type effect so I
  • 00:26:44
    haven't actually practiced this yet so
  • 00:26:46
    what I'm going to just I'm just gonna
  • 00:26:48
    try it okay so first we need like an R
  • 00:26:51
    sound so again I'm going to go and use
  • 00:26:54
    contact for this not again it's the
  • 00:26:55
    first time I've used it for this project
  • 00:26:57
    actually but it doesn't matter what you
  • 00:26:58
    use as long as you've got a nice choir
  • 00:27:01
    sound like that oh I could just record
  • 00:27:04
    my own Coral sample pack let me know if
  • 00:27:06
    you want me to actually don't I already
  • 00:27:09
    know that that God doesn't want me to
  • 00:27:11
    after that about nipple singing right
  • 00:27:14
    let's go in here and then just program
  • 00:27:16
    in again we can use the same chords or
  • 00:27:19
    we can just start with the bass notes
  • 00:27:22
    but we want to get this like rhythm
  • 00:27:27
    foreign
  • 00:27:30
    what was that Bop sound
  • 00:27:32
    oh yeah the singer that would be it so
  • 00:27:36
    again we can go
  • 00:27:40
    now that just sounds at the moment like
  • 00:27:43
    sustained so what we're going to do is
  • 00:27:44
    bring down the release
  • 00:27:49
    so then we've got this kind of effect
  • 00:27:51
    and let's build out that chord exactly
  • 00:27:54
    the same technique as before but first
  • 00:27:56
    I'll put all the bass notes in
  • 00:28:00
    holy
  • 00:28:03
    I think that's the third one
  • 00:28:06
    and then we go up
  • 00:28:09
    let's build out those chords
  • 00:28:11
    like so
  • 00:28:12
    [Music]
  • 00:28:13
    we don't need to do the entire seventh
  • 00:28:16
    we could just stick to the first the
  • 00:28:17
    third and the fear
  • 00:28:19
    now that's too high so the sample's not
  • 00:28:21
    actually working up there so again we're
  • 00:28:24
    gonna do a chord inversion and now we've
  • 00:28:25
    got this effect
  • 00:28:34
    I think the third chord is on the c yeah
  • 00:28:38
    so let's put that in
  • 00:28:42
    C and then two notes up
  • 00:28:46
    so using the exact same technique as we
  • 00:28:49
    were with the strings
  • 00:28:50
    but for these Bubba bars
  • 00:28:54
    let's make sure
  • 00:29:01
    that's too high uh what is the third
  • 00:29:04
    base note
  • 00:29:06
    it's a d okay that's where I went wrong
  • 00:29:08
    so
  • 00:29:09
    we're gonna have to move those all up
  • 00:29:12
    that's the right one
  • 00:29:14
    but we're gonna take that down an octave
  • 00:29:17
    for the same reasons as before
  • 00:29:21
    so now they're all closer together and
  • 00:29:24
    with the strings
  • 00:29:32
    but I want this to be even more kind of
  • 00:29:35
    stop starting so what I'm going to do to
  • 00:29:37
    do this is create a second trigger
  • 00:29:40
    Channel and this is going to use
  • 00:29:42
    something that we're not actually going
  • 00:29:44
    to hear it's just going to be used as a
  • 00:29:46
    side chain effect to make this Coral
  • 00:29:49
    sound really super like
  • 00:29:51
    stop start there's a few ways you can do
  • 00:29:55
    it but I'm going to show you this way so
  • 00:29:56
    let's get any kind of sound there and
  • 00:29:59
    it's just going to be an operator
  • 00:30:00
    something that can be very short and
  • 00:30:01
    sharp stop and start and let's just copy
  • 00:30:05
    in
  • 00:30:07
    this note here
  • 00:30:10
    um it doesn't matter which nose it's
  • 00:30:12
    hitting because we're never actually
  • 00:30:13
    going to hear it we're just using the
  • 00:30:14
    audio signal as the trigger so let's put
  • 00:30:18
    post that in
  • 00:30:20
    and make sure it goes all the way to the
  • 00:30:22
    end
  • 00:30:24
    and this is called the Gated trance
  • 00:30:26
    technique
  • 00:30:28
    so let's just make these shorter
  • 00:30:31
    we want these to be as short as possible
  • 00:30:32
    really
  • 00:30:38
    so let's just
  • 00:30:40
    we want them to be sustained though
  • 00:30:43
    but we want there to be a little space
  • 00:30:45
    in between each one like so so I'm
  • 00:30:47
    holding alt oh come on and just dragging
  • 00:30:49
    across
  • 00:30:50
    so it's this real Morse code sound
  • 00:30:54
    which might sound a bit horrible but
  • 00:30:56
    don't worry we're not going to be using
  • 00:30:57
    it all we need to do is Select sends
  • 00:30:59
    only and then we're going to send it to
  • 00:31:02
    what's called A Noise Gate in this
  • 00:31:04
    section here so we're going to go gate
  • 00:31:07
    we're going to pull that after our
  • 00:31:08
    choral sound and then we're going to
  • 00:31:10
    open this little button here and take
  • 00:31:12
    the side chain input from that trigger
  • 00:31:14
    and we're going to use that to duck this
  • 00:31:16
    sound
  • 00:31:18
    so let's let's just have a tweak
  • 00:31:37
    so this is what it was doing
  • 00:31:40
    so here how much more we've tightened it
  • 00:31:42
    up with this noise gate and the noise
  • 00:31:44
    Gate's just
  • 00:31:46
    taking the trigger from that trigger
  • 00:31:48
    channel so now this is going to sound
  • 00:31:51
    really good with just the drums and the
  • 00:31:53
    kick and the bass so let's just bring
  • 00:31:55
    that in and now we've got this Coral
  • 00:31:57
    effect
  • 00:32:00
    let's add some room Reverb
  • 00:32:13
    okay now we've got a couple more
  • 00:32:16
    beautiful things to add to this before
  • 00:32:18
    we start doing the arrangement and the
  • 00:32:20
    mixing so let's crack on
  • 00:32:22
    we want to create a really cool synth
  • 00:32:25
    type sound
  • 00:32:27
    again I'm going to use serum the old
  • 00:32:30
    serraministo that's called the synth
  • 00:32:32
    riff I'm going to color this cyan the
  • 00:32:34
    natural color of synths and then I'm
  • 00:32:37
    going to drag on another instance of
  • 00:32:39
    serum like so
  • 00:32:41
    and once again easiest thing to do is
  • 00:32:44
    just programming the the notes you want
  • 00:32:46
    to hit before you start working on the
  • 00:32:48
    sound design too much
  • 00:32:50
    because then at least we know that we're
  • 00:32:52
    hitting the right note
  • 00:32:54
    and this is going to be very simple this
  • 00:32:56
    is really just going to be an octave
  • 00:32:58
    jump I think
  • 00:33:01
    and it's all about the Rhythm and we can
  • 00:33:03
    slow down the tempo of the track if we
  • 00:33:05
    want to really focus in on that Rhythm
  • 00:33:07
    but it's not too hard because it's just
  • 00:33:09
    going to be
  • 00:33:11
    repeating 16th
  • 00:33:14
    and let's do it with the
  • 00:33:16
    metronome
  • 00:33:21
    so kind of like that last trigger where
  • 00:33:24
    it's kind of like a morse code sound
  • 00:33:26
    that's all we're doing
  • 00:33:30
    and we could have that jump an octave
  • 00:33:32
    actually
  • 00:33:33
    I'm gonna
  • 00:33:35
    that one down octave and that one up
  • 00:33:41
    just to add more movement and then I'm
  • 00:33:43
    just going to repeat that so it's going
  • 00:33:45
    to sound horrible until we start
  • 00:33:47
    tweaking in the shape of it
  • 00:33:50
    [Music]
  • 00:33:55
    and it's all hitting One Note
  • 00:33:57
    but because it's the root nose of the
  • 00:33:59
    track listen to what happened when the
  • 00:34:01
    notes below it change
  • 00:34:07
    it just fieldsifies you
  • 00:34:10
    all right let's tweak this again move on
  • 00:34:13
    to Mono
  • 00:34:14
    [Music]
  • 00:34:22
    let's add the filter
  • 00:34:27
    envelope
  • 00:34:32
    that's the effect we want
  • 00:34:40
    and then that can open up over time
  • 00:34:45
    [Music]
  • 00:34:47
    cool so let's just add a little bit of
  • 00:34:50
    Reverb to that
  • 00:34:54
    no Reverb we'll just add room Reverb
  • 00:34:59
    and a little bit of delay as well
  • 00:35:02
    I'll just do it on the channel for Speed
  • 00:35:11
    [Music]
  • 00:35:16
    foreign
  • 00:35:24
    okay open it up
  • 00:35:29
    okay last thing we want to do is add
  • 00:35:31
    some real texture in there with what I'm
  • 00:35:34
    going to call a rezo synth it's going to
  • 00:35:36
    be very resonant and much like the
  • 00:35:38
    synthrift it's going to just be hitting
  • 00:35:40
    the root notes of the track but what
  • 00:35:43
    it's going to do is really add some
  • 00:35:45
    movement and interest in there all the
  • 00:35:46
    time so let's call it rezo pad actually
  • 00:35:49
    again let's color it cyan and we're
  • 00:35:52
    going to start
  • 00:35:53
    once again with a saw wave using serum
  • 00:35:57
    it doesn't matter which synths you use
  • 00:35:59
    guys it's just the process that makes
  • 00:36:01
    the difference
  • 00:36:02
    so let's program in that and you'll
  • 00:36:06
    notice if we look at our Master Channel
  • 00:36:08
    where everything playing at the moment
  • 00:36:10
    look at the levels we're hitting
  • 00:36:13
    okay taxi all right let's get there
  • 00:36:17
    [Music]
  • 00:36:18
    like the mix isn't done yet and we need
  • 00:36:21
    to turn some stuff down but even before
  • 00:36:24
    we've done the mix we can see we've
  • 00:36:25
    still got Headroom on the master channel
  • 00:36:27
    so we're not running into clipping and
  • 00:36:28
    that's why I anchor my kick at -12 DB
  • 00:36:31
    Peak whenever I start the track just to
  • 00:36:33
    make sure I'm never going to run into
  • 00:36:35
    clipping or it's less likely
  • 00:36:37
    foreign
  • 00:36:41
    nice all right let's just program that
  • 00:36:44
    in there
  • 00:36:45
    so again hey
  • 00:36:47
    I'm gonna put just a long a
  • 00:36:54
    so it's going to sound like this at the
  • 00:36:56
    moment which is completely unnecessary
  • 00:37:03
    but what we need to do
  • 00:37:05
    is add this constantly evolving motion
  • 00:37:08
    now you can do this as I said with
  • 00:37:10
    effects after the fact I might do that
  • 00:37:12
    actually because any anyone who doesn't
  • 00:37:14
    have serum can kind of follow along a
  • 00:37:16
    bit easier so we'll get special effects
  • 00:37:18
    and we go to flanger
  • 00:37:20
    and we're going to make sure that
  • 00:37:22
    there's a lot of resonance in here as
  • 00:37:23
    well
  • 00:37:24
    [Music]
  • 00:37:27
    uh we'll choose an arbitrary hurts
  • 00:37:29
    amount
  • 00:37:33
    so this is the kind of effect we want
  • 00:37:36
    and it's really that really harsh
  • 00:37:38
    feedback that's the the thing that we're
  • 00:37:41
    after let's turn this down because this
  • 00:37:43
    is really crazy loud
  • 00:37:44
    I like the way it's panning as well
  • 00:37:47
    though
  • 00:37:49
    so let's add a little bit more what
  • 00:37:51
    we're going to do is add a second one
  • 00:37:53
    and then we'll add some phaser because
  • 00:37:54
    I'm all about getting that movement
  • 00:37:56
    coming through
  • 00:37:57
    [Music]
  • 00:38:07
    nice and warmth
  • 00:38:09
    and you can see we've got some clipping
  • 00:38:11
    here so I'm going to turn it down a
  • 00:38:12
    little bit
  • 00:38:14
    and then I'm going to filter out some of
  • 00:38:16
    the frequencies now I'll put a Reverb on
  • 00:38:18
    first
  • 00:38:19
    [Music]
  • 00:38:22
    soften it down
  • 00:38:24
    [Music]
  • 00:38:28
    and then I'm going to put on a filter
  • 00:38:29
    sorry an EQ and just take out some of
  • 00:38:32
    those frequencies that we don't need
  • 00:38:37
    [Music]
  • 00:38:38
    and now let's just fade this in slowly
  • 00:38:41
    underneath everything and listen to the
  • 00:38:42
    effect it has
  • 00:38:46
    [Music]
  • 00:38:52
    foreign
  • 00:38:59
    [Music]
  • 00:39:19
    okay let's mix this bad boy because it's
  • 00:39:22
    sounding pretty good then we're gonna
  • 00:39:23
    have a break and a build and then into
  • 00:39:25
    the drop okay let's just uh get it all
  • 00:39:28
    nicely organized and we're gonna mix it
  • 00:39:31
    so I'm going to start from scratch I'm
  • 00:39:33
    going to take everything down and I'm
  • 00:39:36
    going to just bring it all in
  • 00:39:38
    around the kick
  • 00:39:40
    so whoops forgot to grab them all let's
  • 00:39:42
    grab them all apart from the drum bus
  • 00:39:45
    because it's a bus we're going to leave
  • 00:39:46
    that at the maximum volume at zero DB
  • 00:39:49
    and then we can do the mixing within the
  • 00:39:51
    drum bus itself here with these these
  • 00:39:53
    controls so first we got the kick peek
  • 00:39:55
    at -12
  • 00:39:57
    whoops let's just turn that off to be
  • 00:39:59
    honest the drums are pretty good level
  • 00:40:01
    anyway all right so now let's bring in
  • 00:40:04
    the bass
  • 00:40:05
    foreign
  • 00:40:16
    we can do this in mono if we like
  • 00:40:18
    just check in mono I've got this mono
  • 00:40:20
    switch for the keyboard shortcut to
  • 00:40:22
    switch it to Mono
  • 00:40:23
    now let's bring in the vocal
  • 00:40:25
    most important thing next
  • 00:40:33
    but now the main clap
  • 00:40:36
    oh snap
  • 00:40:41
    so let's try and bring that in
  • 00:40:45
    everything
  • 00:40:53
    now the Hat
  • 00:41:00
    and then the 16th hat
  • 00:41:03
    [Music]
  • 00:41:07
    and the loop
  • 00:41:14
    I think we can take out some of the high
  • 00:41:16
    frequencies from that Loop
  • 00:41:20
    yeah
  • 00:41:22
    and the lows
  • 00:41:28
    okay
  • 00:41:30
    [Music]
  • 00:41:36
    okay cool
  • 00:41:42
    all right let's get to the break so what
  • 00:41:44
    we're going to do for the break is
  • 00:41:45
    create a re-space and we're going to
  • 00:41:48
    create a nice kind of organ sound that's
  • 00:41:51
    going to play those chords as well
  • 00:41:53
    so let's just bring all of this stuff
  • 00:41:55
    out the way
  • 00:41:56
    in fact we just copied this over we'll
  • 00:41:58
    do our break here so we'll start our
  • 00:42:00
    break here and then we're going to have
  • 00:42:02
    the strings in the break 100
  • 00:42:05
    [Music]
  • 00:42:11
    let's switch back to stereo
  • 00:42:16
    Reverb on the strings
  • 00:42:18
    [Music]
  • 00:42:29
    and
  • 00:42:33
    that's where we can have the build
  • 00:42:36
    happen there so next thing we need to do
  • 00:42:38
    is create a respace and this is just for
  • 00:42:41
    the break
  • 00:42:43
    so we are going to again select a serum
  • 00:42:46
    you can download this project file all
  • 00:42:48
    the samples completely free and once
  • 00:42:51
    again let's just draw in those bass
  • 00:42:52
    notes so I'm going to copy them over
  • 00:42:54
    from the charts base and just make them
  • 00:42:56
    prolonged it's too loud it's too loud
  • 00:42:59
    boy take it down
  • 00:43:01
    let's go over here and then we are going
  • 00:43:03
    to copy that up to there copy it down
  • 00:43:12
    and then up there
  • 00:43:14
    let's take it down an octave
  • 00:43:19
    and now we need some Unison on this
  • 00:43:23
    some filter
  • 00:43:25
    [Music]
  • 00:43:29
    and there we go
  • 00:43:32
    [Music]
  • 00:43:33
    nice now for the chords for these organ
  • 00:43:38
    chords I'm literally just going to copy
  • 00:43:41
    the strings and take them down there
  • 00:43:45
    we might even just start off in the
  • 00:43:47
    break with just the organ cord and again
  • 00:43:50
    you can reference older music to get
  • 00:43:52
    direction on the arrangement here so
  • 00:43:54
    let's bring in a contact here we go
  • 00:43:58
    and let's just find a nice organ sound
  • 00:44:02
    vintage organs that would be it
  • 00:44:06
    see how that sounds
  • 00:44:09
    together
  • 00:44:11
    okay I mean it's the right kind of sound
  • 00:44:13
    but I think the notes are too low
  • 00:44:16
    so let's take them up an octave
  • 00:44:21
    and then let's change those chord
  • 00:44:23
    inversions
  • 00:44:27
    and I want an octave down as well
  • 00:44:30
    yes
  • 00:44:33
    [Music]
  • 00:44:40
    [Music]
  • 00:44:42
    yes
  • 00:44:44
    [Music]
  • 00:44:47
    so what I'm doing is kind of going down
  • 00:44:49
    where everything else was going up but
  • 00:44:51
    we're still hitting the same notes it's
  • 00:44:53
    just adding more movement
  • 00:44:54
    [Music]
  • 00:45:00
    thank you
  • 00:45:06
    and that one's too epic there so so
  • 00:45:08
    we'll bring that one down like so
  • 00:45:11
    [Music]
  • 00:45:22
    the re-space comes in
  • 00:45:25
    augment
  • 00:45:27
    [Music]
  • 00:45:32
    Ed
  • 00:45:39
    yes yes all right I'm gonna just kind of
  • 00:45:43
    ad-lib on this so we'll start our break
  • 00:45:46
    [Music]
  • 00:45:50
    and then we'll take the base out here
  • 00:45:53
    at re-space let's rename it
  • 00:45:58
    piano
  • 00:46:03
    [Music]
  • 00:46:11
    of yesterday
  • 00:46:17
    let's increase that
  • 00:46:20
    [Music]
  • 00:46:26
    that that's a nice long Decay now
  • 00:46:35
    that's the one
  • 00:46:36
    [Music]
  • 00:46:45
    okay this is how we're going to build
  • 00:46:47
    into this
  • 00:46:48
    we're gonna take this over here the
  • 00:46:50
    synth riff and this is going to start
  • 00:46:54
    off with a low cutoff
  • 00:46:59
    actually don't like that high up one
  • 00:47:13
    I prefer that so we're going to use that
  • 00:47:16
    and then we are going to just go open up
  • 00:47:17
    the serum we can hit configure and just
  • 00:47:21
    automate this Reverb cut off not Reverb
  • 00:47:24
    cut off sorry filter cutter
  • 00:47:27
    so let's just bring that up like so
  • 00:47:37
    and then we're gonna have
  • 00:47:43
    and then we'll we'll start back there on
  • 00:47:45
    the drop where it all comes in
  • 00:47:49
    or we can actually start with just the
  • 00:47:50
    base
  • 00:47:56
    yeah I like that
  • 00:48:04
    now the drums come in
  • 00:48:11
    and you can kind of mix as you go as
  • 00:48:12
    well like I can hear that claps a bit
  • 00:48:14
    louder
  • 00:48:17
    three two
  • 00:48:20
    [Music]
  • 00:48:22
    three
  • 00:48:24
    and then and then those open hats are
  • 00:48:26
    going to come in halfway through that
  • 00:48:29
    okay so let's start this is going to be
  • 00:48:31
    our drop we're gonna a big snare roll in
  • 00:48:34
    there actually so what we can do is find
  • 00:48:36
    a good snare
  • 00:48:38
    good day
  • 00:48:49
    and we go straight back down
  • 00:48:51
    [Music]
  • 00:48:58
    let's find a snap
  • 00:49:01
    oh yes
  • 00:49:06
    actually no I think it's better if the
  • 00:49:09
    open hats just come in there not the
  • 00:49:10
    clap
  • 00:49:14
    like so like so
  • 00:49:16
    [Music]
  • 00:49:18
    yes come on keep the flow well keep the
  • 00:49:21
    flow
  • 00:49:26
    okay here we go
  • 00:49:27
    and then we're gonna find a nice snare
  • 00:49:30
    yes that's perfect okay Will's favorite
  • 00:49:32
    snare
  • 00:49:35
    there's a nice 909 snare let's bring
  • 00:49:37
    that in there
  • 00:49:39
    take out that Reverb that's kind of
  • 00:49:41
    baked into the sample like so so it's
  • 00:49:44
    going to be shorter
  • 00:49:46
    like so and let's uh let's program that
  • 00:49:49
    in
  • 00:49:51
    on on the 16th remember that's going to
  • 00:49:53
    be quite loud so let's turn it down
  • 00:49:56
    and what's going to happen is that if we
  • 00:49:58
    reduce the first let's make it on the
  • 00:50:01
    16th but if we reduce the velocity
  • 00:50:03
    that's going to increase the volume as
  • 00:50:05
    we go
  • 00:50:06
    because the velocity is by default
  • 00:50:09
    attached to the volume if you're using
  • 00:50:12
    Ableton
  • 00:50:13
    so now I need to figure out how to
  • 00:50:15
    quickly grab this I have to choose B
  • 00:50:18
    that's right they made it complex in
  • 00:50:21
    this one no that's wrong
  • 00:50:23
    it used to be easier in Ableton 10. no
  • 00:50:27
    that's not drawing the thing I don't
  • 00:50:29
    know why they did this but it there we
  • 00:50:31
    go at last all right so it's command and
  • 00:50:34
    option to draw a line a nice even line
  • 00:50:36
    like so
  • 00:50:38
    so let's just make that last one
  • 00:50:41
    at first one's already quieter so now
  • 00:50:43
    we've got this effect
  • 00:50:45
    let's go to the drop and just do it just
  • 00:50:48
    do it
  • 00:50:49
    [Music]
  • 00:51:02
    I don't wanna
  • 00:51:05
    oh and we need a
  • 00:51:08
    it's too loud now sorry
  • 00:51:14
    [Music]
  • 00:51:18
    yes yes yes okay so what we're gonna do
  • 00:51:22
    is get a nice cymbal crash in there
  • 00:51:27
    why does that suddenly go quieter there
  • 00:51:29
    ah because I did it to the open hats as
  • 00:51:32
    well we don't want that
  • 00:51:35
    was the mistake I made
  • 00:51:38
    okay
  • 00:51:40
    let's try again and just get a symbol
  • 00:51:42
    now we need a nice 909 crash symbol so
  • 00:51:46
    let's see if I've got any here no
  • 00:51:50
    let's go to some
  • 00:51:53
    symbol splash
  • 00:51:55
    that one perfect
  • 00:51:57
    so let's program that in one two three
  • 00:52:01
    four again
  • 00:52:03
    in a 90s kind of style
  • 00:52:11
    okay so just four crashes leading in to
  • 00:52:14
    the break to the drop
  • 00:52:17
    [Music]
  • 00:52:36
    and last thing we need to add last thing
  • 00:52:39
    we need to add is the ride symbol to
  • 00:52:41
    really open this up and and have it full
  • 00:52:43
    guns blazing so we're going to go to my
  • 00:52:46
    favorites again
  • 00:52:47
    ride symbols and then a classic kind of
  • 00:52:51
    dance music Ride
  • 00:52:53
    and then we haven't even done side chain
  • 00:52:55
    compression on the bass you know we
  • 00:52:57
    haven't even needed to really and then
  • 00:52:59
    the classic ride symbol
  • 00:53:03
    pattern is going to be on the eighth so
  • 00:53:05
    eights to every bar
  • 00:53:07
    and now let's listen to this effect
  • 00:53:09
    [Music]
  • 00:53:36
    okay guys and girls I hope you've
  • 00:53:38
    enjoyed that oh that's giving me tingles
  • 00:53:40
    now so I'll do a little bit more work on
  • 00:53:42
    this and make it possible for you to
  • 00:53:44
    download it below but if you enjoyed
  • 00:53:45
    this please like it and subscribe all
  • 00:53:47
    that gubbins and if you want coaching
  • 00:53:49
    with me to get your music to sound as
  • 00:53:51
    professional as possible as quickly as
  • 00:53:53
    possible you can click the link below
  • 00:53:54
    and check out my music production
  • 00:53:56
    accelerator program whereby we've helped
  • 00:53:58
    some of our students get Sciences in the
  • 00:54:00
    world's biggest labels such as Armada
  • 00:54:01
    and human beats spinning records and
  • 00:54:03
    many many more thank you so much for
  • 00:54:04
    watching I'll catch you next time in the
  • 00:54:07
    meantime there is another tutorial on
  • 00:54:09
    creating old school trance so check that
  • 00:54:11
    out if you enjoyed this until then
  • 00:54:14
    [Music]
Tag
  • pop music
  • Calvin Harris
  • Miracle
  • Ellie Goulding
  • Ableton
  • music production
  • trance
  • tutorial
  • synth
  • drum loops