Creation of Neon Velocity - Unlock the Secrets of Creating Dark Drum & Bass
Tracks From Scratch | Dec 28, 2022
This video discusses the creation of an EP that will have four tracks. The artist plans to incorporate a mix of drum and bass beats and his usual ambient music style of droning, pads, and melodies. He talks about how he has already created some tracks and is working on the fourth track, which will have 170 BPM and will focus on the bass groove and kick drums. He introduces some production techniques such as layering and modulating, as well as using various plug-ins. He then talks about balancing the kick drum and bass and adding hi-hats and snare to the track.
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[00:00.000] Hey folks, welcome back.
[00:02.800] So I planned to do some kind of EP in January, right?
[00:09.280] And I just put out some music two days ago, it's this EP here, it's called Ambient Future
[00:14.960] Beats 2.
[00:16.460] I know it's not, you know, the most creative name ever, but you know, I don't care.
[00:23.160] It's about the music.
[00:24.160] So this is out for two days and you can listen to it in the description as a link, of course.
[00:31.000] And I want to do another EP for next January, so for next month, right?
[00:37.600] So my idea was to make some drum bass again and maybe mix it with my usual style, which
[00:46.840] is kind of this ambient with beats stuff here.
[01:00.740] So a bit of droning in the background, some pads, some melodies and so on.
[01:09.600] But this time more with drum bass beats in the background.
[01:12.960] So instead of 85 BPM, I just go double time and go for 170 BPM.
[01:22.280] And yeah, I plan to do some kind of EP with four tracks on it.
[01:26.200] So I have already some tracks in place.
[01:28.960] I made some tracks recently here.
[01:31.880] So this one here, Drum Bass Override, is a project I made maybe some earlier this year.
[01:41.260] And I got it out and reworked it a bit.
[01:47.120] Sounds like this.
[01:56.640] So it's a typical Neuro Funk tune kind of dance floor thing.
[02:03.760] And it switches the bass line all the time, also the bass groove all the time.
[02:21.120] So it's more like for the dance floor, right?
[02:22.840] It's a lot of bass, a lot of drums, it's also super loud and it is not finished, right?
[02:28.000] It's just some rough ideas, trying out some grooves.
[02:32.280] But I have to sort it out, I have to find a nice balance, maybe dial back the loudness
[02:38.340] a bit.
[02:39.340] You can see it's just a brick.
[02:41.460] So this is the first tune, it's more like a drum bass dance floor thing.
[02:46.460] Then I made something here two days ago.
[02:50.820] And this is more like a liquid tune, this is more in the direction of what I usually
[02:55.900] That's with the drone in the background, a lot of pads, a lot of melodies, a bit generic,
[03:03.820] some vocals in there.
[03:06.860] It's probably the more of the cheesy tunes on this EP then.
[03:13.260] It's also a traditional drum bass add-on for the drums.
[03:27.180] So it's what I usually do, but just with the drum bass add-on in the background.
[03:42.780] Some drum bass drums.
[03:45.940] So this is more of the cheesy ones of these tunes.
[03:50.260] And then there's here one that's a bit more deeper, it's called, it's all rocking titles.
[03:55.420] That's the same one, it's this one here.
[04:01.780] Also again, atmospheric intro.
[04:07.740] And here I'm going for a halftime drum bass add-on, so one snare is missing.
[04:24.220] I'm also not sure about the vocals, maybe a bit too cheesy and too generic, but I kind
[04:48.860] of like it in the state, how it is, maybe I change it, maybe not, I'm not sure.
[04:54.140] So this is the third tune.
[04:56.380] So I need a fourth track for this EP.
[05:00.180] And my idea was to make again something with 170 ppm.
[05:06.100] And for the beat, I'm probably just do something without a snare at all.
[05:12.580] Maybe just a click or a super short rim shot and also maybe only one.
[05:21.220] So one snare or one rim shot is missing.
[05:24.380] So an unusual halftime pattern for a drum bass track.
[05:28.860] But I want to focus more on the bass groove and maybe on the kick drums.
[05:32.900] So I want to drive this whole track with pads and kicks and bass.
[05:38.180] So this is the rough idea I have for this fourth track.
[05:42.580] And this is what I want to do now, what I want to start now.
[05:47.940] So what I know is I want to go into the drum bass ppm region here.
[05:52.980] So I'm using 170, 172, maybe 170 ppm, something about this.
[06:01.780] And I probably also need the kick drum.
[06:06.220] So as you can see, I'm laying out basically this track starting from what I know what
[06:11.540] I want to do.
[06:12.940] So I know I want to have a kick drum in there, of course.
[06:15.620] So I just put one in.
[06:18.900] And I don't go into too much detail yet.
[06:21.900] I just put in what I need.
[06:23.540] So I need the kick drum.
[06:27.460] I need a deep one, something like this.
[06:31.700] And I also want to have probably some kind of drone in the background.
[06:38.340] So I'm starting easy here with some random piano stuff.
[06:42.820] So maybe piano tech for the piano.
[06:48.500] And maybe I go for a vibraphone.
[07:05.420] And I also go for D sharp minor, maybe harmonic minor.
[07:11.060] Maybe I can pull up here this piano, what's it called, keyboard, virtual keyboard.
[07:21.740] So you can see what I'm pressing here.
[07:26.500] So I usually use D sharp pentatonic, which you probably already know that.
[07:36.500] It's all the black keys starting from D, D sharp here.
[07:43.820] And this one, so this is D sharp pentatonic.
[07:50.060] When I want to move to minor, then I need to use two white keys, these two.
[07:59.420] And this is basically just D sharp minor.
[08:02.340] So it's not pentatonic anymore.
[08:03.700] This is now diatonic.
[08:06.580] And I also want to go instead of natural minor, I want to use harmonic minor.
[08:13.500] In harmonic minor, there's one key different, and it's here, it's this one here.
[08:21.220] This one moves up here.
[08:25.380] So this is D sharp harmonic minor.
[08:29.660] And the benefit is that you have basically the root, which is D sharp.
[08:38.700] And the seventh here is just one semitone apart.
[08:44.220] So you get basically in the scale, you add more half steps in the scale, which makes
[08:52.140] it more kind of darker or more evil, kind of a bit more darker.
[09:02.300] So we have this half step in here, you also have these two in here, which is also half
[09:07.580] step and these two also half step.
[09:14.460] So we basically add one half step pair of notes in here with the harmonic minor, which
[09:20.940] is nice to do.
[09:22.660] And also the half step is exactly at the root note, so you can do a nice bass line right
[09:30.060] on the root.
[09:35.380] So it's something I want to use.
[09:39.940] So and for the drone, I probably go with the root note and the fifth and the fourth.
[09:48.100] Maybe I try out to start with this, you could also do a minor as a drone, but it's probably
[09:55.340] too, what's the name?
[10:01.500] It constrains me too much into the scale, because this is all perfect ratios.
[10:08.820] So this is the root, the perfect fourth, perfect fifth, so I can combine it probably
[10:15.660] with more notes down the line, I'll probably go with this one.
[10:22.460] So to make a drone, I just go for a reverb here, super massive, just take one pretty
[10:32.500] large, pretty large reverb space here.
[10:49.300] And I use Paul Stretch, put this on pass through here and record basically these notes I just
[10:59.540] showed you here and just play these and record it.
[11:19.260] Okay, and then a kind of loopier stuff and stretch it out a bit, I feel like this.
[11:39.580] So now I have basically a nice drone that's playing all the time and we can switch here
[11:46.780] the piano tech to different, maybe this one.
[11:52.700] And we can play in the scale pretty freely.
[12:20.740] I have to see how it works with the bass line.
[12:26.620] So we don't need actually all of this anymore, because we just recorded this here in the
[12:32.820] buffer and we can disable everything here, we don't need the reverb, we just need the
[12:38.740] Paul Stretch with the buffer in there.
[12:41.240] And also when you save the preset or when you save the project, the buffer is saved internally
[12:46.420] here with the Paul Stretch thing, so it doesn't get lost, which is super nice.
[12:56.420] And maybe it's a bit unbalanced stereo wise, but for now it's okay I think.
[13:07.020] So maybe we go for a nice bass here, so I usually use phase four.
[13:28.420] That's too deep, maybe.
[13:31.980] This is to zero, because we only need the mono-monophonic synth here.
[13:43.740] Maybe take a Stein oscillator here for the first operator.
[14:01.820] And use the second sign here, and then maybe to tune it.
[14:19.300] Maybe perfect fifth, not fourth.
[14:31.700] And then we drive this into the filter drive here.
[14:49.100] Or maybe we try and modulate here the first oscillator operator.
[15:03.660] Maybe do drum and bassy, I don't know, I want to keep it a bit muffled or a bit not too
[15:27.340] much overtones, let's try it, pair voice, no tree trigger, bass, we want to start differently.
[15:44.700] There's something like this.
[15:55.260] So we need to find a nice pattern here, I'm going here for the note repeater with this.
[16:17.540] Something slower.
[16:18.540] Okay, I probably also need the quantizer here, I need to have some hi-hats in there
[16:24.900] to get a feel for the groove, because now we just have only a bass here.
[16:31.620] So I want to quantize here the note repeats to 16 note grit, also gives a nice groove
[16:37.900] sometimes, or most of the times, and this one goes open, this is 0 dB, that's okay.
[16:46.620] So I want to put some hi-hats in there, and I go for my addictive drums here.
[16:54.420] And basically take a real drum set, I'll take these ones here.
[17:15.620] The real benefit of using addictive drums or some kind of drum tool or real drum set
[17:22.820] plug-in is you have all the dynamics in there, all the different drum samples mapped to all
[17:32.300] velocities and so on.
[17:34.220] And you can also switch to different drum models.
[18:01.180] How many for the kick drum, we can also do the same here with the repeater, with the
[18:05.300] chair with the bass, where's the bass, here's the bass, so we take these two here, put this
[18:11.340] in here.
[18:37.900] So also we need to implement here a ducking mechanism, because the kick drum is pretty
[18:43.780] deep, and I want to keep it deep, but the bass sound itself is also deep, so we need
[18:49.740] to duck here on this with the kick drum.
[19:18.700] So I move here a bit off the lower end of the kick drum, give it some character, maybe
[19:34.140] like this, maybe a peak limit at the end.
[19:51.500] So that's it, I hope you enjoyed this video, I'll see you in the next one, peace out.
[20:21.500] Okay, I also know that I probably want to remove some mid frequencies from the bass,
[20:36.380] so I'm taking here an FX2, FX2 splits basically the frequencies in half, so we have low end
[20:43.780] and high end, and from the high end here just remove something, or everything from 300 hertz
[20:51.740] here, up, maybe I don't know, 800, 900, something like this, maybe some phaser or chorus on top,
[21:04.700] so we have a bit of movement here, also put in some distortion, okay, so that's it,
[21:34.620] so we can watch here with an EQ plus what's happening at the high end, so we have a bit
[21:43.980] of room here, so I don't want to get too loud with the overtones, but I also want to make
[21:52.260] it pretty upfront, because we probably don't have a lot of stuff in the mid range happening
[22:00.340] in this track, because we want to remove the snare.
[22:18.940] So I duplicate here addictive drums, because I want to create some kick drums here with
[22:25.100] addictive drums, and I want to process them a bit differently than the hi-hat, and I know
[22:32.700] you can use multiple outputs here, but I don't like that concept at all, it's a bit obstructive,
[22:41.660] it takes too much work, and then you have everything in one chain, and you have to click
[22:46.020] through multiple chains, and here I see instantly with one, I can see clearly what's happening,
[22:53.060] so I call this here kick top, oh yeah, instead of using the midi notes from here, we just
[23:03.380] receive from the kick track here, so we don't have to care for two different notes, oh yeah,
[23:17.620] I feel it was a different note, because the kick drum here is on C1, see this is a bit
[23:38.860] counterintuitive here with this plug in, we want to tweak the kick drum, but when you
[23:47.060] hit the kick drum on a real drum set, everything else on the drum set is resonating with the
[23:55.780] kick drum, so you have resonating stuff here on the snare drum, the snare bus, as you can
[24:00.620] see when we turn this up and play the kick drum, so basically you can change how the
[24:16.460] kick drum sounds on the snare drum, which is a bit counterintuitive, but when you know
[24:22.500] how a real drum set works, or if you play the real drum set, then you know how it works.
[24:40.380] So this is basically the kick drum just for the top end, to have some texture on top of
[24:45.060] the kick drum, because the kick drum alone is too dry and doesn't have any texture at
[24:53.940] all, so I like to do this a lot layering stuff on top just to get some texture, but the meat
[25:05.340] of the track is basically synthesized, or clean.
[25:22.900] Now you can use a distortion thing here, and you can use a distortion thing here, and
[25:52.740] it's maybe not too, I don't like it here, what happens with the kick drum, probably want
[26:10.060] to paint this in for myself, that's better, why is the source missing here, oh I see we
[26:38.180] removed some of the FX devices.
[26:54.980] So instead of using a snare, we could use some kind of synth, so let's see, maybe just
[27:04.220] start just pretty simple with the Polysynth, so usually in drum based snare drums are
[27:11.820] basically here and here, and we also know the scale, which is D sharp, could do something
[27:27.660] like this, or we could go like this, or maybe move this over here, so let's see, maybe we
[27:43.420] play here some kind of chords, something like this, so let's see, let's see, let's see,
[28:13.260] let's see, something like this, maybe put this down over here,
[28:40.580] so I see the bass line here is doing too much repetitive things, so try to change that,
[29:03.700] but I like how it sounds, so maybe you can fade this in here over time, so slow this
[29:16.260] down, let's do it slow, make it smooth, then move this up,
[29:46.180] something like this, so maybe you can also use a bit of pitch modulation here, so every
[29:58.900] time we trigger the bass, we pitch down from the perfect depth down, and also delay the
[30:21.980] note here by two 16 notes, so we have basically first the kick and then in the offbeat the
[30:32.300] bass in here, and this also sounds nice here, so we can use that for the end sequence, so
[30:57.780] we make an 8 bar pattern here, then at the end here we fade in, so we take here, instead
[31:09.740] of using automation, we just use some modulators, this is too fast, still half note, I think
[31:27.180] that's it, and then we fade in here at the end to shape a bit, something like this,
[31:57.100] then we also can change of maybe the pitch, so let me paint in here some micro expressions
[32:19.260] over here, here we go up to, so we have a bit of movement
[32:49.020] and frequencies there.
[32:56.020] So, that's it.
[33:25.260] You can bring in a bit of noise here to this stuff, so I'm modulating here the Y operator
[33:31.700] with itself, which creates noise, and then I mix it in here to this one, and this one
[33:44.620] is mixed in the bad one.
[34:02.380] So, that's it, I hope you enjoyed this video, I'll see you in the next one, peace out.
[34:32.380] So, maybe this is a bit too much, so let's see how this sounds here by extending these
[34:53.180] two more notes.
[35:01.820] And then we use here for the first, only for the first note, for the first snare we use
[35:14.300] this sound.
[35:35.540] And we want to randomize this here, the modulator basically, with every time kind of a different
[35:49.940] step sound.
[36:18.900] There's a bit too much here at the end, that's okay.
[36:42.100] As you can see, I don't use any dynamic processing plugins at all, I try to get something going
[36:57.700] without fiddling too much, I try to put in all the essentials for the track and find
[37:05.340] what it's all about, and bring in this compression and EQing and stuff like this, this is much
[37:12.940] much later, most of the times for me.
[37:16.700] Okay, so now here we could maybe duplicate this, and use a different sound, kind of different
[37:25.980] sound for the second snare.
[37:31.300] So here this one right, and then we use that of this, we use maybe this, and maybe a different
[37:50.980] sound here as a reverb, something like this, let's see how this sounds.
[38:09.660] Okay, so there's something missing in there.
[38:38.940] For my ears at least, I'm trying to fill this in here, with some kind of arpeggiator.
[38:53.660] I'm not sure yet what kind of frequency something is missing, but I guess the hi-hat's playing
[39:02.020] basically this pattern, and it's the only driving part in this track that these hi-hats
[39:11.900] here play straight notes, so I bring in some straight notes here also with an arpeggiator,
[39:22.860] so also really short sounds here, and let's go for the root note, maybe this and this,
[39:38.780] and also use this, with an eight notes here.
[39:58.900] And maybe also a short room on that one, and I use a different note here.
[40:28.740] That's maybe already too much.
[40:58.580] Maybe one note is enough.
[41:28.420] Okay, so here we could use again, because I kind of like the sound, so let's go for
[41:59.380] So we have now three of these, and here again choose a different sound.
[42:15.820] So maybe I want to have this drone here, an octave lower, oh that's too much.
[42:45.660] It's a 12, there's a 7.
[43:15.500] That's 15, which is minor.
[43:45.340] We have already a lot of elements we can use to arrange this, so maybe this last bit here
[44:12.300] I just muted, we can move on to a second sequence.
[44:19.820] Also we can basically increase here when something happens, or maybe make this even
[44:30.940] longer, let's say four bars of that, then four bars of that, the gig runs through, so
[44:47.420] already get here a lot of stuff we can sequence.
[44:54.580] So we increase the intensity of these sounds here, this is the bass, we start with that,
[45:05.660] and this is here, these are the hi-hats, right?
[45:11.780] So we probably want to move this here up to the drums, all these drums.
[45:30.460] That's maybe too long.
[45:53.140] So, yeah.
[46:06.420] So here it is.
[46:19.940] So instead of using here a randomization for each note for this cutoff I just use an overall
[46:33.580] randomization here for the cutoff so all notes at once, I think it sounds better.
[46:42.100] I probably also need a low cut here, I got the clicks away, also a low cut.
[47:11.940] I could also
[47:41.860] try and change the bass line, which is also something I like a lot.
[47:49.820] Because we have here on this bass track basically at the end here, make sure we peak basically
[48:01.060] here and then we dial in minus three.
[48:22.220] I don't want to limit here basically the sound, I just want to reach the ceiling and
[48:27.820] then we can duplicate this and here with this bass we make some adjustments and we go back
[48:42.060] to sign, we don't want to change the fundamental.
[48:55.460] So we change this.
[49:14.620] We increase here maybe the ratio.
[49:36.620] So here we can also change a bit the notes.
[49:56.300] Something like this, maybe change the pitch drop here and then duplicate this.
[50:21.300] That's the difference here.
[51:44.140] So I find here sweet spot for that
[51:54.140] Yeah, we switch back to the first base
[52:06.140] John needs to get a bit louder
[52:26.140] To the base goes into base group
[52:29.140] And this goes into the German base group
[52:37.140] And here we have all the steps
[52:43.140] You have a drone and a patch of y'all
[53:14.140] Don't like the texture
[53:18.140] That's better
[53:27.140] And we need to look at this
[53:37.140] Let's see all the sounds of the delay
[54:07.140] And yeah, so we can now decide
[54:16.140] Oh, we need a name
[54:18.140] Let's use the randomizer here
[54:21.140] I don't have the randomizer installed
[54:25.140] Save as
[54:29.140] It's probably the last tune of 2022
[54:33.140] The special one
[54:36.140] What's the date of the day?
[54:43.140] Group of base
[54:47.140] Okay, saved
[54:49.140] Now we can decide to maybe put some kind of lead sounds on top of all that
[54:57.140] Maybe modulation
[55:17.140] And it's reverb, of course
[55:20.140] Something big
[55:50.140] I think I kind of like the direction
[55:59.140] It's maybe not all the things in here are perfect yet
[56:04.140] But I know exactly that I dig the groove
[56:08.140] And I dig the atmosphere and how minimal it is
[56:11.140] And I want to keep it minimal
[56:13.140] I probably bring in also later on some percussion sounds
[56:19.140] I'm not sure if I'm doing this in this video
[56:22.140] I want to give you basically a rough idea
[56:25.140] How you start the track
[56:27.140] And how you keep it minimal at first
[56:29.140] To lay down basically the fundamentals of your track
[56:32.140] And to focus on adding the right elements
[56:38.140] And also placing the elements right
[56:40.140] Before you start to move on and go into details
[56:43.140] And lose yourself in the details for no reason at all
[56:50.140] You don't need to EQ the fuck out of percussion
[56:53.140] If you don't want to have percussion in your track
[56:55.140] So maybe you start just trying around
[56:58.140] And finding if all the elements are fitting
[57:02.140] And have all the right patterns
[57:04.140] Before you move on and go into details
[57:07.140] And lose yourself in the details
[57:12.140] For no reason at all
[57:14.140] Because it takes too much of your time for that
[57:20.140] To do that early on
[57:22.140] So keep focusing on the fundamentals
[57:26.140] Keep focusing on driving the draft forward
[57:30.140] Bring in the right elements
[57:32.140] And move on later to the details
[57:36.140] So maybe I record here the polysynth
[57:40.140] So I play basically on the scale I showed you
[57:42.140] In the first few minutes
[57:44.140] I just play some keys from that scale
[57:48.140] And see what kind of sticks
[57:51.140] I also try to keep it minimal
[57:53.140] But not too many notes
[59:23.140] So I have that
[59:35.140] Maybe combine it, join this
[59:38.140] And we can insert here some percussion at the end
[59:42.140] So what I usually do is
[59:44.140] I take some percussion from my hard drive
[59:56.140 --> 01:00:05.140] So load some stuff in here
[01:00:05.140 --> 01:00:10.140] I'm not sure what I'm using from that
[01:00:10.140 --> 01:00:20.140] Then bring in here a small
[01:00:20.140 --> 01:00:31.140] So maybe also here emphasize a bit the offbeat
[01:00:31.140 --> 01:00:34.140] So I'm basically preventing using here notes
[01:00:34.140 --> 01:00:37.140] From the straight rhythm
[01:00:37.140 --> 01:00:39.140] So the kick drum is here all the time
[01:00:39.140 --> 01:00:44.140] Or here on all these 16 notes
[01:00:44.140 --> 01:00:47.140] And here I'm basically trying to
[01:00:47.140 --> 01:00:52.140] Get some kind of hard chord
[01:00:52.140 --> 01:00:56.140] I don't know the right word for it
[01:00:56.140 --> 01:00:59.140] Triplets, no, not triplets
[01:00:59.140 --> 01:01:00.140] I don't know
[01:01:00.140 --> 01:01:02.140] But I'm trying to emphasize basically the groove here
[01:01:02.140 --> 01:01:10.140] By using unusual positions in the drum pattern
[01:01:10.140 --> 01:01:12.140] The sound is complete shit
[01:01:12.140 --> 01:01:15.140] But when you put the drums to it
[01:01:15.140 --> 01:01:17.140] It kind of makes more sense
[01:01:17.140 --> 01:01:21.140] It complements basically the kick groove
[01:01:21.140 --> 01:01:23.140] Maybe it's too fast
[01:01:23.140 --> 01:01:26.140] I don't know
[01:01:26.140 --> 01:01:29.140] So I don't like the drum sounds at all
[01:01:29.140 --> 01:01:32.140] But it's not really important because I put a resonator on it
[01:01:32.140 --> 01:01:34.140] The resonator bank
[01:01:34.140 --> 01:01:38.140] And you have dialed in already D sharp
[01:01:38.140 --> 01:01:40.140] Because I'm using it all the time
[01:01:40.140 --> 01:01:41.140] So it's my default preset
[01:01:41.140 --> 01:01:44.140] So F here, D sharp 3 as you can see
[01:01:44.140 --> 01:01:48.140] Then it's F, then F sharp, then G sharp and so on
[01:01:48.140 --> 01:01:51.140] So it's basically the scale of D sharp minor
[01:01:51.140 --> 01:01:56.140] So
[01:01:56.140 --> 01:02:01.140] You can play around with the resonators at the exact right frequency
[01:02:12.140 --> 01:02:17.140] So the sounds of the samples are not really super important
[01:02:17.140 --> 01:02:23.140] Because the resonator takes over the overall sound anyway
[01:02:23.140 --> 01:02:30.140] I just use these samples to trigger basically the resonator bank
[01:02:30.140 --> 01:02:34.140] So what I do now is using here a step mod
[01:02:34.140 --> 01:02:43.140] And change some of the frequencies
[01:02:43.140 --> 01:02:45.140] Different length here
[01:02:45.140 --> 01:02:51.140] Randomize this
[01:02:51.140 --> 01:02:55.140] So different length, 18 randomize
[01:02:55.140 --> 01:03:24.140] That kind of repeats but not really
[01:03:25.140 --> 01:03:49.140] I think this fits better for the groove
[01:03:49.140 --> 01:03:57.140] So you can hear now we have some kind of answer and or call and answer pattern going on
[01:03:57.140 --> 01:04:04.140] So this basically does some kind of call or question
[01:04:04.140 --> 01:04:11.140] And the bass sound answers
[01:04:11.140 --> 01:04:22.140] Or not the bass sound yet the steps
[01:04:22.140 --> 01:04:28.140] So this one basically is gluing sounds together without using a compressor
[01:04:28.140 --> 01:04:35.140] So this is more important in my opinion to kind of have the right frequencies for certain elements
[01:04:35.140 --> 01:04:42.140] And then they kind of sound they belong together and do some kind of conversation in the track
[01:04:42.140 --> 01:04:55.140] So this is more important than having putting some kind of compressor on a bus
[01:04:55.140 --> 01:05:04.140] Maybe the bass is still disrupting for that so you can then do something like when this plays here
[01:05:04.140 --> 01:05:14.140] You just mute the overtones from the bass here
[01:05:14.140 --> 01:05:22.140] So basically just modify here the mod
[01:05:22.140 --> 01:05:35.140] Here you have it on because here we don't have these percussion sounds
[01:05:35.140 --> 01:05:40.140] So I prioritize basically what's going to happen here
[01:05:40.140 --> 01:06:00.140] And also arranging that you mute certain overtones to make place for something else like the percussion sounds
[01:06:00.140 --> 01:06:07.140] Then also an easy thing you can do is
[01:06:07.140 --> 01:06:13.140] Just make sure I'm scratching at the surface and it's not too much dynamics
[01:06:13.140 --> 01:06:16.140] I think it's completely fine
[01:06:16.140 --> 01:06:19.140] Maybe a low cut, let's see
[01:06:19.140 --> 01:06:26.140] It's not needed but
[01:06:26.140 --> 01:06:31.140] So this plays fine so I'm duplicating at XO
[01:06:31.140 --> 01:06:35.140] Putting this here and use the same pattern kind of the same thing
[01:06:35.140 --> 01:06:46.140] But in XO I'm changing here the samples, something different
[01:06:46.140 --> 01:07:00.140] So we go from this
[01:07:00.140 --> 01:07:06.140] Something different but it's kind of the same and that's also super important
[01:07:06.140 --> 01:07:14.140] That you know that when you use a pattern with a certain sound and then you switch to the same pattern
[01:07:14.140 --> 01:07:20.140] But with a slightly different sound or maybe also the pattern is slightly different
[01:07:20.140 --> 01:07:24.140] It moves your drag forward in a way
[01:07:24.140 --> 01:07:30.140] So here I put in a lot of work and then I just duplicated this, exchanged the samples and it's kind of the same pattern
[01:07:30.140 --> 01:07:35.140] It's kind of the same but not really
[01:07:35.140 --> 01:07:53.140] Or here I pitched it down by an octave
[01:07:53.140 --> 01:07:59.140] And here we can also go to a second
[01:07:59.140 --> 01:08:08.140] Let's basically back to the original pattern here but here we change it a bit room-wise
[01:08:08.140 --> 01:08:24.140] So we change the room on it
[01:08:24.140 --> 01:08:34.140] This sounds good
[01:08:34.140 --> 01:08:41.140] And maybe for the last part here we take this one
[01:08:41.140 --> 01:08:45.140] And here we could maybe use a delay
[01:08:45.140 --> 01:08:51.140] And without the feedback so we just delay it
[01:08:51.140 --> 01:08:59.140] And it sounds shit so we bring in the original
[01:08:59.140 --> 01:09:15.140] Which is okay, you can also try the FX3 and just delay the mid part
[01:09:15.140 --> 01:09:20.140] So this is this and this here
[01:09:20.140 --> 01:09:25.140] And here it sounds like this
[01:09:25.140 --> 01:09:32.140] So we have a lot of changes here without having changes at all
[01:09:32.140 --> 01:09:39.140] It's just slight variance in how things change but it kind of...
[01:09:39.140 --> 01:09:49.140] Because it's so minimal it sounds so big sometimes
[01:09:49.140 --> 01:09:57.140] So also the arpeggiator here we can use to fade into different parts of the thing
[01:09:57.140 --> 01:10:02.140] So we have this playing here
[01:10:02.140 --> 01:10:06.140] But we have the power of this kind of modulation amount
[01:10:06.140 --> 01:10:12.140] So you can start like this, a bit muffled, a bit less overtones
[01:10:12.140 --> 01:10:22.140] And then you use here the modulation or the automation
[01:10:22.140 --> 01:10:28.140] To increase the intensity here at the end of this pattern
[01:10:28.140 --> 01:10:34.140] So it sounds like a transition
[01:10:34.140 --> 01:10:45.140] You can utilize certain sounds and use them as transitioning sounds just by modulating stuff
[01:10:45.140 --> 01:11:07.140] Now here I bring this maybe up
[01:11:07.140 --> 01:11:29.140] And I still don't use any compression or I don't use anything
[01:11:29.140 --> 01:11:32.140] It's just pure sound
[01:11:32.140 --> 01:11:36.140] Maybe a bit of a queuing here and there to cut some frequencies out
[01:11:36.140 --> 01:11:44.140] But I try to nail the track without having to use any of these dynamic plugins at all
[01:11:44.140 --> 01:12:09.140] And then just at the end I bring in some dynamics or acute details just to make it right or bring the cherry on top
[01:12:09.140 --> 01:12:15.140] So here we have the hi-hat for instance going on all the time
[01:12:15.140 --> 01:12:18.140] So we can bring in some variation to that
[01:12:18.140 --> 01:12:42.140] We can do for instance, where is it here
[01:12:42.140 --> 01:12:44.140] Something like this
[01:12:44.140 --> 01:12:49.140] Maybe to repetitive
[01:12:49.140 --> 01:12:53.140] Right click here and where is the double content
[01:12:53.140 --> 01:12:56.140] So we have the same content twice
[01:12:56.140 --> 01:13:07.140] So here we bring in another kind of variation
[01:13:07.140 --> 01:13:12.140] So it's the same pattern but it's just a different sound
[01:13:12.140 --> 01:13:17.140] It makes a difference in a way, it brings in details
[01:13:17.140 --> 01:13:20.140] And then we can duplicate this again
[01:13:20.140 --> 01:13:23.140] We have the same thing twice
[01:13:23.140 --> 01:13:31.140] And here we say the first part here we bring in maybe some crash sound
[01:13:31.140 --> 01:13:48.140] Not too loud
[01:13:48.140 --> 01:14:09.140] Maybe we can use double
[01:14:09.140 --> 01:14:23.140] Maybe something like this
[01:14:23.140 --> 01:14:27.140] Right the roll at the end
[01:14:27.140 --> 01:14:40.140] Maybe a different color, we know it's a different pattern
[01:14:40.140 --> 01:14:47.140] So now it's maybe also too often to have the scroll in here so I'm double content this again
[01:14:47.140 --> 01:14:52.140] And here I take this out, I want to do it at the end here
[01:14:52.140 --> 01:15:08.140] So here I'm going back to maybe something like this
[01:15:08.140 --> 01:15:24.140] I'm just stupid kidding this
[01:15:24.140 --> 01:15:45.140] And here we could maybe
[01:15:45.140 --> 01:15:49.140] The first kick drum here we have some kind of hi-hat
[01:15:49.140 --> 01:15:55.140] It sounds more like a real drama plays a bit around with the hi-hats and changing some things
[01:15:55.140 --> 01:16:10.140] We can also just select all the things here and hold the alt key and change the velocity just a bit here from hi-hat to hi-hat
[01:16:10.140 --> 01:16:14.140] We bring in some variation to that also too
[01:16:14.140 --> 01:16:22.140] And we can also bring in some global swing or shuffle just a tad, not too much
[01:16:44.140 --> 01:16:54.140] And here we go
[01:16:54.140 --> 01:17:04.140] And here we go
[01:17:04.140 --> 01:17:20.140] Right so we have this here
[01:17:20.140 --> 01:17:29.140] And here then we can do either go back to the first hi-hat or can use some rides
[01:17:29.140 --> 01:17:45.140] Maybe change the rides out here
[01:17:59.140 --> 01:18:27.140] And here we go
[01:18:27.140 --> 01:18:34.140] So this synth just maybe a bit too loud so we bring this down
[01:18:34.140 --> 01:18:40.140] Just for the background it's not really important for the track it just makes a bit of atmosphere
[01:18:40.140 --> 01:19:08.140] Okay so now we put this here into a cautions
[01:19:08.140 --> 01:19:10.140] There is it
[01:19:10.140 --> 01:19:21.140] And we maybe put this into a so called music bus
[01:19:21.140 --> 01:19:29.140] Because I want to probably compress the fuck out of the drums and bass bus here
[01:19:29.140 --> 01:19:35.140] And leave this more dynamic here
[01:19:35.140 --> 01:19:38.140] It's in the groove call it all
[01:19:38.140 --> 01:19:46.140] And now we can say we move the whole thing over here because here's the intro then
[01:19:46.140 --> 01:19:55.140] And here we probably have also some fun with the steps
[01:19:55.140 --> 01:20:02.140] And here we modify the envelope depth or the modulation depth here
[01:20:02.140 --> 01:20:06.140] So here we want to when the job is we want to have it like before
[01:20:06.140 --> 01:20:10.140] But in the intro we want to maybe have it a bit tone down
[01:20:10.140 --> 01:20:19.140] Also fade in slowly
[01:20:19.140 --> 01:20:31.140] Maybe bring in the delay here
[01:20:31.140 --> 01:20:37.140] And use the delay here, modulation and bring the mix down
[01:20:37.140 --> 01:20:52.140] So only in the intro we have the delay on
[01:20:52.140 --> 01:20:56.140] And we then slowly fade it in
[01:20:56.140 --> 01:21:01.140] And we also probably want to have the hi-hats in here but not too fast
[01:21:01.140 --> 01:21:05.140] A bit spread out so I'm scaling the scales up here
[01:21:05.140 --> 01:21:10.140] Oh deleted that
[01:21:10.140 --> 01:21:31.140] And I also want to bring the velocity down
[01:21:31.140 --> 01:21:36.140] And here also with the bass global modulation amount
[01:21:36.140 --> 01:22:04.140] We start just the bass here
[01:22:04.140 --> 01:22:06.140] Kind of knocky
[01:22:06.140 --> 01:22:10.140] Then we bring the mix up over time
[01:22:10.140 --> 01:22:24.140] So mix 0
[01:22:24.140 --> 01:22:40.140] And we bring the volume down here
[01:22:40.140 --> 01:22:55.140] And now I need to also use the velocity spread here a bit
[01:22:55.140 --> 01:23:11.140] Save
[01:23:11.140 --> 01:23:13.140] Yeah I think that's it for this video
[01:23:13.140 --> 01:23:15.140] I think it's already two hours right?
[01:23:15.140 --> 01:23:19.140] One hour thirty two
[01:23:19.140 --> 01:23:22.140] So I think that's it for now
[01:23:22.140 --> 01:23:23.140] I saved this here
[01:23:23.140 --> 01:23:27.140] Maybe I do a second video how I progress on this
[01:23:27.140 --> 01:23:31.140] But for now I wanted to keep you some kind of insight
[01:23:31.140 --> 01:23:36.140] On how to approach a track for an EP
[01:23:36.140 --> 01:23:40.140] And also focus on the important elements first
[01:23:40.140 --> 01:23:43.140] And don't care and just you know
[01:23:43.140 --> 01:23:46.140] Forget about all the details and stuff at first
[01:23:46.140 --> 01:23:49.140] And then just lay down the fundamentals
[01:23:49.140 --> 01:23:53.140] Improve on that and then get the details in later
[01:23:53.140 --> 01:23:55.140] Okay so that's it for this video
[01:23:55.140 --> 01:23:58.140] Thanks for watching I hope you learned something today
[01:23:58.140 --> 01:24:02.140] And if you have questions then please keep asking in the comments
[01:24:02.140 --> 01:24:04.140] Leave the video of course
[01:24:04.140 --> 01:24:06.140] Subscribe to the channel
[01:24:06.140 --> 01:24:08.140] Thanks for watching and I'll see you in the next video
[01:24:08.140 --> 01:24:19.140] Bye