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lane 8 tutorial - melodic house start to finish in 4 hours — Transcript · YTtoTranscript

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lane 8 tutorial - melodic house start to finish in 4 hours

Bound to Divide · 8,829 words · 44 min read · EN

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[Music]

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[Music] [Music] hey guys so today I thought it would be fun to have an in-depth look at Lane eight study some of his songs and then try and build something you know closer to his style so what I've done is I've just gone on to Spotify looked at his top ten popular songs taken out a

notepad and jotted down things that I've noticed about them starting at the top what I'm gonna do is just create the melodic sort of theme of the song based off what I've heard in his and then we will move down to drums and finish off the tune so first thing I noticed with

lean aged songs out of ten of these songs eight of them are written in major keys so this is what contributes to that hopeful nostalgic uplifting emotion you hear in his songs where's I find most other artists electronic artists at least I tend to write in minor keys and go for that like

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melancholic kind of sound Leah Nate's one of the few artists that seems to write predominantly in major and that's myself included I don't have a write in major so this is going to be quite difficult for me I anticipate so I'm gonna just choose C major because I'm a big dum-dum and I can't remember any

other keys so let's just go sorry and another thing I noticed was the key I mean the BPM of each tune most of them seems to be in 122 sometimes 124 125 so let me just go to 122 BPM and let's let's make some MIDI here might be a bit long now I'm just gonna write in C major

which is all the white notes one of these notes that's your C major scale and let me just first talk a bit about his like melodic theme so what I've noticed and I've written this down here is the melodic theme I hear in his tracks as he cries to create like a motive motif when I can harp sound that

just keeps looping throughout the song gets stuck in your head and then because that can get pretty boring like a 5-minute track he creates his harmonic interest by changing just the bass notes that are happening below that like repetitive melodic melody or harp or whatever it is so that's what I'm gonna do for this and so the first sound that

we're gonna create will probably be an opera motif of sorts and I haven't actually prepared anything so we're gonna be doing this completely from scratch because I know people like to see you know the more raw kind of style of tutorial like this so for this first sound I'm going to choose probably Deva

and then just make like an op so let's just talk about the sound design for a second so the sound design is usually like a simplistic kind of analog waveform like swords or square waves he likes to create imperfections like subtle pitch drifting it makes it sounds like the instrument was recorded too old

tape yeah this helps to add to the nostalgic emotion in his tracks it's kind of like that loaf I kind of feel and I noticed there's quite a lot like he'll have chords or an op or something that sounds like it kind of slightly drifts out of cheering every once in a while and I'd really like adds

to that nostalgic vibe and then he also likes to make use of glide and portamento and pitch pens and stuff but I've noticed he does that more in his bass lines than and with his harps and melodies so let's go ahead and make make something like a an op this might take a while so forgive me if it

does but I want to try and make something that actually sounds nice grab Deva we're just gonna keep it to a simple soul waveform over here and there's my Siri picking up on shut up Siri okay they say we're just going to keep it to a simple soul wave and yes we need to initialize the preset

like to just grab the mini mono mini putty gonna have one last leg yeah yeah then let's just bring down the car

[Music] okay so we've just created a preset now we've just used the mini poly template and then bring down the cotton panel make it into a bit more of a plucky sound so let's bring down that sustain and the tack envelope [Music] if we can add some vibrato [Music] you [Music] you

you okay so I'm going to not use Deva for this because I'm not that great with Deva you know I use it quite a bit I don't actually know how to do like things like the brighter and pitch bending and stuff so I'm probably just going to use serum for this it's gravis serum

actual serum okay and then let's just make that into plucky envelope grab it like a more analog wave forms the basic mark like the sound of that and then let's create some interest [Music] making like a sine wave like almost like a the kind of thing so we touch this LFO to the fine tune I be able to extreme scum

to the matrix

you okay I'm gonna keep it really simple and then just add a little filter to it and then add another envelope to this filter and just give it a plac shaped here this gives some piss to master maybe some drive to hear a bit of crude

and then I'm going to add some reverb

let's try some room reverb [Music] okay so that's fairly simple and I think the last thing I want to add is noise I'm gonna add that through the filter so we gonna filter it out and when the field is open real merit make that a bit dark it's just changes to 18 okay now that's

our sound design we'll probably go back and tweak it later but let's go ahead and start writing something with this I'm just gonna start messing around of the MIDI until I come up with something that I think sums okay [Music]

[Music]

[Music]

that sounds are right let me just try make different one and see if we can get something better

mmm you [Music] I'd like that [Music] let's try run with this one I think what I like about this one is that it's paying the CB which is uh not as like happy and uplifting and slightly more emotional rather than if it was to be like bigger guy let's try and run with

this and it's to see how it sounds an octave F okay and then as per the notepad you yes are we gonna add now a base below that and that's where we're gonna change the the harmony of the track that's where like the whole harmonic theme is gonna come from because alone this is not very exciting

but it has potential but I think you know if we add some sort of a bass melody to it that'll sound really great so for this I will use a diva

you

to make one long progression here I think let's just grab another template I'm just using mini mono

bring down the kettle from that this is just going to be a very bass basic pitch I mean patch and I think I want to add like a bit of glider [Music] yeah [Music] Oh [Music] you

maybe a bit of decay on it will be nice bring them sustained [Music] you you and maybe just a bit of attack to get rid of that click [Music] so let's put a nudge here at sea

[Music]

trying to shift these up one my octave so that I can hear it the bassline more clearly [Music] the 1/3 and yes that's the major third and that's the [Music] that's eight and that's the sixth we need to resolve this and maybe we can go out to seventh which will resolve back into the one

no I don't think I'd like that let's try something else [Music] now quite like that but maybe what we can do is shift these down your heart sounds [Music] it's trying to extend these a bit so that the glide works

and I'm thinking the melody could probably use a bit more variation maybe at the end here let's see if we can just try something else out [Music] okay that kind of works now I think we need to have a look at bit more of the sound design just to make this a bit more interesting so I

didn't notice a big use of delays which can usually really help you know bring life to an harp like this so I'm going to leave out the delays from now and just try and make this interesting you know in other ways so let's try and automate this and see how it sounds and

will automate the cut-off of its [Music] okay that sounds a little bit more interesting let's just try a bit of portamento on that I don't think so and now let's try and use a bit of his pitch drifting method so like that kind of tape sound and one way I know how to

do this is to grab this shape slight movement LFO and seiner tear yeah global master tuning edify tear I will master tuning and then just set this to a really slow rate [Music]

and bring this up and just editor you

that's quite subtle but I wanted to shift up and down so I'm going to move all these points up into the center here maybe make a bit more drastic of a change over there so this here and then like I went up [Music] you move this a bit further away so it's more spread out

and make this unipolar because now this line is sitting in the middle let's just make it drastic so we can hear very clearly

I'll appoint you [Music] okay so now we've got that I need to add more interest because we are not going to be adding very much more in terms of elements to this track these this little loop is the main call that the driving force of the track so we need to make it

really interesting so let's just keep an eye on this filter cutoff and but repetitive now so maybe we can add some more changes in there and they shift this one up a bit maybe add another maybe make this one a bit bright in that [Music] about making you know this on the live

sound a bit different I mean this automation sounding a bit different to this one and maybe once this whole thing repeats we can add another variation to make this whole section unique to this section we could he bring up the reverb of its in this section

that's the revos a bit more mixed in over there another thing we can do is maybe try mixing in another waveform maybe two octaves up but I want to try and do is a nice way to make like a vintage e sound is to FM from noise because that a creates like a weird

tuning effect or just subtly like that okay so maybe we can mix this in for the this section [Music] hey another thing we can do to add a little bit of interest to this is to add a groove to it it's going to such a gr in Ableton and then we're going to add a

bit of a groove to it using these MPC ones I usually go for around 57 let's try this one he just committed to make sure that it is actually doing stuff yeah it is I'm just gonna undo that now so this I you don't need to hit commit for it to actually work commit only writes it

visually so once you hit commit you couldn't then you know go and change it back to none so you can't you you know this way you can a be between them so now some none I can hear it's got a bit of that swing it's like a bounce turn yeah I just want

to try and see what happens because I want to add a bit of like stereo interest to this sound what happens if we had unison [Music]

so now we have the Sun sort of popping around the stereo field which sound nice

maybe we can just head in a very subtle delay I'm gonna grab a cowboy

[Music] okay now what I'm gonna do because this is in C major I feel like the key might be a little bit high I'd like the bass the sub to be a little bit lower so I'm just going to test out a few of these notes I mean a few keys and what I like to do is just grab the

MIDI and solo it and listen to the sub [Music] maybe what we do is we go to the lowest note and make sure that it's still audible [Music] I think that might be as low as I'd want to go so let's chair have a full thing sound [Music] and then let's shift this one down to a

flat same as that one just hear how they sound together [Music]

you can hear how these like changes in volume and stuff react nicely with the delays [Music] do that okay we need to make the sound I saw let's just make sure that there's no low-end in at first it's quite a lot of low-end [Music] another thing we can actually play with is the decay of the amp envelope to make

it a bit longer and shorter actually we can probably make it longer and shorter on both the decay amp envelope and filter cutoff can assign it to birth let's bring that down a bit to see how this sounds yes maybe at the end here we can bring up the decay a bit [Music]

for that to really work we should probably set ulti legato said the notes end up touching each other like that [Music] that's sounding pretty nice okay and then what else do we have like in terms of melodic elements just go back to my little handy notepad so sound design this is not very organized

I'm being textures I read something about yeah EP a nose so we've got a korg m1 and I think I button has a where it's a

here we go subtle low past lead so they're good other sounds I hear for nothing's like subtle low pass leads nice and wide and pushed back in the mix with reverb went of these leads is to add more harmonic variation to the track yeah exactly so the track is like you know we've got lots of things changing

now and evolving but we could definitely add another live lead element you know that could probably come in no the second half of the song or something just to give the listener something new and exciting to hear so let's do that but first let me save us all you Nate

let's make another channel and then I'm gonna grab search for this grab this one cuz it's nice and soft you you

now is just have that as one whole section and this has another one and going to be where we're gonna add the word lien let's add something that sort of changes over that kind of a space like how does that 16 bars and for this sound no past that I'm gonna do is uh pretty much just soak it

in reverb could probably use a shimmer or something and the shimmer is also quite nice because it has that pitch shift so it's shifting out cough so many times and maybe twelve so many times is a bit drastic should we try and do it a fifth so we can make it seven maybe decrease

the size a bit yes that's like nice and in the background now I just tried different harmonies [Music] maybe starting off on the root note is a bit boring that actually that movement was quite nice out there dear maybe what we can do is extend this out and have it come in just

before was it the [Music] is that actually in key let's see

I'm not sure if it is I mean just way I like to test us is to just transpose it back into C major should probably learn my scale [Music] if we put something on c-sharp here and move this back up to C major yeah that isn't key just sounded a bit strange okay I'm strange over there over here

let's just roll with it for now

[Music] yeah there's something off with that so I think I'm just gonna start on the sea [Music] it's a try and timeless nicely [Music] [Music]

I turn off this bring down the river [Music]

and then you could probably just have that come back around [Music]

hey this it just changing tidy [Music] [Music] there you go so this is kind of just like a background thing that's going to be mixed in you know not too loud [Music] [Music] [Music] okay cool so that's most of our melodic element of the track taken care of

los think I might want to try an ad it's just maybe just like some subtle chords I noticed he also likes to write like kind of almost like bouncy chords so I'd like to have some sort of elephone them or something what we can do is grab these make a new channel and just make them legato again and then

make chords out of this so I'm just going to push these duplicate them and go up seven so many times to make a fifth you I'm going to do is actually just shift these up to see and then make my triads like this FC eg you there we go there's our triads and then

we can try and make some sort of chords that fit nicely with this and I grab serum again you and I'm just going to grab and make sort of wahby kind of shape on the cutoff [Music] shift this up and then let's try make like dotted notes and me like a syncopated rhythm

[Music] okay I want to try to make some space in these chords because they are too close together just going to shift these up an octave let's try and move this whole chord up an octave and maybe bring this down [Music]

I'm a changes to an envelope and just draw this in throw in the rhythm [Music]

and we just read these and copy them

you you let's shift that up [Music]

you

[Music]

[Music] James can add a bit of reverb having another harmonic to this that's got quite a lot of tension in it I like that it's just hear how it sounds in the context [Music] it's just a bit more [Music] and then this one maybe you can shift that up we can have this down

[Music] [Music] let's try shifting of the last two units [Music]

it's a nice little variation okay so there's some chords that we can also use in the track I'm not sure if we will use them but that's just a spicing things up a touch now turn that off now okay so the next thing I want to get into then is the drums let's get back to the handy little

notepad

okay so his kicks are already soft with no aggressive quickie top-end in a nice sub eat ale so I've got some drums that I use for this style which will probably suit that if we just listen to the track and then find a kick that fits nicely

I'm going to create a MIDI track [Music] scribe note a huge beat and then loop this and try out my kicks one by one [Music] think 6 or 2 is the best [Music] I think I'm gonna settle for six and I'm just going to cut out a tiny bit of that sound in there yes sounds about right

for the kick I'm sure I don't need to explain the kick pattern you know if you know you Lane eight is you know that it's all mostly for on the floor we very kick on every beat pretty simple and then I just want to sidechain everything to the kick so I'm gonna grab

all my since put them in a group and then grab a compressor normally a Wilton compressor beside Jane from the kick [Music] yeah in his tunes I don't really hear like overdone sidechain you know you don't hear this pumping [Music] so what I'm going to do is just add an EQ to the sidechain and just cut out all

the lows from it so it's only reacting to the tops then we can just play with the release until we have a nice side chain that sounds sounds good [Music] okay so let's find a clap now for this so with his claps clapping snare lands on the second and fourth beats I'm sure

you know that already you know the kick hat Club pattern boots and cats and he is also usually a really soft organic sounding sample possibly a combination of real handclaps and percussive sounds like clothes wood blocks rim shots etc if I do notice the use of a classic 909 style cap more Christic sounding snare

sometimes so I think for this I'm gonna let's go to my nice drums folder and just listen through these claps until I something catches my ear I like that one try of dark but also happy sanding

[Music] [Music] now we could try and shift this clap a bit back now sometimes this sounds good sometimes it doesn't my opinion that only sounds good when you have like kick with a really strong transient and because this trans into so weak and soft [Music] doesn't really give you that bite I think it actually sounds better because

it's kind of pushed back a little bit now turn that off and just try another one this one's nice and like a cutter yeah I really like that one [Music] maybe these can be out two claps for the song we can use this one in the climax and this one throughout the rest and

together the kind of work maybe it bit too much in that a 1k range okay so let's just keep these running now I think that's good enough for now for the kick in the clap when we are adding details to the full song we can create some cool variations and I don't know

like reverse collapse and stuff so next up is the hats and whatever I written down for hats

for his hurts he seems to mostly use a simple open that sound on the eighth note offbeat and back it up with some sort of shake or another clothes hat playing the 16th notes yeah so we just want to find like a sort of you know classic open hot sound but not like a 909 hat because that's a bit too

aggressive and I never really hear it in his songs no something like that or like that that's nice and wide like something he might use nice and quiet just on the offbeat

we have another one fits better I tried this one and I'm just going to shorten it so it doesn't run over into the next beat I think they layer together quite nicely because you have that wide hat and that scent and her

just copy these over and then I said we're gonna add a shaker some sort

shake a loop

they like that one the most

[Music] it's nice and quietly I'm just gonna change this to complex Pro because the warping sounds a bit better in prayer [Music]

yeah yes that's alright for that you know I've got to remember that because we've got swing on our we need to add that same swing to shake is because they're also playing sixteenth notes was add that to that [Music]

[Music] he's been lowering the knees think that high-end on these hats on maybe a little bit sharp take out some of that maybe we can pan these around some water pan

[Music] okay and then cushon percussion why's nothing already stands out to me is unique so I didn't really listen to it and go wow that sounds like Lane eight percussion because most of the song as the percussion was pretty different and it's usually quite subtle too so I think you know my guess is that he

just has a bunch of different loops that he auditions and find something that works with the track and sticks with that and I might be wrong you know for I know he sits there with some bongos and plays on his own percussion who knows but yeah I didn't hear anything that sounded like that so I'm just gonna go

with Rob loops I like these loops you try this one [Music]

feels like things like lagging a bit behind maybe this club doesn't need to be like perfectly on the beat let's see yeah I don't think that part of the live works just try got better [Music] streeted

[Music] maybe we can shift this a little bit forward but that one else

[Music] the same thing with these we can read this one it closer to the beat [Music] I read that one okay let's just see how that loop sounds now yes that's nice it adds like a lot of variation to a lot of subtle variation to the collapse and takes up a bit of the work at the

address where we we don't have to now and go and make that variation ourselves I'm gonna try another loop I think this one works well [Music] there's a very subtle like high-end percussion in this loop that I like I

think I can get away with just using that [Music] yeah that sounds good to me [Music] and what I like to usually do just add a bit of drum buss to this just to the custard or to other percussion not sure if he does this

[Music]

[Music] [Music] see the kick might be able to come up a bit let's try that other clap again [Music]

[Music] [Music] I'm not sure which one I prefer now I'll try and find them like a real house race real class let's try that

you [Music]

[Music]

yes I'm thinking in the climax what we can do is just bring all these in together but in the intro maybe we can have just this and then in the first drop we can have them together and then yeah climb accident like that okay just save all of this now we can begin to build our structure

okay so I've just gotten analyzed this Lane 8 Atlas layout and what I can see here is um basically he's just starts to song off and it's got like a quiet drone kind of sound and just the few lead sounds in there that play they turn the track but they kind of just ready quiet and in the

background and then after you know eight pause starts fading in the main harp and then after sixteen bars he brings in the bass well that up is still fading and getting loud and louder and then after these sixteen bars oh sorry this is just a loop manga so then this whole section is kind of just

the main melodic loop that you hear its entirety and then he starts to fade had the sub and subs pretty much completely gone at this point and then we've got a little clap that hits here sort of like a drum fill and then all the drums come in well not too dry all the drums but we've got

like a cake clap and a hat and then in this section he just had another new hat like a main hat that's just a bit louder and after that we've got another sixteen bars he adds shakin for these 16 bars and removes the kick and this is sort of like the breakdown but it's not really a

breakdown he just removes the kick and the base kind of fades out a bit over here like it just gets quieter and quieter and then we've got a sweep and then over here the hob changes it goes up an octave some of the nodes change around and stuff then we remove all the drums and he adds

a sweep and he starts building into this final section and we just have the drums just the kick and the main melodic loop happening over here then have you hear the bass fades out a little bit and then we have all the drums come back in the main big drum loop and this is our climax and then

over here already noticed the change was as though there was a crash over here might have been other things but didn't really notice them and then we just start fading out the [Music] the suburban irv of sub-base and then we have the end so the main thing that I notice about this is that it's really

really really simple what he does it's just tons of automation and a song is constantly changing like it's there's really not many elements happening but the elements that are there each one plays its part really well and it changes a lot there's tons of variation so that's going to be like our main focus for this track because

we've already got all the elements the songs basically written we just now need to sequence it out lay it out nicely and creates a little whole lot of interest okay so let's match up this layout now I'll start out by getting all my drums in place so we want the drums to start over here

and but the drums we can have it's just [Music] like this again yeah every had we remove the kick

grab all of them you nice yeah this is the end of the song and it goes over here

okay so here we have no clap or hats claps so we have just the kick you you

and thank for this section we will remove let's just listen to these drums

yeah so for this section I think I'm going to remove that hat and then we'll bring it in over here along with the new hat so we will have one of these hats in this section

yeah think what we'll do is raise this hat from here

and remove the shaker taking the proper to get that loader and then shake it from here and then the section gets a bit more energy from that hat and in this section that shaker adds the energy so that the basic drum idea down so now what we want to do is kind of just lay

it out melodically so let's grab this this and just move it in here man listen tied with the drums one thing I noticed when I was referencing the track is that they actually sounded pretty distorted on his so I'm gonna try just add some Decapitator see how that sounds

try different models here we can back off a touch on that [Music] hey I think the just listening to this the sections coming in that I think we should have they've a look at the automation the automation is exactly the same in these two sections so in this repetition I want to change the ARP

slightly see what we can change to give it some interest maybe we can fade this enemy [Music]

and maybe that automation can just be just a little bit more open [Music] see I think when this filters opening up it's getting too - crushed by this Decapitator so maybe if we compress it before it goes into this said the louder notes are a bit quieter you can push the high roller

[Music] okay so now the music continues

what comes in sweet

okay you and we remove the kick oh so we remove the kick don't think this is a bit too much [Music]

[Music]

[Music]

okay so this section we know bring that octave back down just in this section

[Music] remove all drums yes these need to continue

just really them from this section [Music] and I think because this section is pretty open we have more space to open up the filter on the clock just bring this up [Music] okay so that's like basic very basic melodic layout that and we still need to find would figure out when we're gonna start heading this

well he in and taking it out and then it means adding like I'll drone and make the intro one thing I can do is just move the base over here that's where we're supposed to bring it in

I'm just gonna leave over there and we're not fighting it in the roundabout here with Mike Hotel or some volume automation or something

you

okay that's

keep this up pretty simple for this section

and let's do the volume automation with the utility so let's hear stop fading in the up around yeah [Music] I think what I'm gonna do is just like

just have this no quiet and like low past we can do that he is this thing had like a softness to it [Music] [Music]

[Music] then we need to make some sort of like a drone and what I'm thinking for that is to just resample this hop you can find where it's where it's nice and bright well maybe just in this section is fine so what I'm going to do is just set this audio to resampling and then record

[Music] yeah that's fine and then we're gonna turn that into our like little droney sound so let me see what happens if we pitch this up like hell's every time Hey then when we try something like a grain delay just start messing with her [Music] [Applause] [Music] I really just like mess it up and make

it super wide and weird and then what we can do is you take pro-r and make it like a very large like what's this black hole 20 seconds

yeah that's cool but means I filtered before we go into the reverb

and we can filter it off to the Riva

[Music] let's try and shift this back down no I think it sound better [Music] you [Music] let's try to turn off this grinder there [Music] [Music] mmm much too sure about this Riva [Music] let's just try to end that off yeah how it sounds when the odd hop starts fading in [Music] oh my god it's a nine that's why it

sounds so hot say that now yeah that song is not better [Music] [Music]

[Music]

yes I think this little thing sounds right [Music]

I think this can fail in much longer [Music]

probably just to repeat this [Music] [Music]

yes sir we need to just ready work on these automations and figure all of that out take a little break for today and continue this tomorrow okay so I woke up this morning and listened to Atlas again and made some notes with fresh ear and as you can see there is a ton more notes

and each one of these notes is a change to the song so now you know how something that appears to be really repetitive at first like first look is actually not repetitive at all and the harp that he has is changing a lot so every one of these markers is pretty much a change to the app a few of

these are only a few of them are changes to the drums now I'm going to go through and work on this up let's try and make these changes that I've heard okay so let's just go from left to right so we've started fading in the up yeah with the utility which is fine

but I want to have like a more complex sequence at the moment it's just doing the same thing so we need to try and make like a full agonized full sequence let's try i'm just mess of this midi

and the bass playing at the same time [Music]

[Music] you

[Music]

[Music]

[Music]

[Music] you

let's try that [Music]

[Music]

[Music] [Music]

[Music] [Music]

[Music] tear the sequence oh yeah

you [Music] you

Oh child feel there should keep those up [Music] I made this one up [Music] you you you

keep that automation going and just duplicate that so now this intro is probably a bit more interesting [Music] [Music] [Music]

[Music] [Music] let's copy that over [Music] you and out of all these locators I can't figure out where I am in the song okay [Music] as at this point [Music] maybe cuts both of those notes out [Music] maybe just like that that's just made a bit of a change [Music] let's just check what's happening here

so we need to sweep and we need to remove the kick from the last beat I think that serves last two beats so let's just take the kick out from last to beat let's find like a little sweep sound

right

you I think this sweep could probably just be reversed maybe here duplicated and reversed and we could just fade this one into

[Music] there we got another I think the sweet might have been a bit long we're gonna use it again let's just have a little [Music] and what does this say add extra kick

ss kick up [Music] you

double action [Music] we added in the shaker [Music] and then every head says lit up for one beat maybe what we can do is like resample it we've got a resample over yeah so it's just so do that turn off the compressor [Music] like maybe reverse it

and down the value

[Music]

feel about that and do some other stuff of it [Music] cut out the volume from this up well this one's glitching you [Music] try

to

and like stretch it or something

with the transience [Music] shifted up like seven [Music] try playing with this texture and tones and stuff [Music] I don't have our tots [Music]

[Music] [Music] mmm you try and figure out something here sir have a look at what plugins might inspire some creativity maybe crystallizer

you [Music] [Music]

[Music]

[Music] [Music]

[Music]

[Music] and that actually sounds quite nice it's not really glitched for this beat that it kind of creates like a variation that carries out into this sections might not be a bad idea

you you

you yes sir we had I say I'll plays a lower harmony that means the section we he pitched it down five seven times one two three four five because that's playing a fifth down the bass also needs to play

[Music] and this also needs to go down no no that's too much [Music] that feels like a full key changer

gonna undo all of that [Music] if we just drop one of these a full octave [Music] you

[Music] it sounds kind of shitty in this octave [Music] let's just try and place a play with the base and maybe what we can do is just create a different variation yeah let's move this back up [Music]

[Music] [Music] [Music]

[Music] [Music] or maybe we can just play with the instead of messing with the notes maybe we can play with the timing

[Music]

[Music] [Music]

[Music] let's try and appeal those over there [Music] you [Music]

[Music]

so ox top sequence goes up an octave and changes up a bit let's just try continuing this because here we have the the volume of the serum so the second what you called us later coming in and so that's going to sound like it goes up an octave kind of [Music] Oh maybe we can have that one thing over

here [Music] let's just try and make this section ready repetitive a bit of tension [Music] if we just do that [Music] and if that sounds a bit weird but if we just do that [Music] and probably holdout the basement this [Music] and then fade out the base let's just try that remember having a filter

and just fade this up to like 300 and at the same time and utility and fade the volume [Music]

maybe this section we can spring back the normal progression that we have in me so the drums come in over here and we have that copy this one

not there yeah [Music] and for this I'm going to take this automation

I said yes that we going up and not [Music]

extra kick [Music] and then we have just this basic repetition for the outro okay what did I miss we gained you need to add a crash maybe huh

but to the good old crash crash Mia No

[Music] a up/down for the last two beats

[Music] and

remove kick for the last four beats and do that [Music]

and like a crash or defects yeah nicely too [Music]

all of our claps in here yeah we did act we need to that variation in our claps where we are only having all three play in this section here I'm going to remove which one remove this like a section here in the shake another thing I want to do is [Music] I might add in another clap like maybe a

snare 909 snare

[Music] something that's a bit more high-end innit

you [Music] take out the from that you then maybe just add a bit of reverb strife integer

you

[Music]

like that [Music]

then I'm missing yes we've got this well that we're missing and we need to start cutting the base [Music] you

you cut the base from here and then little fill thing scram like a clap or like a snare with lots of reverb on it

[Music] [Applause] anything like that [Music] [Music]

another thing that I feel is missing in the last drop is the sweeps

you

start fading sub out at the ends let's do that is sub

you

[Music] like maybe we can just make the base notes sustain the teashop throughout this outro [Music] and be you and quiet [Music] then maybe just a nice note at the end to finish it off ding-ding-ding

you [Music]

my reverb has been off the whole time and

yeah let's hear it so far see what's missing oh yeah one more thing I just want to add those sweeps into the final RUP section

you go [Music] [Music] a

and if this should just be fading out another thing I wanted to do on this one I listened to it at first was to add like a long delay just so that it doesn't sound so similar to the app but we make like the delay yeah three and then the feedback really long make it like ping-pong understand

wet [Music] maybe we can fade this [Music] you just play this from the beginning and see see what I think so far [Music]

[Music] [Music] [Music] [Music] [Music] okay yeah so to me that op still feels kind of repetitive around the base what I've done here is just open up the filter a little bit just not sure if I even like this our sound hmmm I'm gonna do duplicate it that we have the sound Divac

just turn off that and that

[Music]

[Music] [Music] why not ready hearing this [Music]

you just turn on my keyboard and if we can get this vibrato working [Music] you years had to [Music]

[Music] all right I need to read the damn manual for this thing

[Music] you

[Music] Preetam hot sauce mud will what

[Music] [Music] okay I'm just going to try and do this and automate the cutoff by ear so I'm just going to hit record and then automate the cutoff I hopefully we get a nice like organic result that way not from there and right from the beginning [Music] [Music] [Music] [Music] [Music] [Music] okay I like that the only part I didn't

like was this it's just a bit too much energy I'm just gonna delete that bring this down [Music] then what I want to do is octave up sounds so we can do that with second so later [Music]

let's do that or you can just add them all these sections

[Music]

oh yes and ours already did not like a glitch that we did I get just sounded weird because this is cutout away maybe what out there is um rendered this we use it

[Music] and stop that from cutting out [Music] why is this disabled look at the wrong channel

this [Music] you

you

Eva I wanted to change was the volume fade and needed to be a bit steep I think

finish of these isolated to volumes need to match that one

[Music]

just test something and see how this synth sounds down an octave

now I'd like it if we shift this whole thing up and afters [Music] another thing that was missing that I noticed was I put a note here to add some countermelodies somewhere

you

this week

an extra kick background Cubs melody that's like something similar to this worthy and we should add and like something near here maybe we can grab Eva again just make sort of like dreamy background lead

you

[Music] you [Music] [Music] that's like a quite an interesting sound or know how it would work IV huh [Music] [Music]

[Music] [Music] [Music] yeah done not so much about that [Music] that's pretty cool maybe with longer release in it [Music]

[Music]

and so maybe we can have this like quite fill today [Music] [Music] maybe in the climax this can open up [Music] you know automate that

[Music]

that higher octave might be a bit loud and I quite like this [Music] and the section that's bring it back out filtered

[Music]

one thing I'm feeling about this intro is this little sound here is not I don't have to scratch I want to try and just use something different

you

let me grab sort of sound from is my favorite like drone maker an ethic metal

you you [Music]

[Music]

try to fear them

an interesting like lair see how it sums

high-pitched sounds are powerful

that could be a nice layer just try find something else

[Music] [Music] and it's kind of cool but once I got these high-end and low-end [Music] and with this one I gonna do that [Music] and then copy that same fade

[Music]

[Music] hey and now that app is to open as it starts fading in [Music] [Music]

I think I'm gonna just remove that [Music] Hey and I think this is a bit too closed grant hits first [Music] beneath us bring it up a bit [Music] I think I'm this final one I'm not going to put that high note there [Music]

[Music]

[Music]

[Music]

I wanna see how this endless smile [Music]

hey we need another sweep I think in this section let me find something different let's try a rise or something maybe I can make a riser from this

Syria Friesen flatness

you

you

you

you

and now we can grab you just made some sort of Raisa you [Music] made the anspaugh's on it

non-complex

and they we can put like an LFO on it

you you

maybe sixteenth

hey let's new Savita [Music] let's try a transpose it from zero up twelve semitones

[Music] that kind of works now what we need to do is make a failure on it [Music]

and I want us to continue and then we can it out this can be up 12 stay like that

then we've just added in the sweep again I can make it a bit longer

[Music] don't add like a bit of a background white noise over here just to give it some energy I think this is a nice sample for that let's try it out

you

[Music] you

[Music]

[Music] I fainted out of this

[Music] I think at the end I want the OP decay and we love to open up a bit I'm gonna save this

and in the lab decay

[Music] ending on ended up to decay [Music]

I think I like that ending night here we can just let that ring out for a bit

oh we can try to again [Music] just let that fade out there you go that's quite nice [Music]

there was another sound that we had like the chords we end up using them now we didn't know how these would sound in the track [Music] sound really nice in the intro they don't really fit with the OP that's a problem it's because of the the rhythm of the poets

and if they played like sixteenth notes [Music] the visible disability specificity specificity specificity visible [Music] remember the derivative of a little bit of a little bit a little bit a little bit of a bit of a bit of a bit of a bit a little bit a little bit are you in just ate

[Music] you [Music] you

[Music]

[Music]

see I read that [Music] new

see what the difference is between knees I'm just duplicate that

you [Music] yeah I think that makes for a much nicer intro it's a bit more interesting it kind of like grabs me from the intro kind of when it yeah more

think we got like the basic composition down I think that's as far as I'm probably going to go for this video so let me just put it a quick master on it now I don't think we need much in the in terms of like mix processing like a whole lot of compression and

distortion and stuff than his mixer sound quite and processed so sort of mixed it as we went along what I might do is just put a light side chain on the Hudson percussion

I put them in a group and then grabbed the sidechain compressor from this group paste it on here that's way too much protest

and just have a little sidechain like that too loud the sidechain to pop through terms of mastering I just want to maximise on

you

[Music] this dogs probably coming through no mic [Music] that's certainly loud enough already I think because the mix is so empty almost like it doesn't have that many elements playing at the same time quite easy to get it loud there's so much room for each of the elements you know so there's not a lot of buildup of

frequencies you just check in the main section [Music] and I think honestly I don't think I do much else to the master the limiter seems to be doing the trick we could just quickly have a look at the base of the pro-mb

you [Music] you're just a bit of compression on the low end [Music] [Applause] [Music] [Applause] [Music] see my upward compression of it

[Music] [Applause] [Music] okay so let's wait for this to ring out all right so I think that's more or less as far as I'm going to take this today and let's just listen to the final result hopefully it sounds quite lane eighty three to one [Music]

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[Music]

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[Music] [Music]

Oh [Music]

thanks for watching hope you enjoyed it and catch you next time