Lessons
Class Introduction
07:14 2Analyzing the Song and Preparing the Stems
27:43 3Constraining Scale: Kontakt and Massive Inside Patch
23:36 4Setting up the Bassline
12:21 5Creating Different Bassline Options
26:23 6Creating a Sub Bassline & Using Dump Score Log
12:31 7Adding Vocal Stems
26:09 8Routing & Using a Peak Controller
28:52Lesson Info
Adding Additional Drums
I think at this point it would be safe to start bringing in some additional drums to kind of keep it keep it more interesting um so what I did was started small with something small um I had some shaker sounds that I brought in so close that up on dh um see her percussion shakur's I always bring in more than I need um because I don't know what I'm going to use at the end of the day so just sounds in there so I'm pretty new pattern called shakes and through them I feel like once the flute things stops right here twenty five would be a nice place to start bringing in some shakers, right? So, uh drop it, emory so it's just one bar loop of this right and then just painted straight through giving it so much that you most it does I want the shakers to be louder, but when they start when they're lovers they want them to be it doesn't it sounds like they're too loud. So what I will do is actually emerge all of these little loops together and then adjust the velocity of these and it's also nice...
because I'll be able to create some kind of norman constant thing going with the volume of the shakers as well, so I'm gonna start it just a little bit quieter and then do this sort of thing to create sort of this in perfect imperfection with the mixing of the shaker it starts giving it so much that I have the emotions didn't move me one that is just the start of it fell into a little they came from why don't you say me for radio? So now I'm going to another level of shakers that has a little bit more drive kind of bring him in maybe um I'm not sure where it may be around thirty three I'm not sure if that's exactly what I didn't mean it in the final version but we'll do that here so I'm gonna add additional shakes and I'm gonna put them right here start with the loop right here you but straight through and you know so much you need the vocal for the moment second focus on the sugars and uh go into the piano roll for the drums and use one of the other shaker sounds that um I brought in to kind of give it a little bit of ah sixteenth note e in the context of the song brings vocals back, giving it so much that have the motions didn't drive way that is just the start of it fell into it then came why don't you say me for radio? So you can I'm going to wait sure well maybe uh right at the very end of this kind of fade this out on dh take all dia's merge them together so they're all part of one one long mini clip on dh what I'm going to do is see I've got I've got this varying velocity data but I want all the velocity data to kind of fayed down together so I'm gonna select the area that I wanted to start fading pulled down all ts and just move my mouse down one click and then goods like a little bit less we've done one click a little bit less we don't one click and basically what's happening is it's it's slowly scaling it down so that it feds without messing up the velocity data that I've already got there right so it kind of eases itself out of the mix a little bit more I could automate the the volume and creates on automation clipper whatever but wait wait wait just wait just so you can ok there's the second part you know it kind of eases down in the mix and then it kind of kicks back up and I'm going to basically put the shakes on the shakers on full going for it when it comes back so I'm going to take this a piece of this to the end piece because a middle piece where it's the loudest right like say like this part right here slice these out select this and copy it over tow one twenty nine where it comes back and you'll hear easy enough sure, now we're going tio so there's um britain had some crashes um a lot of a lot of artists will throw a crash down like every thirty two bars or something like that I like to use them is a like punctuation, you know that says, hey, this is happening you know, it's like a splash so um there are only two points in the song where I really feel like it could it could actually use it um we'll go over here and really kind of subtle kind of crash and then over here where it kind of comes back it's sort of like that it's really really, really sleep in that little segments like we got you know way would have more impact when that happens so um you go into say her I mean, any crash do I'm pretty selective though sometimes you see that might be yeah, I'll just pull it out of these wait in the in the original song I picked one that was just really just some noise it was just really simple nice splash but you can use this one here, so turn it down because I don't want to be that we got one crash right there I'm actually going just going to use the tail part of the crash, right? Because I don't want it to be too in your face so in order to do that I'm using an audio clip here so um I can use the slip tool I'm just slide it I'm getting end sample really subtle um and then I'm gonna copy that over to this other part trips you can't copy when you have the tools to slip to a selected yet like change it over to the draw tool um drop it over here to hear but I'm going to adjust it so that it's the full sample right here wait we got some drums here we have some crashes it's being punctuated well so to speak um let's actually get into these these atmospherics that come with the sound pack um the to see her have them here in my I believe I have used my buildups on brain flared builds isn't it? I think it was these ones that came with it these samples are like I know is I can't listen to the whole thing while you're browsing nfl studio but I'll just drag and drop them in they all kind of work right and they looked like this um it sounds like this is one would turn it down run it in the background to kind of lake spice up the background of the project and just a few spaces where it kind of does feel maybe a little bit sleepy like you know, the first up until sixty five there really isn't time going on so maybe what I do is I adjusted so where the peak of the sample hits that that should hit at the on the you know, the mark where change, where the change mark happens, so I'm going to just adjust it so that it leads right up into here turn it down a little bit so much that the emotions didn't drive that is just the start of it fell into little thing came following what? Grab another one, this one's pretty pretty subtle, which is nice. Oh, stick it right on the sixty five. You really hear it? But if you had your headphones on its on great, um let's see here and so on through the whole thing filling up thea that's basically it with that, the, um he's got plenty of things happening here. We got percussions. We've got atmospherics and it's pretty close to done. I mean, like I would at this point just go through a mixture that, like my atmospherics, are all routed to, um, to attract all usually pot pair of my atmospheric stuff with my crashes, having ducked by the kick drum to um so must select all of the sounds picture here called atmospherics uh, link selected channels to this track to add a pretty balance and like that, the king picked drum, yeah
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Electronic Music Production