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It's all about the music.

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Try to go to a wedding without music.

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Try to go to a funeral without music.

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Music is what gives color to life.

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You're showing something of yourself,

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your art, your music, your DJ set. That

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is who you are.

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As part of this class, I'm going to show

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you a couple of the tracks that I've

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produced in the past. I'll break down

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how I constructed these tracks. I'll

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tell you about the arrangement, about

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the mixing and the mastering. I'll show

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you my plugins. I'll show you my

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techniques and the little things that I

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think make the difference.

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I'll show you how I work in the studio.

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I'll create a track completely from

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scratch. Also, I'll tell you all about

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how I construct a DJ set and what I

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think is important.

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I was 8 years old and I was presented

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with a cassette tape uh with a good

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friend in school. Um it was a the the

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guy uh the announce the announcer on the

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news, the weather guy announcing the the

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weather and he was sampled over a beat

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and I thought that was the coolest thing

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I ever heard. I was so excited about it

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that every little bit of money that I uh

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made with my paper route uh I I invested

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in my own little studio. And at the time

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there was a budget version of the the

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big Akai samplers back in the day and it

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basically had eight samples, eight mono

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samples and you could sample something

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like 10 seconds or something which was

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ridiculously stupid actually looking

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back at it. But I bought the thing. I I

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that's the only time I actually asked my

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dad to to lend me some money. I bought

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the thing and I turned it upside down.

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Eight samples, mono. But that's how I

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created my first track. I sampled

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everything left and right. TV shows, uh,

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my mom talking, the cleaning lady, uh,

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with the vacuum, whatever. I try I was

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trying to understand how a sampler

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worked. And, and I was just having so

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much fun. And at that time, I I wasn't I

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didn't even realize I was

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self-educating. Um, so I was just making

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weird mixes. And boy did I make some bad

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stuff back in the day. But I was just

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having fun, you know? I was having fun

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creating stuff, making demos. And before

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I knew it, I had 30, 40,

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okay tracks. And I never really had the

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ambition to become a DJ or to be a

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producer. I I just wanted to do it

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because I loved it so much. It was

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really my passion, you know, making

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little mixtapz for my friends. And

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that's where that I still have that

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passion in me. I'm still that little

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kid, you know, that hasn't changed. I've

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always seen it as a hobby. I still don't

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see it as work. You know, for me, it's

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still just fooling around in the studio,

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trying different things and doing the

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thing that I love most. It's sharing the

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passion for music.

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I'm using Logic Pro as my DAW, my

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digital audio workstation. That's DAW.

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And I'm using this program since version

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three, I think. So the program's been

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around for 15 years or 20 years or

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something. Every day I work with this

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program, I learn something new. That's

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how complex the software is. I'm using

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it every day, eight hours a day, and

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still every day I you I learn new a new

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shortcut, a new trick. So never think

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that you're done self-educating. I have

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the luxury now of road testing my tracks

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secretly when my sets not are not being

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broadcasted. H So in the middle of a

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set, I might just drop a brand new track

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of mine just to see how it goes. And

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that's always nerve-wracking still to

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this day. And I I I put on my new my new

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song and then nothing happens on the

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desk.

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You're like, "Oh." And that happened to

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me more than the other way around, you

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know? So you go back into the studio and

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you have to, you know, keep working at

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it, keep working at it until it's

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perfect. I know there's a lot of people

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out there may who may dream of private

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jets and, you know, Vegas residencies

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and and playing mainstages on all the

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big festivals around the world. And yes,

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you can do it, but um there's a bigger

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chance that you won't uh because simply

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there's a lot of aspiring DJs. So that's

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why I always tell people that having fun

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is more important than anything else.

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You know, if you're not having fun

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playing piano or playing guitar or, you

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know, fiddling around with weird plugins

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or synthesizers, then stop doing it

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because you know what? People will know.

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People can see that. People can feel if

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you're being real about what you're

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doing.

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Want dance music to grow. I want new

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talents to flourish. You could be the

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next superstar. That would be my dream

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come true if my lesson would add to

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that.

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I'm Army Vanurren and this is my master

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class.

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I don't have a standard way of working

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and I really want to stress this because

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um that's how I get inspired. I do what

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I love. So that means that one morning I

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might sit in my kitchen table and not

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even go into my studio, just grab a

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guitar and and be creative uh or sit

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behind my piano, come up with a piano

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line and immediately run from my piano

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to the studio to record uh what I'm

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doing. One of my uh current tracks is

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called Sunny Days and that was actually

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born when we sat in the studio together

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with Gordon who's another producer and

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he brought his guitar and he played this

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beautiful melody uh that we came up the

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three of us and that was completely

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unplanned. It was sort of a organic

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thing. Hey, let's try this. Hey, let's

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write. It's really that for me. It's

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not, oh, we we we go in the studio with,

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oh, I need to create a new hit record.

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Do what you love. Go in the studio with

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your heart open and go be yourself. Be

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you in the studio. You are your own

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sound. And I'm convinced that in every

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human being, whether you're a musician

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or not, there's a hit record. It's just

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you have to go and find it.

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It is important to have a basic

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knowledge about, you know, difference

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between major and minor chords. A few

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basic lessons about chord progression,

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about what's logical, what's not logical

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can inspire you. I'm not saying that

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this is the rules you should live by.

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Completely off sounding chords can

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sound, you know, st sampled can all of a

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sudden sound like techno. techno guys

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sometimes use

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use a chord like this sample it reverse

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it and make it interesting sounding just

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because it is so off you know so that's

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why I really want to be careful about

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putting too much uh knowledge into your

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music sometimes it's about the the spur

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of the moment the the sound that you

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that inspires you know uh I'm not a

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guitar player by the way I'm not a

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guitar player I don't know how to play

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guitar my brother is a very skilled

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guitar player but I bought two guitars

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and I don't know what I'm doing I even

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know if I'm hand if I'm handling it

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correctly. I just put my guitar here,

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put it through a paddle that I bought or

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found it online somewhere. I put it in

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in my DAW. I start playing two notes and

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I put this beautiful reverb behind it

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and who knows, you know, all of a sudden

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you might be playing guitar on your own

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track. You don't need to have guitar

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lessons to be able to play guitar. It's

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all about you the idea in your head. You

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know, if it sounds good, it probably is

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good. You know that that is the the the

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philosophy for me. If you think that it

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it touches you, whatever you're doing,

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record it, capture it, and start fooling

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around with it.

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I usually start with the music. Uh I

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rarely start with beats. Uh you can and

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I did start tracks with beats, but

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mostly I create the the melody first and

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I start to create some sort of a

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structure. uh more of a chorus verse

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kind of approach even with instrumental

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trans tracks. For example, I uh have

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piano lessons every day and I get

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inspired a lot about um the the music

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the pieces of music that I play. Some of

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these chords that were uh invented

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hundreds of years ago are still are

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still so fresh and still so new. Uh for

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example, if I play Eric Sati, let's just

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pull up the piano sound.

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just those basic chords, right? The

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that can be like if I'm really pulling

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that up and it can really touch my soul.

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So, if I would just grab these two

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chords that are part of uh the Sati song

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and I start adding another layer to it,

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for example. So now I'm just using Eric

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Sati's two chords as an inspiration to

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write new chords. So let's go back to

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Jimnopedi.

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Such a beautiful piece of music. So

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again, these are the two chords that

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really inspire me.

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And I just start adding different layers

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to it. And maybe not play them as a

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chord, but as single notes. So

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that's just something I just thought of

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from the top of my head. I haven't used

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that in a song, but that could be the

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basis for me. Uh quickly put in the mini

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notes and start sketching with those

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chords and and build top melodies. So

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top melodies are really important. So

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maybe I just do uh

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just use your ears, see what you like,

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see what chords move you and use that as

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a basis and just fool around, you know,

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sit behind the piano for hours and and

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you go. And that that can also go for a

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guitar. If you have a great sounding

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guitar, grab your guitar, play two

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notes, put them in your sequencer, you

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know, arrange them in a different way.

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I wrote a song called I Live for That

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Energy, which was the anthem song for A

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State of Trans. And the idea for that

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melody uh was Beno me sitting in the

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studio vibing away. And I had a certain

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rhythm in my head. I don't know,

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probably from another track or

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something. And the rhythm was

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so basically not even a melody yet, just

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the rhythm on a 44. So it was like

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being a piano note. And of course this

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sounds boring.

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That's not exciting. So I'm just trying

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to use that rhythm and balance off the

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keyboard. So it's just

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that's the basis of I live for that

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energy. I used that on a piano, created

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it, put it in the media sequencer and

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just replace the piano sound with a

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massive sounding pad. I guess what makes

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I Live for That Energy a powerful melody

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is because there's a certain tension in

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the chords that go underneath it. I

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guess for I Live for That Energy, it's

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more the baseline that make the notes

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that make the track interesting. Because

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this is not really exciting, but just

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because the baseline does

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and then of course the top melody moves

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a little bit, but just because you keep

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it that that that same chord, the top

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melody, but the the the low end goes up,

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it it generates that excitement and it

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makes that epic feel. And then if you uh

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choose those massive pads, really stack

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them, make them really big. I think for

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that particular sound I used something

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like five silent synthesizers stacked on

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top of each other. So every silent

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synthesizer is doing a little part of

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that melody stacked on top of each

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other. Big reverb on it. There you go.

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I love melodies. I love melodies more

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than vocals. This is something I I've

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always done. It's always been more about

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melody, emotion, euphoria, about that,

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you know, hands in the air moment. I've

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been more of an instrumental guy. Of

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course, you can just start filling

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around on your keyboard and and come

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trying to come up with an interesting

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melody. For this particular uh melody,

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we came up with a thing

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uh that Beno calls throwing beer.

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Uh I'll tell you why.

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You know, if you stand in a club where

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it's full and people are excited because

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it's the weekend and they're having a

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good time, uh, sometimes you don't want

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melodies to be over complicated. Um, and

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usually the most effective melodies are

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the melodies that you can sing very

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simple. I mean, who doesn't know the

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Seven Nations army

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that the whole stadiums of people are

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singing that? I'm sure that a lot of

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producers out there are dreaming of

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finding a melody like that that that

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soccer stadiums full of people are

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singing. Well, that's what we did with

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this particular track. Um, we sang the

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melody before we wrote it. So, I

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remember us sitting in the studio and we

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I was filling around with this

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particular sound, but we just ended up

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singing the melody to each other.

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Why? Because if you can sing it like

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that, if it's silly like that, it's

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usually very effective. I wasn't too

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sure if this was going to work. I was

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very insecure about it because it's it's

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one of those, but it works. And it just

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works with the melody. It works with the

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pads and it just adds to it. So, let me

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just play you the melody.

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A

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good way to find out uh if your demos

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are working is to send them to other

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people. Play them to other people. Uh

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your friends. I co- co-write with Benard

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Huy who's uh my studio partner. uh he's

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not my engineer or uh he doesn't make my

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tracks. We work on everything 50/50. Now

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sometimes it may be that he brings in an

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idea, he brings in a you know sketch,

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maybe a groove with with a melody or

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something. It's just something really

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short and I'll start adding to that. And

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or some it's the other way around. I'll

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play something for him and he says, "Oh,

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that's great." And he'll start adding to

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it. So my suggestion if you have a bunch

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of demos around, send those demos to

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different producers. See if they vibe of

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it.

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If you're having a day where nothing is

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happening, uh, and don't worry, it

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happened to me plenty of times. I guess

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you have to start with a different

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approach of the same thing. Uh, first of

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all, what I always do is I ask myself,

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am I having fun? And obviously, if

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you're not making music that you want to

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make or it's not happening, you're not

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having fun. So, try to have fun with the

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equipment that's in your room, the

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plugins that are available. Go online,

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watch a tutorial. Uh, this is probably

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one of the things that inspires me most.

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Really dig into the plugins that I

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already have. Start listening to some

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music you really like. And if that all

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doesn't help, uh, usually what I do is I

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throw a bunch of loops together. I start

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an electronic way. I start browsing

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through my library. I start, you know,

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all these plugins have an amazing

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catalog of presets. I'm not a big fan of

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presets, but sometimes they can be

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really inspiring, so I don't want to

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throw out that option. So sometimes I

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just start, you know, digging through

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loops. Maybe I find an interesting sound

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in a loop that can spark. It's like a

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fire, you know, it's it's one spark you

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need and boom. So um that could be an

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interesting way of working. Sometimes I

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can just grab the sounds of a previous

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track of mine, pull up the the tracks,

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but throw away all the MIDI, just have

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the sounds ready and start fooling

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around with the the sounds that I

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already used and really inspired me

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because it was my previous track that

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worked really well. Uh, so I start using

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those sounds but in a a different way.

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Uh, sometimes remixing an old track of

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yourself can work. Uh, grabbing an AC an

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existing song, an ac capella, that is a

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great way of getting inspired. Um, grab

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a track you really love, see if there's

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an ac capella available and try to remix

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that track. So, completely uh throw away

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all the music and start remixing that ac

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capella. And then when you finish the

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song, throw away theap ac capella, of

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course, because you're not you can't

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release it. It's not yours. Uh but then

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you have a great sounding instrumental.

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So that's another approach. And if that

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if all else fails, PlayStation

1
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I didn't have a lot of money, especially

2
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in the beginning. I mean, my parents

3
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were willing to help me a little bit,

4
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but not that much. I mean, they weren't

5
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able to just, especially in the

6
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beginning of my career, you didn't have

7
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the possibility of doing everything in

8
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one DAW. you needed a big mixer like

9
00:00:28,480 --> 00:00:30,480
this and then a lot of outboard gear and

10
00:00:30,480 --> 00:00:32,480
synthesizers and samplers and you needed

11
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to, you know, connect everything via

12
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MIDI and and so it was an expensive

13
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hobby back then. Um only later it was

14
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possible to do everything on one uh

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computer. Uh that was only since 2002

16
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2003 that that was possible. Computers

17
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were fast enough. So that was that was a

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that was really difficult in the

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beginning. Money was definitely an

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issue. But the good side of that is is

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that um because I didn't have that much

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money, I had to put everything that I

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had upside down. I had to put, you know,

24
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the the JX 3P only had a polyhon of four

25
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voices, I guess. So, as soon as I

26
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touched more than four keys on the

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keyboard, there was always one note that

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wasn't playing. So, how am I going to

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solve this? Well, that meant I had to

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sample one of the notes. And so if I

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wanted to hear five voices at the same

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time, I needed to sample the other one.

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So that's how I became creative. Be in

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the moment. Be in the moment. Be in the

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moment. Be in the moment. Be in the

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moment. Be in the moment.

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It's all about creating a vibe in your

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studio. That's also why I think it's

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important to not only look at your room

40
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acoustics, but also make sure you have

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fresh air, a nice coffee machine, uh

42
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some nice sandwich. You don't you should

43
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not be in the studio being hungry cuz

44
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that doesn't inspire you. you can kill

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the vibe. You know, it's almost as the

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atmosphere on a dance floor. It's a very

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very uh delicate balance. You need to

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create a nice environment where you feel

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comfortable, where uh you know, where

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there's, you know, maybe some people are

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really into candles. I'm not, but some

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people are. Great. Put candles in your

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studio. Make it your your living room.

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So, a place where you're comfortable.

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And especially now with with the DAWs

56
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and you can the possibility of doing

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everything on a laptop, it's great to

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just sit in your living room. Why do you

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need to be in a studio like this? You

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don't need to be here. I mean, this can

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be pretty intimidating. You know, once I

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walk in a room like this, I'm like, "Oh,

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I have to make music now." You know,

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looks looks like a studio and I have

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really have to start working. No, you

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know, it's about you.

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The convenient thing about living in

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these times is that you don't need to

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spend a lot of money to make decent

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sounding tracks. I like to use Logic Pro

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and Ableton Live for production,

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preparing my DJ sets. Uh you do need to

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make a choice uh between one of the DAWs

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that fits your sound uh and that fits

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your style. And I would really suggest

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to stick to one or maybe two DAWs and

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really dig deep into what's possible and

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what's not possible. Don't ever think

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that if you're using a a different DAW

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than uh than me or anybody else, then

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then your songs will not be as good.

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It's all about the chef, not about the

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kitchen, if you ask me. Uh, of course,

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you need a good uh meaty keyboard. Uh,

85
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if you want to play some piano, you want

86
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to put in some mey notes. It's uh some

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people do it without a keyboard. Uh, I

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had some piano lessons, so for me, I

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love to work with a piano. Uh, the

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reason why I'm using this particular

91
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device is because it also has speakers

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and sometimes you have an idea about a

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chord and you don't want to wait until

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the plug-in is uh, finished loading. So,

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that's why I'm working with this uh, it

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00:03:42,400 --> 00:03:44,879
helps me to uh, put in med notes. It

97
00:03:44,879 --> 00:03:47,519
helps me to put in my uh, velocity uh,

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because it accurately records the way I

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touch the keys and you can really put

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emotion into the way you touch the keys.

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So, a good master keyboard for me is

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essential. I know there's people not

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working with the master keyboards, which

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is absolutely fine, but uh I like to

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work this way.

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If you really ask me what I would buy,

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if right now I had like $500 and I had

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uh a computer, what software would I

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buy? I would probably go for Ableton

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Live. I'll buy the Silent One. Uh, I buy

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a couple of samples, you know, maybe go

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online to Beatport or or splice.com,

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organize those samples, get it going.

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Um, the great thing about Ableton and

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about Logic is they come with a standard

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great amount of really good sounding

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plugins. Just to mention a few from the

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top of my head, like for example,

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Spectroics's Omnosphere is such an

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amazing plugin. It is such a complex

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synthesizer. You can basically make any

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synthesizer sound you want just by using

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Omnosphere. And that's not the only

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synth I'm talking about. You've got uh

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the silent that I've mentioned, the the

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Serum, the Massive. I mean, that's what

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everybody's using. That's what any dance

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DJ in the world is using. If you have

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those four synths available, you're good

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to go.

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Of course, you need um a good uh sound

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system. Um room acoustics is extremely

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important and uh I always recommend

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using two sets of monitors. Um mainfield

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monitors which is the you know the big

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boommy sound sort of represents the

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sound how it would sound in a big room.

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you're making dance music. So, it's

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usually made for big clubs, big

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festivals, and also to use the small

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NS-10s are really popular, but you can

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use, you know, any small sets of

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monitors is good because then you're not

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focused on the low end and it can really

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blur your vision. So, sometimes when

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you're mixing vocals, for example, or

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you're mixing your lead sounds, you want

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to be able to focus on that middle range

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and not so much the bass or the kick.

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Um, there's a lot to say about room

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acoustics. quickly. Um, what you're

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trying to avoid is, uh, waveforms that

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are bouncing back off the walls and that

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are canceling each other. Uh, that's to

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put a long story short. You have to

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imagine a sound wave comes from the

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speaker,

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reaches the wall, and the wall bounces

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this the wave back. So, what happens is

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at one point a new wave will come and

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the other wave will cancel out that

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other. So, no matter how loud you put it

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or how soft you put it, there will

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always be a spot in your room where you

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hear no bass. I'm sure you you heard the

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thing when you walk around in a club,

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the music sounds completely different

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when you stand in a corner than in the

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middle of a dance floor. And that is uh

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a problem. It is a problem in every

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environment. Uh speakers, they generate

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waves and waves bounce back of walls and

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they cancel out uh the audio that is

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coming from the speaker. And that is

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something that you have to deal with.

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Now, right now, all I'm doing is

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generating a sine wave and I'm going up

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from uh 10 hertz all the way up. And

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then you can hear the difference in

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loudness in uh volume in the place where

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you're sitting. In an ideal world, the

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the volume at this spot where my ears

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are, where I'm sitting, the volume

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should be equal at every frequency.

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And I already hear a dip around 53

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hertz. The volume is going down. And

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then it's getting louder. And oh, now

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it's really loud.

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There's another dip. Then it's louder

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again.

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Louder.

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There's another dip here.

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All that's happening is the sine wave

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comes from the speaker, bounces against

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the wall, comes back, and it kills part

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of the of the new wave that is coming

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towards me. That is a problem. That's a

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room acoustics problem. And every studio

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you'll be in, every room you'll ever be

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in, um there will be more or less that

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same problem. And you can move around

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the room and you'll hear different uh

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information. You need to know that. You

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need to know that your room is is is is

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your limitation.

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Putting blankets on the walls definitely

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helps, but that will only help you with

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the higher frequencies because a blanket

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will only stop the the higher

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frequencies from bouncing back. It's

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usually the bass that is really the

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problem. And here's why we're making

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dance music. So, it's all about the

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bass. So knowing your limitation of your

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of your space is very very important.

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You need to be aware of this when you're

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mixing. You need to be aware. You need

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to use different speakers for that

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reason. And you need to uh road test

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because in your car there'll be a

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different uh frequency response. There

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will be a different um sets of

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frequencies reaching your ears. And

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that's why I say car testing is

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important. Using your mom's stereo is

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important. Listening on headphones is

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important. Try to uh test your tracks on

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as many different sound systems as

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possible. So yes, your your phone, your

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your your stupid little speaker next to

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your bed, your your the big sound

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system. So uh that really helps you to

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make the right choices.

1
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Here

2
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we go. This is my project uh uh template

3
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which is set up with a very basic uh uh

4
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setup. Uh it's a 130 BPM arrangement.

5
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This allows me to quickly start, you

6
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know, throwing down ideas and

7
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everything. If I press the space bar, I

8
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have a kick drum going.

9
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So, what's here? There's a there's a

10
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standard bass,

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there's a standard lead, and there's a

12
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standard white noise. And then we're all

13
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using the the standard Logic ES2 and

14
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EXS24. The great thing about Logic is

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the buses. Recently, we found out that

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um it's uh better to not send all your

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audio tracks and your MIDI tracks and

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everything straight to the master bus

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and put dynamic processing on it.

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Everything that I do, I route to bus 30

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and bus 30 goes to bus 31, which is uh

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called no dynamic processing and some

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dynamic processing. The reason why we're

24
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doing this is because you want to know,

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you want to be able to switch between uh

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the juice, the nice sounding uh dynamic

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processing, you know, the glue together,

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but you also want to be able to check to

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see if you're not killing your

30
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transients. There's no dynamic

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processing at the moment, but I can

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easily add a multiband compressor or

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whatever I like. Um, so let's just throw

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something on here. Something juicy.

35
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Isotope is usually great.

36
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So this is the juice

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and let's pull up something lowend

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accent. I don't know. Okay. So this is

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going through there now.

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Now I'm able to switch between how it

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sounds without dynamic processing at the

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end

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and uh with some dynamic processing.

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This is the thing about creativity. I

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find it very important to grasp that art

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of the moment I call it because you're

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sitting down, you had a cup of coffee

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and you're feeling well, right? Usually

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for me it's in the morning at 10:00, but

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it's sometimes it's for people it's at

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night. I used to work a lot at night.

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Now I work in the mornings and after a

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cup of coffee at 10:00 I feel energized.

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Okay, let's go make some music. I feel

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happy. The sun is shining. I brought my

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kids to school. I have a good feeling.

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I'm sitting down. I have an idea. Uh

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this is the track I want to generate.

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Let's go. And then you don't want to be

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looking for samples. You don't want to

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be lost in your DAW. Oh, where did I

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find this plugin? Or, hey, I quickly

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need to grab a clap sound or a high hat.

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I think it's really good to spend quite

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a bit of time in organizing uh your DAW.

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Stuff like color coding. I mean, if you

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look at this arrangement, this is a

68
00:03:11,519 --> 00:03:13,920
track that I've just finished, and you

69
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see that there's quite a bit quite a few

70
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tracks. That looks intimidating. I

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understand that. But if you have 104

72
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tracks in a particular song and you want

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to be able to still oversee what you're

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doing, use color coding and make sure

75
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you group your tracks. So in this

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particular arrangement, you can see that

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we made all the drum elements red. We

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gave them the red color. Uh the blue

79
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color is for all the baselines. The

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green for the pads and the melodies and

81
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the leads that are going on. And then

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finally uh at the at the at the bottom,

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you see all our effects are usually

84
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yellow. And for the vocals which we find

85
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least important uh we make them orange

86
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just put them um below.

87
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One thing that I do recommend everybody

88
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is save whatever you do and use version

89
00:04:05,040 --> 00:04:07,519
numbers. Unfortunately, especially if

90
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you start working with more complex

91
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projects and third party plugins,

92
00:04:11,439 --> 00:04:14,239
sometimes third party plugins and DAWs

93
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don't like each other that much. Uh, and

94
00:04:16,320 --> 00:04:18,400
in order to avoid that, you've made a

95
00:04:18,400 --> 00:04:20,400
great track. A lot of people save the

96
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song and I go like this and they say,

97
00:04:24,639 --> 00:04:27,840
"Where we go?" So, special projects

98
00:04:27,840 --> 00:04:33,000
masterclass. I'll say new track

99
00:04:33,120 --> 00:04:35,040
and I'll uh think of a name. It was

100
00:04:35,040 --> 00:04:37,280
sunny uh this morning, so I'll call it

101
00:04:37,280 --> 00:04:40,639
sunny car drive for the moment. And I'll

102
00:04:40,639 --> 00:04:44,240
also do version 001.

103
00:04:44,240 --> 00:04:46,320
Save it. So I'm start working on this

104
00:04:46,320 --> 00:04:48,800
track and every time I save and I

105
00:04:48,800 --> 00:04:51,199
recommend you saving almost every two

106
00:04:51,199 --> 00:04:53,280
three minutes you save you open it

107
00:04:53,280 --> 00:04:57,360
again. save it and then you save it as a

108
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different version number and you can

109
00:04:58,800 --> 00:05:01,600
always go back to an earlier version,

110
00:05:01,600 --> 00:05:03,360
which is great because you start adding

111
00:05:03,360 --> 00:05:05,680
more sounds and sometimes you lose the

112
00:05:05,680 --> 00:05:07,280
magic when if you're building and

113
00:05:07,280 --> 00:05:09,120
building and you keep adding sounds and

114
00:05:09,120 --> 00:05:11,039
you know you're you're you're adding

115
00:05:11,039 --> 00:05:13,520
different layers to a track and then oh

116
00:05:13,520 --> 00:05:15,680
wait uh I actually liked it how it

117
00:05:15,680 --> 00:05:17,680
sounded better an hour ago. You can go

118
00:05:17,680 --> 00:05:19,280
back to that version because you've

119
00:05:19,280 --> 00:05:21,840
saved different versions. So, by a

120
00:05:21,840 --> 00:05:24,639
standard rule of working, I always save

121
00:05:24,639 --> 00:05:27,840
it in a ton of different versions. So,

122
00:05:27,840 --> 00:05:29,440
all my tracks have a version number

123
00:05:29,440 --> 00:05:31,759
behind it. So, when I'm DJing, I can

124
00:05:31,759 --> 00:05:34,400
always quickly when I bounce a track

125
00:05:34,400 --> 00:05:36,479
just for road testing, I can always see

126
00:05:36,479 --> 00:05:38,560
which version I've I've played out for

127
00:05:38,560 --> 00:05:40,320
for a crowd. And then I can go, all

128
00:05:40,320 --> 00:05:44,160
right, version 67 sounded okay. Not too

129
00:05:44,160 --> 00:05:46,560
happy with this. And then maybe I'll

130
00:05:46,560 --> 00:05:48,000
work on it a little bit more. I have

131
00:05:48,000 --> 00:05:50,800
version 72. You know what? Version 72

132
00:05:50,800 --> 00:05:52,960
sounded great. The pads were bigger, but

133
00:05:52,960 --> 00:05:54,960
I want to go back to the kick because it

134
00:05:54,960 --> 00:05:57,120
sounded better in version 68. So, it's

135
00:05:57,120 --> 00:05:58,479
great if you work with different version

136
00:05:58,479 --> 00:06:00,400
numbers and save it. And then don't

137
00:06:00,400 --> 00:06:03,280
touch it after you bounce it. Just use a

138
00:06:03,280 --> 00:06:04,960
new version number. You can always pull

139
00:06:04,960 --> 00:06:07,919
it up and go back to the magic that it

140
00:06:07,919 --> 00:06:09,600
has because sometimes music just has

141
00:06:09,600 --> 00:06:11,280
magic. You don't want to touch it. And

142
00:06:11,280 --> 00:06:12,880
that's when version numbers are great to

143
00:06:12,880 --> 00:06:16,039
work with.

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00:06:20,160 --> 00:06:23,600
I cannot stress enough that hard drives

145
00:06:23,600 --> 00:06:25,120
are

146
00:06:25,120 --> 00:06:27,199
bound to fail. Sooner or later, your

147
00:06:27,199 --> 00:06:28,880
hard drive is going to crash. And you

148
00:06:28,880 --> 00:06:31,680
need to realize that there's quite a few

149
00:06:31,680 --> 00:06:34,560
um people that lost entire albums cuz

150
00:06:34,560 --> 00:06:35,840
just because they thought that's not

151
00:06:35,840 --> 00:06:37,199
going to happen to me. My laptop is

152
00:06:37,199 --> 00:06:39,120
running so smooth. Well, guess what? The

153
00:06:39,120 --> 00:06:40,639
moment you finish your album, the moment

154
00:06:40,639 --> 00:06:43,199
everything's done, you haven't backed up

155
00:06:43,199 --> 00:06:45,199
everything and you've lost your entire

156
00:06:45,199 --> 00:06:47,120
album. And I know a lot of stories from

157
00:06:47,120 --> 00:06:49,680
producers that lost their music. So once

158
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I heard uh a guy that installed my

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studio say, "Let's say you lost all your

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samples, all your music files, your

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entire catalog. How much money would you

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pay me to get everything back?" And I

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started to think,

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"Wow,

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that would be I would pay a lot of

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money, maybe even a couple hundred,000

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to get everything back." Imagine. So he

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said, "Well, just give me a quarter.

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just give me a small portion of that.

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I'll buy a server for you and we'll make

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sure that everything's backed up. So,

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please please invest in a good hard

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drive. You can also use um for example

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carbon copy cloner uh which is something

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I think is really great. You can

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actually automate that as well. Make a

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schedule so it automatically backs up

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your data. So, I cannot stress enough

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how important that is.

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00:00:13,280 --> 00:00:15,360
I want to show you how a normal day in a

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studio and what it looks like. Um I want

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00:00:17,199 --> 00:00:20,400
to create a trans track from scratch.

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Let's just uh for example take

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inspiration from uh one of the greatest

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songs ever made by Eric Sati Jimnopi. So

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the beginning goes something like this.

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love that song. Great. I'm going to show

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you how that song inspires me to be

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creative. So, these are the two chords

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that I really, really love. And

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now, let's just use that now as a as a

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top melody. And let's just create

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something

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Maybe that sounds cool. I want to turn

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those chords into a transy riff that

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could go down in a breakdown of a

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beautiful trans track which would fit

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into my set. So, for example, I could

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play these chords in a different way.

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Well, let's record that with a

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metronome. So, I got my template set up

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here. Got a little kick drum going

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there. And I want the trans track to be

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132 BPM. But to make it easier for

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myself, I'm still just, you know,

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throwing together a couple of notes. I'm

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going to lower the tempo a bit.

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Something that is comfortable for me to

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play. Maybe even more slow than that.

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Can I play it like this?

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Still pretty fast.

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Why not? I have a computer. It can help

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me.

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Still pretty fast. Let's narrow it down.

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I'll put it in record.

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That sounds nice. Let's give it another

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try. See if I can make it more

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interesting, maybe.

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And

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Sounds nice. I have different options.

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So, these are just notes that I've put

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in and a random place in the

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arrangement. Let's put up the notes.

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Let's see where I am. So, this is my uh

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maybe not so accurate

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way of playing. Let's quantize what I've

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done. See if it adds to the grit. And

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now let's up the tempo a little bit. See

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if it sounds somewhere nice. So I played

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the same chord sequence but in different

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ways.

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Couple of errors here.

54
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Let's correct Let's correct this.

55
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Some really horrible notes there.

56
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Um, let's make all these notes that they

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have the same length

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operate only. Now I can see that they

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made some errors.

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It's pretty fast. Um, I don't know if I

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like it at that tempo.

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00:04:22,479 --> 00:04:26,639
Let me just double it.

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Um, I'll stretch the notes

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to double it. So, the original length

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was this.

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Um, let me look at this. Yeah. Throw

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away the rest and double it to here.

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Maybe that makes more sense. I don't

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know.

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It's a little off.

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Correct it here.

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Something in the modulation is not going

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well. I didn't record my uh paddle here,

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my sustain pedal.

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Now, let's up the tempo to the desired

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tempo, 132 BPM.

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And this is normally the time where I

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share my idea with my production

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partner, Beno, to see what he thinks.

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So, Beno, do you have any ideas with

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this?

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Sure. Well, it's good for starters.

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Good for starters. good core

84
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progression.

85
00:06:17,199 --> 00:06:20,400
Yeah. Um I think two two things uh

86
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yeah I think the the length of the bar

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is is is is is great.

88
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It's experimental because it's six. So

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that's that's striking me and something

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that I hear when I hear this melody. I

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hear a progression going up.

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Perhaps you hear it too as well.

93
00:06:35,120 --> 00:06:36,560
Well maybe maybe you want to take a seat

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in my chair and then

95
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Well, I would like to try and see if

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with the piano if it if I could amend

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it.

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Go for it.

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Let me first figure out what you did.

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All but I hear something.

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Nice.

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00:07:08,639 --> 00:07:09,759
Something like this.

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00:07:09,759 --> 00:07:12,800
Yeah. So maybe to uh down the tempo a

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bit again. So I have my original idea

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which is right here.

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Yeah, play it again because I didn't had

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that.

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No, no. What you should play is amazing.

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Uh

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want a faster tempo?

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Um

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this is good, I guess. So I'm just going

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to put it in records. So just I can so I

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can capture everything that he does.

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Pedto is trying to add some nice melodic

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ideas to the chord structure we have and

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it's a little bit trial and error.

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You have to develop a little bit of an

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ear for this. Just try it yourself and

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see which notes don't clash the existing

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chords.

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Beautiful.

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00:08:20,639 --> 00:08:23,639
Or

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that's your step.

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Yeah, I like that. I like the last

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ending. But when I Here it is. I think

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it's a little bit long.

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I like it. Do you want to make it

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shorter?

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Well, double the speed.

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Yeah, you you doubled the You doubled

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00:08:40,959 --> 00:08:42,800
the speed, right? So, what if if we cut

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it in half right now because

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the melodies is twice as long.

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00:08:46,160 --> 00:08:47,600
Good. Good idea.

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So, what I would suggest first is to

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clean my mess up because I didn't really

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00:08:52,560 --> 00:08:58,279
play it that well. Um, let me see.

139
00:09:12,080 --> 00:09:14,640
that part.

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00:09:14,640 --> 00:09:18,440
Searching for your chords.

141
00:09:18,800 --> 00:09:21,800
Right.

142
00:09:26,959 --> 00:09:28,560
It's pretty fast and easy.

143
00:09:28,560 --> 00:09:32,760
Yeah. But if we skip some notes

144
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and maybe don't maybe remove the the

145
00:09:36,160 --> 00:09:39,519
Yeah, because the length feels good to

146
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me at least

147
00:09:42,160 --> 00:09:44,160
because if if we if we stick to this

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00:09:44,160 --> 00:09:46,640
this this type of length, it will be

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00:09:46,640 --> 00:09:48,880
harder to to keep the span of the

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00:09:48,880 --> 00:09:51,200
attention. What your thoughts on that?

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00:09:51,200 --> 00:09:53,040
Yeah, I agree.

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00:09:53,040 --> 00:09:54,560
Well, then maybe save it as a different

153
00:09:54,560 --> 00:09:56,959
version again. So, we can always go back

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to this. I mean, this feels right to me.

155
00:09:58,880 --> 00:10:00,480
This feels like we've got something

156
00:10:00,480 --> 00:10:02,959
going. It's not a trans track yet. I

157
00:10:02,959 --> 00:10:05,360
mean, we we're working with a piano. We

158
00:10:05,360 --> 00:10:06,640
have something weird going on. We

159
00:10:06,640 --> 00:10:07,519
haven't even switched to other

160
00:10:07,519 --> 00:10:08,959
instruments, but this feels like a great

161
00:10:08,959 --> 00:10:10,880
core progression. It feels a little bit

162
00:10:10,880 --> 00:10:13,360
too busy, a little bit too much going

163
00:10:13,360 --> 00:10:15,360
on. So, I like Beno's suggestion. Maybe

164
00:10:15,360 --> 00:10:19,040
deleting some notes and see if we can

165
00:10:19,040 --> 00:10:20,480
keep the chord progression, but with

166
00:10:20,480 --> 00:10:24,480
less uh top melody going on there.

167
00:10:24,480 --> 00:10:26,160
So, there's one thing that I would like

168
00:10:26,160 --> 00:10:27,440
to fix because there's something in the

169
00:10:27,440 --> 00:10:30,560
melody that's not quite right yet. You

170
00:10:30,560 --> 00:10:34,160
see, the bar is not really

171
00:10:34,160 --> 00:10:38,480
like 1 2 3 4 1 2 3 4 and then something

172
00:10:38,480 --> 00:10:40,640
comes afterwards, which is a little bit

173
00:10:40,640 --> 00:10:42,480
strange, right? So, can you help me out

174
00:10:42,480 --> 00:10:44,000
here where it goes wrong in your

175
00:10:44,000 --> 00:10:48,000
opinion? In your opinion?

176
00:10:48,000 --> 00:10:49,279
Yeah, there it's too long.

177
00:10:49,279 --> 00:10:52,720
Yeah, feels weird, right? So, let's

178
00:10:52,720 --> 00:10:54,880
let's let's see. Um, can I take the

179
00:10:54,880 --> 00:10:55,600
chair again?

180
00:10:55,600 --> 00:10:58,800
Take your chair.

181
00:10:58,800 --> 00:11:01,600
In the meantime, um, perhaps it's a good

182
00:11:01,600 --> 00:11:04,640
suggest throw in a groove.

183
00:11:04,640 --> 00:11:08,040
Get some claps.

184
00:11:15,839 --> 00:11:17,440
Yeah, that needs to go up. What we're

185
00:11:17,440 --> 00:11:19,200
looking for here in the production is

186
00:11:19,200 --> 00:11:21,040
trying to add some melody to the song

187
00:11:21,040 --> 00:11:23,600
that makes it more interesting.

188
00:11:23,600 --> 00:11:25,440
The only way that your track is becoming

189
00:11:25,440 --> 00:11:27,279
special is if you add a little top

190
00:11:27,279 --> 00:11:29,760
melody to it that sort of goes against

191
00:11:29,760 --> 00:11:33,560
the existing chords.

192
00:11:42,800 --> 00:11:44,720
I love that. It's great. It's very

193
00:11:44,720 --> 00:11:46,959
emotional. It's very euphoric. It's just

194
00:11:46,959 --> 00:11:50,399
a little bit too much too many notes. Uh

195
00:11:50,399 --> 00:11:51,440
so what I'm going to do, I'm going to

196
00:11:51,440 --> 00:11:53,600
copy the entire part. Uh because I'm

197
00:11:53,600 --> 00:11:55,760
going to fool with it. Um fiddle with

198
00:11:55,760 --> 00:11:57,920
it.

199
00:11:57,920 --> 00:11:59,920
Um

200
00:11:59,920 --> 00:12:01,920
and I'm going to save it. So I can

201
00:12:01,920 --> 00:12:04,880
always go back to to this. Meanwhile,

202
00:12:04,880 --> 00:12:08,079
Beno uh is is maybe adding some

203
00:12:08,079 --> 00:12:09,680
elements, something I'll leave him on

204
00:12:09,680 --> 00:12:10,959
his own. You know, I don't want to tell

205
00:12:10,959 --> 00:12:12,800
him what to do. He can just add elements

206
00:12:12,800 --> 00:12:15,519
to it. Whatever. What I'm going to do,

207
00:12:15,519 --> 00:12:21,000
I'm going to quantize this to 14.

208
00:12:24,079 --> 00:12:27,279
This sounds more

209
00:12:27,279 --> 00:12:30,279
relaxed.

210
00:12:32,480 --> 00:12:36,839
Hey, you get doubles right now, right?

211
00:12:43,360 --> 00:12:45,120
I like this. I like these chords. This

212
00:12:45,120 --> 00:12:47,760
is great. Great. Beautiful chords. I

213
00:12:47,760 --> 00:12:49,200
think this could work. This This could

214
00:12:49,200 --> 00:12:51,839
work. Yeah.

1
00:00:13,519 --> 00:00:15,360
Well, specifically in trans music, I

2
00:00:15,360 --> 00:00:17,440
love to layer stuff. Um, there's this

3
00:00:17,440 --> 00:00:19,840
function in Logic that if I want to add

4
00:00:19,840 --> 00:00:21,840
a lead sound and I want to make it big,

5
00:00:21,840 --> 00:00:26,439
for example, let me just play a chord.

6
00:00:29,920 --> 00:00:31,119
I don't know. It's a bit of a silly

7
00:00:31,119 --> 00:00:37,480
chord, but just go there. Quantize it.

8
00:00:37,680 --> 00:00:42,360
Okay. So, I just standard pad.

9
00:00:42,480 --> 00:00:48,200
I don't like that. Clear that here.

10
00:00:53,360 --> 00:00:56,399
Go there. Make add a little swing to it.

11
00:00:56,399 --> 00:00:58,399
I can copy the track, including the MIDI

12
00:00:58,399 --> 00:01:01,199
notation, and start fooling with the

13
00:01:01,199 --> 00:01:03,680
other uh track. So, this is basically

14
00:01:03,680 --> 00:01:07,840
the exact same setting as this track.

15
00:01:07,840 --> 00:01:12,240
Uh, yep. Which is going to bus 30.

16
00:01:12,240 --> 00:01:13,840
And then I'll start fooling around with

17
00:01:13,840 --> 00:01:15,600
this. So, it's basically another layer

18
00:01:15,600 --> 00:01:18,920
that I'm adding.

19
00:01:20,159 --> 00:01:24,280
Maybe D-tune it a little bit.

20
00:01:30,640 --> 00:01:35,400
Maybe opening the release a little bit.

21
00:01:39,759 --> 00:01:42,240
So, I'm just adding a layer to a riff

22
00:01:42,240 --> 00:01:43,600
that I've just played, a very, very

23
00:01:43,600 --> 00:01:46,479
basic riff. And just by adding layers to

24
00:01:46,479 --> 00:01:48,960
each other, I can make the sounds sound

25
00:01:48,960 --> 00:01:50,960
more wide and and and more interesting,

26
00:01:50,960 --> 00:01:54,240
maybe. Um, then I can copy the channel,

27
00:01:54,240 --> 00:01:56,880
copy the media information, and then for

28
00:01:56,880 --> 00:01:59,759
example have a Nexus plugin, which is a

29
00:01:59,759 --> 00:02:02,159
different sounding or rumpler. Let me

30
00:02:02,159 --> 00:02:05,360
pull up a piano.

31
00:02:05,360 --> 00:02:08,720
Search for a piano. PN

32
00:02:08,720 --> 00:02:11,520
any any piano.

33
00:02:11,520 --> 00:02:15,800
Uh, solo it for a bit.

34
00:02:16,239 --> 00:02:19,640
It's a bit reverby.

35
00:02:20,000 --> 00:02:23,720
Cue off the low end.

36
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So, I I'm just fooling around at the

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moment. I'm just throwing adding layers,

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just being creative. Again, there's no

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rules. So, just feel free to throw weird

40
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plugins. I mean, who would put a

41
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distortion on a piano, right? It's

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non-conventional. Let's do it. Let's

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grab a random distortion. I love to do

44
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stuff like that. Just be just be random,

45
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you know? Uh throw in uh this is one of

46
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my favorite distortion plugins. So, I'm

47
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just going to distort this piano.

48
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Let me throw a reverb.

49
00:03:35,440 --> 00:03:37,760
You know what? I like that piano sound,

50
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but I feel it's a little bit far away.

51
00:03:39,840 --> 00:03:41,040
And that's usually because you're

52
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missing the transients, the attack of

53
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the piano. So I'll just copy the channel

54
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once again. So it's the exact same

55
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piano, but I'm switching off this and

56
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I'm making the notes a lot shorter. So

57
00:03:51,680 --> 00:03:55,879
that this will be a very short piano.

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I just want the top end.

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Kill all the reverb. kill everything

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that's not nice.

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00:04:12,080 --> 00:04:13,920
And if I add that with the piano that I

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have,

63
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it will add the attack to the piano

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which makes it more sound like a piano.

65
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So you hear the attack of the piano

66
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better. So that's why my tracks have a

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ridiculous amount of uh of tracks. It's

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just because I like to add layers to it.

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You have to be very aware that as soon

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as you start layering, you're also

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clogging up your mix. I mean, you're

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basically adding frequencies, uh, and

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the more frequencies you add, uh, the

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more, you know, full your mix becomes.

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So, you have to be very aware that as

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soon as you start adding layers that you

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use your EQ wisely. So that's why on

78
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this piano for example, I've killed

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everything below

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a thousand hertz because I don't need

81
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that information. I only want the

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attack. So ask yourself, why did I

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choose this sound and which part of the

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sound is important to me? Which

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frequency? So the one way to approach

86
00:05:17,360 --> 00:05:19,600
trans music is because trans music is

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this is also the problem with trans

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music is very hard to mix because

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there's so much going on, especially the

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pads are are humongous and they're

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really

92
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getting a lot of space in your mix. Um,

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00:05:31,520 --> 00:05:33,360
so what you want to do is you want to

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make sure that, for example, if you have

95
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a kick and a bass going and you have a

96
00:05:37,120 --> 00:05:39,360
pad you want to play on top, kill all

97
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the low end of the pad because it will

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00:05:41,039 --> 00:05:42,400
fight with your kick and your bass

99
00:05:42,400 --> 00:05:43,919
because there's also a little bit of low

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end going on. So those frequencies will

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uh will uh add add to each other and it

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will make your mix sound really full and

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not not really nice. So when you come to

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the breakdown, you can have a copy of

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the exact same pad and then you can add

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the sub to it. Now that's the reason why

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the pad for me would be have a different

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track uh while the kick and the bass are

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running and then in the breakdown I

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would just kill the EQ and usually I'll

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just do that on a different track. So

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that's why I'm saying I use 104 tracks

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on a track but it's not that impressive.

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It's basically 20 or or 30 tracks. It's

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just I I can copy the track and because

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you know DAWs now are so good and so

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fast that it's easier for me just to uh

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copy the track and have a different

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track with a different EQ setting than

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to automate it. I can automate it. It's

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just a lot more work.

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Usually the leads are fighting with the

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vocal on the same frequency spectrum.

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Here you can see that we draw the volume

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the the filter uh the low pass filter of

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uh the main lead and we do that to give

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space to the vocal. So if I would open

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up the lead here and I would just play

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the lead and the vocal

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vocal

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sexy sweet

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feels kind of busy whereas I if I filter

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the lead I give more attention to the

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vocal

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sexy you are sweet you are feel

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it's also a way of telling your listener

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hey I want you to hear this

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in the breakdown of UR filtered in the

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background. There's actually a lot of

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paths going. Let's listen.

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00:07:51,440 --> 00:07:53,840
But you see, if if I mute the pads, then

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the leads wouldn't come out that great.

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00:07:55,520 --> 00:08:00,440
Let me just mute the pads. Mute pads.

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00:08:07,840 --> 00:08:09,280
I'm missing something there, which is

145
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the pads in the background. Uh, that

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give it just that extra feel.

147
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You don't really notice them. You don't

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really notice the pads, but when they're

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not there, you do notice them. That's

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that's I think very essential to note.

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00:08:30,720 --> 00:08:31,599
Uh

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sexy, you are sweet, you are hard, you

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are pretty, you are

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I also want to talk about uh the

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conventional way and the unconventional

156
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way of using plugins. So, here's a sound

157
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that I've imported from a previous

158
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project. And you can see I've just

159
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I've used the initialized the the the

160
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very basic setting of the silent. It's

161
00:09:00,160 --> 00:09:03,040
just it's right under menu and you go to

162
00:09:03,040 --> 00:09:06,640
insert and it basically gives you

163
00:09:06,640 --> 00:09:09,200
an empty silent.

164
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The most basic sound there is. It's a

165
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saw.

166
00:09:15,839 --> 00:09:18,000
I put it in legato mode, mono legato

167
00:09:18,000 --> 00:09:19,760
mode, threw in some portimen, and then I

168
00:09:19,760 --> 00:09:22,160
started adding different distortions to

169
00:09:22,160 --> 00:09:25,160
it,

170
00:09:26,720 --> 00:09:30,040
little reverb,

171
00:09:31,200 --> 00:09:34,440
a compressor,

172
00:09:35,279 --> 00:09:36,880
and the compressor basically brings out

173
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the transients more.

174
00:09:40,480 --> 00:09:43,680
Uh, let's throw in an EQ to roll off the

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low end.

176
00:09:45,120 --> 00:09:47,440
Uh, and let's do a dimensional expander.

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Great uh, free plugin. You can find it

178
00:09:49,519 --> 00:09:52,920
online somewhere.

179
00:09:55,279 --> 00:09:57,360
So, I'm just starting to add random

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elements, random plugins, throwing them

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00:09:59,920 --> 00:10:01,839
on there just to get inspired, find

182
00:10:01,839 --> 00:10:04,160
inspiration in specific sounds,

183
00:10:04,160 --> 00:10:07,200
interesting sounds. So, grab a synth,

184
00:10:07,200 --> 00:10:09,200
put it there, and start adding random

185
00:10:09,200 --> 00:10:11,760
stuff to it. Uh, distortions, delays.

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00:10:11,760 --> 00:10:14,240
Uh, I love using uh conventional plugins

187
00:10:14,240 --> 00:10:16,560
in an unconventional way. Normally after

188
00:10:16,560 --> 00:10:19,279
a sound uh you would add a reverb at the

189
00:10:19,279 --> 00:10:21,120
end. Why not add a reverb at the

190
00:10:21,120 --> 00:10:23,760
beginning and put a compressor behind

191
00:10:23,760 --> 00:10:26,480
it? You know, it's maybe it sounds weird

192
00:10:26,480 --> 00:10:28,800
maybe, but it brings out the the attack

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00:10:28,800 --> 00:10:30,320
better of the sound and it makes the

194
00:10:30,320 --> 00:10:32,880
reverb sounding huge. So that's one of

195
00:10:32,880 --> 00:10:35,440
the tricks. Just trial and error

196
00:10:35,440 --> 00:10:38,160
basically.

1
00:00:13,840 --> 00:00:15,599
So, I'm going to take the MIDI part, uh,

2
00:00:15,599 --> 00:00:17,039
put it on a different section, and I'm

3
00:00:17,039 --> 00:00:19,600
going to pull up, uh, a pad, a nice pad

4
00:00:19,600 --> 00:00:21,840
sound. Uh, I don't know if I have

5
00:00:21,840 --> 00:00:23,760
something here that sounds cool. Um,

6
00:00:23,760 --> 00:00:27,039
let's just make a pad. Why not?

7
00:00:27,039 --> 00:00:29,359
That's not a pad.

8
00:00:29,359 --> 00:00:31,519
We can we can make a pad going. Maybe I

9
00:00:31,519 --> 00:00:34,840
have two oscillators,

10
00:00:37,760 --> 00:00:41,160
something wide,

11
00:00:44,399 --> 00:00:48,360
something with a bit more release,

12
00:00:48,719 --> 00:00:52,160
more voices. It's about getting a really

13
00:00:52,160 --> 00:00:55,360
bright and wide pad. And to do that, we

14
00:00:55,360 --> 00:00:57,920
have voices. Pan these voices left and

15
00:00:57,920 --> 00:00:59,920
right and make sure your saw is a little

16
00:00:59,920 --> 00:01:02,800
bit d-tuned. As a listener, we perceive

17
00:01:02,800 --> 00:01:05,119
this as a wide pad. Maybe put a little

18
00:01:05,119 --> 00:01:08,640
reverb behind it. I don't know.

19
00:01:08,640 --> 00:01:11,640
So,

20
00:01:22,320 --> 00:01:24,400
all right.

21
00:01:24,400 --> 00:01:28,880
Now I'm going to manually uh delete

22
00:01:28,880 --> 00:01:32,520
a lot of these notes.

23
00:01:35,680 --> 00:01:39,400
It's nice though.

24
00:01:42,640 --> 00:01:45,119
Pads are essential for trans tracks.

25
00:01:45,119 --> 00:01:46,640
They're the basic structure of your

26
00:01:46,640 --> 00:01:48,159
song.

27
00:01:48,159 --> 00:01:49,920
It's what happens between your baseline

28
00:01:49,920 --> 00:01:51,920
and the top melody.

29
00:01:51,920 --> 00:01:54,159
A good pad sound basically covers the

30
00:01:54,159 --> 00:01:58,439
mid-range of your EQ spectrum.

31
00:02:03,439 --> 00:02:05,520
Uh maybe I don't know. I'm not too crazy

32
00:02:05,520 --> 00:02:07,280
about that sound. So, let me see if I

33
00:02:07,280 --> 00:02:09,679
can pull up Well, don't throw it away

34
00:02:09,679 --> 00:02:11,520
yet because I do like the sound perhaps

35
00:02:11,520 --> 00:02:13,440
for later on for some layering.

36
00:02:13,440 --> 00:02:15,280
Okay, I'm going to save it. Copy the

37
00:02:15,280 --> 00:02:17,200
MIDI

38
00:02:17,200 --> 00:02:20,160
and

39
00:02:20,160 --> 00:02:22,879
come up with this synth.

40
00:02:22,879 --> 00:02:24,720
Pull up a nice pad somewhere. I don't

41
00:02:24,720 --> 00:02:26,640
know.

42
00:02:26,640 --> 00:02:31,239
Um, nice pad sound.

43
00:02:36,160 --> 00:02:38,879
And I'm going to say uh delete duplicate

44
00:02:38,879 --> 00:02:41,280
notes.

45
00:02:41,280 --> 00:02:42,879
Um,

46
00:02:42,879 --> 00:02:44,560
I don't want double notes because I've

47
00:02:44,560 --> 00:02:46,239
quantized it. So, some of the notes are

48
00:02:46,239 --> 00:02:48,319
on the same position right now. Now, I

49
00:02:48,319 --> 00:02:52,200
say note force legato.

50
00:02:52,239 --> 00:02:54,640
Uh, keep

51
00:02:54,640 --> 00:02:58,519
and there's a pad sound.

52
00:03:06,959 --> 00:03:09,959
Here

53
00:03:20,319 --> 00:03:23,560
we go.

54
00:03:47,760 --> 00:03:50,760
Heat.

55
00:03:52,319 --> 00:03:55,319
Heat.

56
00:04:07,280 --> 00:04:11,120
I don't like that last step. So,

57
00:04:11,120 --> 00:04:14,720
I go in here. So, what if I put like an

58
00:04:14,720 --> 00:04:17,359
LFO tool

59
00:04:17,359 --> 00:04:21,239
on a

60
00:04:22,320 --> 00:04:25,720
trans gate?

61
00:04:43,440 --> 00:04:47,080
quite like that atmosphere.

62
00:05:00,639 --> 00:05:02,400
I'm actually quite liking the vibe of

63
00:05:02,400 --> 00:05:05,360
this.

64
00:05:05,360 --> 00:05:07,120
Trans music is all about rhythmic

65
00:05:07,120 --> 00:05:08,960
elements and melodies. And if you can

66
00:05:08,960 --> 00:05:11,120
combine both things in one sound, it

67
00:05:11,120 --> 00:05:13,600
makes it even more exciting. What I like

68
00:05:13,600 --> 00:05:15,840
to do when I make a pad sound, I like to

69
00:05:15,840 --> 00:05:18,479
add some rhythm to it. Add a volume

70
00:05:18,479 --> 00:05:20,880
ducker. In this case, LFO tool, but you

71
00:05:20,880 --> 00:05:22,800
can use any volume instrument to

72
00:05:22,800 --> 00:05:24,960
generate something rhythmic in a pad

73
00:05:24,960 --> 00:05:28,960
sound. Beautiful. It's

74
00:05:28,960 --> 00:05:31,360
maybe I want to change the key. I don't

75
00:05:31,360 --> 00:05:35,479
know. Let me try.

76
00:05:46,080 --> 00:05:50,919
Has a nice vibe to it. It's very moody.

77
00:05:57,280 --> 00:05:59,840
Okay. Uh, I'm going to copy this channel

78
00:05:59,840 --> 00:06:02,639
strip

79
00:06:02,639 --> 00:06:06,880
and create maybe something

80
00:06:06,880 --> 00:06:08,880
massive, a lead. I'm going to try and

81
00:06:08,880 --> 00:06:10,720
find a top melody. Create a lead

82
00:06:10,720 --> 00:06:12,319
completely from scratch. So, I'm going

83
00:06:12,319 --> 00:06:15,600
to start with the the most basic sound

84
00:06:15,600 --> 00:06:17,440
that this synthesizer can generate.

85
00:06:17,440 --> 00:06:22,680
Basically, the uh the init sound, the

86
00:06:22,880 --> 00:06:25,039
I'm going to use that,

87
00:06:25,039 --> 00:06:28,080
just to get inspiration. Um, I'm going

88
00:06:28,080 --> 00:06:34,840
to put a reverb behind it. Uh, see

89
00:06:40,960 --> 00:06:42,960
compressor.

90
00:06:42,960 --> 00:06:46,479
Uh, so I'm going to go to

91
00:06:46,479 --> 00:06:51,080
Logic dynamic compressor.

92
00:06:51,600 --> 00:06:53,600
A great trick to have a certain lead

93
00:06:53,600 --> 00:06:55,360
sound shine through in your mix is to

94
00:06:55,360 --> 00:06:57,360
add a transient element to it. You can

95
00:06:57,360 --> 00:06:59,120
use a compressor with a fast release

96
00:06:59,120 --> 00:07:01,120
time to make the transient shine through

97
00:07:01,120 --> 00:07:03,440
a little bit more.

98
00:07:03,440 --> 00:07:05,120
Maybe a little distortion to introduce

99
00:07:05,120 --> 00:07:06,720
some character to the sound because it's

100
00:07:06,720 --> 00:07:09,680
very basic at the moment. So, one of my

101
00:07:09,680 --> 00:07:12,080
favorite uh distortion plugin is the Fat

102
00:07:12,080 --> 00:07:16,080
Filter Satin. And uh maybe just add a

103
00:07:16,080 --> 00:07:19,280
few bands of distortion.

104
00:07:19,280 --> 00:07:22,720
Uh see if I can create some.

105
00:07:22,720 --> 00:07:27,160
Now it really shines through more.

106
00:07:28,720 --> 00:07:30,800
And I want to add maybe a funny delay or

107
00:07:30,800 --> 00:07:35,599
something. I don't know. Uh HD delay.

108
00:07:35,599 --> 00:07:38,919
Here we go.

109
00:07:40,960 --> 00:07:45,240
So, what key are we in

110
00:07:46,240 --> 00:07:48,880
currently? Uh C

111
00:07:48,880 --> 00:07:53,240
C. Yeah. Yeah.

112
00:07:54,879 --> 00:07:57,360
Uh, let's let's just loop this little

113
00:07:57,360 --> 00:08:00,319
melody that I've got going here. And

114
00:08:00,319 --> 00:08:03,039
let's just fiddle around to see if I can

115
00:08:03,039 --> 00:08:06,840
find a nice hot melody.

116
00:08:11,680 --> 00:08:13,680
With every trans track I do, I try to

117
00:08:13,680 --> 00:08:16,479
tell a story with my melody. If there

118
00:08:16,479 --> 00:08:18,080
are too many repetitive elements in a

119
00:08:18,080 --> 00:08:19,759
certain melody, it may sound a little

120
00:08:19,759 --> 00:08:22,800
bit stale or boring.

121
00:08:22,800 --> 00:08:25,120
Try to experiment with going three half

122
00:08:25,120 --> 00:08:29,000
notes up or down.

123
00:08:35,599 --> 00:08:39,360
Is there anything that you liked?

124
00:08:39,360 --> 00:08:40,880
You have a lead sound?

125
00:08:40,880 --> 00:08:42,399
Just adding just trying different

126
00:08:42,399 --> 00:08:44,720
things. Uh let's just quantize it for a

127
00:08:44,720 --> 00:08:47,440
little bit. Uh maybe just add a little

128
00:08:47,440 --> 00:08:50,160
bit of another LFO tool. Put it in a

129
00:08:50,160 --> 00:08:54,040
different spot maybe.

130
00:09:07,040 --> 00:09:09,279
Which chord shall I use?

131
00:09:09,279 --> 00:09:10,399
You have any suggestions?

132
00:09:10,399 --> 00:09:15,640
Yeah. Well, uh or maybe this one.

133
00:09:19,600 --> 00:09:22,839
That's nice.

134
00:09:35,519 --> 00:09:37,920
I think in the in the second section

135
00:09:37,920 --> 00:09:41,680
there was a a nice flow to it that that

136
00:09:41,680 --> 00:09:43,279
really told the story. Well, I guess

137
00:09:43,279 --> 00:09:46,959
right about 37

138
00:09:46,959 --> 00:09:50,839
First part is okay though,

139
00:09:56,399 --> 00:09:58,240
but that that lifts could be a little

140
00:09:58,240 --> 00:10:00,080
bit more Yeah, for me it's a little bit

141
00:10:00,080 --> 00:10:02,160
too erratic where whether the other

142
00:10:02,160 --> 00:10:03,760
thing

143
00:10:03,760 --> 00:10:07,560
told more of a story.

144
00:10:13,120 --> 00:10:15,920
I like this.

145
00:10:15,920 --> 00:10:17,920
So what what if you would combine those

146
00:10:17,920 --> 00:10:21,120
two? Take the first half of that section

147
00:10:21,120 --> 00:10:23,040
that you played later on. So only the

148
00:10:23,040 --> 00:10:24,720
first part and then do the second one

149
00:10:24,720 --> 00:10:25,519
from that one.

150
00:10:25,519 --> 00:10:26,800
From this one you this section.

151
00:10:26,800 --> 00:10:27,600
Yeah, I like that.

152
00:10:27,600 --> 00:10:30,160
Okay. So mute delete this the first

153
00:10:30,160 --> 00:10:30,560
section.

154
00:10:30,560 --> 00:10:31,440
Yeah.

155
00:10:31,440 --> 00:10:34,560
Or cut it. Then then you can also

156
00:10:34,560 --> 00:10:40,320
and then use this one. You mean

157
00:10:40,320 --> 00:10:43,800
probably? Yeah.

158
00:10:46,399 --> 00:10:50,079
Yeah. Okay. So, fixed note length. I

159
00:10:50,079 --> 00:10:53,640
think this could work.

160
00:10:53,680 --> 00:10:58,360
Uh, make it longer.

161
00:10:59,680 --> 00:11:03,079
In the meantime,

162
00:11:08,959 --> 00:11:13,519
I like this. I'm feeling this

163
00:11:18,480 --> 00:11:20,640
I have no idea where I want it to go.

164
00:11:20,640 --> 00:11:23,200
I'm still trying to figure out what kind

165
00:11:23,200 --> 00:11:25,040
of chords I want underneath this. Maybe

166
00:11:25,040 --> 00:11:27,040
a different lead sound. I'm just going

167
00:11:27,040 --> 00:11:29,040
to open up,

168
00:11:29,040 --> 00:11:31,360
I don't know, uh maybe the Nexus. See if

169
00:11:31,360 --> 00:11:33,760
I can find a beautiful sound that maybe

170
00:11:33,760 --> 00:11:36,160
complements this.

171
00:11:36,160 --> 00:11:39,160
Um,

172
00:11:40,720 --> 00:11:44,079
so let's go here.

173
00:11:44,079 --> 00:11:45,600
I like these sounds. They're usually

174
00:11:45,600 --> 00:11:48,640
great. It could be like a big pad. I

175
00:11:48,640 --> 00:11:51,720
don't know.

176
00:12:04,240 --> 00:12:08,000
That could be like a big epic breakdown.

177
00:12:08,000 --> 00:12:11,000
So,

178
00:12:23,279 --> 00:12:25,680
that sounds nice.

179
00:12:25,680 --> 00:12:29,800
I don't know. What do you think of this?

180
00:12:34,959 --> 00:12:39,240
I see where you want to go.

181
00:12:42,959 --> 00:12:44,560
I think we should make a choice then

182
00:12:44,560 --> 00:12:47,680
because or you should use that automatic

183
00:12:47,680 --> 00:12:48,160
delay.

184
00:12:48,160 --> 00:12:49,839
Maybe just use the first section of of

185
00:12:49,839 --> 00:12:52,720
the chords.

186
00:12:52,720 --> 00:12:54,320
Well, I like that that chord change

187
00:12:54,320 --> 00:12:57,600
which is not in the other ID.

188
00:12:57,600 --> 00:13:02,519
Could could be variation to it.

189
00:13:02,639 --> 00:13:09,160
And I need uh uh uh uh uh uh uh

190
00:13:16,639 --> 00:13:18,639
what if what if we make a jump here to

191
00:13:18,639 --> 00:13:21,279
make it interesting on that point?

192
00:13:21,279 --> 00:13:24,160
D

193
00:13:24,160 --> 00:13:26,880
and the fifth.

194
00:13:26,880 --> 00:13:31,639
Yeah. Uh now it's still higher.

195
00:13:32,000 --> 00:13:34,800
Oh, this could work as well. But I I

196
00:13:34,800 --> 00:13:39,040
hear this perhaps to uh to make it

197
00:13:39,040 --> 00:13:41,920
sure it work. Perhaps this it's too

198
00:13:41,920 --> 00:13:44,560
jumpy for you.

199
00:13:44,560 --> 00:13:48,440
Perhaps this. Oh.

200
00:13:52,160 --> 00:13:54,079
Um, well, you should adapt that one,

201
00:13:54,079 --> 00:13:55,200
too. Could it work?

202
00:13:55,200 --> 00:13:57,600
Uh, yeah.

203
00:13:57,600 --> 00:14:00,600
Actually,

204
00:14:05,279 --> 00:14:06,720
maybe have the top one on that one as

205
00:14:06,720 --> 00:14:09,720
well.

206
00:14:23,920 --> 00:14:26,160
sounds nice. I like it. Um, different

207
00:14:26,160 --> 00:14:29,160
key

208
00:14:33,120 --> 00:14:35,760
makes it more happy.

209
00:14:35,760 --> 00:14:38,720
What if we change that on 32? Then I

210
00:14:38,720 --> 00:14:41,120
think it's perfect.

211
00:14:41,120 --> 00:14:43,199
No, no, the top note is is okay for me.

212
00:14:43,199 --> 00:14:45,839
That one. Yeah.

213
00:14:45,839 --> 00:14:48,839
Yeah,

214
00:15:02,880 --> 00:15:04,800
sounds nice. Uh, let's try a different

215
00:15:04,800 --> 00:15:06,560
sound. I keep the original sound because

216
00:15:06,560 --> 00:15:10,639
I like I like the sound of it.

217
00:15:22,320 --> 00:15:25,320
Hey.

218
00:15:34,079 --> 00:15:37,079
Hey. Hey.

219
00:16:00,079 --> 00:16:01,920
Let's see if I can add a baseline to

220
00:16:01,920 --> 00:16:03,920
this.

221
00:16:03,920 --> 00:16:06,920
Um,

1
00:00:21,199 --> 00:00:22,720
I think this is nice. That chord

2
00:00:22,720 --> 00:00:24,800
progression. I don't think I'm going to

3
00:00:24,800 --> 00:00:27,439
use it. It's too, I don't know, too

4
00:00:27,439 --> 00:00:30,320
cheesy, too obvious or something. And

5
00:00:30,320 --> 00:00:34,320
this is something exciting.

6
00:00:34,320 --> 00:00:37,360
It's It's beautiful. It's ethereal. It's

7
00:00:37,360 --> 00:00:38,879
Let's try a different plugin. Let's see

8
00:00:38,879 --> 00:00:41,680
if I can get some inspiration there.

9
00:00:41,680 --> 00:00:43,280
This is how I love to work. Throwing

10
00:00:43,280 --> 00:00:45,040
ideas down, trying different things, see

11
00:00:45,040 --> 00:00:48,280
what sticks.

12
00:00:56,239 --> 00:00:58,559
No, I'm trying to find a cool plucked

13
00:00:58,559 --> 00:01:02,280
lead or something.

14
00:01:05,760 --> 00:01:09,119
That's the sound that inspires me.

15
00:01:09,119 --> 00:01:11,280
Let's

16
00:01:11,280 --> 00:01:15,840
see what happens if I if I play it like

17
00:01:15,840 --> 00:01:18,000
dance music works a lot of times in the

18
00:01:18,000 --> 00:01:21,600
key of F, F

19
00:01:21,600 --> 00:01:23,680
free to transpose all your instruments

20
00:01:23,680 --> 00:01:25,439
to a different key to see if it sounds

21
00:01:25,439 --> 00:01:27,439
better. First of all, it could fit the

22
00:01:27,439 --> 00:01:30,000
kick better, or B, it could just make

23
00:01:30,000 --> 00:01:35,400
the mood of the track better. Oh, wow.

24
00:02:03,280 --> 00:02:08,680
Uh, now let's see if I have some.

25
00:02:08,720 --> 00:02:10,879
I love fooling around with sounds and

26
00:02:10,879 --> 00:02:12,959
I've spent days in the studio just

27
00:02:12,959 --> 00:02:14,959
organizing the several libraries that I

28
00:02:14,959 --> 00:02:17,360
bought.

29
00:02:17,360 --> 00:02:18,720
Maybe a different synth. I'm just

30
00:02:18,720 --> 00:02:20,879
looking for inspiration.

31
00:02:20,879 --> 00:02:24,200
Maybe something

32
00:02:27,040 --> 00:02:29,040
not from this. I love this synth as

33
00:02:29,040 --> 00:02:30,400
well. We haven't even touched on this

34
00:02:30,400 --> 00:02:33,360
one. basically all about finding

35
00:02:33,360 --> 00:02:35,120
inspiration with the sounds that you

36
00:02:35,120 --> 00:02:37,360
really like. And I'm looking for more of

37
00:02:37,360 --> 00:02:40,319
a plucked sound.

38
00:02:40,319 --> 00:02:44,200
This is one of my favorite

39
00:03:07,920 --> 00:03:09,599
I'm going to lower the tempo a little

40
00:03:09,599 --> 00:03:11,360
bit. Maybe I can think of an arpeggio,

41
00:03:11,360 --> 00:03:13,120
some sort of a top melody on top of

42
00:03:13,120 --> 00:03:16,680
these beautiful chords.

43
00:03:19,040 --> 00:03:21,120
Plus are so great for trans music

44
00:03:21,120 --> 00:03:22,720
because they have a clear attack and

45
00:03:22,720 --> 00:03:24,400
they don't clog up your mix very fast

46
00:03:24,400 --> 00:03:26,080
because the sounds are usually very

47
00:03:26,080 --> 00:03:27,680
short. So, they're great for

48
00:03:27,680 --> 00:03:31,360
arpeggiating chords.

49
00:03:31,360 --> 00:03:34,000
I really like that sound.

50
00:03:34,000 --> 00:03:36,400
Uh, see, it's it's the baseline is moves

51
00:03:36,400 --> 00:03:39,400
before.

52
00:03:39,519 --> 00:03:43,720
Okay. Well, save that one.

53
00:03:49,200 --> 00:03:49,760
It's happening.

54
00:03:49,760 --> 00:03:50,640
You don't like it?

55
00:03:50,640 --> 00:03:53,280
I like it. I love it. Just something

56
00:03:53,280 --> 00:03:54,080
wrong with the

57
00:03:54,080 --> 00:03:56,239
Yeah.

58
00:03:56,239 --> 00:03:59,239
timing.

59
00:03:59,920 --> 00:04:01,760
I think

60
00:04:01,760 --> 00:04:07,400
on 66 and a half is not on the grid.

61
00:04:08,000 --> 00:04:10,000
It's late, but I like it to be honest.

62
00:04:10,000 --> 00:04:12,560
But when it's off, well, this one is

63
00:04:12,560 --> 00:04:14,400
off.

64
00:04:14,400 --> 00:04:17,840
The other one seems to be on the

65
00:04:17,840 --> 00:04:20,239
uh and also it doesn't make sense in the

66
00:04:20,239 --> 00:04:23,199
if you want to have it eight,

67
00:04:23,199 --> 00:04:26,400
let me see.

68
00:04:31,919 --> 00:04:34,080
Does it make sense now? No, it's six.

69
00:04:34,080 --> 00:04:36,560
It's very creative.

70
00:04:36,560 --> 00:04:40,120
But it sounds nice.

71
00:04:43,919 --> 00:04:47,680
Okay. But expect notes afterwards.

72
00:04:47,680 --> 00:04:49,360
They're not in there yet. Actually, it's

73
00:04:49,360 --> 00:04:51,520
the the first

74
00:04:51,520 --> 00:04:54,080
uh part, I guess. Which what what would

75
00:04:54,080 --> 00:04:54,960
you suggest?

76
00:04:54,960 --> 00:04:58,000
The very first the one

77
00:04:58,000 --> 00:05:00,479
two of them.

78
00:05:00,479 --> 00:05:02,080
Yeah, just copy them.

79
00:05:02,080 --> 00:05:06,000
Yeah, those two. So from 65 to 66 that

80
00:05:06,000 --> 00:05:06,639
bar.

81
00:05:06,639 --> 00:05:08,639
Okay. Double it.

82
00:05:08,639 --> 00:05:12,720
Get rid of that sick thing.

83
00:05:12,720 --> 00:05:15,360
Yeah. And then you get can make the step

84
00:05:15,360 --> 00:05:19,160
to the other progression.

85
00:05:28,160 --> 00:05:31,160
Uh

86
00:05:47,360 --> 00:05:50,080
That's it.

87
00:05:50,080 --> 00:05:52,639
I like this progression.

88
00:05:52,639 --> 00:05:54,080
Doesn't bore me, does it?

89
00:05:54,080 --> 00:05:57,639
No, it's not linear.

90
00:06:09,600 --> 00:06:11,120
That's good. that last note that you

91
00:06:11,120 --> 00:06:13,360
added.

92
00:06:13,360 --> 00:06:15,360
Sometimes it can really help to produce

93
00:06:15,360 --> 00:06:18,319
a nonlinear melody. For example, when

94
00:06:18,319 --> 00:06:20,240
you have a chord structure going up, you

95
00:06:20,240 --> 00:06:24,720
define a melody that actually goes down.

96
00:06:24,720 --> 00:06:26,319
And then the second time, maybe we could

97
00:06:26,319 --> 00:06:28,400
go.

98
00:06:28,400 --> 00:06:30,240
Well, if if we do that progression that

99
00:06:30,240 --> 00:06:32,880
we had earlier on.

100
00:06:32,880 --> 00:06:34,800
Uh yeah.

101
00:06:34,800 --> 00:06:37,600
Uh maybe mute this.

102
00:06:37,600 --> 00:06:41,960
Kill this for a moment. I hear the

103
00:06:44,080 --> 00:06:45,919
Yeah. A lot of the times working on

104
00:06:45,919 --> 00:06:47,520
dance music, you'll find yourself

105
00:06:47,520 --> 00:06:49,680
editing MIDI files. Finding the

106
00:06:49,680 --> 00:06:52,319
shortcuts on your DAW is very essential

107
00:06:52,319 --> 00:06:53,919
because this way you can work really

108
00:06:53,919 --> 00:06:56,240
quick and put down your melodic ideas in

109
00:06:56,240 --> 00:06:58,160
really fast

110
00:06:58,160 --> 00:06:58,639
and then

111
00:06:58,639 --> 00:07:01,360
stay on the same note and then go up.

112
00:07:01,360 --> 00:07:04,919
Yeah, this one.

113
00:07:05,759 --> 00:07:07,599
Yeah.

114
00:07:07,599 --> 00:07:12,039
Maybe bit predictable but

115
00:07:21,120 --> 00:07:23,199
I like it a lot. I think we're getting

116
00:07:23,199 --> 00:07:26,199
somewhere.

117
00:07:41,440 --> 00:07:45,720
Wow. Add add layers to it.

118
00:07:51,120 --> 00:07:55,639
That's nice. That's a nice one.

119
00:07:58,000 --> 00:08:01,000
Yeah.

120
00:08:06,960 --> 00:08:10,120
Go on.

121
00:08:11,360 --> 00:08:15,960
Go on. Go on. Go on. Go on. It

122
00:08:29,520 --> 00:08:32,320
finished.

123
00:08:32,320 --> 00:08:34,000
Capture recording. One of the best

124
00:08:34,000 --> 00:08:35,599
functions in Logic.

125
00:08:35,599 --> 00:08:37,680
There you got it. It c without pressing

126
00:08:37,680 --> 00:08:39,680
record. It captures your recording. It's

127
00:08:39,680 --> 00:08:40,159
magic.

128
00:08:40,159 --> 00:08:44,560
So, we only need to fix that over there.

129
00:08:44,560 --> 00:08:46,880
I like this.

130
00:08:46,880 --> 00:08:49,760
Now you got the chair.

131
00:08:49,760 --> 00:08:53,080
Fix it.

132
00:08:59,279 --> 00:09:03,000
Oh, you're almost there.

133
00:09:14,480 --> 00:09:17,959
It's nice, man.

134
00:09:26,959 --> 00:09:29,959
Oh,

135
00:09:30,959 --> 00:09:33,200
I like the this second layer coming in

136
00:09:33,200 --> 00:09:36,200
there

137
00:09:36,560 --> 00:09:40,279
bells. Maybe something

138
00:09:42,000 --> 00:09:45,000
more.

139
00:09:52,720 --> 00:09:55,279
I like this.

140
00:09:55,279 --> 00:09:55,680
Should Should Should Should Should

141
00:09:55,680 --> 00:09:55,760
Should Should Should Should Should
Should Should Should Should Should

142
00:09:55,760 --> 00:09:56,800
Should Should Should Should Should
Should Should we do a second layer

143
00:09:56,800 --> 00:09:58,480
everywhere?

144
00:09:58,480 --> 00:10:00,959
Or maybe I like when it's random like

145
00:10:00,959 --> 00:10:02,000
not so

146
00:10:02,000 --> 00:10:05,279
Yeah. You want to keep it?

147
00:10:05,279 --> 00:10:06,000
Yeah.

148
00:10:06,000 --> 00:10:08,000
Well, more like

149
00:10:08,000 --> 00:10:10,959
nice string back.

150
00:10:10,959 --> 00:10:13,120
That's a good thing.

151
00:10:13,120 --> 00:10:15,519
But I like this this nice character to

152
00:10:15,519 --> 00:10:18,240
it.

153
00:10:18,880 --> 00:10:20,320
And it stays on the note. That's better

154
00:10:20,320 --> 00:10:23,480
for me.

155
00:10:24,560 --> 00:10:27,560
Cool.

156
00:10:27,839 --> 00:10:31,200
Maybe a nice bright pad to fill it up.

157
00:10:31,200 --> 00:10:34,240
Old school transman.

158
00:10:34,240 --> 00:10:35,519
It's coming together, right?

159
00:10:35,519 --> 00:10:36,959
Yep.

160
00:10:36,959 --> 00:10:41,079
So pad pad.

161
00:10:42,240 --> 00:10:46,279
What's this? Let's

162
00:10:53,120 --> 00:10:57,240
Oh, is is it

163
00:10:58,000 --> 00:11:02,200
This is nice because it's not so linear

164
00:11:05,040 --> 00:11:08,880
or keep it on the same note.

165
00:11:08,880 --> 00:11:12,120
Like it.

166
00:11:14,320 --> 00:11:19,320
Love it. Put a delay behind it.

167
00:11:25,040 --> 00:11:27,600
Well, let's capture this recording.

168
00:11:27,600 --> 00:11:32,120
Yeah, let's go.

169
00:11:32,160 --> 00:11:35,440
Like this, right? Just like

170
00:11:35,440 --> 00:11:38,000
but in the right key. So, we're in B

171
00:11:38,000 --> 00:11:41,000
minor.

172
00:11:51,279 --> 00:11:54,279
Um,

173
00:11:56,560 --> 00:11:58,320
if you play it like this is pretty

174
00:11:58,320 --> 00:12:01,519
erratic, but it does work in the track,

175
00:12:01,519 --> 00:12:06,200
right? Um, so

176
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mute this. See if it's

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This sounds better, I guess.

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Could you copy that file to this

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computer?

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You know you're happy with a melody when

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it really does something to you and when

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you want to replay the same part over

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and over.

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This melody is really working for me.

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So, that means I'm ready for the next

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thing. Producing a kick and a bass.

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00:00:07,839 --> 00:00:09,120
You have to understand you're making

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dance music. So people have to be able

3
00:00:11,599 --> 00:00:14,000
to dance to your tracks. So there has to

4
00:00:14,000 --> 00:00:16,080
be a certain balance between the kick

5
00:00:16,080 --> 00:00:18,480
and and and the bass and the rest of

6
00:00:18,480 --> 00:00:20,400
what's going on in your track. To put a

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00:00:20,400 --> 00:00:22,880
long story short, if if if your kick is

8
00:00:22,880 --> 00:00:24,400
not working, if your kick doesn't have

9
00:00:24,400 --> 00:00:26,560
the right low end, it won't rock a crowd

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and then it won't work. uh you'll you'll

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find that out the hard way.

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I don't think that there's a thing as

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bad samples. I mean, any sample can be

14
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turned into a good sample if you use it

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in a creative and an interesting way. Uh

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I've built an extensive library just so

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like for example, if I'm working on a

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disco track or something else I want to

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00:00:51,920 --> 00:00:54,000
do, I want to be able to have my library

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ready. So, that's why let let me pull up

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00:00:56,320 --> 00:00:58,399
an empty track in this particular song.

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Create a software instrument. And uh I

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love the EXS 24. It's it's my go-to uh

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uh plugin uh for samples, but you can

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use any sampler really. It's just a

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matter of building a good library. And

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if I go into the EXS 24 here, you'll see

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the library that we've collected over

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the years. And this is years of work. Uh

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it's a lot of work. Uh but it's trust

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me, it's worth it. So, you see here,

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this is just drum bass drum. You see how

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many kicks we have? It's ridiculous.

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It's really ridiculous. And you think,

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why the hell would I need so many kicks?

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Well, there's a very simple reason for

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it. You don't know what track you're

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going to end up working with. So, you

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00:01:35,200 --> 00:01:37,759
just want to have your your, you know,

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00:01:37,759 --> 00:01:40,400
your your ammo basically for when what

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00:01:40,400 --> 00:01:41,759
track you're going to work on. So, here

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00:01:41,759 --> 00:01:43,840
you look here. kicks, breakbeats, kicks,

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00:01:43,840 --> 00:01:46,960
clubby, kicks, dirty, kicks trans, uh

44
00:01:46,960 --> 00:01:50,720
you know, tonal kicks, um all the

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00:01:50,720 --> 00:01:52,799
libraries and all mapped out in EXS

46
00:01:52,799 --> 00:01:54,640
instruments. The reason why we do that

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00:01:54,640 --> 00:01:56,000
is because you have them instantly

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00:01:56,000 --> 00:01:58,960
available on your keyboard. So, let me

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00:01:58,960 --> 00:02:02,200
pull up.

50
00:02:08,879 --> 00:02:10,879
Those are all different kick drums. And

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00:02:10,879 --> 00:02:12,640
each of these kick drums could be used

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00:02:12,640 --> 00:02:14,560
in one of my next tracks. It all depends

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00:02:14,560 --> 00:02:16,319
on the other sounds I'm using, the

54
00:02:16,319 --> 00:02:18,560
baseline I'm using, the the percussion

55
00:02:18,560 --> 00:02:20,319
I'm using. Sometimes you want to use a

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00:02:20,319 --> 00:02:21,920
kick that has not such a low end.

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00:02:21,920 --> 00:02:23,280
Sometimes you might want to use a kick

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that has or you just roll off all the

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low end and just use the top of it. And

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that's the great thing about Logic. You

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can easily copy the same kick drum, roll

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off all the low end, and start fooling

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around with another bottom or another

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top if you layer it.

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00:02:42,319 --> 00:02:43,760
Everything in dance music revolves

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around the kick drum. And uh I'm sure

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that if in a couple of years from now

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00:02:48,640 --> 00:02:52,239
there'll be a university degree in uh uh

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dance music that uh you'd have to have

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an exam about the kick drum. There's so

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00:02:57,200 --> 00:02:59,360
much to say about the kick drum. Uh the

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00:02:59,360 --> 00:03:01,599
kick drum in dance music is the holy

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00:03:01,599 --> 00:03:04,159
grail. It's what keeps you um that

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00:03:04,159 --> 00:03:05,680
brings you in a state of trance.

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00:03:05,680 --> 00:03:08,239
Basically, every kick drum has a low end

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00:03:08,239 --> 00:03:10,800
and a top. And for this particular

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00:03:10,800 --> 00:03:14,000
track, um, we, uh, sampled a kick, uh,

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00:03:14,000 --> 00:03:15,920
that was basically just from a library.

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00:03:15,920 --> 00:03:18,400
Put some EQ on top of it. This is the

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00:03:18,400 --> 00:03:21,720
basic kick,

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00:03:23,040 --> 00:03:25,680
but we also added another top to it. And

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the top in this case exists of uh, this

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00:03:29,120 --> 00:03:30,959
plugin.

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00:03:30,959 --> 00:03:34,159
And we roll off all the low end. So just

85
00:03:34,159 --> 00:03:40,400
for the top, see around two 5k,

86
00:03:40,400 --> 00:03:42,640
it's nothing but that. It just adds to

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00:03:42,640 --> 00:03:45,519
the transients. It adds to the clearness

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00:03:45,519 --> 00:03:46,640
of the kick because you want to be able

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00:03:46,640 --> 00:03:48,400
to hear the kick not only on the on the

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00:03:48,400 --> 00:03:50,319
mainfield system, but particularly on

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00:03:50,319 --> 00:03:52,640
the smaller speakers because you want

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00:03:52,640 --> 00:03:54,799
this kick to also shine through in your

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00:03:54,799 --> 00:03:56,959
mom's kitchen and in your car stereo

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00:03:56,959 --> 00:03:58,799
when you don't have that big those big

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00:03:58,799 --> 00:04:00,799
speakers with those big subwoofers. So

96
00:04:00,799 --> 00:04:02,959
in this particular track, we even have

97
00:04:02,959 --> 00:04:07,120
two top kicks which is also

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00:04:07,120 --> 00:04:09,519
a sample

99
00:04:09,519 --> 00:04:12,560
which is basically just a high hat

100
00:04:12,560 --> 00:04:16,160
as a closed high added to the kick.

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00:04:16,160 --> 00:04:17,759
Talking about using unconventional

102
00:04:17,759 --> 00:04:22,479
things. So kick closed just adding that

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00:04:22,479 --> 00:04:25,280
little top on top of the kick to make

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00:04:25,280 --> 00:04:27,600
the kick shine through. So let me play

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00:04:27,600 --> 00:04:31,759
let me play the kick without the top.

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And now add the top to it

107
00:04:38,000 --> 00:04:39,919
makes for a whole different kick. So

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just adding the top to a kick and, you

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00:04:42,479 --> 00:04:44,320
know, adding those elements to it can

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just make your kick shine through a

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little bit more.

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00:04:53,360 --> 00:04:54,720
You know that you're going to use a

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00:04:54,720 --> 00:04:56,720
certain key in a track, whether it's G

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00:04:56,720 --> 00:05:01,600
or C or whatever. And that particular um

115
00:05:01,600 --> 00:05:03,919
uh key that you're using can be very

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00:05:03,919 --> 00:05:05,199
important in choosing your kick because

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00:05:05,199 --> 00:05:07,520
your kick also has a key. Whether it's

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short or long, it doesn't matter. Your

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00:05:09,039 --> 00:05:11,280
kick has a key and your baseline. So

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depending on what baseline you'll be

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00:05:12,720 --> 00:05:14,479
using, you might be want to using a

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00:05:14,479 --> 00:05:16,400
different kick. If you use a really long

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00:05:16,400 --> 00:05:19,199
kick on 138 BPM, it won't work because

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the the kick is not even finished before

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the next kick comes. So it becomes one

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big and especially in a big room, it

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won't work. So, uh, the best thing to do

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is then make sure your kick's short. And

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again, that's where we use LFO tool. Uh,

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sometimes you want to make your kick

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even shorter just to make sure it has

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poof and then it's gone. Uh, so I I I

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00:05:39,919 --> 00:05:41,280
could have done that on this particular

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track. Let me pull on an LFO tool and

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use it in a different way than uh to

136
00:05:46,160 --> 00:05:49,440
give uh space for my kick. I'm using it

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the other way around to shorten my kick.

138
00:05:52,560 --> 00:05:55,440
Uh, so let me see.

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00:05:55,440 --> 00:06:00,919
Let me play the kick. Solo it.

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Okay, now I'm going to use it.

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00:06:07,120 --> 00:06:08,800
But sometimes you want your kick to be

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really long.

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00:06:13,120 --> 00:06:15,120
Also, for an intro, for a track, it

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00:06:15,120 --> 00:06:16,800
could be very interesting to have a

145
00:06:16,800 --> 00:06:21,319
filtered kick that goes more like this.

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If I decide I only want to have uh the

147
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the the top of the kick and not the low

148
00:06:29,120 --> 00:06:31,919
end, I use the LFO tool to make it

149
00:06:31,919 --> 00:06:34,919
shorter.

150
00:06:35,120 --> 00:06:37,840
My low end is gone because I I volume

151
00:06:37,840 --> 00:06:39,759
draw the the rest away and now I only

152
00:06:39,759 --> 00:06:42,000
have the top kick, but I do have the low

153
00:06:42,000 --> 00:06:44,080
end of a little bit of low end. So, it

154
00:06:44,080 --> 00:06:46,479
could be nice. That's a way of uh of

155
00:06:46,479 --> 00:06:49,960
working your kick.

156
00:06:53,680 --> 00:06:56,000
So, what we've done, we've pulled up um

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00:06:56,000 --> 00:06:57,520
The Great Spirit, this track that I

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00:06:57,520 --> 00:06:59,599
previously released with uh Vinuvichi,

159
00:06:59,599 --> 00:07:03,639
and it sounds something like this.

160
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Now, I know for a fact that that track

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00:07:11,199 --> 00:07:12,720
is sounding great on a dance floor

162
00:07:12,720 --> 00:07:14,080
because I played it. I see the crowd

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00:07:14,080 --> 00:07:16,639
going crazy. So, we carefully listen to

164
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the kick and the baseline.

165
00:07:22,240 --> 00:07:24,319
So you just have to use your ears and

166
00:07:24,319 --> 00:07:26,880
try to find a kick drum. Uh so in a

167
00:07:26,880 --> 00:07:31,479
sample library we found this kick.

168
00:07:31,759 --> 00:07:35,639
This is just a sample really.

169
00:07:36,319 --> 00:07:38,479
We added some EQ to it though because we

170
00:07:38,479 --> 00:07:40,720
felt that around 100 Hz that original

171
00:07:40,720 --> 00:07:44,680
kick I can turn it off.

172
00:07:45,919 --> 00:07:47,840
But by ABing with the other track, we

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00:07:47,840 --> 00:07:50,000
felt that this was the necessary EQ

174
00:07:50,000 --> 00:07:52,960
curve adding to the side trans feel of

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it.

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00:07:54,479 --> 00:07:57,599
And then I found a baseline in a library

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in contact which is a native instrument

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uh plugin.

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Here you go. It's called FLB Instrument.

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Uh so let me switch off all the plugins

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00:08:09,280 --> 00:08:14,160
that we added to the sound. This was the

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00:08:14,160 --> 00:08:17,960
basic uh baseline

183
00:08:22,160 --> 00:08:25,879
with the kicks. You get

184
00:08:28,960 --> 00:08:31,039
still not there. So then we just started

185
00:08:31,039 --> 00:08:33,200
throwing a bunch of plugins on top and

186
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sculpting the sound color-wise more to

187
00:08:35,519 --> 00:08:38,080
the the AB track, the the Great Spirit

188
00:08:38,080 --> 00:08:40,479
track. So if I start adding the the

189
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plugins one by one, you can hear that

190
00:08:42,560 --> 00:08:44,480
the baseline is getting more presence,

191
00:08:44,480 --> 00:08:47,800
more color.

192
00:08:50,640 --> 00:08:54,240
I love this plugin by iZotope.

193
00:08:54,240 --> 00:08:55,920
Adding a little bit of top layer to it

194
00:08:55,920 --> 00:08:59,519
so it gets more of a fresh feel.

195
00:08:59,519 --> 00:09:02,320
a little bit of distortion

196
00:09:02,320 --> 00:09:06,160
using the Fat Filter Saturn plugin.

197
00:09:06,160 --> 00:09:08,160
Then we use the Bark of Dog plugin uh

198
00:09:08,160 --> 00:09:12,040
for a little bit of low end,

199
00:09:15,120 --> 00:09:18,240
more EQing,

200
00:09:18,240 --> 00:09:19,839
and then finally enough, a little bit of

201
00:09:19,839 --> 00:09:21,680
reverb because we felt that the the the

202
00:09:21,680 --> 00:09:26,040
sound needed a little bit of space,

203
00:09:28,560 --> 00:09:30,880
more EQ.

204
00:09:30,880 --> 00:09:34,200
Quite radical.

205
00:09:34,480 --> 00:09:38,760
Now, quickly go back to the other track.

206
00:09:40,720 --> 00:09:43,200
See, it has some sort of a same impact.

207
00:09:43,200 --> 00:09:45,040
It's a different kick, different

208
00:09:45,040 --> 00:09:47,760
baseline,

209
00:09:47,760 --> 00:09:50,800
different key, but we have the same sort

210
00:09:50,800 --> 00:09:54,560
of vibe going on. We use that track as a

211
00:09:54,560 --> 00:09:57,200
reference not as not copying just use it

212
00:09:57,200 --> 00:10:00,320
as a inspiration for uh this track using

213
00:10:00,320 --> 00:10:02,480
different sounds different percussion

214
00:10:02,480 --> 00:10:05,120
but you know using the fundamentals the

215
00:10:05,120 --> 00:10:10,120
and namely the the colors of the sounds

216
00:10:13,680 --> 00:10:15,040
baseline and the kick are obviously

217
00:10:15,040 --> 00:10:16,240
fighting for the same frequency

218
00:10:16,240 --> 00:10:19,519
spectrum. Um, so the way you give room

219
00:10:19,519 --> 00:10:22,640
to a baseline is our favorite plugin and

220
00:10:22,640 --> 00:10:24,560
probably used most. I I don't know why

221
00:10:24,560 --> 00:10:26,800
we use it three times, but here you go.

222
00:10:26,800 --> 00:10:29,279
It's a volume shaper. Basically, the LFO

223
00:10:29,279 --> 00:10:32,320
tool is probably our most used plugin.

224
00:10:32,320 --> 00:10:35,120
And we use it to give space to the kick.

225
00:10:35,120 --> 00:10:37,120
So, if you would mute the kick drum, you

226
00:10:37,120 --> 00:10:39,839
would hear.

227
00:10:39,839 --> 00:10:43,959
Let's switch off the LFO tool.

228
00:10:46,399 --> 00:10:49,360
See? So, basically, I'm volume ducking

229
00:10:49,360 --> 00:10:50,880
uh the baseline to give room for the

230
00:10:50,880 --> 00:10:54,600
kick to shine through.

231
00:10:56,160 --> 00:10:59,920
And I think Beno added another LFO tool

232
00:10:59,920 --> 00:11:01,839
to give some sort of a groove feel

233
00:11:01,839 --> 00:11:05,360
because he felt that a sitr is all about

234
00:11:05,360 --> 00:11:08,560
volume, controlling the volume. So, we

235
00:11:08,560 --> 00:11:11,120
have three LFO tools running on one

236
00:11:11,120 --> 00:11:15,279
baseline just to give um to give the

237
00:11:15,279 --> 00:11:19,880
baseline space in the in the mix.

238
00:11:21,680 --> 00:11:23,920
If I would switch them off, you'd get

239
00:11:23,920 --> 00:11:26,920
this.

240
00:11:27,120 --> 00:11:29,920
Doesn't sound groovy.

241
00:11:29,920 --> 00:11:33,480
switching them on.

242
00:11:38,560 --> 00:11:40,959
So that's it's a natural way of of of

243
00:11:40,959 --> 00:11:42,320
thinking. You know, you want the

244
00:11:42,320 --> 00:11:44,000
baseline to be a bit more groovy. So

245
00:11:44,000 --> 00:11:47,360
instead of that D, it sounds very harsh.

246
00:11:47,360 --> 00:11:48,480
You want it to sound a little bit more

247
00:11:48,480 --> 00:11:50,079
groove. So you can add groove to it by

248
00:11:50,079 --> 00:11:51,839
just drawing the volume basically

249
00:11:51,839 --> 00:11:53,279
because it's basically a volume

250
00:11:53,279 --> 00:11:57,360
automator, an enveloper, if you will.

1
00:00:13,360 --> 00:00:15,360
In this particular track, I think we

2
00:00:15,360 --> 00:00:19,279
have something like 15 extra drum

3
00:00:19,279 --> 00:00:22,080
tracks. Again, with a Sitrans inspired

4
00:00:22,080 --> 00:00:24,400
track, it's all about the kick drum and

5
00:00:24,400 --> 00:00:26,160
the baseline. That's the most important.

6
00:00:26,160 --> 00:00:28,720
It's just adding the the icing on the

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cake, the extra drums. It gives it that

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extra feel. And if you see also in the

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arrangement, you can see that there's a

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fill on almost every end of the bar um

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to make it to give it that side feel, a

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little stop that to make it a little

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groovy. In this particular track,

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there's a uh a female vocal going. Let

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me see if I can find it.

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And that's this one. And that adds just

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See, it just it's just one of those

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little fragments that we added and we

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put it in the vocal section, but if you

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play it loud, it's just it gives it that

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little vibe.

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It's it's very far away in the

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production. It's very far. You can't

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even hear it if you But if you put it on

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headphones, you hear that there's all

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sorts of richness going on. It's a very

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it's a bouquet of all kinds of little

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sounds that are running in the

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background. If you if you look closely

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at this track, you see that no bar is

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the same. Every bar is different just to

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make it a little bit more exciting

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because you don't want to, you know, you

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don't want to repeat yourself. So every

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bar there's something else coming in or

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going out or fading in or fading out.

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These are not particularly drums, but

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these are like little side trans

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effects.

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So all those little things are running

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in the background, if you mix them with

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everything, it just makes it sound more

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expensive, if you will.

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We wanted to make a track that is

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sidetrans inspired. And what we hear in

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a lot of side trends tracks is that

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there's little fills going on, little

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drums, little reversed crashes and and

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little exciting effects. So while Beno

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was working on the kick and the baseline

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and uh arranging the song a little bit,

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I opened up Ableton. So I'm I'm moving

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away from Logic for the moment. And this

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was actually what I was doing. I was

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just throwing together a bunch of

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samples. And initially that was not on

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138 BPM. It was on 132 BPM because

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initially we started working on 132. We

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didn't even know if we wanted to make a

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side trans. Initially I wanted to make a

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a 132 BPM track with a side trans feel.

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But we couldn't get that feel unless it

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was 138 which is sort of the holy side

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tempo. So I went into my libraries and

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threw in random loops inspired by trans

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tracks.

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baseline.

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Another kick. Another kick. Uh drums.

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Uh just adding

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light a nice kabasa loop. And I'm just

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giving just making content just trying

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to generate several ideas that you may

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or may not use in your final

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arrangement. So then at the final point

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we decided to put it at 138 BPM. And the

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good thing about Ableton is is that it

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immediately speeds up everything.

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So just throwing vocal samples in there,

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little cuts, little edits.

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So you hear I have all different

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elements going on and these are merely

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used as add-ons to the groove. So what I

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do and Ableton has a great

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functionality. I select all these tracks

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that I want to export. I say render

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export audio video and I can say here in

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um

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render all individual tracks. So they

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give me individual samples

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all rendered at 138 BPM. So if I import

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them into Logic, I already know that the

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tempo is okay and I use them as

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inspiration. So uh if you pull up uh our

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final arrangement which is here, you'll

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see that we end up not using everything.

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We'll use snippets of those samples in

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the final arrangement. Using samples is

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a great way of getting a groove to your

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tracks because some samples are not

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really accurate on the groove. I by rule

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I really don't quantize my loops that I

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put in Ableton. I just throw in loops

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that have a groovy feel or add to the

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groove of the track. Uh having said that

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is all has to do with the groove that

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you choose for your track. Um I think

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the baseline is very important to that.

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If the baseline has a swing feel, then

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your percussion elements could add to

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that groovy feel of the baseline. Again,

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not a golden way. Sometimes it's great

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if your percussion has a straight

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quantization and your baseline has a

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groovy feel, but in general, I would

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like to say that we follow the groove of

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the baseline with our percussion.

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So, here's our here are our drums. I

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already talked to you about the kick and

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here's the rest of our percussion. Um,

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so what is very important in in side or

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at least I think it is important is the

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toms, the toms, fills and everything. So

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I have six tracks that include toms. Um,

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some of them are samples, uh, some of

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them are plugins,

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but this is basically running with the

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track.

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different elements, different to give it

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to give it that exciting vibe. So, it's

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all just little snippets of those

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samples I pulled up and a couple of

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plugins that we have. For example,

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contact has a great uh plugin called

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this comes standard with uh Native

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Instrument Complete, action strikes. So,

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if I would play the keyboard, I get

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drums,

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all different kinds of toms.

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And you don't need them all. You just

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need a little bits and little bits of

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it. And if you combine them with those

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samples and I found another library in

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the Nexus, which is a great uh plugin

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for epic big toms 4, which is part of

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the Hollywood library that you can buy.

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It's a great sounding library that has

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those epic big Hollywood toms.

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And to make sure that it has that feel

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and it's not clogging up your mix.

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Again, I'm using EQ to roll off all the

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low end to not fight with my kick and my

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baseline. That's very, very important.

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And of course, an LFO tool again to duck

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the kick because the kick is the holy

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grail. Cannot fight with the kick. Give

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it space. So, if I play everything

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together,

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uh, we also have a bunch of claps going

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on here. Just a little bit of rhythm.

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Those are all little elements. Nothing

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major. There's just

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everything is ducking with another LFO

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tool. I think on almost every track

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there's an LFO tool, a volume shaper.

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You could also use any envelope tool

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that you uh want to use, but it's very

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important to give your gig space. So, if

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I just focus on my percussion, the

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groove without uh the baseline but with

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the kick,

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that should already sound pretty nice.

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and and then adding the baseline.

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See, that's why my projects are are do

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have a lot of tracks because I like to

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add those samples to my productions to

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give it, you know, make it sound more

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luxurious. And to be honest, it never

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ends. It's an ongoing process of adding

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samples, little reverbs, effects, and

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but all those effects, they do matter.

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If they're not there, you will miss

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them. Sometimes you don't even notice

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it, but it's the little things that do

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matter in productions like this. Every

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track has different plugins on them to

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enhance them and make sure they have a

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place in the mix. Because the danger

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with uh tracks like these, if you use

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104 tracks, is that you have all these

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frequencies fighting with each other. So

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on almost every channel, there's an LFO

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tool and there's an EQ to roll off the

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frequencies that we don't need,

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specifically the low end, but sometimes

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also the high end. You don't want you

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don't want it to sound harsh or

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anything. You don't want it to sound

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full. you wanted to give, you know, it

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needs to have some sort of a magical

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feel to it.

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So, here's another track uh that I

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worked on that was really big in my

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sets. I co-wrote this together with Beno

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and Sunnery James and Ryan Marciano. So,

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for me uh the the trick is and and the g

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the thing I get inspiration from is to

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find a groove that I would be able to

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play and they would be able to play. So,

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we came up with um this groove. Let me

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see if I can pull up just the groove.

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What you can hear here uh and what is

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very important in this particular track

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is the uh the baseline that's going

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underneath and uh actually all the the

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top end is is filtered out and that's

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what gives it the groovy feel. So, let's

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00:10:35,920 --> 00:10:40,360
just focus on the baseline for now.

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00:10:48,480 --> 00:10:50,480
So, those toms are actually the

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baseline. So, in this case, there is a

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baseline going, which is this one. It's

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a silent, but the actual baseline is

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also a tuned tom.

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00:11:03,360 --> 00:11:05,360
and they're tuned in the same key as the

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rest of the track, which sort of makes

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it a baseline. Who says that a baseline

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always has to be a synth? It can also be

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a drum, right? If it sounds good, it is

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00:11:13,600 --> 00:11:16,399
good. And then again, of course, uh LFO

229
00:11:16,399 --> 00:11:18,959
tool to give the kick space. We did it

230
00:11:18,959 --> 00:11:22,600
pretty radical here.

231
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Part of the baseline is actually also in

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the kick itself. The kick is just

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00:11:28,720 --> 00:11:32,279
really, really long.

234
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And this comes from a tonal kick bank, a

235
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tonal kick six.

236
00:11:40,399 --> 00:11:44,240
And what we've done is basically put an

237
00:11:44,240 --> 00:11:48,120
EQ on top of it

238
00:11:48,480 --> 00:11:52,160
to make it more dark.

239
00:11:52,160 --> 00:11:54,480
And with combined with the tom and the

240
00:11:54,480 --> 00:11:56,720
synth, it gives it uh the kick in the

241
00:11:56,720 --> 00:11:59,720
bass.

242
00:12:05,519 --> 00:12:07,279
So that that is basically the groove of

243
00:12:07,279 --> 00:12:09,120
your track. And then just starting a few

244
00:12:09,120 --> 00:12:10,639
elements to it. There's not actually

245
00:12:10,639 --> 00:12:12,959
that much going on. We have a some sort

246
00:12:12,959 --> 00:12:16,200
of a snare.

247
00:12:25,279 --> 00:12:26,959
And again, everything volume automated

248
00:12:26,959 --> 00:12:28,639
on the kick to give the kick space to

249
00:12:28,639 --> 00:12:30,399
shine through. And everything played

250
00:12:30,399 --> 00:12:35,079
together without the lead yet is

251
00:12:38,480 --> 00:12:42,360
you are.

252
00:12:45,839 --> 00:12:49,680
You are sexy. You are sweet. You are

253
00:12:49,680 --> 00:12:52,160
hot. Feel the heat. You are pretty. You

254
00:12:52,160 --> 00:12:54,800
are pure. You're my kind. I want more.

255
00:12:54,800 --> 00:12:57,600
You are fire. My desire. You are fine.

256
00:12:57,600 --> 00:13:00,880
And you're mine. Mine. Mine. Mine. Mine.

257
00:13:00,880 --> 00:13:04,639
You are sexy. You are sweet. You are

258
00:13:04,639 --> 00:13:07,200
hot. Feeling heat. You are pretty. You

259
00:13:07,200 --> 00:13:09,760
are pure. You're my kind. I want more.

260
00:13:09,760 --> 00:13:12,639
You are fire by desire. You are fine.

261
00:13:12,639 --> 00:13:15,920
And you're mine. Mine. Mine. Mine. Mine.

262
00:13:15,920 --> 00:13:18,480
You are.

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00:13:18,480 --> 00:13:19,760
There's not many section in this

264
00:13:19,760 --> 00:13:21,040
particular track where everything's

265
00:13:21,040 --> 00:13:23,040
playing together. I think only right

266
00:13:23,040 --> 00:13:27,200
before the drop and just after we have

267
00:13:27,200 --> 00:13:28,800
all the percussion elements, the kick

268
00:13:28,800 --> 00:13:30,720
and the baseline coming together. And

269
00:13:30,720 --> 00:13:32,399
there's not that many elements that we

270
00:13:32,399 --> 00:13:34,079
added to the drums. It's just basically

271
00:13:34,079 --> 00:13:36,800
the baseline, the kick uh and a few of

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00:13:36,800 --> 00:13:38,720
those tribal field percussion. Actually,

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I think Sunny James pro programmed the

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00:13:41,360 --> 00:13:43,440
the drums. It's a really weird kind of

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00:13:43,440 --> 00:13:45,360
loop that he added, but it adds an

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00:13:45,360 --> 00:13:47,600
element to it which gives it a a groovy

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00:13:47,600 --> 00:13:52,360
feel. I think this was his edition.

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00:13:58,000 --> 00:14:00,639
very strange kind of loop. Just rolled

279
00:14:00,639 --> 00:14:04,240
off all the low end again. And

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00:14:04,240 --> 00:14:06,079
see there's an LFO tool that has a

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00:14:06,079 --> 00:14:09,519
really weird shape.

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00:14:09,519 --> 00:14:11,120
If I would switch off the LFO tool, you

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00:14:11,120 --> 00:14:14,680
hear the entire loop.

284
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But that's too much information. It's

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00:14:17,199 --> 00:14:19,680
not groovy. So, LFO tool again used to

286
00:14:19,680 --> 00:14:23,639
add a groove to the track.

287
00:14:26,320 --> 00:14:28,240
It makes your head bounce. If it makes

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00:14:28,240 --> 00:14:30,160
your head bounce, it's usually a good

289
00:14:30,160 --> 00:14:33,160
sign.

290
00:14:38,000 --> 00:14:39,839
Drum fills are essential in electronic

291
00:14:39,839 --> 00:14:42,240
dance music also to make a keep a song

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exciting. And how I decide when a drum

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00:14:44,320 --> 00:14:46,320
feel is right, I don't know, every time

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00:14:46,320 --> 00:14:49,040
is different. But I do like my kick, my

295
00:14:49,040 --> 00:14:50,480
baseline, and the rest of the percussion

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00:14:50,480 --> 00:14:52,639
elements to interact with each other to

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00:14:52,639 --> 00:14:55,120
tell a story. So, for example, if if

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00:14:55,120 --> 00:14:57,199
there's a fill going on, then mute your

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00:14:57,199 --> 00:15:00,000
kick. Or the other way around, you know,

300
00:15:00,000 --> 00:15:02,000
uh a kick sometimes double with the

301
00:15:02,000 --> 00:15:04,639
baseline can be very interesting. Uh or

302
00:15:04,639 --> 00:15:07,120
or at the end of a bar, have the kick

303
00:15:07,120 --> 00:15:09,519
follow the baseline or another element

304
00:15:09,519 --> 00:15:11,600
from the arrangement. An interesting

305
00:15:11,600 --> 00:15:14,160
thing is that we uh as a fill, we pitch

306
00:15:14,160 --> 00:15:15,519
down the kick, which is something you

307
00:15:15,519 --> 00:15:17,519
hear a lot in electronic dance music at

308
00:15:17,519 --> 00:15:21,360
the moment. Um, so when the rap goes to

309
00:15:21,360 --> 00:15:24,320
the to the highlight and your mind mine

310
00:15:24,320 --> 00:15:27,120
is what he says, we decided to uh pitch

311
00:15:27,120 --> 00:15:29,519
the kick down and also pitch down the

312
00:15:29,519 --> 00:15:31,680
pitch down the the snare here. Here's

313
00:15:31,680 --> 00:15:34,720
the kick. Here's a pitch kick and

314
00:15:34,720 --> 00:15:36,959
and the snare.

315
00:15:36,959 --> 00:15:38,800
So, we use this as a fill just as a

316
00:15:38,800 --> 00:15:40,399
radic. I've never done it in a in a

317
00:15:40,399 --> 00:15:42,399
different track this way, but for this

318
00:15:42,399 --> 00:15:44,320
particular track, it just works. So, let

319
00:15:44,320 --> 00:15:48,360
me play you what I mean.

320
00:15:53,199 --> 00:15:56,800
So, you you hear the kick going.

321
00:15:56,800 --> 00:15:59,120
It's just freaking uh with the pitch

322
00:15:59,120 --> 00:16:02,480
fill. And in this particular case,

323
00:16:02,480 --> 00:16:04,800
that was done with,

324
00:16:04,800 --> 00:16:06,720
let me see,

325
00:16:06,720 --> 00:16:08,639
I think pitchbend. We just use a

326
00:16:08,639 --> 00:16:11,279
pitchbend for this. Let me pull up the

327
00:16:11,279 --> 00:16:14,959
pitchbend information. There you go.

328
00:16:14,959 --> 00:16:19,800
So, the kick does this as a fill.

329
00:16:24,160 --> 00:16:26,079
If you just have the kick on on the four

330
00:16:26,079 --> 00:16:27,680
four, it can be a bit stale, can be a

331
00:16:27,680 --> 00:16:29,440
bit boring. That's why you want your

332
00:16:29,440 --> 00:16:30,639
kick to play with the rest of the

333
00:16:30,639 --> 00:16:32,240
elements. Sort of an interaction, sort

334
00:16:32,240 --> 00:16:35,120
of a question answer kind of thing. So

335
00:16:35,120 --> 00:16:36,800
the more you do that in a track, the

336
00:16:36,800 --> 00:16:39,279
more uh interesting it is because it you

337
00:16:39,279 --> 00:16:41,279
feel like it's not just elements stacked

338
00:16:41,279 --> 00:16:42,800
on top of each other, but they're also

339
00:16:42,800 --> 00:16:46,000
interacting with each other.

1
00:00:13,360 --> 00:00:16,000
So, just to be clear, um, we were

2
00:00:16,000 --> 00:00:17,840
working in two separate Logic projects.

3
00:00:17,840 --> 00:00:19,680
Beno was working on his laptop, creating

4
00:00:19,680 --> 00:00:22,160
some grooves and throwing some elements

5
00:00:22,160 --> 00:00:24,000
together. I was working on the main

6
00:00:24,000 --> 00:00:26,720
DAW's setup right over here. What he's

7
00:00:26,720 --> 00:00:28,640
doing now, he's importing all the media

8
00:00:28,640 --> 00:00:30,640
information and the instrument into my

9
00:00:30,640 --> 00:00:32,000
project, the one that's running on the

10
00:00:32,000 --> 00:00:34,399
DAW. So, just to see if we throw those

11
00:00:34,399 --> 00:00:36,000
elements together, see if it if they

12
00:00:36,000 --> 00:00:39,239
make sense.

13
00:00:46,640 --> 00:00:48,879
All right. So, now it sounds like a big

14
00:00:48,879 --> 00:00:50,480
mess. What are we going to do? What

15
00:00:50,480 --> 00:00:52,480
would your suggestion? I would suggest

16
00:00:52,480 --> 00:00:54,879
to make more of a an energetic baseline

17
00:00:54,879 --> 00:00:56,719
and and kind of

18
00:00:56,719 --> 00:00:58,559
if we really want to go down this route.

19
00:00:58,559 --> 00:00:59,120
Yeah.

20
00:00:59,120 --> 00:00:59,840
Be my guest.

21
00:00:59,840 --> 00:01:01,440
Maybe mute the maybe mute the baseline

22
00:01:01,440 --> 00:01:02,239
that you've got going.

23
00:01:02,239 --> 00:01:02,640
Yeah, sure.

24
00:01:02,640 --> 00:01:05,760
That has a different feel to it.

25
00:01:05,760 --> 00:01:07,920
In the meantime, shall I get some rises

26
00:01:07,920 --> 00:01:09,840
and stuff? And what would you like?

27
00:01:09,840 --> 00:01:11,920
Could do.

28
00:01:11,920 --> 00:01:13,520
Do you mind if I change the kick?

29
00:01:13,520 --> 00:01:16,159
No, no, no, not at all. It needs to be

30
00:01:16,159 --> 00:01:19,159
changed.

31
00:01:21,759 --> 00:01:23,280
melodies are a bit loud as well.

32
00:01:23,280 --> 00:01:25,200
Yeah, we need to I need to lower the

33
00:01:25,200 --> 00:01:27,200
volume on that one because it's clogging

34
00:01:27,200 --> 00:01:33,000
up the mix. Um, so that is

35
00:01:36,560 --> 00:01:40,920
that sounds more decent.

36
00:01:49,439 --> 00:01:54,880
So, I think we need a riff, right?

37
00:01:54,880 --> 00:01:58,560
Yeah. Let's uh put an LFO tool on the

38
00:01:58,560 --> 00:02:00,719
kick.

39
00:02:00,719 --> 00:02:01,840
Uh so, we

40
00:02:01,840 --> 00:02:04,079
I could try to to see if if I could find

41
00:02:04,079 --> 00:02:06,560
a sound for it for

42
00:02:06,560 --> 00:02:09,200
like a a big sound for it. Or do you

43
00:02:09,200 --> 00:02:09,440
want?

44
00:02:09,440 --> 00:02:10,239
Yeah, absolutely.

45
00:02:10,239 --> 00:02:14,120
You can try it both ways.

46
00:02:14,640 --> 00:02:16,400
We're looking for a kick drum that fits

47
00:02:16,400 --> 00:02:18,560
the rest of my elements. And I feel this

48
00:02:18,560 --> 00:02:20,800
is a pretty standard trans track with a

49
00:02:20,800 --> 00:02:23,120
unique melody. I want to use a kick that

50
00:02:23,120 --> 00:02:24,879
really works on the dance floor, has a

51
00:02:24,879 --> 00:02:26,800
beautiful bottom end, but isn't fighting

52
00:02:26,800 --> 00:02:30,120
with my baseline.

53
00:02:57,360 --> 00:02:59,760
Also that that plug sound a little bit

54
00:02:59,760 --> 00:03:02,760
muddy.

55
00:03:07,040 --> 00:03:08,720
Maybe we should start working on a on a

56
00:03:08,720 --> 00:03:11,280
dug kind of an arpeggiated baseline.

57
00:03:11,280 --> 00:03:14,480
Yeah. With a perhaps a square like uh

58
00:03:14,480 --> 00:03:17,920
kind of sound. Yeah. Solid base kind of

59
00:03:17,920 --> 00:03:18,400
solid

60
00:03:18,400 --> 00:03:19,760
solid base.

61
00:03:19,760 --> 00:03:22,800
Solid bass like not saying like solid

62
00:03:22,800 --> 00:03:24,239
bass.

63
00:03:24,239 --> 00:03:26,720
Well, why not we try the new one plugin

64
00:03:26,720 --> 00:03:29,599
that we just bought like this one. See,

65
00:03:29,599 --> 00:03:34,360
it's got that solid base. Uh

66
00:03:46,159 --> 00:03:49,720
kind of like that.

67
00:03:51,200 --> 00:03:53,920
Has a solid bass feel to it. What I'm

68
00:03:53,920 --> 00:03:58,120
going to do now is so

69
00:04:15,439 --> 00:04:16,959
I'm trying different rhythms with my

70
00:04:16,959 --> 00:04:18,720
baseline in order to give the track a

71
00:04:18,720 --> 00:04:21,600
certain groove. A baseline is extremely

72
00:04:21,600 --> 00:04:23,600
important, especially in combination

73
00:04:23,600 --> 00:04:26,000
with your high heads and your kick. That

74
00:04:26,000 --> 00:04:29,400
is your groove.

75
00:04:35,280 --> 00:04:36,800
I don't know if this is particularly the

76
00:04:36,800 --> 00:04:41,639
baseline sound that I'm looking for, but

77
00:04:48,800 --> 00:04:52,520
I'm looking more of a

78
00:05:16,639 --> 00:05:19,639
Nah,

79
00:05:21,840 --> 00:05:23,680
this particular track had a lot of room

80
00:05:23,680 --> 00:05:25,840
in the mid-range of the track, but

81
00:05:25,840 --> 00:05:27,680
that's why I like to use the solid bass

82
00:05:27,680 --> 00:05:30,320
sound. It has a nice mid going on and

83
00:05:30,320 --> 00:05:32,000
you can play a really nice groove with

84
00:05:32,000 --> 00:05:35,000
it.

85
00:06:01,120 --> 00:06:03,440
and just go like that. Same chord

86
00:06:03,440 --> 00:06:06,440
progression.

87
00:07:02,800 --> 00:07:07,000
I like that baseline. By the way,

88
00:07:10,240 --> 00:07:12,800
perhaps a sub just

89
00:07:12,800 --> 00:07:16,680
did something in

90
00:08:12,240 --> 00:08:14,319
This could easily be a vocal track. This

91
00:08:14,319 --> 00:08:16,720
could go as a as an uplifting trans

92
00:08:16,720 --> 00:08:18,960
track. I haven't even decided on the

93
00:08:18,960 --> 00:08:21,120
tempo yet. I mean, right now it's at 132

94
00:08:21,120 --> 00:08:23,599
BPM because when we started, we said I

95
00:08:23,599 --> 00:08:24,879
was going to make an instrumental trans

96
00:08:24,879 --> 00:08:27,039
track for my set, which I still think

97
00:08:27,039 --> 00:08:29,199
could really absolutely work. But we

98
00:08:29,199 --> 00:08:31,039
need to work on sculpting the sound. We

99
00:08:31,039 --> 00:08:32,320
need to work on the kick. We need to

100
00:08:32,320 --> 00:08:34,159
work on the baseline. Sometimes it takes

101
00:08:34,159 --> 00:08:36,320
us a week, two weeks to to finish one

102
00:08:36,320 --> 00:08:38,240
song. And sometimes we do five tracks in

103
00:08:38,240 --> 00:08:40,479
a week. There's no golden rule for it.

104
00:08:40,479 --> 00:08:42,320
Uh but every day we do something and

105
00:08:42,320 --> 00:08:44,320
every day something comes out of it. And

106
00:08:44,320 --> 00:08:46,720
you'll see that you will never throw

107
00:08:46,720 --> 00:08:49,440
away something. Always save your ideas,

108
00:08:49,440 --> 00:08:51,760
bounce it, render it, back it up, cuz

109
00:08:51,760 --> 00:08:54,560
this is your your money. This is your uh

110
00:08:54,560 --> 00:08:57,279
this is you.

1
00:00:13,759 --> 00:00:15,200
So, I have an idea for this. I think

2
00:00:15,200 --> 00:00:16,800
this would be a great way to go into the

3
00:00:16,800 --> 00:00:20,960
breakdown. Um, but what if we just

4
00:00:20,960 --> 00:00:22,560
have a silent moment in the breakdown

5
00:00:22,560 --> 00:00:26,880
and then we have a massive pad uh

6
00:00:26,880 --> 00:00:28,560
following this chord sequence but played

7
00:00:28,560 --> 00:00:30,000
in a little different way. Okay, let me

8
00:00:30,000 --> 00:00:35,680
show you. Um, let's grab an ES2.

9
00:00:35,680 --> 00:00:40,719
Um, make sure it's a lot of polifany.

10
00:00:40,719 --> 00:00:45,800
Let me see. Little D-tuning.

11
00:01:05,680 --> 00:01:09,200
work. And

12
00:01:09,200 --> 00:01:13,799
let's just program this. So, it's

13
00:01:16,560 --> 00:01:18,720
I like that.

14
00:01:18,720 --> 00:01:22,240
Um, copy those notes.

15
00:01:22,240 --> 00:01:23,759
Uh,

16
00:01:23,759 --> 00:01:27,080
oh, wait.

17
00:01:31,040 --> 00:01:33,759
Okay. So, what you could do is copy that

18
00:01:33,759 --> 00:01:36,799
other part and then follow the lines.

19
00:01:36,799 --> 00:01:37,600
That makes sense.

20
00:01:37,600 --> 00:01:38,479
Which one? This one.

21
00:01:38,479 --> 00:01:39,280
Yeah. If you

22
00:01:39,280 --> 00:01:41,360
It's two down, three down. But should we

23
00:01:41,360 --> 00:01:43,280
get like another note in there to make

24
00:01:43,280 --> 00:01:44,400
it more exciting?

25
00:01:44,400 --> 00:01:47,520
Yeah. Yeah. Yeah. It's already in there.

26
00:01:47,520 --> 00:01:48,720
I don't know about like like the way you

27
00:01:48,720 --> 00:01:51,360
play it, but then it should be following

28
00:01:51,360 --> 00:01:52,240
the other melody.

29
00:01:52,240 --> 00:01:55,040
Yeah. Yeah. So, this is two down.

30
00:01:55,040 --> 00:01:56,560
Uh,

31
00:01:56,560 --> 00:02:00,960
wait. But what if we add a third note?

32
00:02:00,960 --> 00:02:03,960
Um,

33
00:02:05,520 --> 00:02:06,479
I like that.

34
00:02:06,479 --> 00:02:09,880
Yeah. A minor.

35
00:02:10,319 --> 00:02:12,000
So, basically, I'm just copying the MIDI

36
00:02:12,000 --> 00:02:14,080
notation. I'm making this one bar so I

37
00:02:14,080 --> 00:02:17,120
can easily see uh what I have to copy.

38
00:02:17,120 --> 00:02:20,879
So, this is an octave down

39
00:02:20,879 --> 00:02:24,319
and we go two octaves up, I think.

40
00:02:24,319 --> 00:02:24,959
Right.

41
00:02:24,959 --> 00:02:27,920
Yep.

42
00:02:27,920 --> 00:02:31,040
Okay. So, it's two down.

43
00:02:31,040 --> 00:02:34,680
Uh, two down.

44
00:02:35,920 --> 00:02:40,760
Let me So, I can see what I'm doing.

45
00:02:40,800 --> 00:02:46,519
And then that's too Sorry, that's too

46
00:02:54,480 --> 00:02:56,160
Yeah.

47
00:02:56,160 --> 00:03:00,280
Two up. There's one note. Um

48
00:03:01,120 --> 00:03:04,599
just my luck.

49
00:03:04,959 --> 00:03:07,440
Uh

50
00:03:07,440 --> 00:03:11,760
uh two up.

51
00:03:11,760 --> 00:03:15,360
Two up. And then Oh, oops. That's the

52
00:03:15,360 --> 00:03:18,159
same note, I guess.

53
00:03:18,159 --> 00:03:21,440
Uh yeah, select these notes

54
00:03:21,440 --> 00:03:25,040
and then the final note is that's fine,

55
00:03:25,040 --> 00:03:25,920
I guess.

56
00:03:25,920 --> 00:03:26,480
Is it?

57
00:03:26,480 --> 00:03:29,480
Yeah.

58
00:03:30,560 --> 00:03:34,000
Wait, this

59
00:03:34,000 --> 00:03:39,959
So that's a C sharp far.

60
00:03:41,519 --> 00:03:46,280
That's F sharp. Yeah. Then C sharp

61
00:03:46,319 --> 00:03:48,560
B.

62
00:03:48,560 --> 00:03:52,440
That one was uh

63
00:04:02,239 --> 00:04:07,200
So that's G B D G

64
00:04:07,200 --> 00:04:10,640
B D. So the upper note I guess. Oh no.

65
00:04:10,640 --> 00:04:13,040
Yeah. D

66
00:04:13,040 --> 00:04:18,000
this D. So it sounds good.

67
00:04:18,000 --> 00:04:20,320
Perhaps it's nice to have this note one

68
00:04:20,320 --> 00:04:21,120
down.

69
00:04:21,120 --> 00:04:22,000
Which one? This one.

70
00:04:22,000 --> 00:04:24,080
The middle one.

71
00:04:24,080 --> 00:04:26,639
So the B goes to A. Yeah. So you have a

72
00:04:26,639 --> 00:04:28,240
little bit of

73
00:04:28,240 --> 00:04:29,919
one. One still.

74
00:04:29,919 --> 00:04:30,720
Yeah.

75
00:04:30,720 --> 00:04:34,000
Really? Yeah. Now one down. Another uh

76
00:04:34,000 --> 00:04:38,360
Sorry, it's actually two semmit tones.

77
00:04:43,919 --> 00:04:46,720
There you go.

78
00:04:46,720 --> 00:04:50,520
What if we make this?

79
00:04:54,880 --> 00:04:56,560
Yesterday you had an interesting note

80
00:04:56,560 --> 00:04:57,759
for that section.

81
00:04:57,759 --> 00:04:59,360
Yeah, I think you have just altered this

82
00:04:59,360 --> 00:05:00,560
a little bit to make it a little bit

83
00:05:00,560 --> 00:05:03,800
more exciting.

84
00:05:13,520 --> 00:05:18,280
Oh, and what if we go up there

85
00:05:20,479 --> 00:05:25,080
and go to a C? That's a C sharp.

86
00:05:25,759 --> 00:05:29,520
Yeah. And then I have a sort of a Yeah.

87
00:05:29,520 --> 00:05:33,120
Okay. So, this could be So, we throw

88
00:05:33,120 --> 00:05:35,360
away this

89
00:05:35,360 --> 00:05:37,919
Don't need this anymore.

90
00:05:37,919 --> 00:05:40,320
And then follow the line. I guess we had

91
00:05:40,320 --> 00:05:43,600
some something

92
00:05:43,600 --> 00:05:45,919
going on already.

93
00:05:45,919 --> 00:05:48,639
Quite like this. Now speed it up to the

94
00:05:48,639 --> 00:05:52,280
original tempo again.

95
00:05:53,840 --> 00:05:57,479
I make it wide.

96
00:06:03,360 --> 00:06:05,759
this one. It's also a nice one if you're

97
00:06:05,759 --> 00:06:09,080
using unison.

98
00:06:10,479 --> 00:06:13,039
So, by experience as a DJ, I know that a

99
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trans track really works if you go to

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complete silence and then all of a

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sudden kick in a sound that is really

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attacking.

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So, that's what I'm hoping to do with

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these new chords.

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have a big like a big uh reverb kick and

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introducing this as the as the big

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payoff

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that will work.

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So this could be like the big drop.

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But wait, we have to write the first the

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second section, right? Yeah. Just fit

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the to fit the pluck.

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Nice.

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needs to go up. It's like

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Yeah.

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Yeah.

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To make this this section a little bit

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more exciting, we can go up with these

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up the melody notes.

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Yeah, sure. The top notes.

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Actually, it's following that line, the

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top line.

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Isn't that boring if we do it with this?

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Well, let's see. Let's try and see.

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Maybe just add it.

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It's got a certain emotion to it though.

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I'm wait I'm I'm missing the this

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go up one note.

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Yeah.

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Nice.

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So, sustain a note

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and then go up for the final note. Hold

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it. Hold it.

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I think we're there.

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And then

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Yeah. So we go.

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Nice. And we want to do the Yeah. I'll

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leave this up to you.

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So I want this to sound

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So I want this to go after. So we have

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like we have the buildup, we have the

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drums, and then we have a little insert

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here. And then this needs to be like da

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da da da da. So it needs to be

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short power,

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short, big with a low with a lot of low.

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So this could be the riff that we do the

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drop with. Um

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Sure.

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So I would like to add a bass part to

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this

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lowest notes. There. There it is. Select

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the right.

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What if we try a different synth? Let's

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just save this for the moment. But I

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want this to be epic. Big

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silent.

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Yeah.

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Uh, silence.

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Do you want to make something from

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scratch or just browse, see what

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happens?

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Oh, it could be cool to make something

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from scratch.

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Um,

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so let's really use the first

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uh mix and create short notes. Give it a

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few voices.

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Uh, let's d-tune it. Um, filter

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obviously

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perhaps an envelope to the filter to

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make it plucky.

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Or do you want it to be massive just for

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impact? Right. They don't need No, we

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don't need it.

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So perhaps that re-trigger

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is better to put it over here.

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I quite like this.

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It seems though that it cannot keep up

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with the notes. Is that correct?

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You need to up the polifany.

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Yeah. Don't be afraid to experiment with

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a synth in your DAW. I usually set my

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synth to init mode and then try to

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create a sound completely from scratch.

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Just try to freak with your sounds until

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you really learn the basic foundations

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of your synth. Open up the filter a bit.

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Nice.

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Add some more elements to it.

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Yeah.

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Would it also be cool to to automate

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that so it starts short and then opens

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up with the release or something?

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What if we if if we would leave it clean

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but add another layer to find some

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character.

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How would you suggest?

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Well, I like it to be honest. I what

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what I would like to try is copy that

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whole channel strip. We got this as a

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basic sound. Uh browse through some

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presets to to feel if there's something

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just working.

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Give it an extra touch to it. I mean,

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we go the preset route.

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Not not sure what what I would like to

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hear, but

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uh what bank would you suggest?

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Uh

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you made some sounds for this one as

212
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well.

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Yes.

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The factory presets, right?

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The artist,

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you're allowed.

217
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I'm allowed to use my own artist

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presets.

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Uh yeah, this one

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quite big.

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Heat.

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Heat.

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So this could be our breakdown section

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when we have the beats rolling here.

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Nice.

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00:14:34,880 --> 00:14:38,279
A big reverse.

1
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Songwriting, composing is one thing.

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Mixing and mastering is basically a

3
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whole different craft. It is really

4
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about the choices. Which elements do you

5
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want to sound important in your mix?

6
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Which elements do you think uh people

7
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need to hear? Because if I would switch

8
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off all the plugins and I just leave the

9
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instruments there, it would sound very

10
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messy. Um, so you use EQ, volume

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automation, uh, mixing, uh, and

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mastering, of course, your multiband

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compression and everything on the master

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bus, your limiting that those are your

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tools, uh, to say to the crowd, okay,

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this these are the elements I want you

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to taste or these are the elements I

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want you to see.

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We can never mix and master at the same

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day that we're arranging the track. We

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always need a few days to sort of let

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the track settle in. I usually love to

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test it in my DJ sets for a little bit

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to see if it matches the color of the

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other tracks that I'm playing. We use we

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want to AB it. And the good thing is is

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that Beno has a studio that is similar

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to mine. He has different room

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characteristics. And if it sounds good

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in both my and his studio, then we're

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almost good to go. But you need fresh

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ears for that. I really recommend

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everybody that that's why making music

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takes time. you sort of need to

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re-evaluate everything you've done. It

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it can the next morning when you wake up

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a track can sound completely different

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and it then you remember it because just

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because you have a set of fresh ears and

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that's why it's important sometimes to

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put a track on the shelf for a little

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bit open it a day or a week later and

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then you instantly you hear oh the

44
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kick's too loud or baseline is too loud.

45
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The track that I want to show you uh I

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want to use as um as a a guide track to

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uh to tell you about mixing and

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mastering is my latest single Sunny

49
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Days. Uh all these percussion elements

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are here noted in red. Again, baselines

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are blue, the green are the melodic

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elements that you see here, the pads,

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the plugs, the piano verbs, the vocal

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orange, and below you can see all the

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effects are colorcoded as yellow. So you

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have sort of a clear vision what's going

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on. Trans music is, of all the types of

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dance music, one of the hardest types of

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music to mix simply because you have so

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much information going on in one mix.

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And to make that sound uh to make that

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sound reasonably okay, uh yeah, you have

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to make tough choices and you really

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have to make sure that everything's at

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the right place in the mix. And there's

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basically two things that you can do is

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use volume or equalizing.

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Let me see. This kick is

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ah

70
00:02:53,200 --> 00:02:55,200
this kick is a a standard kick that

71
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comes from the Vengeance Essentials

72
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Volume 1

73
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uh VEDM. And let me see what we've put

74
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on there.

75
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Uh let me put the limiter off.

76
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See what is going on here.

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So this is the the kick plain and

78
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simple. Actually I'll switch off the

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dynamic processing just for this

80
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demonstration

81
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because at the end we have this uh chain

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of dynamic processing going on.

83
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So that's the kick naked as it was the

84
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original sample.

85
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Um I love the Bark of Dog plugin. Um it

86
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basically does a little bit the same as

87
00:03:42,400 --> 00:03:45,920
as Voice of God. Uh, you can just add a

88
00:03:45,920 --> 00:03:50,040
character to the low end.

89
00:03:52,720 --> 00:03:54,879
Makes the kick feel more big. I know the

90
00:03:54,879 --> 00:03:56,159
difference is subtle, but on a big

91
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system, you'll definitely hear it.

92
00:04:05,680 --> 00:04:08,400
And there's a limiter.

93
00:04:08,400 --> 00:04:10,000
I don't even know why we use a limiter

94
00:04:10,000 --> 00:04:14,840
on that. No idea.

95
00:04:17,759 --> 00:04:20,479
And I guess we found uh the kick to be a

96
00:04:20,479 --> 00:04:22,639
little bit too boommy. We love the low

97
00:04:22,639 --> 00:04:25,280
end. Uh but there's a volume automator

98
00:04:25,280 --> 00:04:28,639
lfo tool on here to make sure that the

99
00:04:28,639 --> 00:04:30,880
uh kick the the top end of the kick

100
00:04:30,880 --> 00:04:32,400
shines through a little bit more than

101
00:04:32,400 --> 00:04:35,120
the the low end which uh usually comes

102
00:04:35,120 --> 00:04:38,000
later. So let me switch the LFO tool on

103
00:04:38,000 --> 00:04:42,120
and off so you can hear the difference.

104
00:04:47,120 --> 00:04:48,639
I guess there was just a little bit too

105
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much low end going on. It was fighting

106
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with the with with the kick or whatever

107
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or with the baseline. Let me turn on the

108
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baseline and see if that was the case.

109
00:04:56,560 --> 00:05:00,199
Could easily be.

110
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Yeah.

111
00:05:06,960 --> 00:05:09,280
See, now the kick's way too loud in

112
00:05:09,280 --> 00:05:11,039
comparison to the baseline. So, I guess

113
00:05:11,039 --> 00:05:12,560
that's the reason why we chose to do an

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LFO tool.

115
00:05:18,000 --> 00:05:19,840
Still very clearly hear the low end of

116
00:05:19,840 --> 00:05:21,600
the kick, but it's farther away to give

117
00:05:21,600 --> 00:05:25,479
more space for the baseline.

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00:05:29,360 --> 00:05:31,520
Particularly, what I love about this uh

119
00:05:31,520 --> 00:05:34,960
remix is the baseline. Um,

120
00:05:34,960 --> 00:05:38,639
this baseline consists of a very basic

121
00:05:38,639 --> 00:05:43,039
sound, a a solid um solid lead u, which

122
00:05:43,039 --> 00:05:44,880
you could find in old classic syn like

123
00:05:44,880 --> 00:05:48,320
the Yamaha TX81Z and the solid bass. And

124
00:05:48,320 --> 00:05:50,000
now you see that there's a ridiculous

125
00:05:50,000 --> 00:05:53,360
amount of plugins on this uh track. And

126
00:05:53,360 --> 00:05:55,919
I'll mute them just for sake of the

127
00:05:55,919 --> 00:05:58,560
demonstration. And now let me play you

128
00:05:58,560 --> 00:06:04,280
the baseline sound uh just solo.

129
00:06:09,039 --> 00:06:11,039
That happens to be a solid bass uh

130
00:06:11,039 --> 00:06:15,319
sample coming from the Avenger.

131
00:06:16,160 --> 00:06:18,560
And now we start adding the juice. So I

132
00:06:18,560 --> 00:06:20,960
just want the baseline to stand out. So

133
00:06:20,960 --> 00:06:23,199
one by one I'll start turning on the

134
00:06:23,199 --> 00:06:27,400
plugin so you can hear the difference.

135
00:06:28,240 --> 00:06:31,240
Especially

136
00:06:51,039 --> 00:06:52,720
this little plugin here. It's called

137
00:06:52,720 --> 00:06:54,000
Voice of God. There's a couple of

138
00:06:54,000 --> 00:06:55,759
plugins on the market that do a similar

139
00:06:55,759 --> 00:06:58,319
sort of thing like Bark of Dog. And this

140
00:06:58,319 --> 00:07:01,280
one adds a bottom end. You like uh it

141
00:07:01,280 --> 00:07:04,560
basically gives the baseline more of a

142
00:07:04,560 --> 00:07:07,199
low end that's not there already. So it

143
00:07:07,199 --> 00:07:09,199
kind of

144
00:07:09,199 --> 00:07:12,319
transposes the low end of the frequency

145
00:07:12,319 --> 00:07:16,919
spectrum. So here's with

146
00:07:16,960 --> 00:07:20,520
and here's without.

147
00:07:22,000 --> 00:07:23,039
Now, you would think that that

148
00:07:23,039 --> 00:07:24,319
difference is not that big. I don't know

149
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what kind of speakers you're watching

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this course on, but trust me, on a big

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system, you will hear a difference a

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lot. And then, of course, LFO tools

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again, volume. We're playing with the

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volume.

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Again, we have three different LFO tools

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on this particular baseline, and that's

157
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all because you want to give it that

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groovy feel. So, this one is just to

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duck the kick. Uh, and this one is it to

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give it a more of a groovy feel, so it

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00:08:04,800 --> 00:08:06,960
comes on later. It's volume automated.

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00:08:06,960 --> 00:08:09,840
And this one is Exciter by Ozone 7. It's

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really great if you want to add some

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sort of clearness, give your baseline

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more of a presence in your mix. It

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distorts the sound, but it adds

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character to uh the baseline and it

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enhances the the feel of the transients

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for me, the the little distortion on the

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top end. So, you have to be very careful

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with it not to overdo it. Uh and if you

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uh mix it together with the kick, it

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just gives it more of a groovy feel. So,

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let's turn on the kick drum as well.

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That is basically the the foundation for

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this track. It is that groovy feel of

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that solid baseline. I know this this uh

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channel strip is kind of ridiculous, but

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it's it is adding to the to the sound.

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Interesting to notice that I'm using a

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different baseline when the uh the drop

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comes. Um, I guess also because when the

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the the baseline earlier on in the track

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has more transients, so it would make it

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probably would make it sound more messy.

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That's why I guess we chose a different

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baseline here, which is more filtered

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and has less top end, but just a low

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end. Let me mute this baseline. The

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baseline that is in the final mix.

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Mute it.

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Let's see what happens if I play this

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with the solid bass baseline.

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Too much information.

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Let's mute that

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and go to the subbase.

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00:10:01,440 --> 00:10:03,680
See, so there's less information coming

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just because we chose it to play a

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different baseline there. more of a

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straight uh note instead of the uh the

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plucky sound.

1
00:00:13,599 --> 00:00:16,560
Well, all the all the leads, they all

2
00:00:16,560 --> 00:00:18,320
have a different EQ section. I don't

3
00:00:18,320 --> 00:00:20,560
even know. This EQ does nothing. Just

4
00:00:20,560 --> 00:00:22,400
adds a little bit to the top. Let me

5
00:00:22,400 --> 00:00:26,240
see. There you go. There a nice little

6
00:00:26,240 --> 00:00:28,880
bit of 5k.

7
00:00:28,880 --> 00:00:32,000
And here we go. We rolled off a little

8
00:00:32,000 --> 00:00:34,719
bit of the low end. And we have this

9
00:00:34,719 --> 00:00:37,040
particular plugin which is an EQ plugin

10
00:00:37,040 --> 00:00:40,079
sort of. Um, you have quite a few of

11
00:00:40,079 --> 00:00:43,360
these plugins on the market. Um, sausage

12
00:00:43,360 --> 00:00:44,800
fattener is also one of them. It's

13
00:00:44,800 --> 00:00:47,920
basically a bunch of different settings.

14
00:00:47,920 --> 00:00:50,079
You could call it a macro. It has

15
00:00:50,079 --> 00:00:51,680
different plugins or different EQ

16
00:00:51,680 --> 00:00:54,160
settings, distortion,

17
00:00:54,160 --> 00:00:56,239
uh, all matched into one plugin. And in

18
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this particular plugin, it's called the

19
00:00:57,360 --> 00:00:59,280
Noval Tac character, which adds a lot of

20
00:00:59,280 --> 00:01:02,000
character to the top end of a sound. And

21
00:01:02,000 --> 00:01:05,360
that's only added to one of the synths

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on the on the pad. Here's a sub uh

23
00:01:08,320 --> 00:01:11,040
going. And here we have another lead

24
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synth. Let me just go over

25
00:01:30,400 --> 00:01:32,479
It's just a big pad. Mass massive pad.

26
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And here's another one

27
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that sounds like it's the same uh

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silent. It's actually not. It's a

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shorter version with less release

30
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stacked on top of the other uh d-tuned a

31
00:01:48,960 --> 00:01:51,600
little bit. So uh you get the image that

32
00:01:51,600 --> 00:01:53,600
it's even wider. Uh the the one with

33
00:01:53,600 --> 00:01:55,200
less release I would use more for the

34
00:01:55,200 --> 00:01:57,360
attack of the sound and the other one

35
00:01:57,360 --> 00:01:59,920
with big reverb would be for the tail.

36
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Uh and I really want I want to hear the

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attack of the sound and I want to hear

38
00:02:04,000 --> 00:02:06,799
the nice reverb sort of clouding it. And

39
00:02:06,799 --> 00:02:09,360
then that all goes into a bus and that

40
00:02:09,360 --> 00:02:13,200
goes into um uh this channel strip that

41
00:02:13,200 --> 00:02:15,040
sort of controls everything. So I also

42
00:02:15,040 --> 00:02:17,120
have a volume control here to make sure

43
00:02:17,120 --> 00:02:19,200
that the leads are not sort of going

44
00:02:19,200 --> 00:02:21,360
over everything. Uh, and then as soon as

45
00:02:21,360 --> 00:02:23,360
the kick and the baseline come in,

46
00:02:23,360 --> 00:02:26,319
there's another uh top synth being added

47
00:02:26,319 --> 00:02:30,000
here. Uh, so we even take a step higher.

48
00:02:30,000 --> 00:02:34,400
So just if I solo the leads,

49
00:02:34,400 --> 00:02:37,800
you see here.

50
00:02:49,680 --> 00:02:53,879
And here's where the kick comes in.

51
00:03:01,920 --> 00:03:03,440
So without the kick in the bass, you can

52
00:03:03,440 --> 00:03:05,360
easily hear the volume ducking. You can

53
00:03:05,360 --> 00:03:08,959
also hear that we stacked up uh another

54
00:03:08,959 --> 00:03:11,360
another synthesizer plus 12. So an

55
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octave higher. So you get even more an

56
00:03:14,159 --> 00:03:16,239
even higher lift uh if the kick and the

57
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bass come in, which make it even more

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euphoric. So with the kick in the bass,

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00:03:20,480 --> 00:03:24,599
it sounds something like this.

60
00:03:46,239 --> 00:03:47,760
So, one of the things you hear a lot in

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00:03:47,760 --> 00:03:51,040
trans music is reverb. Uh, you a couple

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of the elements are, of course, the

63
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melodies, the sawtooth, the big wide uh

64
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open up synths that that really generate

65
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that transy feel. But reverb is a very

66
00:03:59,920 --> 00:04:03,920
essential thing in trans music. Um, you

67
00:04:03,920 --> 00:04:05,439
have to be very careful though because

68
00:04:05,439 --> 00:04:07,599
reverb can really clog up your mix. And

69
00:04:07,599 --> 00:04:09,120
this is what I hear a lot in in

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00:04:09,120 --> 00:04:11,519
productions from other producers. Um,

71
00:04:11,519 --> 00:04:13,200
we've got a great plugin that we love

72
00:04:13,200 --> 00:04:16,400
using. It's called the Arts Acoustics uh

73
00:04:16,400 --> 00:04:18,079
reverb, but a lot of reverbs have it.

74
00:04:18,079 --> 00:04:19,359
But the reason why we love it is because

75
00:04:19,359 --> 00:04:21,440
of the EQ section.

76
00:04:21,440 --> 00:04:24,479
So, in this particular track, we always

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00:04:24,479 --> 00:04:26,560
roll off the low end of the reverb

78
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because it can clock. It can fight with

79
00:04:28,000 --> 00:04:31,120
your you really have to be wary of

80
00:04:31,120 --> 00:04:33,520
anything below 300 hertz will fight with

81
00:04:33,520 --> 00:04:36,080
your low end and it will make your track

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00:04:36,080 --> 00:04:39,919
not sound as you know dancy. I mean

83
00:04:39,919 --> 00:04:42,800
again there's no rules in music but

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00:04:42,800 --> 00:04:44,720
take it from me it won't have an impact

85
00:04:44,720 --> 00:04:46,240
on the dance floor if you have that

86
00:04:46,240 --> 00:04:49,360
reverb going on really long uh the EQ uh

87
00:04:49,360 --> 00:04:51,759
on the EQ section. So that's why if we

88
00:04:51,759 --> 00:04:53,440
use a reverb on a sound, which is great

89
00:04:53,440 --> 00:04:55,280
for an atmosphere because you hear it in

90
00:04:55,280 --> 00:04:57,840
the background going sort of it really

91
00:04:57,840 --> 00:05:00,800
adds excitement to the to the track. Um

92
00:05:00,800 --> 00:05:02,960
my advice would really be to roll off

93
00:05:02,960 --> 00:05:07,400
all the low end also on your reverbs.

94
00:05:10,880 --> 00:05:12,080
Well, the most important thing about

95
00:05:12,080 --> 00:05:13,759
making tracks like this is making sure

96
00:05:13,759 --> 00:05:16,720
that every sound has a space in the mix.

97
00:05:16,720 --> 00:05:18,960
I found this really cool pluck sound.

98
00:05:18,960 --> 00:05:21,440
Let's pull it up. The pluck in this case

99
00:05:21,440 --> 00:05:23,840
is is that is not really it's not really

100
00:05:23,840 --> 00:05:25,280
fighting with the frequency of the

101
00:05:25,280 --> 00:05:27,759
vocal. Uh it's just in a different

102
00:05:27,759 --> 00:05:29,360
frequency. If I use a frequency

103
00:05:29,360 --> 00:05:33,960
analyzer, maybe I can even prove it.

104
00:05:34,080 --> 00:05:37,520
So here's the here's the pluck zone.

105
00:05:37,520 --> 00:05:40,160
So if you look carefully, you see that

106
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uh this particular sound is made up of

107
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several frequencies, harmonies if you

108
00:05:44,639 --> 00:05:48,800
will. And here around 500 htz the main I

109
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would say this is the the most important

110
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element and here around 150 htz.

111
00:05:56,160 --> 00:05:58,800
Now if we put the vocal on

112
00:05:58,800 --> 00:06:00,800
I'm curious to see if it's fighting in

113
00:06:00,800 --> 00:06:03,840
the same frequency. Let's open a

114
00:06:03,840 --> 00:06:08,319
uh analyzer on the vocal.

115
00:06:08,319 --> 00:06:11,039
So I just want the plug and I just want

116
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the lead vocal. Where is it?

117
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shelter.

118
00:06:27,280 --> 00:06:28,960
If you see the vocal of Josh, you see

119
00:06:28,960 --> 00:06:30,960
that he's mainly his low end is around

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200 Hz

121
00:06:32,960 --> 00:06:36,000
and around 600 Hz.

122
00:06:36,000 --> 00:06:37,759
The only frequency that could be

123
00:06:37,759 --> 00:06:40,240
problematic is around 500 Hz, but we

124
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clearly made the decision to put the

125
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vocal louder than the pluck cuz the

126
00:06:44,720 --> 00:06:46,560
pluck is merely an atmospheric kind of

127
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thing.

128
00:06:51,520 --> 00:06:53,360
Let's put the two EQs next to each other

129
00:06:53,360 --> 00:06:56,680
so you can see.

130
00:07:02,319 --> 00:07:04,960
No more butterflies. They don't never

131
00:07:04,960 --> 00:07:08,560
last. Stolen from the light by demons of

132
00:07:08,560 --> 00:07:10,880
the past. It's always raining.

133
00:07:10,880 --> 00:07:13,280
So the peaks are not really on the same

134
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frequency. And that's why in this

135
00:07:14,960 --> 00:07:17,360
particular case, you have to be careful

136
00:07:17,360 --> 00:07:19,919
of course, but in this case, it goes

137
00:07:19,919 --> 00:07:22,800
okay. The pluck is not exactly on the

138
00:07:22,800 --> 00:07:24,479
same frequency, but you have to be

139
00:07:24,479 --> 00:07:28,919
careful because there is some overlap.

140
00:07:32,800 --> 00:07:36,560
Let's talk about um the uh um the endbus

141
00:07:36,560 --> 00:07:39,199
the multiband compression. Um for this

142
00:07:39,199 --> 00:07:42,400
particular track um we leveled

143
00:07:42,400 --> 00:07:44,880
everything.

144
00:07:44,880 --> 00:07:47,599
So uh like I said before all the

145
00:07:47,599 --> 00:07:49,199
individual tracks on this particular

146
00:07:49,199 --> 00:07:51,360
remix on this particular version of the

147
00:07:51,360 --> 00:07:55,759
sunny days track um they go to bus 31.

148
00:07:55,759 --> 00:07:57,759
And there's a reason for it because bus

149
00:07:57,759 --> 00:08:01,520
31 uh goes to bus 32

150
00:08:01,520 --> 00:08:04,319
which is two tracks. One channel with

151
00:08:04,319 --> 00:08:05,759
all the dynamic processing and

152
00:08:05,759 --> 00:08:07,520
everything we want on there. Let's see

153
00:08:07,520 --> 00:08:09,120
what's on this particular case. Oh,

154
00:08:09,120 --> 00:08:12,720
there's um an equalizer in the ozone 4.

155
00:08:12,720 --> 00:08:16,319
Uh there is a uh

156
00:08:16,319 --> 00:08:18,800
uad SSL GB compressor which is an

157
00:08:18,800 --> 00:08:22,960
amazing plugin. Um and here we have the

158
00:08:22,960 --> 00:08:25,199
brick wall limiter.

159
00:08:25,199 --> 00:08:28,720
Some hate it, some love it. Um, I mainly

160
00:08:28,720 --> 00:08:30,960
use it to get stuff ready for my DJ

161
00:08:30,960 --> 00:08:33,360
sets. I want my uh tracks to have the

162
00:08:33,360 --> 00:08:37,039
same loves um the same volume as the

163
00:08:37,039 --> 00:08:39,039
track that's before me or after me. You

164
00:08:39,039 --> 00:08:40,320
know, if there's a massive volume

165
00:08:40,320 --> 00:08:42,080
dropper, you can you can correct it on

166
00:08:42,080 --> 00:08:44,560
the mixer when you're mixing by adding

167
00:08:44,560 --> 00:08:46,800
gain to it. But that's not really

168
00:08:46,800 --> 00:08:48,480
something I I want to do. I want my

169
00:08:48,480 --> 00:08:50,240
tracks to have the same level. And

170
00:08:50,240 --> 00:08:52,560
here's the lux meter where you can see

171
00:08:52,560 --> 00:08:56,560
what the average um loudness is of your

172
00:08:56,560 --> 00:08:59,279
track. Um so but what I've done for this

173
00:08:59,279 --> 00:09:01,519
particular case, I put a gain behind it.

174
00:09:01,519 --> 00:09:04,880
So just the volume of uh the dynamic

175
00:09:04,880 --> 00:09:06,880
processing is the same as the non-dnamic

176
00:09:06,880 --> 00:09:08,640
and I'm doing this so you can clearly

177
00:09:08,640 --> 00:09:10,880
hear what the multiband compression is

178
00:09:10,880 --> 00:09:13,839
adding uh to this particular uh club

179
00:09:13,839 --> 00:09:19,000
mix. So this is with dynamic processing.

180
00:09:20,080 --> 00:09:23,480
Sunny days

181
00:09:24,240 --> 00:09:27,240
now

182
00:09:27,279 --> 00:09:31,240
without dynamic processing.

183
00:09:33,360 --> 00:09:36,920
This is with

184
00:09:39,120 --> 00:09:42,120
without

185
00:09:43,040 --> 00:09:46,040
days.

186
00:09:52,720 --> 00:09:54,480
So, in the dynamic bus, you can hear

187
00:09:54,480 --> 00:09:57,440
that uh it's gluing the sounds together.

188
00:09:57,440 --> 00:09:59,760
It's bringing out certain frequencies.

189
00:09:59,760 --> 00:10:03,120
Um but also, it's killing a little bit

190
00:10:03,120 --> 00:10:05,839
uh the the transients uh the the

191
00:10:05,839 --> 00:10:07,600
difference in volume between the certain

192
00:10:07,600 --> 00:10:10,080
sounds. Uh some of the uh the plugins,

193
00:10:10,080 --> 00:10:11,600
they're upping the volume a little bit

194
00:10:11,600 --> 00:10:13,040
of of the sounds that are a little

195
00:10:13,040 --> 00:10:15,680
further behind in the mix. So, what I've

196
00:10:15,680 --> 00:10:18,399
done for my uh big shows that I've done

197
00:10:18,399 --> 00:10:21,040
um specifically for those big shows,

198
00:10:21,040 --> 00:10:23,360
I've rendered a lot of my masters again

199
00:10:23,360 --> 00:10:25,040
uh without dynamic processing or at

200
00:10:25,040 --> 00:10:28,480
least uh a lot softer uh just because I

201
00:10:28,480 --> 00:10:30,560
know for a fact that on a massive sound

202
00:10:30,560 --> 00:10:33,279
system uh your transients will shine

203
00:10:33,279 --> 00:10:35,279
through if you don't have that multiband

204
00:10:35,279 --> 00:10:37,760
compression on the end. And the impact

205
00:10:37,760 --> 00:10:41,279
of your sounds is just way uh is way

206
00:10:41,279 --> 00:10:44,279
bigger.

207
00:10:48,320 --> 00:10:50,560
So, the trick with mastering is you want

208
00:10:50,560 --> 00:10:52,959
your track to sound as loud as possible

209
00:10:52,959 --> 00:10:56,640
without distorting. Um, unfortunately,

210
00:10:56,640 --> 00:10:59,519
it's a trend that a lot of the stuff

211
00:10:59,519 --> 00:11:01,120
that's being released commercially right

212
00:11:01,120 --> 00:11:03,760
now is clipping or close to clipping.

213
00:11:03,760 --> 00:11:05,920
It's even a sound characteristic of the

214
00:11:05,920 --> 00:11:07,600
time of now. You know, the louder my

215
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track is, I want everybody to hear my my

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music and all the elements. So, you're

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close to distorting. And a good

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mastering engineer can help you to

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determine where that point is because no

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matter what you're doing, if you're

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limiting and you're upping the volume,

222
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your sounds are going to clip, whether

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it's you can't, you know, but it's a

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matter of where do you hear it and where

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do you where you don't and it's all has

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to do with personal preference. the

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older I get and the more tracks that I

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finished, uh, the more I hate that sound

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of digital clipping because basically

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that's what you're doing. But, you know,

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it's a it's a tough battle because if

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you're on a big festival and the DJ

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before you is playing really loud and

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banging music and you start your first

235
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track, you don't want there to be a

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massive volume difference or a perceived

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volume difference by the crowd. So, you

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are in this loudness war whether you

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like it or not. if you choose that your

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set needs to have the same impact as the

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DJ before you or after you. So, uh it's

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a lengthy discussion, but let's up the

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uh input gain on the visual limiter. Uh

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you can see the the lux meter here, and

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you can decide when you think uh the

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track's distorting or not.

247
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Heat. Heat.

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Sunny days

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break

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it off

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days louder distorting a little but I

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find it acceptable.

253
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Here's one more trick to show you the

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difference between distorting and no

255
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dynamic processing. So let me distort

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it.

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And now let's do the volume the same.

258
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I'm clearly distorted.

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But the no dynamic processing bus sounds

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a bit boring. I like it better without

261
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dynamic processing because I can carry

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the elements more clear, but it does not

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have that impact. You know, it's not

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loud basically. Um, yeah, there's a

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whole debate about invisible limiters.

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I'm not a big fan to be honest. I I

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prefer just my mix to be very good and

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my kicks and stuff to shine through.

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Also, your ears get uh less tired. Uh,

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you know, you get really tired if you

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listen to limited and compressed uh

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music all the time. Uh, I prefer to

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listen to music that is uh that has a

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little bit of space to breathe, but it's

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the it's the battle you're fighting if

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you're a DJ right now. I mean, of

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course, you can go against the grain and

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say, I'm just going to play unlimited

279
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tracks and everything minus 12 ls and

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just have my tracks, you know, that's

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why I really like live sets, artists

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that are doing live sets on stage

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because usually their their mixes sound

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more clear because they don't have the

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limiting.

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It's it's a long it's a long discussion.

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Generally speaking, when I'm working on

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on on dance music, we don't work that

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loud

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because uh there's a very simple trick

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to knowing if all the elements uh are

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working well in your mix is if you work

293
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on a really soft volume, you have to be

294
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able to hear every element that is in

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the mix. uh even on small speakers. So,

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if you can't hear that element, you

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really have to turn it up, then probably

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the element's too soft in the mix. For

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example, if I listen to this vocal and I

300
00:14:59,360 --> 00:15:04,720
uh put the the small monitors on,

301
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I put the volume, really soft.

302
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What am I hearing right now?

303
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What am I hearing?

304
00:15:17,839 --> 00:15:20,000
I can hear the vocal. I can hear what

305
00:15:20,000 --> 00:15:21,279
he's singing.

306
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I hear the clap. I hear the kick. I hear

307
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the baseline.

308
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So, I'm good.

309
00:15:28,000 --> 00:15:28,160
And

310
00:15:28,160 --> 00:15:29,760
sometimes that's really hard to judge if

311
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your speakers are too loud.

1
00:00:20,480 --> 00:00:24,080
Right. Let's see what we're having here

2
00:00:24,080 --> 00:00:26,400
mix wise because now we're coming in

3
00:00:26,400 --> 00:00:29,439
phase two. Shall I just make it sound a

4
00:00:29,439 --> 00:00:31,039
little bit coherent?

5
00:00:31,039 --> 00:00:33,200
Yeah, let's let's

6
00:00:33,200 --> 00:00:35,600
d on the on the mat. Are we all going or

7
00:00:35,600 --> 00:00:37,920
are we going to stereo out? Ooh, that's

8
00:00:37,920 --> 00:00:38,399
wrong.

9
00:00:38,399 --> 00:00:41,520
Oh, yeah. Let's Let's fix that for now.

10
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Everything,

11
00:00:42,079 --> 00:00:45,280
right? So, first let let's decide what

12
00:00:45,280 --> 00:00:47,200
we're going to throw away because that

13
00:00:47,200 --> 00:00:49,680
that makes a lot more sense. Is is what

14
00:00:49,680 --> 00:00:50,719
are we going to use from this?

15
00:00:50,719 --> 00:00:52,079
I think we're going to use the baseline

16
00:00:52,079 --> 00:00:54,079
cuz we we already That's a baseline. We

17
00:00:54,079 --> 00:00:55,440
need to clean that up as well.

18
00:00:55,440 --> 00:00:56,079
Which one? This

19
00:00:56,079 --> 00:00:57,760
uh instrument 27. That's the baseline.

20
00:00:57,760 --> 00:00:59,359
You need to copy that over actually.

21
00:00:59,359 --> 00:01:01,199
That's solid, right?

22
00:01:01,199 --> 00:01:02,960
Yeah.

23
00:01:02,960 --> 00:01:04,239
The event.

24
00:01:04,239 --> 00:01:07,040
Let's Let's clean up the project a bit

25
00:01:07,040 --> 00:01:09,520
so we have more sort of an overview,

26
00:01:09,520 --> 00:01:09,840
right?

27
00:01:09,840 --> 00:01:12,000
A bit of the tedious uh part of uh

28
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making a new track.

29
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But you'll be so happy that when you've

30
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cleaned it up, it's so much more easy to

31
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to review your choices and go back. And

32
00:01:21,920 --> 00:01:24,000
you know, when you start working on

33
00:01:24,000 --> 00:01:25,600
another track and you open this project

34
00:01:25,600 --> 00:01:27,840
again with fresh ears, then immediately

35
00:01:27,840 --> 00:01:29,520
you see, oh, here's my kick, here's my

36
00:01:29,520 --> 00:01:33,200
bass, here's my baseline. So perhaps now

37
00:01:33,200 --> 00:01:36,799
is a good moment to

38
00:01:36,799 --> 00:01:38,640
see

39
00:01:38,640 --> 00:01:40,960
what we can do with the levels because

40
00:01:40,960 --> 00:01:45,079
this is sounding quite okay.

41
00:01:51,360 --> 00:01:53,840
So, I cut just a little bit of this low

42
00:01:53,840 --> 00:01:56,960
end here.

43
00:01:56,960 --> 00:01:59,439
Give it a little bit more room, but

44
00:01:59,439 --> 00:02:03,600
might be too much. We'll see that later.

45
00:02:03,600 --> 00:02:05,759
All right.

46
00:02:05,759 --> 00:02:08,479
So, the kick is not really that powerful

47
00:02:08,479 --> 00:02:11,520
here. Was like a headroom of like 12 dBs

48
00:02:11,520 --> 00:02:13,280
or something.

49
00:02:13,280 --> 00:02:15,840
And if we go to

50
00:02:15,840 --> 00:02:18,400
first I need to reroute all these

51
00:02:18,400 --> 00:02:23,520
elements which are not going to this bus

52
00:02:23,520 --> 00:02:25,920
and we use mute this part you will still

53
00:02:25,920 --> 00:02:31,640
see output that's not what we want.

54
00:02:35,120 --> 00:02:37,519
So select all

55
00:02:37,519 --> 00:02:41,040
parts and route it to the bus. You can

56
00:02:41,040 --> 00:02:43,440
see where it's going to. This real handy

57
00:02:43,440 --> 00:02:45,680
new feature in Ableton. Uh, sorry,

58
00:02:45,680 --> 00:02:47,599
Logic.

59
00:02:47,599 --> 00:02:50,599
All right.

60
00:02:55,760 --> 00:02:58,319
So, everything should be going to that

61
00:02:58,319 --> 00:03:02,080
bus. Yeah. Now, we're going to

62
00:03:02,080 --> 00:03:05,200
try to do something from scratch here.

63
00:03:05,200 --> 00:03:07,280
So, for example, Fat Filter is a great

64
00:03:07,280 --> 00:03:12,400
one. Uh let's try to use u

65
00:03:12,400 --> 00:03:15,760
uh multibond compression here. Um I'll

66
00:03:15,760 --> 00:03:20,640
start for just trying to look something

67
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more punchy.

68
00:03:28,239 --> 00:03:32,840
So let's add some compression to it.

69
00:03:33,599 --> 00:03:35,360
Here you can see what it's actually

70
00:03:35,360 --> 00:03:39,440
doing. It's suppressing

71
00:03:39,440 --> 00:03:40,879
uh when the kick comes in. And that's

72
00:03:40,879 --> 00:03:42,640
what I'm after right now. A little bit

73
00:03:42,640 --> 00:03:45,360
more attack perhaps. Not sure at this

74
00:03:45,360 --> 00:03:48,360
stage,

75
00:03:51,519 --> 00:03:53,920
but I always like to see this going to

76
00:03:53,920 --> 00:03:57,120
zero dB. So you can easily AB without

77
00:03:57,120 --> 00:03:58,799
having the levels too much out of

78
00:03:58,799 --> 00:04:03,200
control. So let's add another one

79
00:04:03,200 --> 00:04:07,040
for example to like this.

80
00:04:08,159 --> 00:04:09,519
With all those different elements in

81
00:04:09,519 --> 00:04:11,439
your mix that are going on, you want to

82
00:04:11,439 --> 00:04:13,439
make sure that it sounds like it's one

83
00:04:13,439 --> 00:04:18,160
track. Everything has to glue together.

84
00:04:18,160 --> 00:04:19,680
And that's why we love using any

85
00:04:19,680 --> 00:04:22,320
compressor that involves a pump sound.

86
00:04:22,320 --> 00:04:23,759
With a pump sound, we mean a quick

87
00:04:23,759 --> 00:04:25,759
attack so you can hear the transient of

88
00:04:25,759 --> 00:04:28,960
the kick. So, it's really getting a

89
00:04:28,960 --> 00:04:32,080
little bit of glue already, but I want

90
00:04:32,080 --> 00:04:34,639
to see where my levels are at. So, let

91
00:04:34,639 --> 00:04:37,199
me add u

92
00:04:37,199 --> 00:04:41,639
um a level meter to it.

93
00:04:44,080 --> 00:04:47,680
So, we're like minus 15, which is kind

94
00:04:47,680 --> 00:04:50,800
of okay. If I unmute it, bypass it.

95
00:04:50,800 --> 00:04:52,560
We're we're kind of like the same level.

96
00:04:52,560 --> 00:04:54,800
So,

97
00:04:54,800 --> 00:04:58,000
perceive loudness is is getting better

98
00:04:58,000 --> 00:05:00,000
though.

99
00:05:00,000 --> 00:05:05,360
Right, let's try some other glue.

100
00:05:05,360 --> 00:05:07,600
So, what I would like to do is give a

101
00:05:07,600 --> 00:05:10,240
little bit more pump.

102
00:05:10,240 --> 00:05:12,800
And what I always like to do is just

103
00:05:12,800 --> 00:05:16,000
crank up the

104
00:05:16,000 --> 00:05:17,759
um threshold here. So, you see it

105
00:05:17,759 --> 00:05:20,000
pumping right now

106
00:05:20,000 --> 00:05:23,360
on the endus. I like long attacks so

107
00:05:23,360 --> 00:05:26,400
that you get first it when the first

108
00:05:26,400 --> 00:05:28,560
sound hits the compressor, it needs a

109
00:05:28,560 --> 00:05:30,400
time to adapt and that's what this is

110
00:05:30,400 --> 00:05:33,120
going to do. If I put it really short,

111
00:05:33,120 --> 00:05:36,080
it's re reacting right away, which is

112
00:05:36,080 --> 00:05:38,639
not what I want. I want pump. So doing

113
00:05:38,639 --> 00:05:41,280
something like this release. Can we go

114
00:05:41,280 --> 00:05:43,919
back?

115
00:05:43,919 --> 00:05:47,280
So now you see that it's pumping and I

116
00:05:47,280 --> 00:05:50,639
can adapt a little bit of the gain to

117
00:05:50,639 --> 00:05:55,479
make it up for the gain reduction.

118
00:05:56,960 --> 00:06:00,400
So you can hear a little bit of uh

119
00:06:00,400 --> 00:06:04,039
attacks coming in.

120
00:06:04,080 --> 00:06:06,800
It's subtle, but with the with with this

121
00:06:06,800 --> 00:06:09,759
one as well on this is it's heading up

122
00:06:09,759 --> 00:06:12,960
to it. Um,

123
00:06:12,960 --> 00:06:15,440
let's do uh

124
00:06:15,440 --> 00:06:17,840
invisible limiter to it. See if we can

125
00:06:17,840 --> 00:06:20,240
get it to levels that are really loud.

126
00:06:20,240 --> 00:06:22,240
If if it works when it's really loud,

127
00:06:22,240 --> 00:06:24,000
then probably the mix is already in a

128
00:06:24,000 --> 00:06:26,479
good sort of state.

129
00:06:26,479 --> 00:06:29,120
See what happens. So, what I would

130
00:06:29,120 --> 00:06:32,160
usually do is keep keep this on zero dB

131
00:06:32,160 --> 00:06:36,280
and just crank it up here.

132
00:06:37,440 --> 00:06:39,039
So, this is already pretty loud.

133
00:06:39,039 --> 00:06:42,080
Normally I I would like minus 7, but if

134
00:06:42,080 --> 00:06:44,479
you would really have it be forward low,

135
00:06:44,479 --> 00:06:46,319
so to say, you could go to minus 5

136
00:06:46,319 --> 00:06:48,319
perhaps,

137
00:06:48,319 --> 00:06:51,039
but it's already getting distorted. So

138
00:06:51,039 --> 00:06:53,440
I'll leave it up for

139
00:06:53,440 --> 00:06:56,080
this point.

140
00:06:56,080 --> 00:06:58,560
And the easy part of this is it I can

141
00:06:58,560 --> 00:07:00,880
mute it and then it's not doing anything

142
00:07:00,880 --> 00:07:03,360
this limiter. Let's put up the

143
00:07:03,360 --> 00:07:05,440
oversampling. Makes it a little bit

144
00:07:05,440 --> 00:07:07,199
better.

145
00:07:07,199 --> 00:07:10,800
Now what I would like to do is see what

146
00:07:10,800 --> 00:07:16,840
have we done to the signal. So

147
00:07:18,800 --> 00:07:21,440
this is without dynamics. This is with

148
00:07:21,440 --> 00:07:24,440
dynamics.

149
00:07:37,039 --> 00:07:38,720
That's a little bit too. Let's see what

150
00:07:38,720 --> 00:07:43,560
the level meter has to say about it.

151
00:07:43,759 --> 00:07:46,479
Can we see that here? Put up another

152
00:07:46,479 --> 00:07:49,479
one.

153
00:07:52,240 --> 00:07:55,720
Compare the two.

154
00:07:57,039 --> 00:07:58,879
Well, they're pretty the same loudness

155
00:07:58,879 --> 00:08:02,599
range. So

156
00:08:07,680 --> 00:08:10,080
this actually what I would like. So now

157
00:08:10,080 --> 00:08:15,280
I have cranked it up. Um it's actually

158
00:08:15,280 --> 00:08:17,440
sound a little bit better. Perhaps not

159
00:08:17,440 --> 00:08:19,680
at the state what I would like for the

160
00:08:19,680 --> 00:08:23,280
end result, but for now it's quite okay.

161
00:08:23,280 --> 00:08:26,280
Right.

162
00:08:27,280 --> 00:08:29,759
So if if I would render this this this

163
00:08:29,759 --> 00:08:31,840
this kind of thing here right now, I

164
00:08:31,840 --> 00:08:34,159
would be at minus 7, which is kind of

165
00:08:34,159 --> 00:08:36,240
okay.

166
00:08:36,240 --> 00:08:39,839
Right. So as far as I'm concerned, we've

167
00:08:39,839 --> 00:08:43,719
cleaned it up quite a bit.

168
00:08:47,279 --> 00:08:49,040
Let's see what we can do with this

169
00:08:49,040 --> 00:08:51,200
stuff. But

170
00:08:51,200 --> 00:08:53,120
I'm going to throw it all away and see

171
00:08:53,120 --> 00:08:56,600
if he complains.

172
00:08:56,720 --> 00:08:59,200
Um, this might be a okay one though. I

173
00:08:59,200 --> 00:09:01,279
want to check it out.

174
00:09:01,279 --> 00:09:04,080
See what is this. Ah, yeah. Glad I

175
00:09:04,080 --> 00:09:05,920
checked because this one is actually the

176
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one that I personally liked as well.

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Way too loud.

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So, I I hear some frequency which is

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really annoying me at this stage. It's

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coming into my ear too much.

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This is always a a region which is a bit

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problematic, but

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can clog up your mix if you're not

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really pay attention to it.

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Right,

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let's color code some more. And I think

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I would be ready for for Armen to have

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some new loops introduced to it.

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See what is this?

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Also, when I hear this sound on its own,

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I think I feel it's it's a bit muddy,

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though. So, let's see if we can just

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polish it a little bit more.

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Seems a bit radical though, but most of

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the time this helps to to let the track

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breathe. If if you hear it on its own

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and if if we should decide to put it

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here and as a solo part, then you might

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want to to put it back in. But let's see

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what happens if I would do this and

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put beats to it.

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So it's it's making it a little thinner

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perhaps. Sometimes it's can be

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uh how do you say it?

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something that that that it feels like

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you shouldn't do this, but most of the

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times, you know, it's good in the end.

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Let's leave it for now.

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Actually, I'm I'm missing it right now.

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Let's put it back on.

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All right.

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So, another nice feature of Logic is

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that you can uh make your markers here.

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So, you can quickly see where you're at.

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Uh right now, we probably would do a

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break. Well, let's put it here for now

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and see what happens.

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Farming comes in.

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See if we can get some transients going

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on here just to give them a little bit

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more space. Not sure if it's in there,

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but let's see. So, what what you could

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do is

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muting the auto gain here. So what you

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see is if you if if if you uh turn this

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knob the threshold the the level

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reduction is going well quite radical.

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A longer attack time might introduce

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more transients.

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There's not really a rule for it. It's

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better just to uh to do it by air.

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So, let's see what what we've done.

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It's always good to have the the makeup

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gain

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um

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adjust it in a way that if you mute it

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that you have the same level so you

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actually know what you're doing because

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louder is always better perceived but

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it's not always better. This is the way

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to be absolutely sure.

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I like this better. I'm going to try an

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extreme setting with another one. Going

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to use the

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VCS for that one.

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VSC, I'm sorry.

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Crank it up at extreme settings. Let's

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see what what happens.

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Uh

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nice feature of this is that you

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instantly hear the the the reverbs and

252
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the delays

253
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coming more to the front.

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Can use a little bit of makeup here

255
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to match up for the level.

256
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Not sure if this makes it better

257
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actually.

258
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No, let's

259
00:14:23,680 --> 00:14:27,880
let's keep it like it is.

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Would like to try something with this

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00:14:42,320 --> 00:14:46,519
syn here. Heat.

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00:15:07,920 --> 00:15:10,920
Cool.

263
00:15:13,839 --> 00:15:18,360
Let's put in another pad to it

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or sub.

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00:15:39,839 --> 00:15:45,399
Let's get a baseline. Just copy it.

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I personally like Logic for the way you

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can edit the the note length, these kind

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of things.

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If you like FL Studio or Ableton better,

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why not?

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So, I want to make them uh legato.

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There's a nice function for it.

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I can find it.

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There it is.

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00:16:27,040 --> 00:16:29,920
So, let's convert this to something like

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a pad. A little bit of voices there.

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teach you a little bit.

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Filter it.

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It's mainly for atmosphere.

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You instantly miss it. Or I do at least

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when I mute it.

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Make it more messive.

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Let's run this track and let's go over a

2
00:00:09,280 --> 00:00:10,639
few of the elements. I'll talk you

3
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through it. So again, uh we'll start

4
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with the intro of Be in the Moment.

5
00:00:17,680 --> 00:00:19,039
So what you hear there is a couple of

6
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elements uh specifically the kick that

7
00:00:21,359 --> 00:00:23,199
I'm using later on, but it's on a

8
00:00:23,199 --> 00:00:26,080
separate channel uh just to be able to

9
00:00:26,080 --> 00:00:28,560
uh give it a different volume. Uh in the

10
00:00:28,560 --> 00:00:29,760
beginning, I don't want the kick to be

11
00:00:29,760 --> 00:00:32,079
as hard. Uh you want to make sure that

12
00:00:32,079 --> 00:00:34,239
when the kick really enters the track

13
00:00:34,239 --> 00:00:37,440
here, uh that it's loud. This is has to

14
00:00:37,440 --> 00:00:38,800
be one of the possible loudest moments

15
00:00:38,800 --> 00:00:41,760
in the track. So the kick here doesn't

16
00:00:41,760 --> 00:00:44,399
need to be that loud. So in this

17
00:00:44,399 --> 00:00:46,719
particular track, we um we put the kick

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minus 4.7 dB. So it's not that loud yet

19
00:00:50,239 --> 00:00:51,920
because you the moment kick and the

20
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baseline come in, you want to really

21
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slap you in the face. And that's why I

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chose to copy the track and put it on a

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different track, different channel.

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Get rid of that.

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Here's an interesting thing that we've

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done.

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We've bounced the kick and the bass that

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are coming later as a separate audio

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file. And all we've done is put a a

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highp pass filter on it and we're sort

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of filtering that in.

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00:01:34,400 --> 00:01:36,240
Not at full volume yet, but you're

33
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teasing with the kick and the bass that

34
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are coming.

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00:01:40,799 --> 00:01:44,079
That's a kick bas.

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There it goes again.

37
00:01:47,520 --> 00:01:49,280
Boom.

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00:01:49,280 --> 00:01:50,720
You want to be able to when that kicks

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in, you want everybody to go, "Whoa,

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what happened there

41
00:01:55,200 --> 00:01:56,880
and then carefully adding all the other

42
00:01:56,880 --> 00:01:58,399
elements, including little fills that

43
00:01:58,399 --> 00:02:01,560
you have.

44
00:02:06,000 --> 00:02:08,560
Here they comes

45
00:02:08,560 --> 00:02:11,120
reverse baseline

46
00:02:11,120 --> 00:02:13,599
clap." And here come more elements of

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the percussion

48
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side trans elements

49
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sometimes

50
00:02:25,360 --> 00:02:27,920
gives room for other things to shine

51
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through stops continues again

52
00:02:34,400 --> 00:02:35,920
the pads are ready with the breakdown

53
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coming through

54
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and here come the st

55
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in the moment.

56
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It's a breakdown. So, this is where the

57
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euphoria comes.

58
00:03:05,920 --> 00:03:08,879
This is a cello. That's basically a

59
00:03:08,879 --> 00:03:12,800
standard uh contact library

60
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procession strings

61
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and then adding elements to it.

62
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But there's a big path coming underneath

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it. It's pretty it's pretty cool to

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listen to this because you want to

65
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create a more of a dramatic breakdown.

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So here's all kinds of synthy elements

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that that we've added. So there's a

68
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couple of pads coming but they're all

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00:03:33,599 --> 00:03:35,519
moving. So, uh, either they're volume

70
00:03:35,519 --> 00:03:38,159
automated or, uh, we roll off the low

71
00:03:38,159 --> 00:03:40,080
end that's sort of introducing itself.

72
00:03:40,080 --> 00:03:41,760
You don't want it to sound like, oh, you

73
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know, somebody's turning on a pad. No,

74
00:03:44,239 --> 00:03:46,480
you want it to sort of gradually come

75
00:03:46,480 --> 00:03:48,879
in, tell a story, if you will. So, if

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00:03:48,879 --> 00:03:50,400
you listen to the individual elements,

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for example, a pad that's going here,

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another pad underneath it, a subpad,

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which is basically just a silent synth

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00:03:57,680 --> 00:04:00,239
playing one note, uh, adding to the

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baseline of a track. It's a sine wave.

82
00:04:08,720 --> 00:04:11,280
Adding another pad and then violin

83
00:04:11,280 --> 00:04:14,680
violin harmony

84
00:04:20,239 --> 00:04:22,320
and then a choir sample which is

85
00:04:22,320 --> 00:04:24,400
something I really love. One of my

86
00:04:24,400 --> 00:04:26,240
favorite plugins is the Omnosphere. What

87
00:04:26,240 --> 00:04:28,560
a great plugin that is. It's a choir

88
00:04:28,560 --> 00:04:30,720
women's swell.

89
00:04:30,720 --> 00:04:33,280
Let me open that up.

90
00:04:33,280 --> 00:04:36,400
And you can see that we've only decided

91
00:04:36,400 --> 00:04:39,600
to introduce the choir

92
00:04:39,600 --> 00:04:41,600
uh later and not all the notes. Some of

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00:04:41,600 --> 00:04:45,040
the nodes are muted just to give it um

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00:04:45,040 --> 00:04:47,759
that feel. Uh let me see if I can pull

95
00:04:47,759 --> 00:04:50,800
up the general pressure. No node

96
00:04:50,800 --> 00:04:52,479
velocity.

97
00:04:52,479 --> 00:04:56,320
How did we automate this? Let me see.

98
00:04:56,320 --> 00:04:59,280
Uh choir.

99
00:04:59,280 --> 00:05:02,560
Here we go.

100
00:05:02,560 --> 00:05:04,479
So here you can see the choir pad coming

101
00:05:04,479 --> 00:05:07,039
in and we basically draw volume

102
00:05:07,039 --> 00:05:10,479
automation on a separate gain that gives

103
00:05:10,479 --> 00:05:13,600
it that dramatic feel because the choir

104
00:05:13,600 --> 00:05:16,320
is coming in later and it it adds to the

105
00:05:16,320 --> 00:05:19,360
the epicness of the track. So if I would

106
00:05:19,360 --> 00:05:22,919
solo the choir,

107
00:05:23,520 --> 00:05:25,600
you don't hear it here because there no

108
00:05:25,600 --> 00:05:28,000
there are not no notes being played very

109
00:05:28,000 --> 00:05:31,880
quietly. It's coming in

110
00:05:41,120 --> 00:05:44,000
that makes a dramatic ending of the pad

111
00:05:44,000 --> 00:05:45,919
right before we introduce the big theme

112
00:05:45,919 --> 00:05:48,320
of the song. And there's also some horns

113
00:05:48,320 --> 00:05:50,479
going on. Everything is layered to give

114
00:05:50,479 --> 00:05:53,680
it more of a classy feel, more of an

115
00:05:53,680 --> 00:05:58,320
expensive feel. So the horns go

116
00:05:58,320 --> 00:06:02,120
Let me see where they are.

117
00:06:12,319 --> 00:06:14,160
It's only that little element that we

118
00:06:14,160 --> 00:06:17,039
used on that particular track. Uh so

119
00:06:17,039 --> 00:06:18,639
that's why we introduced that whole

120
00:06:18,639 --> 00:06:21,039
sampler sampler the nexus just for that

121
00:06:21,039 --> 00:06:22,800
particular section. But if you play

122
00:06:22,800 --> 00:06:24,880
everything together, it gives it that

123
00:06:24,880 --> 00:06:28,080
dramatic feel.

124
00:06:44,240 --> 00:06:46,800
Now it comes the payoff.

125
00:06:46,800 --> 00:06:51,080
I want to be in that moment.

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00:07:02,400 --> 00:07:04,639
So

127
00:07:14,560 --> 00:07:16,319
Heat

128
00:07:16,319 --> 00:07:19,319
up

129
00:07:25,599 --> 00:07:28,599
here.

130
00:07:44,400 --> 00:07:46,080
Now that is a dramatic change in the

131
00:07:46,080 --> 00:07:48,639
track. All of a sudden you come to a

132
00:07:48,639 --> 00:07:50,319
section that you completely don't expect

133
00:07:50,319 --> 00:07:52,880
at least uh in a trans track like this.

134
00:07:52,880 --> 00:07:54,720
It has a triplet feel. Uh we

135
00:07:54,720 --> 00:07:56,800
reprogrammed the baseline on a triplet

136
00:07:56,800 --> 00:07:58,720
uh quantization.

137
00:07:58,720 --> 00:08:01,520
um you normally would expect maybe in a

138
00:08:01,520 --> 00:08:03,680
trans track for the uh for the lead to

139
00:08:03,680 --> 00:08:05,360
be the big payoff. Not in this

140
00:08:05,360 --> 00:08:06,560
particular track. You just want to

141
00:08:06,560 --> 00:08:08,400
surprise people by giving something

142
00:08:08,400 --> 00:08:10,000
completely different. So we switch to a

143
00:08:10,000 --> 00:08:12,080
triple feel. That also means that we

144
00:08:12,080 --> 00:08:14,080
have to reprogram all our drums to the

145
00:08:14,080 --> 00:08:16,639
triplet feel which makes it a different

146
00:08:16,639 --> 00:08:18,720
track, a different it's also almost like

147
00:08:18,720 --> 00:08:20,240
a completely different track starting

148
00:08:20,240 --> 00:08:22,639
right here. completely new elements

149
00:08:22,639 --> 00:08:25,440
adding to the song including uh marcato

150
00:08:25,440 --> 00:08:27,120
violin strings that are coming later in

151
00:08:27,120 --> 00:08:30,240
the section. And uh what we've done

152
00:08:30,240 --> 00:08:31,840
which I think is really cool about this

153
00:08:31,840 --> 00:08:36,080
track is the the main melody. Let me

154
00:08:36,080 --> 00:08:37,599
play that one more time for you so you

155
00:08:37,599 --> 00:08:39,919
recognize it. The main melody that make

156
00:08:39,919 --> 00:08:44,440
the main payoff is is this one.

157
00:08:51,279 --> 00:08:54,080
That's your lead. And in a triplet feel,

158
00:08:54,080 --> 00:08:55,839
you want to be able to still recognize

159
00:08:55,839 --> 00:08:57,440
that that was the lead that you were

160
00:08:57,440 --> 00:08:59,440
that you were playing with. But because

161
00:08:59,440 --> 00:09:01,440
we go to triplets, you have to rewrite

162
00:09:01,440 --> 00:09:04,320
the melody, but still it has to have a

163
00:09:04,320 --> 00:09:05,760
reference to the original melody that

164
00:09:05,760 --> 00:09:08,000
was in the breakdown. So this is how we

165
00:09:08,000 --> 00:09:13,080
chose to uh rewrite the melody.

166
00:09:25,760 --> 00:09:28,240
So you hear the difference, but it is

167
00:09:28,240 --> 00:09:29,839
still the same chord progression and

168
00:09:29,839 --> 00:09:31,600
still the same melody just played in a

169
00:09:31,600 --> 00:09:33,920
different way. and then add it on top of

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the triplet baseline.

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Toms are getting bigger and bigger.

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Going back to 44.

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So, this would be the section where the

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DJ could mix in the next track because

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we go back to 44. We don't have the

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triplet signing, but uh we think it's a

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pretty dramatic track and I really love

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it and it really worked well on a dance

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floor. It's really a track that I

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wouldn't have made four years ago. It's

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also a little bit based on on the sound

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that's going on right now and and what's

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happening on dance floors right now

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worldwide.

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Trans music is all about release. It's

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about energy. It's about emotion. And

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you can bring that out by arranging it

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carefully. So, obviously, you have

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dynamic moments. You have breakdowns.

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And you have big drops. It's like a

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wave, you know, uh you're a surfer.

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You're waiting for the next wave. And

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when the wave comes, that's the drop.

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It's the kick in the bass. You want to

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be on your board. and the wave needs to

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take you to the to the to the beach.

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A lot of my tracks start with a a

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filtered kick just so when the the first

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time that I'm mixing in a track um the

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kick and the baseline really hit it. So,

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for example, on this particular club mix

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of Sunny Days, you can see that I

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basically copied the the kick. It's the

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same kick track except for the fact that

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I don't have that big low end going on

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that the bark of duck plugin is giving

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me. Um, and I rolled off a little bit of

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the low end.

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So, you can see uh everything below 95

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hertz, something like that. Uh, and

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basically I've done that. I could have

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automated that on the same kick track,

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but it's just easier to also to see for

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yourself like, okay, kick intro. I named

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the track kick intro. So, and also what

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I've done, I've done a volume automation

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uh right before the drop. You can barely

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hear it. It's still almost 4 dB that I

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roll off right before the kick and the

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bass hit. Uh so, what that does is this

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volume goes down subtly. The kick is

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filtered.

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softer, softer.

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So, when you're mixing in the club mix

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of Sunny Days coming out of another

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track, you can use that uh little trick

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to really uh announce the fact that

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you're bringing in another record.

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you want people to sort of recognize uh

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a song and there's several uh hints you

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can use by already teasing what's going

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to happen in the breakdown or or the big

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uh chord progression. In this case, I'm

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introducing the pluck sound uh to

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announce the chord progression right

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before the drop. This is where the big

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drop is. And um in this particular case,

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I'm already teasing with the chord

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progression uh that's going to happen

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here in the big breakdown, but I'm not

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introducing the plugs and the pads yet.

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It's just a baseline that's following

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the chord progression. So, what makes

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this track interesting to me is that the

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chord progression is already going on

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before we go into the breakdown and then

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we introduce the melody only in the

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breakdown and we have the big payoff

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with the melody coming. It's not a a

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standard way of working, but a lot of

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trans tracks traditionally have the big

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drop, the big melody, and the core

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progression going when the kick and the

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bass hits back on the drop. Uh, that's

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not a standard thing because now there's

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a lot of trans tracks that uh have a a

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lot less uh a lot more minimal approach

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to to things uh like the be in the

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moment track uh that has a completely

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different drop than this particular

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song. This is more of a classic trans

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structure, if you will, because it

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really pays off with the full melody in

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the drop.

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In the breakdown, um, I'm doing

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something that is for me really

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essential to have a big impact on your

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first big drop, the big payoff moment.

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You know, when you're standing on your

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surfboard going to the beach, you know,

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you're that's the highlight of your

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track. So again, what I've done on my um

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uh pre-dynnamic master bus, so before

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that goes into the dynamic compression

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is I've done a gain automation again. So

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right before the drop and my tracks uh

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3dbs

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softer and that makes it for a little

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volume ramp makes it for a little harder

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impact of your kick and bass. So you

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really have a drop as we call it. Uh the

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most important part right before the

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drop are obviously the leads, the

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synths. Um I'm coming out of a beautiful

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section in the song where I' where I'm

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introducing the chord progression. Um we

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want to use something to introduce the

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fact that we're going to bring a really

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big drop. For this particular

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arrangement, I chose to arrange my track

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such that I I'm just all the all I'm

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doing is I'm repeating the last chord

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and it builds some sort of an exciting

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tension. So all I'm doing is basically

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grabbing the last chord of that chord

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progression and looping it.

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So the chord progression, let me uh pick

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out one particular sound.

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The chord progression is this.

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That is the melody. This is one part of

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the layer of the leads, the big stack of

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leads. I want to play you this because

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now you can hear clearly here that I'm

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holding the last chord or the first

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chord actually.

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So I'm not giving away all the chords

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yet because as soon as I release and I

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have the drop, that's when I the big

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payoff comes and that's when we have the

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chord progression again. So to build

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that tension, I looped the first uh part

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of my chord progression and it gives a

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certain tension. Uh so if I stack that,

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it just you're like, "Okay, I want to

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hear the chord progression again. I want

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to hear the chord progression again."

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But that comes at the same time the kick

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and the baseline hits. So that's an

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arrangement trick to build some sort of

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tension and tell people, "Okay, guys,

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it's coming. It's coming. It's coming."

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You can't play a kick uh for three hours

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straight in a transet, you know, because

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then you can't give melody space to

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breathe, but you can still say to the

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person that's dancing on a dance floor,

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hey, here's the beat. You don't hear the

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kick now, but you know where it is,

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right? And you hear something. So, uh

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that's also the reason why in this

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particular track, uh we have the pluck

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sound in the break because it still has

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a rhythmic element. So, if I would

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switch off the vocal,

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everybody knows where the kick is. So,

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if for example, if if this would be an

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instrumental track that I would play in

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my set, a thing that I could do as a DJ,

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you start to clap. So, people know,

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okay, here's the beat.

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Oh, clap. Rhythmic element.

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So that's the beauty of of electronic

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dance music. There's always something

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that guides you home. That's the

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pulsating beat. It's the heart. It's

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it's the beat that takes you home. It's

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always there. Sometimes you don't hear

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it, but it's always coming back.

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Another really important trick that I

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use a lot on my leads and all the

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elements is that I roll off all the low

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end and uh and also volume automation.

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So now let me play you the drop without

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the volume automation and tell me if you

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think that the track has just as much

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impact.

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So here you see my some leads. So this

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is the bus where all my leads go

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through. I'm going to mute the uh the

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channel strip here that says uh ch uh

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equalizing. And here's a gain

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automation. I'm going to turn it off

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just for the moment. Also, I'm going to

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mute

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my volume imp my volume automation here

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on the bus. So, the volume will now stay

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at the same level. And you can hear that

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it will have less impact on the drop.

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Listen.

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still sounds okay. It's just there's not

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much of a volume difference between uh

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what goes on before the drop and after.

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Now, let me switch on the automation.

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Let me switch on those plugins. Gain

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automation. Same part, but now with the

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automation.

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Sunday.

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So that's how you build a drop. You have

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a release moment and you use your

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automation. You have to carefully use

197
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your automation to really impact. The

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only sound that I uh don't automate uh

199
00:09:24,320 --> 00:09:26,640
obviously is the snare. The snare fill

200
00:09:26,640 --> 00:09:29,519
goes here. And I've decided not to roll

201
00:09:29,519 --> 00:09:31,200
off low end just because I want to have

202
00:09:31,200 --> 00:09:32,959
the drama of just the snare being the

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only sound that's there announcing the

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big drop.

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When I'm making a club mix,

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00:09:43,279 --> 00:09:45,519
traditionally, I hope that other DJs

207
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will pick it up and want to integrate it

208
00:09:47,839 --> 00:09:50,160
into their set because if that happens,

209
00:09:50,160 --> 00:09:51,760
they're playing a radio friendly song in

210
00:09:51,760 --> 00:09:53,200
a club mix and and people will

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00:09:53,200 --> 00:09:54,959
automatically recognize the song, which

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00:09:54,959 --> 00:09:56,880
would be great. So, I'm not trying to

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00:09:56,880 --> 00:09:58,640
make it over complicated with really

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00:09:58,640 --> 00:10:00,800
weird beat structures, you know? I don't

215
00:10:00,800 --> 00:10:02,959
want to do uh seven and a half bars of

216
00:10:02,959 --> 00:10:05,360
intro or something weird, you know, cuz

217
00:10:05,360 --> 00:10:07,360
I can do if you want to be if you want

218
00:10:07,360 --> 00:10:09,120
to be that that person. I mean, there's

219
00:10:09,120 --> 00:10:10,720
there's DJs out there that have really

220
00:10:10,720 --> 00:10:12,399
weird structures or use really weird

221
00:10:12,399 --> 00:10:15,920
BPMs, but I make this track in the hope

222
00:10:15,920 --> 00:10:17,360
that I can play it in my sets and people

223
00:10:17,360 --> 00:10:18,959
will enjoy it and that other DJs pick it

224
00:10:18,959 --> 00:10:20,800
up as well. So, I don't want to make the

225
00:10:20,800 --> 00:10:22,959
structure of the song too difficult.

226
00:10:22,959 --> 00:10:24,240
Having said that, you don't want to be

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00:10:24,240 --> 00:10:26,399
boring and too predictable. So, that's

228
00:10:26,399 --> 00:10:28,160
why you try to introduce new and

229
00:10:28,160 --> 00:10:30,160
refreshing elements to every remix or

230
00:10:30,160 --> 00:10:32,640
every song that I do. So, this would be

231
00:10:32,640 --> 00:10:36,079
the intro, the intro of the song. Um,

232
00:10:36,079 --> 00:10:37,839
this would be traditionally the point

233
00:10:37,839 --> 00:10:40,320
where I'm starting to mix in uh the

234
00:10:40,320 --> 00:10:41,839
song. So, this would mean another

235
00:10:41,839 --> 00:10:44,560
track's playing before this one and I

236
00:10:44,560 --> 00:10:46,640
would start this at an appropriate uh

237
00:10:46,640 --> 00:10:48,079
time when the other song is still

238
00:10:48,079 --> 00:10:49,920
playing. So, you wouldn't necessarily

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00:10:49,920 --> 00:10:52,160
hear this section. It's only for the DJ

240
00:10:52,160 --> 00:10:54,079
to get ready.

241
00:10:54,079 --> 00:10:56,480
Probably at this point, you would start

242
00:10:56,480 --> 00:10:58,160
to hear the first elements of this song

243
00:10:58,160 --> 00:11:01,120
when the DJ is mixing in this track.

244
00:11:01,120 --> 00:11:02,800
That's why I'm carefully introducing the

245
00:11:02,800 --> 00:11:05,600
baseline. There's the snare feel coming.

246
00:11:05,600 --> 00:11:07,519
So, I hope that the DJ is now fading out

247
00:11:07,519 --> 00:11:10,959
the other track already. Maybe uh fading

248
00:11:10,959 --> 00:11:12,959
out the bass a little bit, introducing

249
00:11:12,959 --> 00:11:15,680
the low end of this track. And at this

250
00:11:15,680 --> 00:11:19,600
point, I hope that the track is solo.

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00:11:19,600 --> 00:11:21,760
And here's where you introduce the track

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to the crowd. They hear a funky

253
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baseline. It takes some time for people

254
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to get used to the baseline. You don't

255
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want to introduce all the elements at

256
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once.

257
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And here we go with the vocal. She woke

258
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up in the morning.

259
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Now people start to recognize

260
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classic structure where we first have

261
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the first verse.

262
00:11:50,800 --> 00:11:54,200
Second part is

263
00:11:54,800 --> 00:11:57,120
the drum just baseline. What you hear

264
00:11:57,120 --> 00:11:59,680
also is that the baseline is uh

265
00:11:59,680 --> 00:12:01,120
it's straight. It's is still at a

266
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straight U thing. It stays on the same

267
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uh on the same chord.

268
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So, it has more of a tough feel.

269
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This is actually a funny element to see.

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00:12:15,360 --> 00:12:17,279
Um,

271
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in dance music, it is more cool to have

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a straight baseline. If it follows the

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core progression, it's usually a little

274
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bit melodramatic, and you want to sort

275
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of try to to do that as late as

276
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possible. So what I'm doing here, the

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chorus is already happening, but the

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baseline stays on the same note, which

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introduces something exciting because

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you know the melody is coming, but it's

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00:12:41,760 --> 00:12:43,760
not yet there. So listen to this. We

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have the chorus vocal of Sunny Days, but

283
00:12:46,480 --> 00:12:48,320
the baseline stays basically on the same

284
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note. And then in the next bar, the

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baseline goes down, which gives it more

286
00:12:52,240 --> 00:12:55,560
of a high

287
00:12:56,399 --> 00:12:59,800
Sunny days.

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00:13:03,440 --> 00:13:06,680
Same base.

289
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Baseline goes down.

290
00:13:16,079 --> 00:13:17,680
You're already teasing with the chord

291
00:13:17,680 --> 00:13:19,279
progression that's coming without giving

292
00:13:19,279 --> 00:13:23,399
away the top melody.

293
00:13:26,480 --> 00:13:28,399
the flux. You can hear the flux already

294
00:13:28,399 --> 00:13:31,120
coming in.

295
00:13:31,120 --> 00:13:34,959
We're filtering in the flux.

296
00:13:34,959 --> 00:13:39,000
We're setting you up for the breakout.

297
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Some vocal effects going on to create an

298
00:13:44,399 --> 00:13:46,959
atmosphere, a nice move.

299
00:13:46,959 --> 00:13:49,040
And now the second verse comes on the

300
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core progression.

301
00:13:52,079 --> 00:13:55,680
All she needs is shelter.

302
00:13:55,680 --> 00:13:57,760
But we're not introducing the full

303
00:13:57,760 --> 00:13:59,600
everything yet. We're sort of fading it

304
00:13:59,600 --> 00:14:01,519
in.

305
00:14:01,519 --> 00:14:03,839
Little rhythmic elements of people still

306
00:14:03,839 --> 00:14:05,839
need to remind them where the beat is. I

307
00:14:05,839 --> 00:14:07,360
wanted people not to lose themselves.

308
00:14:07,360 --> 00:14:11,079
The beat is your guide.

309
00:14:11,920 --> 00:14:13,519
Stolen

310
00:14:13,519 --> 00:14:15,680
by demons of the past. It's always

311
00:14:15,680 --> 00:14:18,560
raining.

312
00:14:18,560 --> 00:14:21,440
She keeps on praying.

313
00:14:21,440 --> 00:14:24,440
Here

314
00:14:24,480 --> 00:14:27,360
we go.

315
00:14:27,360 --> 00:14:29,360
Already changing with the pads, the big

316
00:14:29,360 --> 00:14:31,360
breakdown pads that are coming, but

317
00:14:31,360 --> 00:14:33,120
they're filtered. They're far away. Here

318
00:14:33,120 --> 00:14:36,440
they're coming.

319
00:14:36,639 --> 00:14:40,040
And now open.

320
00:14:44,320 --> 00:14:46,639
So it's really adding layer on top layer

321
00:14:46,639 --> 00:14:49,839
on top of layer trying to tell a story

322
00:14:49,839 --> 00:14:52,639
really impact the song. Looping the

323
00:14:52,639 --> 00:14:55,880
first chord

324
00:14:56,000 --> 00:14:58,000
attention

325
00:14:58,000 --> 00:15:00,160
filtering out the low end leaving a

326
00:15:00,160 --> 00:15:04,760
snare. Little riser going on.

327
00:15:07,120 --> 00:15:10,120
Impact

328
00:15:10,240 --> 00:15:13,560
and we're home.

329
00:15:18,800 --> 00:15:20,639
Different baseline.

330
00:15:20,639 --> 00:15:23,040
Stays on the same note.

331
00:15:23,040 --> 00:15:25,360
Not a solid base like in the beginning.

332
00:15:25,360 --> 00:15:30,279
Give space to the to the staffs.

333
00:15:33,600 --> 00:15:37,560
And one more time, of course.

334
00:15:42,480 --> 00:15:46,000
Adding some rhythmical elements to this.

335
00:15:46,000 --> 00:15:47,519
Highs,

336
00:15:47,519 --> 00:15:50,160
right?

337
00:15:50,160 --> 00:15:53,560
One more time.

338
00:16:10,240 --> 00:16:13,399
She keeps

339
00:16:14,079 --> 00:16:16,480
again on the first chord. Looping back

340
00:16:16,480 --> 00:16:18,320
to create tension. She's telling the

341
00:16:18,320 --> 00:16:23,279
crowds. The baseline's coming back.

342
00:16:27,680 --> 00:16:30,160
So now you're setting up for the DJ to

343
00:16:30,160 --> 00:16:33,880
mix in the next track.

344
00:16:34,320 --> 00:16:36,079
This will be a point where you can start

345
00:16:36,079 --> 00:16:39,560
your next track.

346
00:16:49,440 --> 00:16:51,360
This is a nice point to introduce the

347
00:16:51,360 --> 00:16:54,600
next song.

1
00:00:13,599 --> 00:00:16,720
So, this is normally what we do. We uh

2
00:00:16,720 --> 00:00:18,160
sit here, everybody's in their own

3
00:00:18,160 --> 00:00:19,920
comfort zone, and then I play to Beno

4
00:00:19,920 --> 00:00:21,199
what I think would be cool for the to

5
00:00:21,199 --> 00:00:22,400
add to this track.

6
00:00:22,400 --> 00:00:25,439
Curious, man. Bring it on.

7
00:00:25,439 --> 00:00:29,480
So, yeah, this is everything together.

8
00:00:43,120 --> 00:00:44,480
Yeah, sounds great.

9
00:00:44,480 --> 00:00:47,120
So, I have 15 uh tracks. They're all in

10
00:00:47,120 --> 00:00:49,440
the same BPM. And I'm going to select

11
00:00:49,440 --> 00:00:51,680
all these tracks.

12
00:00:51,680 --> 00:00:55,559
I'm going to export these

13
00:01:00,800 --> 00:01:04,680
Sounds like a hole kick.

14
00:01:07,040 --> 00:01:10,840
It's a reverse clap.

15
00:01:13,840 --> 00:01:16,840
Nice

16
00:01:18,960 --> 00:01:21,759
noise effects. No noise. Fill household.

17
00:01:21,759 --> 00:01:24,799
Huh? Household white noise.

18
00:01:24,799 --> 00:01:27,040
I'll put it in

19
00:01:27,040 --> 00:01:29,759
white noise.

20
00:01:29,759 --> 00:01:33,280
Right. Next.

21
00:01:33,280 --> 00:01:36,840
Crash. Crash.

22
00:01:40,159 --> 00:01:42,159
I know it's a bit out of key, but I

23
00:01:42,159 --> 00:01:43,840
thought it could be cool if you roll off

24
00:01:43,840 --> 00:01:46,640
the low end, make it sound a bit more

25
00:01:46,640 --> 00:01:48,399
technical.

26
00:01:48,399 --> 00:01:50,799
Let's do right away.

27
00:01:50,799 --> 00:01:52,880
You want to to have the top end then?

28
00:01:52,880 --> 00:01:55,439
Yeah. Like the bleepy kind of a What?

29
00:01:55,439 --> 00:02:01,240
What about a little room to it? Yeah.

30
00:02:09,360 --> 00:02:11,840
Sounds okay for now, right? How do you

31
00:02:11,840 --> 00:02:12,480
call it?

32
00:02:12,480 --> 00:02:16,840
Uh loop um

33
00:02:16,879 --> 00:02:19,879
hiq.

34
00:02:20,560 --> 00:02:21,440
Hiq.

35
00:02:21,440 --> 00:02:25,640
Yeah. Uh effects

36
00:02:30,400 --> 00:02:33,800
closed hats.

37
00:02:36,560 --> 00:02:39,840
Sort of a cowbell thing, right?

38
00:02:39,840 --> 00:02:41,920
Yeah. Just roll up the low end. I think

39
00:02:41,920 --> 00:02:44,800
it might clog up the mix too much if we

40
00:02:44,800 --> 00:02:46,720
maybe put an LFO on it to give it more

41
00:02:46,720 --> 00:02:49,599
groove or something.

42
00:02:49,599 --> 00:02:52,879
What if he instead of do a quarter note

43
00:02:52,879 --> 00:02:55,519
standard kind of LFO feel to thing like

44
00:02:55,519 --> 00:02:57,599
this, what if he would do it like this?

45
00:02:57,599 --> 00:03:00,400
Would that help? Yeah,

46
00:03:00,400 --> 00:03:03,040
definitely add to the groove to make it

47
00:03:03,040 --> 00:03:06,400
a little bit more different dynamically.

48
00:03:06,400 --> 00:03:10,000
Okay, so this is actually a loop, right?

49
00:03:10,000 --> 00:03:14,519
Cowbellish, I don't know. Yep.

50
00:03:14,959 --> 00:03:18,400
These are all.

51
00:03:18,400 --> 00:03:22,040
So what's next?

52
00:03:25,040 --> 00:03:28,519
Another closed.

53
00:03:29,360 --> 00:03:32,080
Yeah, some different groove elements.

54
00:03:32,080 --> 00:03:36,680
Let's rename this in the same way then.

55
00:03:37,840 --> 00:03:41,799
Tedious, but it's handy.

56
00:03:42,560 --> 00:03:44,400
So this is the vocal effects, right?

57
00:03:44,400 --> 00:03:45,840
Yeah. You need to put a reverb behind

58
00:03:45,840 --> 00:03:47,840
it.

59
00:03:47,840 --> 00:03:50,319
Roll off the low end. Just

60
00:03:50,319 --> 00:03:53,319
one

61
00:03:58,720 --> 00:04:03,000
long short. What do you have in mind?

62
00:04:03,200 --> 00:04:04,720
Doesn't need to be loud in the mix. It's

63
00:04:04,720 --> 00:04:08,400
just something extra to add to the

64
00:04:08,400 --> 00:04:12,000
like this. Yeah. Beautiful.

65
00:04:12,000 --> 00:04:13,840
Um, so it's more of an atmosphere,

66
00:04:13,840 --> 00:04:16,320
right?

67
00:04:16,320 --> 00:04:18,000
Right.

68
00:04:18,000 --> 00:04:20,320
Do we need risers or shall we just see

69
00:04:20,320 --> 00:04:23,120
what happens if we put it in and then uh

70
00:04:23,120 --> 00:04:24,000
go from there?

71
00:04:24,000 --> 00:04:25,440
Yeah, let's see if we can build.

72
00:04:25,440 --> 00:04:28,000
Perhaps it's a good idea if you, you

73
00:04:28,000 --> 00:04:30,400
know, build a basic structure for it.

74
00:04:30,400 --> 00:04:33,400
Yeah.

75
00:04:35,120 --> 00:04:37,919
Let me put this in the in place first.

76
00:04:37,919 --> 00:04:39,840
Let me rename them. Name the parts.

77
00:04:39,840 --> 00:04:42,080
There you go.

78
00:04:42,080 --> 00:04:45,919
So, we have some more overview, right?

79
00:04:45,919 --> 00:04:49,880
This loop is way too loud.

80
00:04:56,720 --> 00:04:59,680
Still a little bit of low end.

81
00:04:59,680 --> 00:05:02,400
You think should be maybe put a weird

82
00:05:02,400 --> 00:05:06,680
panner effect on it or something

83
00:05:07,280 --> 00:05:09,280
like that.

84
00:05:09,280 --> 00:05:12,080
First I would like to

85
00:05:12,080 --> 00:05:16,720
panner. Sure. Which is suggestions for

86
00:05:16,720 --> 00:05:19,720
it.

87
00:05:20,880 --> 00:05:22,080
Phase mistress

88
00:05:22,080 --> 00:05:23,440
tremolo.

89
00:05:23,440 --> 00:05:26,960
Just logic kind of logic. Uh

90
00:05:26,960 --> 00:05:29,960
modulation.

91
00:05:32,560 --> 00:05:37,479
You want it fast or just

92
00:05:38,080 --> 00:05:41,120
Uh, you can adjust the symmetry perhaps.

93
00:05:41,120 --> 00:05:46,000
No, I would like to. Well, sure.

94
00:05:46,000 --> 00:05:47,759
This is what you what you kind of want.

95
00:05:47,759 --> 00:05:49,600
Yeah,

96
00:05:49,600 --> 00:05:53,960
it's moving a little bit in stereo.

97
00:06:00,479 --> 00:06:02,560
So, this is actually Do we have a an

98
00:06:02,560 --> 00:06:07,440
open high? A real open open like high.

99
00:06:12,639 --> 00:06:16,880
That's open random. No, like this. This

100
00:06:16,880 --> 00:06:18,639
is one of the things that's really

101
00:06:18,639 --> 00:06:20,240
really come in handy. If you have your

102
00:06:20,240 --> 00:06:23,199
library standby, you can just

103
00:06:23,199 --> 00:06:24,960
pull up a nice open hide if you need

104
00:06:24,960 --> 00:06:27,680
one. This

105
00:06:27,680 --> 00:06:31,800
just play one. It's fine,

106
00:06:34,639 --> 00:06:37,639
right?

107
00:06:54,880 --> 00:06:56,639
What's he doing there? Did something

108
00:06:56,639 --> 00:06:58,639
wrong, I guess.

109
00:06:58,639 --> 00:07:00,639
I don't know if I like the tone of it,

110
00:07:00,639 --> 00:07:03,599
right? Shall we repitch it or do you

111
00:07:03,599 --> 00:07:04,400
want another one?

112
00:07:04,400 --> 00:07:07,759
Another one

113
00:07:07,759 --> 00:07:10,000
better. Yeah, a softer a lot softer in

114
00:07:10,000 --> 00:07:10,880
mix.

115
00:07:10,880 --> 00:07:11,360
Really?

116
00:07:11,360 --> 00:07:13,360
Yeah.

117
00:07:13,360 --> 00:07:15,599
Okay. Perhaps a little bit of

118
00:07:15,599 --> 00:07:18,800
compression to have the kind of a

119
00:07:18,800 --> 00:07:21,360
just a little bit and I think I'm good

120
00:07:21,360 --> 00:07:24,440
to go.

121
00:07:24,720 --> 00:07:27,680
Just a quick one. see if it helps.

122
00:07:27,680 --> 00:07:29,199
The reason we're using this thinner high

123
00:07:29,199 --> 00:07:30,639
hat is because the other one was

124
00:07:30,639 --> 00:07:31,759
clashing a little bit with the

125
00:07:31,759 --> 00:07:33,199
frequencies of the other sounds that

126
00:07:33,199 --> 00:07:35,440
were going on. Well, it works for me

127
00:07:35,440 --> 00:07:37,680
right now.

128
00:07:37,680 --> 00:07:39,199
Um,

129
00:07:39,199 --> 00:07:42,199
cool.

130
00:07:47,440 --> 00:07:49,199
So, I'm going to start arranging this a

131
00:07:49,199 --> 00:07:52,479
little bit. Uh, so the melodies, love

132
00:07:52,479 --> 00:07:54,400
them. They're all fantastic. But at this

133
00:07:54,400 --> 00:07:56,960
point, I want to mute them.

134
00:07:56,960 --> 00:08:00,560
Um, so here's a solid baseline. Um,

135
00:08:00,560 --> 00:08:02,080
we've already constructed the melody. So

136
00:08:02,080 --> 00:08:04,240
now I want to use that as an intro. So

137
00:08:04,240 --> 00:08:05,599
this is the key that the track's going

138
00:08:05,599 --> 00:08:08,720
to be in. I want to mute this or maybe

139
00:08:08,720 --> 00:08:10,639
just actually just use the first section

140
00:08:10,639 --> 00:08:13,199
of that loop

141
00:08:13,199 --> 00:08:18,199
and then just loop it. So,

142
00:08:23,440 --> 00:08:25,199
when I'm arranging a track like this, I

143
00:08:25,199 --> 00:08:27,120
usually think of the DJ that's mixing in

144
00:08:27,120 --> 00:08:29,440
this song. So, you want to start teasing

145
00:08:29,440 --> 00:08:31,440
with elements of the breakdown, but you

146
00:08:31,440 --> 00:08:32,640
don't want to give away the entire

147
00:08:32,640 --> 00:08:36,120
melody yet.

148
00:08:41,279 --> 00:08:42,800
And then maybe add some of these

149
00:08:42,800 --> 00:08:45,440
elements.

150
00:08:45,440 --> 00:08:47,519
So this could be the baseline when the

151
00:08:47,519 --> 00:08:51,440
track starts and add add this have some

152
00:08:51,440 --> 00:08:53,200
close high hats going on maybe I don't

153
00:08:53,200 --> 00:08:56,200
know

154
00:08:57,279 --> 00:09:00,240
do do we might need some some stuff like

155
00:09:00,240 --> 00:09:03,680
this like with a you know reverb on it.

156
00:09:03,680 --> 00:09:05,200
Yeah, could be could cool. Could be

157
00:09:05,200 --> 00:09:09,080
cool. Just a little thing.

158
00:09:11,519 --> 00:09:13,200
And there's this one pad that I

159
00:09:13,200 --> 00:09:15,279
absolutely love. Uh maybe we could use

160
00:09:15,279 --> 00:09:19,600
that as an effect almost in the intro.

161
00:09:19,600 --> 00:09:21,680
That one.

162
00:09:21,680 --> 00:09:24,399
Uh if you just uh we're going to use

163
00:09:24,399 --> 00:09:28,600
that as some sort of an introduction.

164
00:09:28,800 --> 00:09:30,720
Every few bars. I'm going to introduce

165
00:09:30,720 --> 00:09:33,720
that

166
00:09:41,040 --> 00:09:42,480
And we have a little effect going on

167
00:09:42,480 --> 00:09:45,480
here.

168
00:09:47,360 --> 00:09:49,200
I think atmosphere is extremely

169
00:09:49,200 --> 00:09:50,959
important in a trans track. That's why

170
00:09:50,959 --> 00:09:53,040
we're using all these effects elements.

171
00:09:53,040 --> 00:09:54,399
They're making the track sound a little

172
00:09:54,399 --> 00:09:56,320
bit more exciting than just the kick and

173
00:09:56,320 --> 00:09:57,360
the bass.

174
00:09:57,360 --> 00:09:58,880
I like that. But maybe that should be

175
00:09:58,880 --> 00:10:01,040
some sort of an introduction. So, we

176
00:10:01,040 --> 00:10:02,880
move the kick here a little bit to give

177
00:10:02,880 --> 00:10:06,399
it some space. Maybe a fill here to

178
00:10:06,399 --> 00:10:08,160
introduce when the melodies are coming

179
00:10:08,160 --> 00:10:11,920
in. That should be here.

180
00:10:11,920 --> 00:10:13,680
And then

181
00:10:13,680 --> 00:10:15,600
I'm going to copy this entire section.

182
00:10:15,600 --> 00:10:17,519
That's what I love about Logic. You can

183
00:10:17,519 --> 00:10:20,720
say uh repeat section

184
00:10:20,720 --> 00:10:22,480
because I don't want everything to go on

185
00:10:22,480 --> 00:10:24,560
at the same time.

186
00:10:24,560 --> 00:10:27,920
Um I want to introduce it more. So, here

187
00:10:27,920 --> 00:10:33,399
is an arp. I like this one.

188
00:10:36,880 --> 00:10:38,480
I actually like that. That could be a

189
00:10:38,480 --> 00:10:40,399
great thing to sort of start teasing

190
00:10:40,399 --> 00:10:43,120
with the melody. So, if I'm going to

191
00:10:43,120 --> 00:10:45,839
kill this, I'm going to just loop it and

192
00:10:45,839 --> 00:10:49,360
maybe introduce it here with a filter.

193
00:10:49,360 --> 00:10:54,880
Sorry. Make sure the loop's tight

194
00:10:54,880 --> 00:10:57,680
here. Yeah. And then I want to my

195
00:10:57,680 --> 00:11:03,640
beautiful arpeggio is here.

196
00:11:13,200 --> 00:11:15,279
The low end should all I think we should

197
00:11:15,279 --> 00:11:19,120
keep the low end uh only for here. So

198
00:11:19,120 --> 00:11:21,360
maybe if I want to use this I'm just

199
00:11:21,360 --> 00:11:22,640
going to use the top. I'm not going to

200
00:11:22,640 --> 00:11:25,760
use the the low end. I'm I'm going to

201
00:11:25,760 --> 00:11:28,240
save that meaty for when the drop comes.

202
00:11:28,240 --> 00:11:33,160
So, if you ask me, kill this.

203
00:12:05,519 --> 00:12:08,000
I like that. Uh, sort of building up.

204
00:12:08,000 --> 00:12:09,760
And then

205
00:12:09,760 --> 00:12:11,760
I don't know, maybe introduce that one

206
00:12:11,760 --> 00:12:16,519
here. Mute that.

207
00:12:17,120 --> 00:12:20,120
Heat. Heat.

208
00:13:07,760 --> 00:13:10,560
I was mentioning that. Um, are you still

209
00:13:10,560 --> 00:13:12,320
on the No, you're not under the

210
00:13:12,320 --> 00:13:14,160
Yeah. into the breakdown now.

211
00:13:14,160 --> 00:13:15,120
Yeah. Yeah. Sorry.

212
00:13:15,120 --> 00:13:19,240
So, going here.

213
00:13:34,240 --> 00:13:35,839
I like the tension of that one note.

214
00:13:35,839 --> 00:13:37,600
Yeah, I like it. And I need to and I

215
00:13:37,600 --> 00:13:39,920
want to sort of introduce this but with

216
00:13:39,920 --> 00:13:42,320
really low filters.

217
00:13:42,320 --> 00:13:43,120
Um,

218
00:13:43,120 --> 00:13:47,639
I also put an extra pad to it.

219
00:13:47,680 --> 00:13:49,680
Maybe even if we filter this and

220
00:13:49,680 --> 00:13:52,720
automate that.

221
00:13:52,720 --> 00:13:55,959
Oh yeah,

222
00:13:57,440 --> 00:13:59,279
it will already bring out the melody and

223
00:13:59,279 --> 00:14:01,120
the beauty of what's coming in just a

224
00:14:01,120 --> 00:14:04,399
little bit. Um, so I'm going to leave

225
00:14:04,399 --> 00:14:08,800
this till the big payoff.

226
00:14:08,800 --> 00:14:11,519
Um,

227
00:14:11,519 --> 00:14:15,680
arpeggio to here. And then, so this is

228
00:14:15,680 --> 00:14:18,000
my breakdown. We're going into the

229
00:14:18,000 --> 00:14:20,720
breakdown here, but I want the arpeggio

230
00:14:20,720 --> 00:14:22,959
already to come in.

231
00:14:22,959 --> 00:14:25,959
Um,

232
00:14:40,320 --> 00:14:42,079
and I want that to continue maybe one

233
00:14:42,079 --> 00:14:43,440
more time. So, I'm going to repeat this

234
00:14:43,440 --> 00:14:45,440
section in the arrangement. Just copy it

235
00:14:45,440 --> 00:14:48,800
over and then automate the highpass

236
00:14:48,800 --> 00:14:50,639
filter.

237
00:14:50,639 --> 00:14:53,279
Uh, and it's really coming from nowhere.

238
00:14:53,279 --> 00:14:56,560
And it opens up till here.

239
00:14:56,560 --> 00:14:59,040
And then maybe mute the low notes at the

240
00:14:59,040 --> 00:15:01,040
end here.

241
00:15:01,040 --> 00:15:04,399
We create some extra tension.

242
00:15:04,399 --> 00:15:06,399
And

243
00:15:06,399 --> 00:15:09,440
and here's where everything comes in.

244
00:15:09,440 --> 00:15:12,240
This is where your breakdown will be.

245
00:15:12,240 --> 00:15:14,720
Uh, let me see. Reverse noise could go

246
00:15:14,720 --> 00:15:16,240
here.

247
00:15:16,240 --> 00:15:20,240
The whole kick could go here. And um

248
00:15:20,240 --> 00:15:23,800
where's the crash

249
00:15:23,839 --> 00:15:26,000
fill

250
00:15:26,000 --> 00:15:29,440
crash? The muted part clap. This one is

251
00:15:29,440 --> 00:15:32,399
muted. Okay, it's muted. Okay, we put it

252
00:15:32,399 --> 00:15:35,399
there.

253
00:15:46,560 --> 00:15:49,560
Heat. Heat.

254
00:16:30,560 --> 00:16:32,639
So, I'm using several effects elements

255
00:16:32,639 --> 00:16:34,880
to make the drop sound more dramatic and

256
00:16:34,880 --> 00:16:37,040
also to warn people something big is

257
00:16:37,040 --> 00:16:39,519
coming.

258
00:16:42,399 --> 00:16:45,120
can wait for that a little bit. So, this

259
00:16:45,120 --> 00:16:47,120
is could be could be a nice arrangement

260
00:16:47,120 --> 00:16:50,079
for the for the breakdown. So,

261
00:16:50,079 --> 00:16:52,480
um just have to build this more, put

262
00:16:52,480 --> 00:16:54,480
some pads underneath it, make this

263
00:16:54,480 --> 00:16:56,639
bigger, and this really needs to kick

264
00:16:56,639 --> 00:16:58,720
in. So, we also need to volume automate

265
00:16:58,720 --> 00:17:00,800
this entire section to make sure that

266
00:17:00,800 --> 00:17:05,240
this is really going to be the drop.

267
00:17:18,319 --> 00:17:20,640
should also mix that FX part a little

268
00:17:20,640 --> 00:17:22,640
bit. They're quite loud.

269
00:17:22,640 --> 00:17:25,600
Yeah. Not sure which ones, but this is

270
00:17:25,600 --> 00:17:28,600
okay.

271
00:17:30,160 --> 00:17:32,720
Yeah, that reverse noise

272
00:17:32,720 --> 00:17:36,520
really loud. off.

273
00:17:47,760 --> 00:17:51,240
That one too.

274
00:18:01,440 --> 00:18:05,440
So, there's an LFO tool on it right now.

275
00:18:05,440 --> 00:18:09,000
Yeah, R's killer,

276
00:18:10,640 --> 00:18:13,960
which is nice.

277
00:18:26,000 --> 00:18:27,679
It needs to be a bit That needs to be a

278
00:18:27,679 --> 00:18:29,360
bit bigger then, though. Needs to be a

279
00:18:29,360 --> 00:18:31,200
bit more

280
00:18:31,200 --> 00:18:33,039
I don't know. But so far, I like it. I

281
00:18:33,039 --> 00:18:36,919
like the intro. Um,

282
00:18:39,520 --> 00:18:42,000
bass seems a bit boommy though, huh?

283
00:18:42,000 --> 00:18:44,799
Just a little bit.

284
00:18:44,799 --> 00:18:48,919
We can look into that later.

285
00:18:55,760 --> 00:18:57,200
Maybe the baseline can already move

286
00:18:57,200 --> 00:19:00,840
here. I don't know.

287
00:19:04,400 --> 00:19:08,720
and we LFO tool the baseline already.

288
00:19:08,720 --> 00:19:12,160
We did right.

289
00:19:12,160 --> 00:19:15,640
Yeah, it's better

290
00:19:22,000 --> 00:19:25,039
softer than L.

291
00:19:25,039 --> 00:19:29,080
This one just a little bit. Yeah.

292
00:19:30,240 --> 00:19:33,640
audio effect.

293
00:19:35,520 --> 00:19:38,760
Thank you.

294
00:19:40,799 --> 00:19:42,640
I think we should already introduce the

295
00:19:42,640 --> 00:19:44,640
arp here uh that we that I just

296
00:19:44,640 --> 00:19:47,200
automated into the breakdown.

297
00:19:47,200 --> 00:19:49,919
Uh but only the top notes, only the

298
00:19:49,919 --> 00:19:52,240
melody, but then filtered. So we can

299
00:19:52,240 --> 00:19:54,000
already introduce what's coming up. So

300
00:19:54,000 --> 00:19:55,600
it's

301
00:19:55,600 --> 00:19:58,160
this one needs it needs to be sing any

302
00:19:58,160 --> 00:20:00,799
elements to this stage that I

303
00:20:00,799 --> 00:20:02,160
I've made a riser.

304
00:20:02,160 --> 00:20:03,840
Yeah, a riser. We need to go for the

305
00:20:03,840 --> 00:20:05,679
drop now. And this needs to sound this

306
00:20:05,679 --> 00:20:07,919
is not to my I mean I like the chord

307
00:20:07,919 --> 00:20:10,240
progression. I don't like the the sauce

308
00:20:10,240 --> 00:20:11,280
that we use. We need to make that

309
00:20:11,280 --> 00:20:13,679
bigger. We need to look into different

310
00:20:13,679 --> 00:20:16,160
layering of the the staffs we got going

311
00:20:16,160 --> 00:20:19,360
on there.

1
00:00:13,759 --> 00:00:15,360
So,

2
00:00:15,360 --> 00:00:18,800
Beno has in a different Logic project um

3
00:00:18,800 --> 00:00:21,520
made a riser uh which could be really

4
00:00:21,520 --> 00:00:24,720
great for when we go into the uh the

5
00:00:24,720 --> 00:00:28,400
main lead or uh right before the drop.

6
00:00:28,400 --> 00:00:30,320
So, first of all, I want to make sure

7
00:00:30,320 --> 00:00:31,920
that this is going this is going to

8
00:00:31,920 --> 00:00:34,000
stereo out, and we don't want that. We

9
00:00:34,000 --> 00:00:37,360
don't we want it to go above bus 30.

10
00:00:37,360 --> 00:00:41,120
And this goes to bus 30 as well.

11
00:00:41,120 --> 00:00:42,879
Uh, so obviously it's in the wrong

12
00:00:42,879 --> 00:00:47,480
location. So, I need to put it here.

13
00:00:48,800 --> 00:00:52,079
And so, this is actually an effects.

14
00:00:52,079 --> 00:00:53,120
Is this an effects?

15
00:00:53,120 --> 00:00:55,280
Yeah, you could use it.

16
00:00:55,280 --> 00:00:58,879
Effects for synth. And this is FX riser.

17
00:00:58,879 --> 00:01:00,079
You can use it when the beats are

18
00:01:00,079 --> 00:01:01,600
rolling.

19
00:01:01,600 --> 00:01:04,479
Okay, it's just a Furby synth. And I

20
00:01:04,479 --> 00:01:08,400
just want to color code it and name it

21
00:01:08,400 --> 00:01:10,400
yellow.

22
00:01:10,400 --> 00:01:13,119
And here is a functionality name and

23
00:01:13,119 --> 00:01:14,799
color.

24
00:01:14,799 --> 00:01:17,840
Uh name regions by tracks. So now I know

25
00:01:17,840 --> 00:01:21,479
that it's an effect.

26
00:01:23,439 --> 00:01:26,720
Uh so let me see.

27
00:01:26,720 --> 00:01:30,400
Also, what I've done, I've uh added uh a

28
00:01:30,400 --> 00:01:32,240
track of mine, an older track of mine

29
00:01:32,240 --> 00:01:35,840
that has a massive drop almost similar

30
00:01:35,840 --> 00:01:38,079
to what we want to create with this

31
00:01:38,079 --> 00:01:40,079
particular song. Uh it's called a track

32
00:01:40,079 --> 00:01:43,360
called Jon Vita.

33
00:01:43,360 --> 00:01:45,360
And let me quickly play you that. It's

34
00:01:45,360 --> 00:01:48,759
not too loud.

35
00:01:54,880 --> 00:01:57,200
So that would be my idea for the the

36
00:01:57,200 --> 00:01:58,640
lead. That's kind of the lead that I'm

37
00:01:58,640 --> 00:02:00,159
looking for. Obviously the chords are

38
00:02:00,159 --> 00:02:02,000
different. But that's kind of the sound

39
00:02:02,000 --> 00:02:03,680
I'm looking for that, you know, with a

40
00:02:03,680 --> 00:02:06,079
little delay. So if we're abinging it

41
00:02:06,079 --> 00:02:08,800
now, I mute this.

42
00:02:08,800 --> 00:02:11,440
We're pretty far away from

43
00:02:11,440 --> 00:02:13,120
pretty.

44
00:02:13,120 --> 00:02:14,879
So we need to work a lot. I think what

45
00:02:14,879 --> 00:02:17,040
the problem is right now sounds muddy.

46
00:02:17,040 --> 00:02:18,400
Yeah, it sounds muddy. And we need to

47
00:02:18,400 --> 00:02:22,160
remove all the low uh the low end. Uh so

48
00:02:22,160 --> 00:02:24,319
um yeah the last thing of this

49
00:02:24,319 --> 00:02:25,520
demonstration what I want to do

50
00:02:25,520 --> 00:02:27,360
obviously is now build the drop. The

51
00:02:27,360 --> 00:02:30,480
drop would be somewhere around here. So

52
00:02:30,480 --> 00:02:33,120
uh the drop would be somewhere he here

53
00:02:33,120 --> 00:02:35,040
with a kick and a solid baseline. I want

54
00:02:35,040 --> 00:02:38,800
that to really kick in.

55
00:02:38,800 --> 00:02:42,959
I want my reversed

56
00:02:42,959 --> 00:02:47,120
clap maybe or the reverse noise to

57
00:02:47,120 --> 00:02:48,800
announce when the break is going to

58
00:02:48,800 --> 00:02:53,440
come. Uh we have to decide on if we want

59
00:02:53,440 --> 00:02:55,840
this to to go into a loop or something.

60
00:02:55,840 --> 00:02:57,680
But my suggestion, I like the pad, but

61
00:02:57,680 --> 00:02:59,120
my suggestion would be to mute it for

62
00:02:59,120 --> 00:03:02,319
the moment, go into these parts,

63
00:03:02,319 --> 00:03:05,280
the individual layers of the uh the

64
00:03:05,280 --> 00:03:08,800
drop. I think my problem right now is I

65
00:03:08,800 --> 00:03:12,879
love this, but I think the low layer

66
00:03:12,879 --> 00:03:16,000
makes it not cloudy. Makes it too cloud.

67
00:03:16,000 --> 00:03:21,319
For the moment, I want to mute this.

68
00:03:22,400 --> 00:03:24,879
What if you would use the the pad though

69
00:03:24,879 --> 00:03:27,760
and you would cut the low end? So, you

70
00:03:27,760 --> 00:03:28,159
would have

71
00:03:28,159 --> 00:03:30,159
cut the pad. Yeah, could do. That's a

72
00:03:30,159 --> 00:03:33,120
good idea. So, get the pad back on. Put

73
00:03:33,120 --> 00:03:35,599
an EQ.

74
00:03:35,599 --> 00:03:39,599
Cut the low end. Trial. Trial and error

75
00:03:39,599 --> 00:03:43,080
basically, right?

76
00:03:58,239 --> 00:04:00,000
I also want to do it here because I

77
00:04:00,000 --> 00:04:02,000
think these low notes are sort of

78
00:04:02,000 --> 00:04:04,000
killing the excitement.

79
00:04:04,000 --> 00:04:06,799
Shall I make a reverse something for

80
00:04:06,799 --> 00:04:08,959
Yeah, we can do it here. We can do it.

81
00:04:08,959 --> 00:04:10,239
Yeah, we should do it on Logic. I'll

82
00:04:10,239 --> 00:04:11,920
give you the chair.

83
00:04:11,920 --> 00:04:16,599
Uh, so I'm going to mute these parts.

84
00:04:18,880 --> 00:04:23,000
Mute the riser for the moment.

85
00:04:23,360 --> 00:04:26,720
But this is not sounding like this yet.

86
00:04:26,720 --> 00:04:31,120
Oh. So, so that's why I'm using AB uh

87
00:04:31,120 --> 00:04:32,800
because this is where I want to end up.

88
00:04:32,800 --> 00:04:34,560
Obviously, I'm not listening to the

89
00:04:34,560 --> 00:04:36,080
chord progression. Chord progression is

90
00:04:36,080 --> 00:04:38,560
different. This is uh way more longing

91
00:04:38,560 --> 00:04:42,560
and this is way more I don't know uh

92
00:04:42,560 --> 00:04:45,759
more tense I would say. Uh so I know

93
00:04:45,759 --> 00:04:47,120
that this is a different chord structure

94
00:04:47,120 --> 00:04:49,360
and I don't want it to to have that same

95
00:04:49,360 --> 00:04:51,440
chord progression. I just want to have

96
00:04:51,440 --> 00:04:55,400
the impact of this

97
00:04:56,880 --> 00:05:00,320
and that needs to go here.

98
00:05:00,320 --> 00:05:02,000
So we still got a bit of work to do.

99
00:05:02,000 --> 00:05:06,880
Just a little bit. Let's see.

100
00:05:06,880 --> 00:05:09,280
So, what I would suggest is to do route

101
00:05:09,280 --> 00:05:11,680
this to a bus and see what happens if we

102
00:05:11,680 --> 00:05:14,479
EQ or what if we get different what if

103
00:05:14,479 --> 00:05:16,880
we get different um

104
00:05:16,880 --> 00:05:18,240
synths. Yeah,

105
00:05:18,240 --> 00:05:19,600
maybe try to find a different lead

106
00:05:19,600 --> 00:05:22,479
sound. Just copy the the lead saw one.

107
00:05:22,479 --> 00:05:24,720
Yeah, maybe go into try another find

108
00:05:24,720 --> 00:05:26,479
another patch in the silent or maybe the

109
00:05:26,479 --> 00:05:28,800
massive or or something to that it makes

110
00:05:28,800 --> 00:05:29,759
it sound

111
00:05:29,759 --> 00:05:32,240
Let me try something first before we do

112
00:05:32,240 --> 00:05:33,840
this because I would like to know if

113
00:05:33,840 --> 00:05:35,919
it's frequency related or really sound

114
00:05:35,919 --> 00:05:36,479
related.

115
00:05:36,479 --> 00:05:37,120
Okay.

116
00:05:37,120 --> 00:05:40,479
So, I would to speed things up. I I

117
00:05:40,479 --> 00:05:42,080
would like to try to see what what

118
00:05:42,080 --> 00:05:44,240
happens if if if you would route this to

119
00:05:44,240 --> 00:05:47,120
a bus. I know you you would like to

120
00:05:47,120 --> 00:05:49,280
alter the sound a bit, but

121
00:05:49,280 --> 00:05:50,880
I think it's also got to do with the

122
00:05:50,880 --> 00:05:53,759
attack and the release. Um the sounds

123
00:05:53,759 --> 00:05:54,800
are not

124
00:05:54,800 --> 00:05:56,000
to me not that bad, but

125
00:05:56,000 --> 00:05:57,199
maybe the notes are too long.

126
00:05:57,199 --> 00:06:02,160
Yeah. Uh let's put this to a bus. Um

127
00:06:02,160 --> 00:06:05,440
this bus needs to go to our pre master

128
00:06:05,440 --> 00:06:07,120
input.

129
00:06:07,120 --> 00:06:08,720
All right. So let's first see what

130
00:06:08,720 --> 00:06:11,680
happens if we

131
00:06:11,680 --> 00:06:15,639
go more into this area.

132
00:06:16,240 --> 00:06:18,960
Um, maybe quickly AB with the other

133
00:06:18,960 --> 00:06:20,960
track so we can show people what we're

134
00:06:20,960 --> 00:06:23,840
what we're thinking

135
00:06:23,840 --> 00:06:27,400
with this fret.

136
00:06:29,520 --> 00:06:32,520
Loud.

137
00:06:33,759 --> 00:06:39,120
All right. Um, let's volume uh

138
00:06:39,120 --> 00:06:41,039
get a bit so we have a sense of what's

139
00:06:41,039 --> 00:06:43,680
going on.

140
00:06:43,680 --> 00:06:45,199
It's too long, I guess.

141
00:06:45,199 --> 00:06:46,240
Yeah, the notes are too long.

142
00:06:46,240 --> 00:06:48,319
Yeah, we need more attack to it. This

143
00:06:48,319 --> 00:06:51,520
one is kind of dull as well, right?

144
00:06:51,520 --> 00:06:54,000
Yeah, it's dull. The filter is always

145
00:06:54,000 --> 00:06:55,840
closed. I think the notes are too long.

146
00:06:55,840 --> 00:06:58,400
We need to shorten the notes and make

147
00:06:58,400 --> 00:07:01,520
the release of the synths shorter so it

148
00:07:01,520 --> 00:07:03,039
has more of that epic feel. And and the

149
00:07:03,039 --> 00:07:05,440
delay is a problem, too. I think let's

150
00:07:05,440 --> 00:07:07,759
do a little bit more attack to it as

151
00:07:07,759 --> 00:07:11,560
well. Yeah.

152
00:07:12,639 --> 00:07:14,479
The delay you said, right? Want a

153
00:07:14,479 --> 00:07:14,880
shorter?

154
00:07:14,880 --> 00:07:15,759
I like it. I like the delay.

155
00:07:15,759 --> 00:07:18,000
They like delay.

156
00:07:18,000 --> 00:07:20,000
Um, I would like to put a reverb behind

157
00:07:20,000 --> 00:07:25,080
it. Yeah. More exciter actually as well.

158
00:07:25,599 --> 00:07:28,000
Got low end,

159
00:07:28,000 --> 00:07:28,400
right?

160
00:07:28,400 --> 00:07:31,599
Getting better now. Some exciter. This a

161
00:07:31,599 --> 00:07:34,400
little bit of spark. Dope.

162
00:07:34,400 --> 00:07:38,599
Um, seven.

163
00:07:39,440 --> 00:07:41,919
So actually this is a multiband excider

164
00:07:41,919 --> 00:07:44,400
so you can excite or distort different

165
00:07:44,400 --> 00:07:47,440
frequency ranges. I'm looking into this

166
00:07:47,440 --> 00:07:49,840
range right now

167
00:07:49,840 --> 00:07:53,400
and this range

168
00:07:55,360 --> 00:07:59,960
now quickly AB the other track

169
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from the beginning.

170
00:08:03,360 --> 00:08:06,319
Yeah. Why is Oh, this is on solo.

171
00:08:06,319 --> 00:08:09,319
Uh,

172
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better getting there, but better.

173
00:08:23,520 --> 00:08:26,400
Even more, right?

174
00:08:26,400 --> 00:08:28,000
Yeah.

175
00:08:28,000 --> 00:08:31,520
That's what I love about AB.

176
00:08:31,520 --> 00:08:36,360
This is more interior, right? Yep.

177
00:08:36,560 --> 00:08:40,039
Yep. Better.

178
00:08:44,399 --> 00:08:47,040
Right. So, we fix this.

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00:08:47,040 --> 00:08:47,680
Um,

180
00:08:47,680 --> 00:08:51,600
and a pad below it silent a sine wave

181
00:08:51,600 --> 00:08:55,040
like this. Well, actually, I already

182
00:08:55,040 --> 00:08:56,640
made this a little bit with it. This was

183
00:08:56,640 --> 00:08:59,600
my intention for this pad actually.

184
00:08:59,600 --> 00:09:02,000
But perhaps we should do this over here.

185
00:09:02,000 --> 00:09:04,640
Make it a little bit longer. Not sure if

186
00:09:04,640 --> 00:09:05,120
you

187
00:09:05,120 --> 00:09:06,000
No, I agree.

188
00:09:06,000 --> 00:09:09,200
If you if you mind, but do it over here.

189
00:09:09,200 --> 00:09:11,839
Mute it here so it comes in there. So

190
00:09:11,839 --> 00:09:14,000
you have an extra lift to it. Or perhaps

191
00:09:14,000 --> 00:09:14,480
do it here.

192
00:09:14,480 --> 00:09:15,839
Yeah, do it there. Yeah, probably

193
00:09:15,839 --> 00:09:17,839
better.

194
00:09:17,839 --> 00:09:20,320
So you have a more dramatic thing going

195
00:09:20,320 --> 00:09:23,040
on.

196
00:09:23,040 --> 00:09:24,880
All kick. Do we have it already going on

197
00:09:24,880 --> 00:09:26,320
here?

198
00:09:26,320 --> 00:09:27,120
Don't you want it?

199
00:09:27,120 --> 00:09:28,720
Yep.

200
00:09:28,720 --> 00:09:30,640
Cool. And we maybe not at the beginning.

201
00:09:30,640 --> 00:09:32,480
Maybe here where the pad comes in here.

202
00:09:32,480 --> 00:09:36,160
Yeah. Press on it. Reverse. You want the

203
00:09:36,160 --> 00:09:42,200
reverse thing? Reverse clap. Press.

204
00:09:47,120 --> 00:09:49,600
Yeah.

205
00:09:49,600 --> 00:09:51,680
Keep it at the same note. Loop the last.

206
00:09:51,680 --> 00:09:54,160
Oh, yeah. Yeah. Yeah. Yeah. Building up.

207
00:09:54,160 --> 00:09:56,959
Just loop the last uh four kicks. Would

208
00:09:56,959 --> 00:09:58,800
like to fix this first because it's

209
00:09:58,800 --> 00:10:02,440
totally out of tune.

210
00:10:18,079 --> 00:10:20,480
This will be my guess,

211
00:10:20,480 --> 00:10:24,120
right? Um,

212
00:10:24,560 --> 00:10:26,880
what were you saying? Loop the last

213
00:10:26,880 --> 00:10:31,120
section. Oh, yeah. Sure.

214
00:10:31,120 --> 00:10:34,720
So I'll copy this

215
00:10:34,720 --> 00:10:37,040
is actually the very first part as well

216
00:10:37,040 --> 00:10:39,920
which makes sense.

217
00:10:39,920 --> 00:10:41,120
No, because they don't have the high

218
00:10:41,120 --> 00:10:42,160
note then

219
00:10:42,160 --> 00:10:42,880
through that

220
00:10:42,880 --> 00:10:45,839
I just copy section the the last the

221
00:10:45,839 --> 00:10:47,519
last four kicks or

222
00:10:47,519 --> 00:10:49,440
four or like this.

223
00:10:49,440 --> 00:10:52,240
Yeah, it goes up.

224
00:10:52,240 --> 00:10:55,880
See it goes up

225
00:10:56,000 --> 00:10:59,920
first part. The first part. Yep.

226
00:10:59,920 --> 00:11:03,399
Spit locators.

227
00:11:07,040 --> 00:11:11,560
Cool. Loop it.

228
00:11:16,560 --> 00:11:19,440
All right. And then uh we should do

229
00:11:19,440 --> 00:11:21,600
something with filtering, right? And

230
00:11:21,600 --> 00:11:25,680
yeah, probably something with a riser.

231
00:11:25,680 --> 00:11:29,279
Did it not bounce my uh I have a um Do

232
00:11:29,279 --> 00:11:32,160
you have a you have a snare roll? I have

233
00:11:32,160 --> 00:11:35,800
it. Yeah, it's here.

234
00:11:37,680 --> 00:11:40,560
Yeah.

235
00:11:40,560 --> 00:11:42,640
Going to go to a bus. We need this.

236
00:11:42,640 --> 00:11:47,959
Yeah. Put it in there. Right.

237
00:11:54,160 --> 00:11:56,560
Um, this is where we would probably go

238
00:11:56,560 --> 00:11:57,839
into the drop, right?

239
00:11:57,839 --> 00:12:00,839
Yep.

240
00:12:04,800 --> 00:12:07,279
So, now we're building the the big drop,

241
00:12:07,279 --> 00:12:09,440
the big melody,

242
00:12:09,440 --> 00:12:11,120
and then hopefully we have the payoff,

243
00:12:11,120 --> 00:12:11,519
right?

244
00:12:11,519 --> 00:12:15,240
Hopefully we have the payoff.

245
00:12:29,120 --> 00:12:31,760
a little bit too early, right? But we're

246
00:12:31,760 --> 00:12:32,720
getting there.

247
00:12:32,720 --> 00:12:34,000
So, is this correct?

248
00:12:34,000 --> 00:12:35,839
Yeah.

249
00:12:35,839 --> 00:12:38,639
Yes. Right. So, we should cut this made

250
00:12:38,639 --> 00:12:40,480
a make a reverb to it or do you have

251
00:12:40,480 --> 00:12:43,040
another suggestion?

252
00:12:43,040 --> 00:12:45,600
Yeah. reverb and a highp pass filter

253
00:12:45,600 --> 00:12:50,120
from the baseline.

254
00:12:53,360 --> 00:12:58,440
Fancy climax. Here it is.

255
00:12:58,959 --> 00:13:00,959
Cool. And then the LFO should be going

256
00:13:00,959 --> 00:13:03,959
on.

257
00:13:05,519 --> 00:13:08,560
Let's It's already going to a bus,

258
00:13:08,560 --> 00:13:10,880
right? So, all I have to do is put a

259
00:13:10,880 --> 00:13:12,880
verb to it.

260
00:13:12,880 --> 00:13:15,880
And

261
00:13:24,959 --> 00:13:29,320
EDC, put your hands up.

262
00:13:32,800 --> 00:13:36,440
See? Getting there.

263
00:13:38,320 --> 00:13:42,480
Cool. It's a nice jump, boy.

264
00:13:42,480 --> 00:13:46,079
Yeah. All right. So, let's bring in the

265
00:13:46,079 --> 00:13:50,320
verb like this. Perhaps we should put a

266
00:13:50,320 --> 00:13:52,160
a filter to it.

267
00:13:52,160 --> 00:13:54,560
Let's do it with this one and get a new

268
00:13:54,560 --> 00:13:59,320
one so it's not altering the sound.

269
00:14:02,560 --> 00:14:05,040
Something like this. Right.

270
00:14:05,040 --> 00:14:09,320
Another layer of

271
00:14:09,839 --> 00:14:13,399
low cut frequency.

272
00:14:15,199 --> 00:14:17,279
Shall we bring it back in? What's that

273
00:14:17,279 --> 00:14:18,399
riser doing?

274
00:14:18,399 --> 00:14:20,639
Rising

275
00:14:20,639 --> 00:14:22,160
probably.

276
00:14:22,160 --> 00:14:26,920
Right. We're almost done. Right. So,

277
00:14:27,120 --> 00:14:28,959
um

278
00:14:28,959 --> 00:14:30,880
it's

279
00:14:30,880 --> 00:14:33,880
Yeah.

280
00:14:36,720 --> 00:14:38,880
So there's a lot of verb going on.

281
00:14:38,880 --> 00:14:41,600
What's happening here? The wet level is

282
00:14:41,600 --> 00:14:44,600
still

283
00:14:47,440 --> 00:14:49,120
actually you should have a top layer to

284
00:14:49,120 --> 00:14:52,160
it because this is going up and then we

285
00:14:52,160 --> 00:14:55,040
have a anti-limax because it's going

286
00:14:55,040 --> 00:14:55,920
down.

287
00:14:55,920 --> 00:14:58,160
Need another vocal uh melody.

288
00:14:58,160 --> 00:15:00,480
Yeah.

289
00:15:00,480 --> 00:15:02,800
See, the reason why it's not dropping

290
00:15:02,800 --> 00:15:04,639
right now is because the volume before

291
00:15:04,639 --> 00:15:07,360
the drop is way too loud compared to the

292
00:15:07,360 --> 00:15:10,079
drop itself. It really needs to be. See,

293
00:15:10,079 --> 00:15:14,160
it's 5 7 dBs louder now. So, now it

294
00:15:14,160 --> 00:15:17,920
already comes down and mix it.

295
00:15:17,920 --> 00:15:21,440
Let's automate that telephoto there.

296
00:15:21,440 --> 00:15:24,079
We're almost there, I guess. Volume

297
00:15:24,079 --> 00:15:25,600
drop.

298
00:15:25,600 --> 00:15:28,320
I get so many demos that have this exact

299
00:15:28,320 --> 00:15:30,240
problem that the breakdown right before

300
00:15:30,240 --> 00:15:33,199
the drop is way way louder than the

301
00:15:33,199 --> 00:15:35,839
actual drop. And that's a no-go in dance

302
00:15:35,839 --> 00:15:38,320
music because people want to party and

303
00:15:38,320 --> 00:15:40,959
jump up when this hits. And right now

304
00:15:40,959 --> 00:15:42,320
it's not right. I mean, we're going to

305
00:15:42,320 --> 00:15:45,360
fix it. I think it's because these rises

306
00:15:45,360 --> 00:15:48,079
and the snare fill is so loud compared

307
00:15:48,079 --> 00:15:49,199
to this

308
00:15:49,199 --> 00:15:52,639
kick. So, let's mute this for a second.

309
00:15:52,639 --> 00:15:54,720
See what happens. But my guess is that

310
00:15:54,720 --> 00:15:56,000
this

311
00:15:56,000 --> 00:16:00,959
see volume drops. So the risers are 7 to

312
00:16:00,959 --> 00:16:05,480
10 dBs too loud.

313
00:16:06,399 --> 00:16:09,600
A little better. Um shall we do it with

314
00:16:09,600 --> 00:16:14,160
an automation on the the preaster? Uh

315
00:16:14,160 --> 00:16:18,959
yep be a good way to do it.

316
00:16:18,959 --> 00:16:23,120
Um let's automate it.

317
00:16:23,120 --> 00:16:25,120
And then

318
00:16:25,120 --> 00:16:26,880
so the reason why we're not automating

319
00:16:26,880 --> 00:16:28,880
this volume thing here go because you

320
00:16:28,880 --> 00:16:31,600
could also volume automate this one is

321
00:16:31,600 --> 00:16:34,800
that you can adjust it later but still

322
00:16:34,800 --> 00:16:39,279
have the same gain reduction. Yeah. Our

323
00:16:39,279 --> 00:16:40,800
our suggestion would be when you're

324
00:16:40,800 --> 00:16:43,040
mixing as also goes for Ableton don't

325
00:16:43,040 --> 00:16:44,800
touch your volume faders because that's

326
00:16:44,800 --> 00:16:47,519
your mix. That's your overall mix. And

327
00:16:47,519 --> 00:16:50,160
let's say you want to change the volume

328
00:16:50,160 --> 00:16:52,480
on your vocal or on your beats, you

329
00:16:52,480 --> 00:16:53,680
can't do it because it's already

330
00:16:53,680 --> 00:16:55,759
automated. So that's why I always

331
00:16:55,759 --> 00:16:59,199
suggest to put a gain or a utility in

332
00:16:59,199 --> 00:17:02,480
Ableton or something else on your uh in

333
00:17:02,480 --> 00:17:04,559
your chain and automate that instead of

334
00:17:04,559 --> 00:17:06,480
the volume. Don't ever automate the

335
00:17:06,480 --> 00:17:08,000
volume itself unless you're doing a fade

336
00:17:08,000 --> 00:17:10,319
out at the end or something because then

337
00:17:10,319 --> 00:17:12,799
you can just you can always alter the

338
00:17:12,799 --> 00:17:14,959
volume and if you if you automated it,

339
00:17:14,959 --> 00:17:18,199
it's stuck.

340
00:17:19,039 --> 00:17:21,919
All right. So, less more work.

341
00:17:21,919 --> 00:17:23,520
One extra layer to it perhaps.

342
00:17:23,520 --> 00:17:24,079
Yes.

343
00:17:24,079 --> 00:17:28,919
And then it should work though.

344
00:17:34,000 --> 00:17:35,679
What if he would plus this? See, now the

345
00:17:35,679 --> 00:17:37,919
LFO tool is ducking the where the place

346
00:17:37,919 --> 00:17:43,240
of the kick is. So it gives you the

347
00:17:45,280 --> 00:17:47,760
it's not really doing the

348
00:17:47,760 --> 00:17:51,160
the bursting.

349
00:17:57,039 --> 00:17:59,840
See, now the volume is lower than than

350
00:17:59,840 --> 00:18:02,799
the drop.

351
00:18:10,320 --> 00:18:15,160
It's pretty decent, right? I like it.

352
00:18:19,440 --> 00:18:21,600
Well, we built a a a track completely

353
00:18:21,600 --> 00:18:24,960
from scratch only in uh two hours. um

354
00:18:24,960 --> 00:18:27,840
you know from the uh early SATI idea you

355
00:18:27,840 --> 00:18:30,480
know changing the chords and uh fooling

356
00:18:30,480 --> 00:18:32,799
around with a couple of plugins and we

357
00:18:32,799 --> 00:18:34,720
didn't we didn't prepare this at all. We

358
00:18:34,720 --> 00:18:38,080
just did it live for you uh to enjoy and

359
00:18:38,080 --> 00:18:39,520
we'll give you the project as well so

360
00:18:39,520 --> 00:18:41,360
you guys can dig in and and look and

361
00:18:41,360 --> 00:18:43,440
maybe alter it or or look at the stuff

362
00:18:43,440 --> 00:18:45,600
that we've uh we've prepared for you. Uh

363
00:18:45,600 --> 00:18:47,120
let me play the track what we've got so

364
00:18:47,120 --> 00:18:48,480
far. I haven't really had time to

365
00:18:48,480 --> 00:18:51,120
arrange it, but um you know, normally

366
00:18:51,120 --> 00:18:52,960
before the track would start, I would

367
00:18:52,960 --> 00:18:55,039
make uh a section where there would be

368
00:18:55,039 --> 00:18:57,840
some percussion going on and there would

369
00:18:57,840 --> 00:18:59,600
be a little build to introduce the kick

370
00:18:59,600 --> 00:19:03,559
in the baseline. So,

371
00:19:04,400 --> 00:19:06,080
this would be the section where the you

372
00:19:06,080 --> 00:19:07,440
would mix in the track or this would be

373
00:19:07,440 --> 00:19:10,160
the first part where the the dance floor

374
00:19:10,160 --> 00:19:11,679
crowd would actually experience the

375
00:19:11,679 --> 00:19:14,679
track.

376
00:19:15,280 --> 00:19:17,360
I would probably spend more time on

377
00:19:17,360 --> 00:19:19,440
making this more exciting with arranging

378
00:19:19,440 --> 00:19:21,280
things like removing kick drums, making

379
00:19:21,280 --> 00:19:23,840
little fills, introducing the clap. I

380
00:19:23,840 --> 00:19:25,280
mean, that's now sort of been dropped on

381
00:19:25,280 --> 00:19:28,160
your head, but we would definitely spend

382
00:19:28,160 --> 00:19:32,200
more time on arranging it.

383
00:19:33,520 --> 00:19:37,440
Maybe add like an ethereal vocal here.

384
00:19:37,440 --> 00:19:39,200
Some effects to make it exciting.

385
00:19:39,200 --> 00:19:42,080
Something in the far back to make it a

386
00:19:42,080 --> 00:19:45,480
little bit more expensive.

387
00:19:50,240 --> 00:19:51,840
It's one of my favorite parts, the the

388
00:19:51,840 --> 00:19:55,240
stutter lead.

389
00:20:01,679 --> 00:20:02,960
This is where the track would really

390
00:20:02,960 --> 00:20:04,720
drive, would get the energy, it would be

391
00:20:04,720 --> 00:20:06,960
more build. And he would be I guess we

392
00:20:06,960 --> 00:20:08,720
would have some sort of a riser fill

393
00:20:08,720 --> 00:20:10,480
here to introduce that we're going to go

394
00:20:10,480 --> 00:20:12,960
into the drop

395
00:20:12,960 --> 00:20:15,840
and then Okay,

396
00:20:15,840 --> 00:20:17,440
so here would be the quiet moment in the

397
00:20:17,440 --> 00:20:19,360
track that the crowd knows that it's

398
00:20:19,360 --> 00:20:21,360
coming and you're building up to the big

399
00:20:21,360 --> 00:20:24,880
drop, the big leads.

400
00:20:24,880 --> 00:20:27,360
But I like it. I like it. And I like it

401
00:20:27,360 --> 00:20:31,080
what we have so far.

402
00:20:31,600 --> 00:20:33,200
So I would probably spice this up with

403
00:20:33,200 --> 00:20:35,600
another pad or some other chords or

404
00:20:35,600 --> 00:20:38,159
notes that would make it a little bit

405
00:20:38,159 --> 00:20:40,880
more exciting.

406
00:20:40,880 --> 00:20:42,320
Here's where you want it to be very big

407
00:20:42,320 --> 00:20:46,200
and beautiful. So

408
00:20:46,320 --> 00:20:50,760
this sounds too muddy to me. Now

409
00:20:52,320 --> 00:20:53,919
this needs to sound more big. It needs

410
00:20:53,919 --> 00:20:55,919
to sound more epic. I like the chord

411
00:20:55,919 --> 00:20:59,520
structure. I like the emotion of it.

412
00:20:59,520 --> 00:21:03,039
Maybe a clap to remind the crowd that

413
00:21:03,039 --> 00:21:04,320
where where the beat is, where the kick

414
00:21:04,320 --> 00:21:07,120
is.

415
00:21:07,120 --> 00:21:08,640
And I need some sort of a build here.

416
00:21:08,640 --> 00:21:10,640
Maybe some orchestral elements. Maybe a

417
00:21:10,640 --> 00:21:13,760
a big pad or something. Female pad. And

418
00:21:13,760 --> 00:21:15,600
here needs to be a reverse a reversed

419
00:21:15,600 --> 00:21:18,720
effect. Uh we could probably sample the

420
00:21:18,720 --> 00:21:21,919
first note of the uh of the lead here

421
00:21:21,919 --> 00:21:24,159
and reverse it. So you have some sort of

422
00:21:24,159 --> 00:21:28,080
a So yeah, now is the first chord and

423
00:21:28,080 --> 00:21:32,039
then you get the big drop.

424
00:21:35,919 --> 00:21:37,520
This could be a little bit bigger, I

425
00:21:37,520 --> 00:21:40,480
guess. Maybe a female vocal somewhere or

426
00:21:40,480 --> 00:21:44,360
or a female pad.

427
00:21:50,320 --> 00:21:52,000
I like that the riser's already starting

428
00:21:52,000 --> 00:21:53,679
here. So you hear that the drama is

429
00:21:53,679 --> 00:21:56,559
coming

430
00:21:56,559 --> 00:21:59,360
and you we hold the last chord

431
00:21:59,360 --> 00:22:00,799
which also happens to be the first

432
00:22:00,799 --> 00:22:02,880
chord. It needs to be a reverb kick here

433
00:22:02,880 --> 00:22:06,919
at that at this point.

434
00:22:08,320 --> 00:22:10,240
the risers can be bigger and it needs to

435
00:22:10,240 --> 00:22:14,120
have more tension and then

436
00:22:29,120 --> 00:22:30,640
I would introduce some more rhythmical

437
00:22:30,640 --> 00:22:34,000
elements here. And also I like the

438
00:22:34,000 --> 00:22:35,840
chords. I'm not too sure if I like the

439
00:22:35,840 --> 00:22:38,559
actual sound of the the leads here. It's

440
00:22:38,559 --> 00:22:40,559
it's okay. It's getting there. This

441
00:22:40,559 --> 00:22:42,400
would particularly be a track that I

442
00:22:42,400 --> 00:22:45,280
would play in a transy set. Um probably

443
00:22:45,280 --> 00:22:47,919
in the first half of my set, maybe at

444
00:22:47,919 --> 00:22:50,320
the end of the first half, uh cuz it has

445
00:22:50,320 --> 00:22:51,919
a lot of energy. It's very beautiful and

446
00:22:51,919 --> 00:22:53,919
emotional. It's not so dark. It's quite

447
00:22:53,919 --> 00:22:56,640
friendly. It's quite beautiful really.

448
00:22:56,640 --> 00:23:00,320
Uh it's emotional. Uh it's not something

449
00:23:00,320 --> 00:23:02,400
you would cry to instantly, but it gets

450
00:23:02,400 --> 00:23:03,919
you there. So, this would be a perfect

451
00:23:03,919 --> 00:23:06,559
track to, you know, to build up to the

452
00:23:06,559 --> 00:23:10,600
more dramatic transy stuffs.

453
00:23:14,640 --> 00:23:16,080
I'm usually the one that comes up with

454
00:23:16,080 --> 00:23:17,520
really strange titles because I love

455
00:23:17,520 --> 00:23:19,360
reading books. I read a lot of books and

456
00:23:19,360 --> 00:23:21,760
I I find my titles usually in books or

457
00:23:21,760 --> 00:23:24,159
on the road or I have a a list on my

458
00:23:24,159 --> 00:23:27,120
laptop with a lot of names that I come

459
00:23:27,120 --> 00:23:30,400
across. And, you know, uh I I I just I

460
00:23:30,400 --> 00:23:32,640
love language. So, whenever I'm in a

461
00:23:32,640 --> 00:23:35,200
cafe and I see a weird thing on a menu

462
00:23:35,200 --> 00:23:36,960
that has a weird name, I put it in my

463
00:23:36,960 --> 00:23:39,280
phone instantly. So, if I would work on

464
00:23:39,280 --> 00:23:41,039
a track like this, I would instantly

465
00:23:41,039 --> 00:23:44,799
throw five really weird words at Beno or

466
00:23:44,799 --> 00:23:49,120
he would say, "No, no, yes, yes."

467
00:23:49,120 --> 00:23:50,640
So, but right now, for the moment, we'll

468
00:23:50,640 --> 00:23:54,240
call it Masterclass Jam.

1
00:00:13,360 --> 00:00:15,920
I'm not a native uh English- speakaking

2
00:00:15,920 --> 00:00:18,320
person and at first I really thought

3
00:00:18,320 --> 00:00:19,920
that I wasn't a songwriter and I still

4
00:00:19,920 --> 00:00:22,240
think I'm not. But I came up with the

5
00:00:22,240 --> 00:00:26,720
idea to put behind you are uh one

6
00:00:26,720 --> 00:00:30,000
syllable words only positive. So, I went

7
00:00:30,000 --> 00:00:32,640
online and I just searched for one-

8
00:00:32,640 --> 00:00:35,120
syllable words that are positive. So, me

9
00:00:35,120 --> 00:00:37,840
and Beno, we created a big list of

10
00:00:37,840 --> 00:00:40,480
one-cllable words that are are are nice,

11
00:00:40,480 --> 00:00:45,040
like sweet, hot, heat, pure, one-cllable

12
00:00:45,040 --> 00:00:48,640
words. And I we wrote a rap uh wrote a

13
00:00:48,640 --> 00:00:51,200
rap. Um and I'm not a rapper. I don't

14
00:00:51,200 --> 00:00:54,320
intend to be, but we wrote a simple well

15
00:00:54,320 --> 00:00:56,480
a simple rap. And I invited a guy that

16
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works in the Armada office. He works for

17
00:00:59,680 --> 00:01:01,440
Cloud9 on the on the administration, but

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he's a he has a a Native American

19
00:01:03,600 --> 00:01:05,199
speaker, so he has a very good American

20
00:01:05,199 --> 00:01:06,799
voice. He has a low voice. And we

21
00:01:06,799 --> 00:01:08,400
pitched his voice down, recorded him

22
00:01:08,400 --> 00:01:10,159
twice, once on the left channel, once on

23
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the right channel. And I sent that

24
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initially to Sunnery James and Ry

25
00:01:13,760 --> 00:01:16,080
Mariano to see if they like the idea

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without even having started on the

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track. So I'll play you the rap first

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before I do anything else.

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or something.

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00:01:26,400 --> 00:01:29,040
Sexy. You are sweet. You are hot. Feel

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the heat. You are pretty. You are pure.

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You're my kind. I want more. You are

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fire. My desire. You are fine. And

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you're mine. Mine. Mine. Mine. Mine.

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It actually became one of my biggest

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hits. So, one of the things also to make

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music is not be afraid to step out of

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your comfort zone and and try. Why not?

39
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Why? You know, you're not native English

40
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or you've never written a song before,

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but why not try it? I mean, what's

42
00:01:52,880 --> 00:01:56,280
stopping you?

43
00:01:59,680 --> 00:02:01,680
You never know in beforehand if a song

44
00:02:01,680 --> 00:02:04,320
is going to work. I mean, uh, the Oh,

45
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Sunny Days was actually just something

46
00:02:06,560 --> 00:02:08,879
funny I wanted to try because it was it

47
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was a little different. It reminded me

48
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of A Lovely Day by Bill Withers, but

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usually your first idea, at least in my

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case, is usually the best or one of the

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best ideas. I remember this famous video

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of ABBA uh when they were writing their

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own songs. they were just throwing

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gibberish on top of melodies. And that's

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what happens a lot in songwriting. I'm

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not saying that everybody does the same,

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but usually for me, it's just

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constructing a a top melody on on some

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on a chord sequence and trying different

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things and then the words usually come.

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Uh that's just one way of approaching

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songwriting.

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House music has a lot of those uh

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preaches. Uh in the beginning there was

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Jack and Jack had a groove and all that

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sort of stuff. And there's a couple of

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others like something for your mind,

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your body and soul. There's a couple of

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those tracks that are are house

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classics. And I started to think it's

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funny that there's these preaches for

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house music but there's no for none for

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trans music.

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So I was on holiday in ITA and I just

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had I grabbed a notepad and I started

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writing a preach like

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um which became uh the I live for that

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energy uh uh uh preach the the ac

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capella. So, I wrote this and it was

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lines and lines of stuff that I I read

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in the past or, you know, just weird

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sentences and I contacted uh if you go

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online, there's these great companies

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that offer u uh the possibilities of

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hiring voices just basically somebody

86
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that that helps you with narrating that

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voice. So, it was a guy in New York. I

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was in Holland and we had an online

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connection and uh I think I had him

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online for an hour and he just read what

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I wrote and uh from all those lines that

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he uh he he he narrated them in in

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different with different tones of voice.

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So, um it starts with I had a dream last

95
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night, a vision. I saw a world full of

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people. Everybody was dancing. It's

97
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basically the message of trans music or

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how I want trans music to be about. So

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this is what uh this is what ended up

100
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being the the final. This is also

101
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available. I made it available uh uh as

102
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a preach as a as a trans a trans music

103
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preach to basically say what the music

104
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means.

105
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I had a dream last night, a vision.

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I saw a world full of people.

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Everybody was dancing and screaming

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loud.

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They were just there to listen to the

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music.

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Some even had their eyes closed.

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Everybody was just smiling.

113
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It was deep. It was underground,

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transparent.

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And he has such a cool voice. And of

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course, we added some effects to his

117
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voice. But the good thing was is that we

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created our own sample. And I think it's

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really important to touch on the subject

120
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of sampling because there's this big

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mistake uh that I I speak to a lot of

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producers and they think that you're

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just free to sample whatever. No, you

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cannot. Some people think they can

125
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sample 8 seconds. That's legal. It's not

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legal. It's never legal to sample

127
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something without permission. If you buy

128
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a sample package online, there's usually

129
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a disclaimer saying you can use these

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samples or you can use these sounds for

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your own productions. But if you sample

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existing music, you'll get into legal

133
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trouble. So my advice would be if you

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00:05:34,400 --> 00:05:36,880
want to use a sample try to recreate

135
00:05:36,880 --> 00:05:39,120
that sample but in your own way. So

136
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basically what this rap is it's inspired

137
00:05:41,199 --> 00:05:42,880
by in the beginning there was Jack and

138
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Jack had a groove which is an existing

139
00:05:44,720 --> 00:05:46,800
sample. I cannot use that sample because

140
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it's it's copyright protected. So either

141
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I have to pay the master owner come to

142
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an agreement with this publisher and

143
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it's a lot of hassle. It's a lot of

144
00:05:54,479 --> 00:05:56,560
legal hassle. You can do it. It's great

145
00:05:56,560 --> 00:05:59,840
but it's better to use that rap as an

146
00:05:59,840 --> 00:06:02,479
inspiration. Be inspired. write your own

147
00:06:02,479 --> 00:06:07,160
rap and then you have your own sample.

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This is the sample.

149
00:06:13,520 --> 00:06:15,680
I want to be in that moment.

150
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And Beno came up with a great idea to

151
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use Alchemy, which is a plugin that

152
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comes standard now with Logic Pro. It's

153
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a fantastic synthesizer. really if you

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dig into that hood you can go for weeks

155
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and weeks and weeks to tweak and and

156
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there's a granular synthesis section in

157
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uh the alchemy and we uh put uh the

158
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sample I want to be in that moment in uh

159
00:06:39,680 --> 00:06:40,720
in the software

160
00:06:40,720 --> 00:06:43,039
I want to be in that moment

161
00:06:43,039 --> 00:06:45,919
so that becomes a loop so let me trigger

162
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the sample be in that moment

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moment

164
00:06:51,360 --> 00:06:55,360
moment moment moment

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moment.

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It had some sort of a spooky vibe to it.

167
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And when Beno played me this idea, I was

168
00:07:06,639 --> 00:07:09,039
like, "Whoa, what is that? It sounds so

169
00:07:09,039 --> 00:07:12,560
weird and so off and so exciting in a

170
00:07:12,560 --> 00:07:14,960
way." So immediately I started adding to

171
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his idea. So uh what we did is we uh put

172
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a big reverb behind it, an arts acoustic

173
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in this case. big reverb 10 seconds and

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just fool around with the speed. So, let

175
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me start the sample again.

176
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exciting, right? So, what we've done to

177
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avoid CPU conflicts and everything, uh,

178
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we basically drew the automation just on

179
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that one sample. So, I opened a

180
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different arrangement and we basically

181
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exported it from this arrangement into

182
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another arrangement. So, we made our own

183
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sample. So, if let quickly listen to the

184
00:08:00,800 --> 00:08:03,280
results.

185
00:08:03,280 --> 00:08:05,120
So, this is basically the automation of

186
00:08:05,120 --> 00:08:08,360
that sample.

187
00:08:09,919 --> 00:08:13,199
It's a really slow pitch of the moment

188
00:08:13,199 --> 00:08:15,919
sample. And here you see the sample the

189
00:08:15,919 --> 00:08:18,560
speed goes up.

190
00:08:18,560 --> 00:08:23,319
And we tune the the chorus as well.

191
00:08:31,440 --> 00:08:33,360
So we've used a human voice as a

192
00:08:33,360 --> 00:08:35,599
synthesizer. Turn the human voice into a

193
00:08:35,599 --> 00:08:38,599
synthesizer.

194
00:08:46,480 --> 00:08:49,480
Moment.

195
00:08:54,720 --> 00:08:57,120
It's just exciting. It sounds weird. It

196
00:08:57,120 --> 00:08:59,440
sounds off. It sounds unconventional. It

197
00:08:59,440 --> 00:09:02,880
sounds great. So, you go to uh bounce in

198
00:09:02,880 --> 00:09:06,160
place or you export this sample and then

199
00:09:06,160 --> 00:09:08,560
we have this sample as a as a as

200
00:09:08,560 --> 00:09:09,839
something we can use in the final

201
00:09:09,839 --> 00:09:12,640
arrangement. Here is the sample uh that

202
00:09:12,640 --> 00:09:14,640
we just created in a different project,

203
00:09:14,640 --> 00:09:17,200
the granular synthesis.

204
00:09:17,200 --> 00:09:20,240
And uh I've added uh some more weird

205
00:09:20,240 --> 00:09:24,920
effects to it. Sound shifter pitch

206
00:09:25,040 --> 00:09:27,120
using some EQ

207
00:09:27,120 --> 00:09:29,839
on that sample. And right now you think

208
00:09:29,839 --> 00:09:31,680
it would be a synthesizer, but it's

209
00:09:31,680 --> 00:09:35,959
actually a human voice coming up.

210
00:09:39,600 --> 00:09:41,839
And then of course you start adding the

211
00:09:41,839 --> 00:09:44,320
juice. So what in this case we wanted to

212
00:09:44,320 --> 00:09:46,320
make it really exciting, really big,

213
00:09:46,320 --> 00:09:48,399
really massive for that dance floor. So

214
00:09:48,399 --> 00:09:50,160
when I start my DJ set, you want to have

215
00:09:50,160 --> 00:09:52,399
the attention straight away. So we added

216
00:09:52,399 --> 00:09:54,640
some pads and some stabs to it. Some old

217
00:09:54,640 --> 00:10:00,040
school uh '9s stabs like

218
00:10:01,519 --> 00:10:02,880
it's just a sample from the sample

219
00:10:02,880 --> 00:10:04,240
library that's actually been on our hard

220
00:10:04,240 --> 00:10:06,720
drives for a really really long time. Uh

221
00:10:06,720 --> 00:10:10,800
and this is how it sounds all together.

222
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really weird, right? And at this moment,

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you don't realize that it is actually

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the B in the moment sample coming up.

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Heat. Heat.

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There's pads coming there. There's all

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sorts of excitement going on along with

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the fast speeding up moment sample.

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You want to suck the crowd into that

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moment.

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Heat. Heat.

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off you go. I think that's a great

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opening track to start your set because

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you immediately grab the attention and

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it's exciting. And I just tested road

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tested this uh this track this weekend

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in Mexico. And guess what? People

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started screaming when the stabs came in

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in the intro. And it was such a magical

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feeling when when it's just me and Beno

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in the studio sitting trying because

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this is just we don't know if this is

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going to work. You know, we think it's

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great, but I don't know if people are

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going to dig it. So, uh but uh it

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worked.

1
00:00:13,440 --> 00:00:15,759
So, here we are recording uh the song

2
00:00:15,759 --> 00:00:17,920
called Sunny Days. Um, what I've done,

3
00:00:17,920 --> 00:00:20,000
I've bounced down the instrumental

4
00:00:20,000 --> 00:00:22,240
version of the pop uh version of Sunny

5
00:00:22,240 --> 00:00:24,400
Days. Uh, the reason why I'm doing this

6
00:00:24,400 --> 00:00:26,560
is because if I would be recording in

7
00:00:26,560 --> 00:00:28,000
the actual project, I would be

8
00:00:28,000 --> 00:00:29,519
introducing a lot of latency. All the

9
00:00:29,519 --> 00:00:31,519
plugins are doing their work. So, I'm

10
00:00:31,519 --> 00:00:33,440
trying to minimize the latency so I can

11
00:00:33,440 --> 00:00:35,040
clearly hear what Josh is actually

12
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doing. So, I have a stereo two track

13
00:00:37,120 --> 00:00:38,640
here. And this is what we do a lot when

14
00:00:38,640 --> 00:00:40,719
we're recording. So, open a separate

15
00:00:40,719 --> 00:00:43,440
logic project and have a stereo two

16
00:00:43,440 --> 00:00:45,680
track going with the instrumental song.

17
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I really truly recommend to make a

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00:00:47,840 --> 00:00:49,440
little mix that the singer is

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comfortable with. So, a lot of singers,

20
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they love a little bit of reverb or a

21
00:00:53,280 --> 00:00:56,000
little bit of delay on the voice. You

22
00:00:56,000 --> 00:00:57,840
know, you you have to think of the the

23
00:00:57,840 --> 00:01:00,239
singer first and foremost. If the singer

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feels comfortable hearing the his own

25
00:01:02,640 --> 00:01:04,479
performance, then the performance will

26
00:01:04,479 --> 00:01:06,479
usually be better. But don't overdo it.

27
00:01:06,479 --> 00:01:08,400
A lot of singers like a lot of reverb,

28
00:01:08,400 --> 00:01:10,960
but it makes it makes for the fact that

29
00:01:10,960 --> 00:01:13,920
they won't sing in tune. And of course,

30
00:01:13,920 --> 00:01:16,080
singing is all about being in tune. And

31
00:01:16,080 --> 00:01:18,640
I always find it very uh important to

32
00:01:18,640 --> 00:01:20,880
motivate a singer. Uh, so make sure that

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00:01:20,880 --> 00:01:23,280
the singer feels good, that he's not, he

34
00:01:23,280 --> 00:01:24,799
or she is not tired, he's not

35
00:01:24,799 --> 00:01:27,360
frustrated, doesn't feel stressed. Uh,

36
00:01:27,360 --> 00:01:29,520
one of the things about being a little

37
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more known as a DJ is that some singers

38
00:01:31,520 --> 00:01:33,520
feel intimidated because I had a few hit

39
00:01:33,520 --> 00:01:35,920
records, you know, but every song that I

40
00:01:35,920 --> 00:01:38,240
do is like doing a new exam. It's it's

41
00:01:38,240 --> 00:01:40,000
starting from the ground up. So, I try

42
00:01:40,000 --> 00:01:42,880
to make the singer feel as comfortable

43
00:01:42,880 --> 00:01:46,200
as possible.

44
00:01:50,240 --> 00:01:51,680
So, how you feeling, Josh?

45
00:01:51,680 --> 00:01:52,960
Pretty fantastic.

46
00:01:52,960 --> 00:01:54,479
Thank you for uh joining the master

47
00:01:54,479 --> 00:01:55,040
class.

48
00:01:55,040 --> 00:01:56,240
Thank you for having me.

49
00:01:56,240 --> 00:01:57,759
Are you uh are you ready to do a couple

50
00:01:57,759 --> 00:01:58,479
of takes?

51
00:01:58,479 --> 00:01:59,360
Always.

52
00:01:59,360 --> 00:02:02,479
My suggestion would be that we uh do the

53
00:02:02,479 --> 00:02:04,640
uh first verse and chorus or you just

54
00:02:04,640 --> 00:02:06,960
want to do the first verse? What What is

55
00:02:06,960 --> 00:02:08,080
your preference?

56
00:02:08,080 --> 00:02:09,679
Let's do the first verse a couple times

57
00:02:09,679 --> 00:02:10,720
just to get into it.

58
00:02:10,720 --> 00:02:13,120
Okay. See, now that is something I find

59
00:02:13,120 --> 00:02:14,720
really important. I don't want to put

60
00:02:14,720 --> 00:02:16,400
pressure on the vocalist. The vocalist

61
00:02:16,400 --> 00:02:18,080
usually know what he or she wants. So,

62
00:02:18,080 --> 00:02:20,319
if I tell the vocalist what to do, it

63
00:02:20,319 --> 00:02:22,160
usually doesn't work. Some singers like

64
00:02:22,160 --> 00:02:24,720
to sing the entire song in one take. In

65
00:02:24,720 --> 00:02:26,800
this case, Josh just wants to get used

66
00:02:26,800 --> 00:02:29,200
and really focused on the first verse.

67
00:02:29,200 --> 00:02:31,280
So, that's what I'm going to do. We'll

68
00:02:31,280 --> 00:02:33,360
do a first run. Uh, just let me know if

69
00:02:33,360 --> 00:02:36,000
the volume's okay. Okay. Golden rule,

70
00:02:36,000 --> 00:02:40,120
always record your first take.

71
00:02:43,200 --> 00:02:44,879
D.

72
00:02:44,879 --> 00:02:51,400
She woke up. She woke up. No. No. No.

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00:02:55,120 --> 00:02:59,200
She woke up in the morning

74
00:02:59,200 --> 00:03:03,200
with the sunrise in her eyes.

75
00:03:03,200 --> 00:03:07,760
All that she sees is darkness.

76
00:03:07,760 --> 00:03:11,879
And she won't tell you why.

77
00:03:13,200 --> 00:03:17,280
No more butterflies cuz they don't last.

78
00:03:17,280 --> 00:03:20,319
Stolen from the light by demons of the

79
00:03:20,319 --> 00:03:24,519
past. It's always raining.

80
00:03:24,879 --> 00:03:28,760
She keeps on praying.

81
00:03:30,400 --> 00:03:32,000
How did that feel?

82
00:03:32,000 --> 00:03:33,360
Like a start.

83
00:03:33,360 --> 00:03:35,760
Okay. You want to go for one more?

84
00:03:35,760 --> 00:03:36,560
I'd love that.

85
00:03:36,560 --> 00:03:38,159
Are you okay? Do you want some water?

86
00:03:38,159 --> 00:03:39,120
You have enough air?

87
00:03:39,120 --> 00:03:43,959
I'm well taken care of. Cool. Let's go.

88
00:03:53,440 --> 00:03:59,080
Now, she woke up. She woke up.

89
00:03:59,120 --> 00:04:03,120
She woke up in the morning

90
00:04:03,120 --> 00:04:07,040
with a sunrise in her eyes.

91
00:04:07,040 --> 00:04:11,519
But all that she sees is darkness.

92
00:04:11,840 --> 00:04:15,879
She won't tell you why.

93
00:04:17,199 --> 00:04:21,280
No more butterflies cuz they don't last.

94
00:04:21,280 --> 00:04:24,320
Stolen from the light by demons of the

95
00:04:24,320 --> 00:04:28,520
past. It's always raining.

96
00:04:28,880 --> 00:04:32,680
She keeps on praying.

97
00:04:33,919 --> 00:04:37,199
I have a suggestion for you. Um,

98
00:04:37,199 --> 00:04:39,280
why don't we do the it's always raining

99
00:04:39,280 --> 00:04:40,960
part as a separate thing because it

100
00:04:40,960 --> 00:04:42,880
feels more like we should do sort of an

101
00:04:42,880 --> 00:04:46,800
insert on that one cuz uh like demons of

102
00:04:46,800 --> 00:04:48,639
the past it's always raining is

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00:04:48,639 --> 00:04:51,120
it's almost like it's it's two takes.

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00:04:51,120 --> 00:04:51,840
Okay.

105
00:04:51,840 --> 00:04:54,720
Um so I would only sing like demons of

106
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the past.

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00:04:56,000 --> 00:04:56,320
Okay.

108
00:04:56,320 --> 00:04:58,880
And then later on we'll record it's

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00:04:58,880 --> 00:05:00,240
always raining.

110
00:05:00,240 --> 00:05:00,639
Cool.

111
00:05:00,639 --> 00:05:02,639
Because you get more uh you probably get

112
00:05:02,639 --> 00:05:05,840
a more relaxed take on that. So, um, if

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00:05:05,840 --> 00:05:07,520
you can just sing the verse first up

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00:05:07,520 --> 00:05:09,840
until Like Demons of the Past.

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00:05:09,840 --> 00:05:10,320
Okay.

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00:05:10,320 --> 00:05:11,600
Yeah. And then we'll take it from there

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00:05:11,600 --> 00:05:12,639
as a punch in.

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00:05:12,639 --> 00:05:16,039
Sounds great.

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00:05:20,880 --> 00:05:27,520
She woke up. She woke up. She woke up.

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00:05:27,520 --> 00:05:30,840
Yeah. Yeah.

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00:05:30,960 --> 00:05:34,960
She woke up in the morning.

122
00:05:34,960 --> 00:05:38,880
with the sunrise in her eyes.

123
00:05:38,880 --> 00:05:43,560
But all that she sees is darkness.

124
00:05:43,680 --> 00:05:47,639
She won't tell you why.

125
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No more butterflies cuz they don't last.

126
00:05:53,120 --> 00:05:56,160
Stolen from the light by demons of the

127
00:05:56,160 --> 00:05:59,160
past.

128
00:06:00,720 --> 00:06:04,520
She keeps on praying.

129
00:06:05,280 --> 00:06:07,280
That's a great take. Good job. You want

130
00:06:07,280 --> 00:06:08,160
to do one more?

131
00:06:08,160 --> 00:06:11,160
Sure.

132
00:06:16,639 --> 00:06:20,600
Yeah. Yeah. Yeah. Yeah.

133
00:06:22,080 --> 00:06:24,639
No, no, no.

134
00:06:24,639 --> 00:06:26,800
She woke up.

135
00:06:26,800 --> 00:06:30,880
She woke up in the morning.

136
00:06:30,880 --> 00:06:34,800
with the sunrise in her eyes.

137
00:06:34,800 --> 00:06:39,479
But all that she sees is darkness.

138
00:06:39,520 --> 00:06:43,560
She won't tell you why.

139
00:06:44,960 --> 00:06:47,840
No more butterflies cuz they don't ever

140
00:06:47,840 --> 00:06:51,919
last. Stolen from the light by demons of

141
00:06:51,919 --> 00:06:55,080
the past.

142
00:06:56,560 --> 00:07:00,440
She keeps on praying.

143
00:07:00,479 --> 00:07:03,039
sounding great. Um, let me just quickly

144
00:07:03,039 --> 00:07:06,479
comp uh the demons of the past line so

145
00:07:06,479 --> 00:07:08,639
we can have the it's almost uh it's

146
00:07:08,639 --> 00:07:10,800
always raining line after that as an

147
00:07:10,800 --> 00:07:11,440
insert.

148
00:07:11,440 --> 00:07:12,000
Okay.

149
00:07:12,000 --> 00:07:14,000
So, now what I'm going to do uh I'm

150
00:07:14,000 --> 00:07:17,039
going to quickly get my favorite take uh

151
00:07:17,039 --> 00:07:18,639
just because there's another line coming

152
00:07:18,639 --> 00:07:20,639
after Demons from the Past and I want

153
00:07:20,639 --> 00:07:22,639
him to do a couple of takes on that last

154
00:07:22,639 --> 00:07:26,080
one. So, all I'm doing right now

155
00:07:26,080 --> 00:07:31,360
is quickly copying all the takes here,

156
00:07:31,360 --> 00:07:33,919
and I'm selecting one of my favorite uh

157
00:07:33,919 --> 00:07:37,680
takes of this one. So, here I am. I'm

158
00:07:37,680 --> 00:07:42,560
going to um I like this one.

159
00:07:42,560 --> 00:07:46,800
And keep this in record.

160
00:07:46,800 --> 00:07:50,880
No more butterflies. They don't last.

161
00:07:50,880 --> 00:07:53,919
Stolen from the light by demons of the

162
00:07:53,919 --> 00:07:56,400
past.

163
00:07:56,400 --> 00:07:58,240
Is that okay for you to sing the It's

164
00:07:58,240 --> 00:07:59,599
Always Raining line after?

165
00:07:59,599 --> 00:07:59,919
Yeah.

166
00:07:59,919 --> 00:08:01,520
How are you feeling? Everything good?

167
00:08:01,520 --> 00:08:02,240
Sounds great.

168
00:08:02,240 --> 00:08:05,240
Cool.

169
00:08:08,080 --> 00:08:10,720
No, no, no.

170
00:08:10,720 --> 00:08:14,720
Butterflies. They don't last. Stolen

171
00:08:14,720 --> 00:08:17,199
from the light by demons of the past.

172
00:08:17,199 --> 00:08:20,479
It's always raining.

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00:08:20,479 --> 00:08:22,080
That's a great recording. Let's do it

174
00:08:22,080 --> 00:08:25,240
one more.

175
00:08:27,120 --> 00:08:32,959
No more butterflies. They don't last

176
00:08:32,959 --> 00:08:35,440
by demons of the past. It's always

177
00:08:35,440 --> 00:08:38,440
raining.

178
00:08:38,800 --> 00:08:40,959
I like that attitude in that take.

179
00:08:40,959 --> 00:08:42,800
That's a really great It's always

180
00:08:42,800 --> 00:08:44,640
raining. I'm feeling that.

181
00:08:44,640 --> 00:08:45,760
Should we do one more?

182
00:08:45,760 --> 00:08:48,640
Absolutely.

183
00:08:50,800 --> 00:08:55,839
No more butterflies cuz they don't last

184
00:08:55,839 --> 00:08:58,320
from the light by demons of the past.

185
00:08:58,320 --> 00:09:02,120
It's always raining.

186
00:09:02,160 --> 00:09:03,760
Great. You want to do one more or shall

187
00:09:03,760 --> 00:09:04,640
we comp this?

188
00:09:04,640 --> 00:09:06,000
Uh, we can do one more. All right.

189
00:09:06,000 --> 00:09:09,000
Safety.

190
00:09:11,920 --> 00:09:14,880
No more butterflies.

191
00:09:14,880 --> 00:09:18,800
past stolen from the light by demons of

192
00:09:18,800 --> 00:09:23,240
the past. It's always raining.

193
00:09:23,360 --> 00:09:25,040
Thank you so much. Can you uh come into

194
00:09:25,040 --> 00:09:28,080
the room so we can uh review and comp uh

195
00:09:28,080 --> 00:09:29,040
the first verse?

196
00:09:29,040 --> 00:09:29,920
Absolutely.

197
00:09:29,920 --> 00:09:31,600
I really liked his last take. I feel

198
00:09:31,600 --> 00:09:34,320
he's really getting into it. Um so I

199
00:09:34,320 --> 00:09:36,160
think we have four takes now uh which

200
00:09:36,160 --> 00:09:37,839
gives us enough material to review what

201
00:09:37,839 --> 00:09:40,080
he's done. And also I want him to join

202
00:09:40,080 --> 00:09:42,880
me in the room to see how he sounds

203
00:09:42,880 --> 00:09:44,480
because on a big system it sounds

204
00:09:44,480 --> 00:09:46,399
different than on his headphones. So

205
00:09:46,399 --> 00:09:48,480
maybe uh sometimes when you're reviewing

206
00:09:48,480 --> 00:09:50,080
a vocal and you're comping it together

207
00:09:50,080 --> 00:09:51,760
with the singer, the singer wants like,

208
00:09:51,760 --> 00:09:53,440
"Oh, I can do that better." And he or

209
00:09:53,440 --> 00:09:54,959
she jumps back into the booth and gives

210
00:09:54,959 --> 00:09:56,560
you an even better performance. That's

211
00:09:56,560 --> 00:09:58,640
why I find it important to comp together

212
00:09:58,640 --> 00:10:00,399
with the singer. But it's not a golden

213
00:10:00,399 --> 00:10:01,839
way of working because some singers just

214
00:10:01,839 --> 00:10:03,920
don't like to be there. So it's a it's a

215
00:10:03,920 --> 00:10:07,279
personal preference, I guess.

1
00:00:07,520 --> 00:00:10,160
So, now uh Josh left the uh the vocal

2
00:00:10,160 --> 00:00:12,160
booth. He's here with me and we're going

3
00:00:12,160 --> 00:00:14,080
to comp uh the first verse, the first

4
00:00:14,080 --> 00:00:15,920
takes of the first verse. And I just

5
00:00:15,920 --> 00:00:17,600
want to have his opinion as well. I

6
00:00:17,600 --> 00:00:19,199
think it's important to know if he's

7
00:00:19,199 --> 00:00:21,359
happy uh with the recording that we just

8
00:00:21,359 --> 00:00:23,920
did. Um, so what I'm going to do now, if

9
00:00:23,920 --> 00:00:25,439
you're okay with that, I'm going to go

10
00:00:25,439 --> 00:00:27,599
over each individual line and play all

11
00:00:27,599 --> 00:00:30,080
the lines to him and then we can both

12
00:00:30,080 --> 00:00:32,640
pick our favorites. And sometimes it

13
00:00:32,640 --> 00:00:34,079
means that he has a different frame than

14
00:00:34,079 --> 00:00:35,680
me and then we go into a discussion. So

15
00:00:35,680 --> 00:00:37,040
I'm really curious to see what he thinks

16
00:00:37,040 --> 00:00:39,760
of his vocal performance. So the first

17
00:00:39,760 --> 00:00:44,000
line in the song uh would be here. It's

18
00:00:44,000 --> 00:00:46,000
uh she woke up in the morning is the

19
00:00:46,000 --> 00:00:48,879
first line. So the first take was here.

20
00:00:48,879 --> 00:00:52,879
So I'm going to select the first take.

21
00:00:54,719 --> 00:00:57,600
input off.

22
00:00:57,600 --> 00:01:01,120
And then I'm going to send

23
00:01:01,120 --> 00:01:03,520
um

24
00:01:03,520 --> 00:01:06,080
I'm going to send this to the stereo

25
00:01:06,080 --> 00:01:09,600
output for the moment.

26
00:01:09,600 --> 00:01:12,799
She woke up in the morning.

27
00:01:12,799 --> 00:01:17,080
She woke up in the morning.

28
00:01:17,680 --> 00:01:21,840
She woke up in the morning.

29
00:01:21,840 --> 00:01:26,000
She woke up in the morning.

30
00:01:26,000 --> 00:01:29,200
She woke up in the morning.

31
00:01:29,200 --> 00:01:31,360
One more time. The first take.

32
00:01:31,360 --> 00:01:33,920
She woke up in the morning.

33
00:01:33,920 --> 00:01:35,920
Second take.

34
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She woke up in the morning.

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The third take.

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She woke up in the morning.

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Do you have a favorite?

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I don't know. It's between one and four

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for me. I think one one's a little more

40
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subtle. Yeah. But I do like four.

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I think the timing on three was good.

42
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Three is also Yeah. Two is definitely

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the one I don't like.

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Two is the one you don't like. Why you

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don't like it?

46
00:02:02,399 --> 00:02:05,520
Play it back.

47
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That C on cup is so aggressive to me. It

48
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has no feeling. She woke up. It's like a

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violent awakening.

50
00:02:12,400 --> 00:02:14,080
Okay. So your one your favorite would be

51
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one or four. She woke up in the morning.

52
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It's more subtle.

53
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Feels like an opening line

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as that morning.

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She woke up in the morning.

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And this feels a little bit lazy, laid

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back to lay back.

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Mhm.

59
00:02:28,879 --> 00:02:31,360
So again, we were right. The very first

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take was the one.

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So for the first line, uh we've just

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selected the very first uh uh take. Um

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so that's going to go up. So I've

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selected this and now I'm going to go to

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the second line. Again, I'm first I'm

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going to play

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uh the very first

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uh take, which is this one. So, I'm

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going to select this. Vocal comping is a

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is a very personal process. It is really

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what makes you an artist. And I think

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it's al is very important to do it

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together with the vocalist because he or

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she probably knows her voice the best.

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But I'm also knowing as an artist what

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I'm looking for, what kind of emotion I

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want. And I think you also have to take

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into account the the meaning of the

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lyric, how you want that to come across.

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And something I find really u really

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important is is intensity. You know, I

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have to believe the singer. I have to,

83
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you know, it's not like you're doing

84
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you're not shopping for groceries. It

85
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has to be something that I have to feel.

86
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So now, let's check out the second line

87
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of the first verse. This is take number

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one.

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Take number two. with a sunrise in her

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eyes.

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Take number three.

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With a sunrise in her eyes.

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And the final one.

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Well, I think we can all agree we don't

95
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need to hear take number one again.

96
00:03:53,040 --> 00:03:54,080
No, that was a bit off.

97
00:03:54,080 --> 00:03:55,680
Yeah, we we'll leave that one for the

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garbage bin. Uh I don't know. I think

99
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three and or two had that nice eyes.

100
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Yes.

101
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But then four has that sunrise with that

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nasal tone that I like as well. What do

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you think? I think two is my favorite.

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Shall we review two and four again?

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Sure.

106
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All right.

107
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And now four.

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The sunrise is a bit off. So I I think

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my favorite would be take two.

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All right. Yeah, I'm good with it.

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All right. Let's go to the next line.

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Uh I have a question. Would it be

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possible for me to hear it back with

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some autotune or something?

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Absolutely. if that's what you want.

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Yeah, just to see what it would sound

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like.

118
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That's a good question. Josh wants to

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hear autotune. Now, we get into the

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discussion of autotune. Um, there's a

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big big camp out there that hates

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autotune, and there's a big big camp out

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there that's very pro- autotune. I'm not

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really sure what I want yet. I'm not a

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big fan of autotune personally, but you

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can use it as a creative instrument as

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well, and some words just need

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autotuning.

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Josh in this case wants to hear his

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track uh with autotuning on. So, I'm

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going to just to please him. And also I

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want him to be comfortable here in the

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studio with me and I want him to have a

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good time and I want him to hear his

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voice like he hears it. So just for him

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and just for sake of the of the comping,

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I'm just going to play these first two

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lines through an autotune.

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Let me pull on autotune.

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There we go. Uh

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that is autotune.

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Here we go. Uh what's the key of the

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track?

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E minor. So, we go to E. You can put it

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in chromatic, right? Or you want it?

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We'll do E minor.

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E minor.

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I'm not that good.

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She woke up in the morning.

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It's a little bit too much of an

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artifact.

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Artifacting. Yeah.

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So, what we would do is we would uh put

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it more slow. I guess the retune speed.

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Mhm. She woke up in the morning.

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How's that? Little faster retune.

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Yeah.

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She woke up in the morning.

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That's getting there.

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What would you suggest? You want a

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little bit more reach?

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A little bit more be amazing. Like

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around 70, something like that. And then

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also the correction style sometimes.

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Yep.

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Yeah, that's the one.

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Yeah.

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Kind of gets rid of some of that

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artifacting.

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See, at this point, I don't even hear

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the difference anymore. But he knows his

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voice better than anybody else. So, you

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know, for me, it is all about making the

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singer feel comfortable and he has to

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have a good time. I want him to leave

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the studio with a demo or initial uh

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version of something we recorded so he

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can also review it. So I want because

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he's the artist, you know, he might be

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on stage with me pretty soon. So I want

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to make sure that he feels comfortable

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and uh has a good time uh recording cuz

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remember this is just the first verse

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and I still need him to do an awesome

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performance on the chorus. So, now we're

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going to go to the third line. And for

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this, uh, I'm going to switch off

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autotune again, if you don't mind,

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because, you know, I like to hear the

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takes without autotune. It's easier

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probably. And, uh, you can just throw

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everything through autotune, but I just

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want to hear his performance. Nothing's

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going to leave the studio um, you know,

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without his consent. And he knows this.

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We made an agreement. And I think it's

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important that before you step into the

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studio, before you start a session with

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a singer, that you tell him how, you

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know, you cannot just throw a vocal uh

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let somebody walk in the studio, comp

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the vocal yourself and release it.

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Always make sure you have an agreement

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with the singer and that the singer is

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happy uh with the performance no matter

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what because you can get into some real

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big arguments if you don't do that. So,

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I've switched off autotune again. We're

209
00:08:02,240 --> 00:08:03,360
going to turn it on in just a little

210
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bit. I just want to finish the comp. So

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now I'm gonna go to the third line.

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00:08:08,560 --> 00:08:12,360
Gonna go to take one.

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00:08:12,560 --> 00:08:16,080
But all that she sees is darkness.

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But all that she sees is darkness.

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00:08:19,520 --> 00:08:23,120
But all that she sees is darkness.

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00:08:23,120 --> 00:08:27,199
But all that she sees is darkness.

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00:08:27,199 --> 00:08:28,800
Tricky tricky.

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00:08:28,800 --> 00:08:30,479
I think the darkness on three is the

219
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best one. What do you think?

220
00:08:31,759 --> 00:08:32,719
I like two.

221
00:08:32,719 --> 00:08:33,360
You like two?

222
00:08:33,360 --> 00:08:35,440
Yeah. Let's review two and three again.

223
00:08:35,440 --> 00:08:38,880
All that she sees is darkness.

224
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All that she sees is darkness.

225
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The darkness is more subtle.

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00:08:43,120 --> 00:08:45,120
Mhm. But the all that she sees is less

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pushed though. You're right. On two.

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You want to go for the entire two or you

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00:08:48,720 --> 00:08:50,560
want to use the darkness from three?

230
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Let's split it.

231
00:08:51,519 --> 00:08:55,600
Split it. Okay. So now I'm going to make

232
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a crossfade between take two and three.

233
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And I just need to find where you won't

234
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hear that we're actually crossfading

235
00:09:03,440 --> 00:09:05,519
between two takes. So this is how it's

236
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going to sound.

237
00:09:10,480 --> 00:09:11,279
Not too bad.

238
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Yeah.

239
00:09:12,000 --> 00:09:15,399
What do you think?

240
00:09:15,839 --> 00:09:20,080
I like it. It's more uh subtle.

241
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Now let's go to the fourth line and

242
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finish the comp of the first verse.

243
00:09:24,560 --> 00:09:28,240
Again, I'm going opening up take one.

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00:09:28,240 --> 00:09:32,200
She won't tell you why.

245
00:09:33,519 --> 00:09:36,959
She won't tell you why.

246
00:09:36,959 --> 00:09:40,640
She won't tell you why.

247
00:09:40,640 --> 00:09:43,519
She won't tell you why.

248
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What do you think? I wonder if

249
00:09:44,560 --> 00:09:45,600
I think four.

250
00:09:45,600 --> 00:09:46,320
Four.

251
00:09:46,320 --> 00:09:48,720
I like the jazzy like she won't tell you

252
00:09:48,720 --> 00:09:49,680
why.

253
00:09:49,680 --> 00:09:50,560
Okay.

254
00:09:50,560 --> 00:09:52,399
Maybe we can even record that line

255
00:09:52,399 --> 00:09:54,399
another time so we can have the Y a

256
00:09:54,399 --> 00:09:56,000
little bit longer. But

257
00:09:56,000 --> 00:09:57,519
I like the, you know, you have that

258
00:09:57,519 --> 00:09:59,200
jazzy feel to your voice, which I think

259
00:09:59,200 --> 00:10:01,120
is great. But for the moment, I would

260
00:10:01,120 --> 00:10:02,880
say four. What What would you say? Would

261
00:10:02,880 --> 00:10:03,360
you agree?

262
00:10:03,360 --> 00:10:05,440
I kind of liked one, but four is also

263
00:10:05,440 --> 00:10:06,399
good.

264
00:10:06,399 --> 00:10:08,800
All right, let's review both.

265
00:10:08,800 --> 00:10:12,720
She won't tell you why.

266
00:10:12,720 --> 00:10:14,480
She won't tell you why.

267
00:10:14,480 --> 00:10:16,160
Uh, no, you're right. Four is better.

268
00:10:16,160 --> 00:10:18,320
Four is the one.

269
00:10:18,320 --> 00:10:21,040
So now let's listen to the first four

270
00:10:21,040 --> 00:10:24,959
lines again through the autotune.

271
00:10:24,959 --> 00:10:28,959
She woke up in the morning

272
00:10:28,959 --> 00:10:32,800
with the sunrise in her eyes,

273
00:10:32,800 --> 00:10:37,560
but all that she sees darkness.

274
00:10:37,680 --> 00:10:41,360
She won't tell you why.

275
00:10:41,360 --> 00:10:43,360
You can see that we took from all four

276
00:10:43,360 --> 00:10:44,480
takes

277
00:10:44,480 --> 00:10:46,800
uh we took different elements. So it's

278
00:10:46,800 --> 00:10:50,240
the first sentence of the first uh take

279
00:10:50,240 --> 00:10:51,519
uh the second sentence of the second

280
00:10:51,519 --> 00:10:53,760
take and then we took a little bit of

281
00:10:53,760 --> 00:10:55,440
the third take and then the fourth take

282
00:10:55,440 --> 00:10:58,320
is the last line. But what I would do

283
00:10:58,320 --> 00:11:03,200
now is I would um say the logic flatten

284
00:11:03,200 --> 00:11:06,079
stack. I would flatten this take to make

285
00:11:06,079 --> 00:11:10,560
it one audio file. Here you go.

286
00:11:10,560 --> 00:11:15,279
Flatten and merge. Right. Flatten.

287
00:11:15,279 --> 00:11:18,079
So there you go. Here we have the entire

288
00:11:18,079 --> 00:11:21,680
take that Josh did.

1
00:00:13,440 --> 00:00:14,880
I would want to listen to the take

2
00:00:14,880 --> 00:00:16,240
without the music and without the

3
00:00:16,240 --> 00:00:18,880
autotune to see if I'm happy. And if I

4
00:00:18,880 --> 00:00:20,400
wouldn't be happy, I would ask him to go

5
00:00:20,400 --> 00:00:22,240
back and do a couple of takes more. But

6
00:00:22,240 --> 00:00:24,000
I think he did a great job. So, let's

7
00:00:24,000 --> 00:00:26,720
listen to the to the takes. Our favorite

8
00:00:26,720 --> 00:00:30,240
pick in one line without autotune.

9
00:00:30,240 --> 00:00:34,320
She woke up in the morning

10
00:00:34,320 --> 00:00:38,000
with her eyes,

11
00:00:38,000 --> 00:00:42,840
but all that she sees darkness.

12
00:00:42,960 --> 00:00:46,920
She won't tell you why.

13
00:00:47,760 --> 00:00:50,079
If you carefully listen, you heard uh he

14
00:00:50,079 --> 00:00:51,520
smacked a little bit with his voice,

15
00:00:51,520 --> 00:00:52,879
which is normal because it's sing, you

16
00:00:52,879 --> 00:00:56,320
know. Uh, but the DAWs are so you hear

17
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everything on a vocal performance. I

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don't remove all the breaths because it

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makes it feel unnatural. Uh, sometimes I

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put the volume down on breaths and

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stuff. I do however want to remove the

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little click that he did with his mouth.

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And that was around here

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see a little smack going on there. And

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you won't really hear it unless you

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start adding compression. Uh, if you add

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compression to a vocal, which is

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something you normally do when you

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finished recording and you've got

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autotune and everything set, and if you

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have a little click, the compressor will

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bring it up and it will sound like uh

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something that could bother the groove a

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little bit. So, that's why I always

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spend a little bit of time on actually

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cleaning the take and use fade in, fade

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outs without making it sound unnatural.

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I would go in here uh

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I would select this take and I would say

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here a little fade in

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she woke up in the morning

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because I don't need to hear the other

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audio. So fade out here but just be very

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very careful that you don't um make it

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too short because the human voice you

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know you hear when somebody's taking a

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breath and it's actually part of the

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singing process for me. So, I like to

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hear when he's taking a breath to sing a

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a certain uh sentence.

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She woke up in the morning.

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So, I'm going remove that and fade in on

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this one.

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Fade out on this one.

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Let me see.

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She woke up in the morning.

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And I would turn it up a little bit so I

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could really hear everything that's

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going on in the take. She woke up in the

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morning

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with the sunrise in her eye.

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See, now the S is gone. Where's the S?

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She woke up in the morning

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with the sunrise in her eyes.

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See, I don't see the S, but I hear it

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because I, you know, the waveform is not

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showing it. But you do need to check.

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You need to be very very careful when

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you're uh cleaning your vocal takes

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as a little tick at the end. And we can

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clean that up with

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a fade out.

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There's a little breath.

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I want to hear that breath. Um, so

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here's here's a here's the thing, you

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know, this is where I also this is why I

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want the singer to be there uh when I'm

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um when I'm comping the vocal. Um,

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because I think it's important to have a

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discussion. Some singers don't like

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their breaths and some singers do. I

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think it's natural to have a little bit

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of a breath in the vocal uh when you're

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listening to the to the track.

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All that she sees is darkness,

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but it should be um it should be subtle.

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All that she sees is darkness.

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All that she sees

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all

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darkness.

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There's a little click going on when we

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switch from the different takes. Um, if

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you if you remembered, you saw that we

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uh took take two and take three. And you

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can clearly hear a click when we move

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over from take two to take three. So, be

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very careful of that. I'm going to clean

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that by selecting a crossfade.

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All that you see is darkness.

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It's still there a little bit. Yeah.

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But

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what you can do to fix it is try a

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different uh different section of the of

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the song. Um so I have to move the

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barrier here a little bit.

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All that you see is darkness.

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There you go.

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Much cleaner.

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Much cleaner.

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And let me see.

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darkness

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click. There's a click at the end. It

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may not seem a lot that little pop at

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the end, but if you put a compressor on

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it, remember that little pop will come

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up and you will hear it in your final

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track.

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Mhm.

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All that you see is darkness.

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Still there, but all that is darkness.

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It's better.

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Better. So, I can live with that for the

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moment. Uh, let's go on to the next

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line.

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There's a little breath here as well. I

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like it. But fade in.

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Beautiful. I can remove all this because

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there's no singing here.

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Fade out a little bit. She won't tell

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you why.

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Beautiful.

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Next line. You okay with that so far?

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Sounds good.

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Oh, we haven't actually comped that.

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It's just the first verse.

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So, this would be I can throw this away

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as that was intro singing. Uh, this

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would be the first verse actually. Um,

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I've removed all the unwanted noise. I

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made some fade in, fade outs. Uh, now

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the fun part starts.

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Now I can bring back the track, put on

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the autotune, and we'll start

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introducing some compression.

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Um, let me see. What will we do?

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Dynamics. Which one do you love?

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Do we have Fab Filter?

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We have Fab Filter.

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Yes, the Pro C.

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Proc is the one. I know.

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Oh, heaven on earth. There it is.

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She woke up in the morning,

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the sunrise in her eyes,

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but all that she sees darkness.

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She won't tell you why.

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It's pretty good. Um, I do suggest at

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this point uh introducing some DSing.

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Um,

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it's not that bad, but um, I would do a

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little bit of DSing before we go into

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the compressor.

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Let's see how bad it

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see. I'm using an audition functionality

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on the DSing

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to see what range of the voice I want to

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DS.

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See, there's there's the S. That's

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pretty in your face. And we have to be

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very careful because if you use the DS

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are too uh extensive, then it can sound

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very artificial.

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Okay, I can live with that.

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She woke up in the morning.

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And here you see um what uh S what high

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frequencies of the S uh the ProDS is

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actually um gain reducing you could say.

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And it's amazing that you're doing this

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too because I think a lot of times

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people try to make their vocals bright

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and don't do this and it gets so harsh

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and hard to hear. They think okay it has

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to be muddy or it has to be harsh. But

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this lets you have the best of both

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worlds. It's a great tool.

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It's a very subtle thing though.

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Uh now I'm going to add my favorite

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reverb.

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So I'm using a utility uh to actually go

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to stereo and then it will let me select

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my favorite reverb which is the arts

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acoustic.

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Um so put the dry up a little bit wet

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down roll off a little bit of the low

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end and make it for a night. I like your

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voice and I like long reverbs but I

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don't know if it works with this track.

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Let's see how it sounds.

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She woke up in the morning

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in her eyes

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way too long. All that she sees

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darkness.

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She won't tell you why.

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She woke up in the morning.

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The sunrise in her eyes.

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All that she sees is darkness.

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Are you happy or you're suggesting any

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any other changes?

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I mean, Lily Q maybe close it all off.

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Um, I like I like the high end of your

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voice a little bit. Let's see what the

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analyzer says.

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Let's do that before we go into the

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compressor.

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a little bit brightness.

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And there's a kind of a low end around

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200 hertz that I really like about your

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voice. Do you like to bring it out or?

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Yeah, it sounds great.

219
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She woke up in the morning.

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It's more of a character there in his

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voice.

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There it is.

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But all that you see is darkness.

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She won't tell you why.

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I guess the choices you make when you uh

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put effects on uh on a voice all have to

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do with the musical background. Uh what

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elements you want to bring out. Um Josh

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has a beautiful part in his voice around

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200 hertz. Obviously, you need to roll

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off everything below 70 Hz and then um

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yeah, you need to you just, you know,

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it's trial and error, I guess. Um it's a

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little bit personal preference also. And

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usually I'm just throwing a bunch of

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stuff on there. What I do with every

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track though, there's always a DSer on

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there. There's always an EQ, there's

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always a reverb, there's always a bit of

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compression somewhere. And then

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depending on the singer, uh, if you like

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00:11:42,000 --> 00:11:44,240
autotune or not, usually what I would

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do, I would make a separate track with

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the exact same settings and one has

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autotune on it and one don't. And then

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only the words that I feel that do need

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autotuning will go through that specific

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track. I don't mind a singer to be a

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little off just a tiny bit because it

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00:12:00,160 --> 00:12:02,000
also brings character. But the

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difference between character and

252
00:12:03,279 --> 00:12:05,200
something that's wrong is, you know,

253
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that's a long discussion that you can

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00:12:06,959 --> 00:12:09,200
have. But for me, the singer usually

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00:12:09,200 --> 00:12:11,600
knows his or her voice the best. So I

256
00:12:11,600 --> 00:12:13,519
would with this in this situation, I

257
00:12:13,519 --> 00:12:15,839
would go um back to Josh and tell him,

258
00:12:15,839 --> 00:12:17,519
are you comfortable with the session so

259
00:12:17,519 --> 00:12:20,240
far? I mean, obviously uh our time here

260
00:12:20,240 --> 00:12:22,800
in this master class is limited. So, you

261
00:12:22,800 --> 00:12:24,560
know, if I would really seriously record

262
00:12:24,560 --> 00:12:26,720
the vocal here, we would probably do a

263
00:12:26,720 --> 00:12:28,880
lot more takes and we would really go

264
00:12:28,880 --> 00:12:30,959
over every every little detail again and

265
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I would spend hours and hours coming and

266
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going back. And also, sometimes you need

267
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to hear it with fresh ears. But before

268
00:12:38,160 --> 00:12:40,160
you do that, I do recommend everybody to

269
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do an entire recording of the song

270
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because the next day the singer might be

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00:12:44,320 --> 00:12:46,160
coming into the studio and say, "Okay,

272
00:12:46,160 --> 00:12:47,680
I'm going to fix this and this." And the

273
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voice might may sound different. It's no

274
00:12:50,000 --> 00:12:51,839
problem if you want to do harmonies or

275
00:12:51,839 --> 00:12:54,160
or backing vocals uh because they they

276
00:12:54,160 --> 00:12:55,440
sound different anywhere in a different

277
00:12:55,440 --> 00:12:57,200
place in the mix. But especially with a

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lead that is so apparent like this one

279
00:12:59,760 --> 00:13:01,760
just make sure you record everything on

280
00:13:01,760 --> 00:13:04,160
the same day because the the voice of

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00:13:04,160 --> 00:13:06,079
Josh will sound different just because

282
00:13:06,079 --> 00:13:08,880
of the food that he he eats. Uh the milk

283
00:13:08,880 --> 00:13:10,560
if he drinks milk or not it sounds

284
00:13:10,560 --> 00:13:12,320
stupid but I had a singer once and I had

285
00:13:12,320 --> 00:13:14,560
lunch with the singer and she had she

286
00:13:14,560 --> 00:13:16,079
drank a carton of milk and her voice

287
00:13:16,079 --> 00:13:17,839
sounded completely different. Well,

288
00:13:17,839 --> 00:13:20,720
completely of course, but if you are so

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00:13:20,720 --> 00:13:22,720
into somebody's voice and every little

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00:13:22,720 --> 00:13:24,480
detail, you hear the difference. You

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00:13:24,480 --> 00:13:26,320
just hear something weird in in his or

292
00:13:26,320 --> 00:13:28,399
her voice. So, you need to be very wary

293
00:13:28,399 --> 00:13:30,720
that. Also, you know, keep the

294
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microphone in the same position. If you

295
00:13:32,399 --> 00:13:34,959
move it in your room, the reflection

296
00:13:34,959 --> 00:13:36,560
will be different. So, you're catching

297
00:13:36,560 --> 00:13:38,240
different waves. So, you need you need

298
00:13:38,240 --> 00:13:39,760
to be aware of that. If you're recording

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00:13:39,760 --> 00:13:41,760
vocals, I mean, obviously you like to

300
00:13:41,760 --> 00:13:43,120
record in a room when there's no

301
00:13:43,120 --> 00:13:45,360
reflection, but unfortunately, I guess

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not a lot of you watching are able to be

303
00:13:48,320 --> 00:13:49,839
in a room where there's no reflection.

304
00:13:49,839 --> 00:13:52,079
If you are, great, but usually there's a

305
00:13:52,079 --> 00:13:53,680
little bit of reflection. So, moving the

306
00:13:53,680 --> 00:13:56,240
microphone even a tiny bit can have a

307
00:13:56,240 --> 00:13:57,760
different reflection on the wall and it

308
00:13:57,760 --> 00:13:59,920
can may it may uh change the sound of

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00:13:59,920 --> 00:14:01,360
your voice. So, you need to be when

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00:14:01,360 --> 00:14:02,720
you're recording vocals, it's a very

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00:14:02,720 --> 00:14:05,120
delicate process. The next thing I'd be

312
00:14:05,120 --> 00:14:07,519
doing now is I uh as soon as I recorded

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00:14:07,519 --> 00:14:09,360
everything and we are happy with a with

314
00:14:09,360 --> 00:14:11,360
a take, I'd make a I'd give him a bounce

315
00:14:11,360 --> 00:14:13,360
of just the instrumental and and the

316
00:14:13,360 --> 00:14:16,160
voice, then I would open up the original

317
00:14:16,160 --> 00:14:18,399
instrumental again with all the all the

318
00:14:18,399 --> 00:14:21,360
plugins and I would bring uh the the ac

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00:14:21,360 --> 00:14:25,120
capella into um into that song so I can

320
00:14:25,120 --> 00:14:27,279
do maybe vocal effects or maybe make

321
00:14:27,279 --> 00:14:29,040
sure that it absolutely sits in the mix

322
00:14:29,040 --> 00:14:30,399
and it's not fighting with the other

323
00:14:30,399 --> 00:14:33,399
elements.

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00:14:37,279 --> 00:14:38,800
If you're not getting a good uh

325
00:14:38,800 --> 00:14:40,480
performance from your vocalist, uh

326
00:14:40,480 --> 00:14:42,079
there's a couple of things you can do.

327
00:14:42,079 --> 00:14:43,920
If you don't have a lot of time and you

328
00:14:43,920 --> 00:14:46,000
really need to record it that that day,

329
00:14:46,000 --> 00:14:47,920
maybe you hired a studio or you flew in

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00:14:47,920 --> 00:14:51,519
a singer and it's expensive. Um then, uh

331
00:14:51,519 --> 00:14:54,160
maybe you can add some elements to it to

332
00:14:54,160 --> 00:14:56,160
make it a little bit more fun. Um I

333
00:14:56,160 --> 00:14:58,160
would suggest throwing in a big reverb,

334
00:14:58,160 --> 00:15:00,880
uh maybe a compressor. It's not ideal

335
00:15:00,880 --> 00:15:03,199
obviously, but as soon as the vocalist

336
00:15:03,199 --> 00:15:05,040
hears that something exciting is

337
00:15:05,040 --> 00:15:07,040
happening to his or her voice and he or

338
00:15:07,040 --> 00:15:09,519
she's happy with uh what what he's what

339
00:15:09,519 --> 00:15:11,360
they're hearing back, then that can

340
00:15:11,360 --> 00:15:13,519
usually spark something. So, uh there's

341
00:15:13,519 --> 00:15:15,760
always a few things, a few tricks to get

342
00:15:15,760 --> 00:15:18,399
a vocalist excited. Uh maybe he or she's

343
00:15:18,399 --> 00:15:20,000
not feeling the lyric. Maybe you have

344
00:15:20,000 --> 00:15:22,000
another song that you guys can work on,

345
00:15:22,000 --> 00:15:24,480
or maybe he or she has an existing song

346
00:15:24,480 --> 00:15:26,560
that she wants to sing just to get

347
00:15:26,560 --> 00:15:28,720
comfortable with the microphone. Uh this

348
00:15:28,720 --> 00:15:30,079
is a trick that I've done in the past

349
00:15:30,079 --> 00:15:32,240
where muting some of the parts of your

350
00:15:32,240 --> 00:15:34,240
instrumental. Maybe just work with a

351
00:15:34,240 --> 00:15:37,199
piano or um uh maybe the opposite,

352
00:15:37,199 --> 00:15:39,519
throwing a big beat to get the singer

353
00:15:39,519 --> 00:15:41,600
excited. Sometimes I feel like I'm a

354
00:15:41,600 --> 00:15:43,600
psychologist when I'm in the in a studio

355
00:15:43,600 --> 00:15:45,279
with with a vocalist because you know

356
00:15:45,279 --> 00:15:47,440
vocalists are are are artists and

357
00:15:47,440 --> 00:15:48,959
artists sometimes are very very

358
00:15:48,959 --> 00:15:50,959
sensitive people and you always have to

359
00:15:50,959 --> 00:15:53,759
imagine that the voice is the instrument

360
00:15:53,759 --> 00:15:56,079
of the artist. uh almost like a you know

361
00:15:56,079 --> 00:15:58,480
a guitar player plays the guitar. So he

362
00:15:58,480 --> 00:16:00,560
or she is usually very very particular

363
00:16:00,560 --> 00:16:03,519
about how you use his or her voice in

364
00:16:03,519 --> 00:16:06,720
your mix. Um so I would really suggest

365
00:16:06,720 --> 00:16:08,959
to communicate with your artist uh

366
00:16:08,959 --> 00:16:10,639
before you go through management or

367
00:16:10,639 --> 00:16:13,040
anything. Uh it's very tempting to

368
00:16:13,040 --> 00:16:14,959
communicate with the manager. I find it

369
00:16:14,959 --> 00:16:16,399
very important to have a personal

370
00:16:16,399 --> 00:16:18,880
contact with the uh with the artists uh

371
00:16:18,880 --> 00:16:21,040
them themselves. And sometimes you even

372
00:16:21,040 --> 00:16:23,839
end up uh asking the artist to record

373
00:16:23,839 --> 00:16:26,560
the vocal at her own place cuz sometimes

374
00:16:26,560 --> 00:16:28,320
artists are just not comfortable in an

375
00:16:28,320 --> 00:16:30,320
environment like this. I mean this is a

376
00:16:30,320 --> 00:16:32,399
really nice looking studio but it can be

377
00:16:32,399 --> 00:16:34,320
very intimidating because you walk into

378
00:16:34,320 --> 00:16:36,399
a a big space you see all these people

379
00:16:36,399 --> 00:16:39,120
there these these big mixers and and all

380
00:16:39,120 --> 00:16:41,279
this professional software and sometimes

381
00:16:41,279 --> 00:16:42,639
people just like to record in the

382
00:16:42,639 --> 00:16:43,920
comfort of home and there's nothing

383
00:16:43,920 --> 00:16:45,759
wrong with that. Again there are no

384
00:16:45,759 --> 00:16:48,000
rules in music if you ask me. All that

385
00:16:48,000 --> 00:16:50,320
that matters is is that you like what's

386
00:16:50,320 --> 00:16:51,600
happening and you like what you're

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00:16:51,600 --> 00:16:54,560
hearing.

1
00:00:17,199 --> 00:00:21,359
She woke up in the morning

2
00:00:21,359 --> 00:00:25,119
with a sunrise in her eyes,

3
00:00:25,119 --> 00:00:29,800
but all that she sees is darkness.

4
00:00:34,640 --> 00:00:37,040
So, the way this song is structured,

5
00:00:37,040 --> 00:00:38,719
it's completely different than a dance

6
00:00:38,719 --> 00:00:40,320
track because a dance track needs to

7
00:00:40,320 --> 00:00:41,680
have impact. It needs to have a big

8
00:00:41,680 --> 00:00:43,200
drop. You need to be able to dance to

9
00:00:43,200 --> 00:00:45,200
it. You can dance to this track, no

10
00:00:45,200 --> 00:00:47,760
problem. But, uh, it's not structured in

11
00:00:47,760 --> 00:00:49,440
such a way that the kick and the bass

12
00:00:49,440 --> 00:00:52,079
have a massive impact. Uh, the baseline

13
00:00:52,079 --> 00:00:53,840
actually only comes when the drums are

14
00:00:53,840 --> 00:00:58,039
already rolling for quite a bit.

15
00:01:00,239 --> 00:01:03,719
There's the baseline.

16
00:01:05,280 --> 00:01:07,360
So, it's more of a laid-back approach.

17
00:01:07,360 --> 00:01:09,920
If I would play the radio version, uh,

18
00:01:09,920 --> 00:01:12,000
which I sometimes do as an encore in my

19
00:01:12,000 --> 00:01:15,119
set, uh, then it would just wouldn't

20
00:01:15,119 --> 00:01:17,759
make sense. I would I I'll show you. Uh,

21
00:01:17,759 --> 00:01:20,960
for example, if I if I'm if I'm DJing,

22
00:01:20,960 --> 00:01:25,240
I could be playing a track like this.

23
00:01:27,200 --> 00:01:29,119
high energy. And then if I would mix in

24
00:01:29,119 --> 00:01:32,360
this track,

25
00:01:34,079 --> 00:01:35,520
that wouldn't make any sense because the

26
00:01:35,520 --> 00:01:37,119
it's a different energy level. There's

27
00:01:37,119 --> 00:01:38,320
there's there's a different emotion

28
00:01:38,320 --> 00:01:40,079
going on. I still love the radio

29
00:01:40,079 --> 00:01:42,000
version, but it's more for laid-back

30
00:01:42,000 --> 00:01:44,479
sets or uh more for, you know, sunrise

31
00:01:44,479 --> 00:01:46,000
sets or whatever. Not when you're

32
00:01:46,000 --> 00:01:48,640
playing, you know, iconic stuff, like

33
00:01:48,640 --> 00:01:50,560
high energy stuff. That's the reason why

34
00:01:50,560 --> 00:01:53,360
I'm making a remix of my own song.

35
00:01:53,360 --> 00:01:55,360
Sometimes actually the club mix is is

36
00:01:55,360 --> 00:01:57,119
born sooner than the radio version.

37
00:01:57,119 --> 00:01:58,719
Sometimes it goes the other way around.

38
00:01:58,719 --> 00:02:00,799
I'm still working on tweaking on the

39
00:02:00,799 --> 00:02:02,719
radio version when I'm already sort of

40
00:02:02,719 --> 00:02:04,799
energized to do the club mix because the

41
00:02:04,799 --> 00:02:07,040
club mix for me is is most important.

42
00:02:07,040 --> 00:02:10,000
And for a single like this, um it's it's

43
00:02:10,000 --> 00:02:12,560
very easy to make a remix of this. So

44
00:02:12,560 --> 00:02:14,480
you basically take the vocal, you throw

45
00:02:14,480 --> 00:02:16,720
everything else out, and we speed it up

46
00:02:16,720 --> 00:02:19,280
to a tempo that matches the rest of the

47
00:02:19,280 --> 00:02:21,680
uh tracks in my DJ set. So, for this

48
00:02:21,680 --> 00:02:23,920
particular track, the original uh BPM

49
00:02:23,920 --> 00:02:27,280
was 115 beats per minute. I sped it up

50
00:02:27,280 --> 00:02:30,480
for my club mix to 128 beats per minute,

51
00:02:30,480 --> 00:02:32,879
which fits the tempo of my current DJ

52
00:02:32,879 --> 00:02:36,000
sets. Um, so all I took was from the

53
00:02:36,000 --> 00:02:38,800
original was the vocal.

54
00:02:38,800 --> 00:02:41,360
There you go. And the good thing was,

55
00:02:41,360 --> 00:02:43,040
um, I already did all the processing on

56
00:02:43,040 --> 00:02:45,120
the vocal. Basically, I just exported

57
00:02:45,120 --> 00:02:47,360
the vocal uh so I have a separate vocal

58
00:02:47,360 --> 00:02:49,920
stem and then I can just add some juice

59
00:02:49,920 --> 00:02:51,920
to it to uh match the sound

60
00:02:51,920 --> 00:02:53,200
characteristics of all the other

61
00:02:53,200 --> 00:02:55,280
elements that I choose in the club mix.

62
00:02:55,280 --> 00:02:57,760
So here we have the ac capella. She woke

63
00:02:57,760 --> 00:03:00,879
up in the morning

64
00:03:00,879 --> 00:03:04,319
with the sunrise in her eyes,

65
00:03:04,319 --> 00:03:07,040
but all that she sees is darkness. If

66
00:03:07,040 --> 00:03:08,560
you carefully listen, you can hear that

67
00:03:08,560 --> 00:03:11,040
the vocal is actually time stretched.

68
00:03:11,040 --> 00:03:12,720
That gives a little bit of an artificial

69
00:03:12,720 --> 00:03:15,120
element to it. I don't mind it. It's

70
00:03:15,120 --> 00:03:17,519
electronic music, so if it sounds a

71
00:03:17,519 --> 00:03:19,599
little greasy, I actually think it's

72
00:03:19,599 --> 00:03:21,840
cool. But of course, you hear uh Josh's

73
00:03:21,840 --> 00:03:24,159
voice sounding a little unnatural. That

74
00:03:24,159 --> 00:03:26,560
is because I time stretched it from 115

75
00:03:26,560 --> 00:03:29,599
BPM to 128 BPM. Obviously, it's a vocal

76
00:03:29,599 --> 00:03:31,440
track, so I do want people to be able to

77
00:03:31,440 --> 00:03:33,360
hear uh the vocal, otherwise I wouldn't

78
00:03:33,360 --> 00:03:35,360
be making a vocal track, but I guess

79
00:03:35,360 --> 00:03:40,159
it's about 2 or 3 dBs softer relative uh

80
00:03:40,159 --> 00:03:44,840
than uh in in the radio version.

81
00:03:48,480 --> 00:03:52,239
So, we start um with the vocal and you

82
00:03:52,239 --> 00:03:54,560
on this particular remix, I found this

83
00:03:54,560 --> 00:03:58,799
really cool pluck sound. Um the pluck

84
00:03:58,799 --> 00:04:00,879
sound, let's pull it up, comes from this

85
00:04:00,879 --> 00:04:04,400
plugin. It's a fairly new plugin called

86
00:04:04,400 --> 00:04:07,840
the uh VPS Avenger.

87
00:04:07,840 --> 00:04:09,519
And

88
00:04:09,519 --> 00:04:11,439
it just has a it's a beautiful

89
00:04:11,439 --> 00:04:16,200
atmospheric sounding. Uh

90
00:04:19,840 --> 00:04:21,680
I just love the emotion of it and I

91
00:04:21,680 --> 00:04:24,880
found that this sound had the same kind

92
00:04:24,880 --> 00:04:28,720
of emotional feel as the lyric of Josh

93
00:04:28,720 --> 00:04:33,240
Comi. So I started fooling around

94
00:04:37,600 --> 00:04:39,520
So I started to find some chords that

95
00:04:39,520 --> 00:04:43,320
would be not go nice.

96
00:04:45,840 --> 00:04:48,000
So I first started constructing the the

97
00:04:48,000 --> 00:04:50,400
breakdown of the track. So the focus was

98
00:04:50,400 --> 00:04:52,240
on this particular sound that I found as

99
00:04:52,240 --> 00:04:55,120
a preset in the Avenger plugin which I

100
00:04:55,120 --> 00:04:57,280
thought was great. And uh I came up with

101
00:04:57,280 --> 00:05:00,759
uh this melody.

102
00:05:04,400 --> 00:05:06,320
And this is typical for trans. It's very

103
00:05:06,320 --> 00:05:08,000
emotional.

104
00:05:08,000 --> 00:05:10,240
Fits a dance floor nice. It's moody.

105
00:05:10,240 --> 00:05:13,919
It's I could even enjoy this track just

106
00:05:13,919 --> 00:05:15,520
as an instrumental cuz it's so

107
00:05:15,520 --> 00:05:18,560
beautiful. It's very ethereal.

108
00:05:18,560 --> 00:05:20,560
And uh I just made it fit with with the

109
00:05:20,560 --> 00:05:23,039
vocal. So just uh having the vocal and

110
00:05:23,039 --> 00:05:25,039
that beautiful pluck sound make it sound

111
00:05:25,039 --> 00:05:28,280
like this.

112
00:05:37,120 --> 00:05:38,880
I love it when he says this one could be

113
00:05:38,880 --> 00:05:41,120
heaven. It's like the pluck is almost

114
00:05:41,120 --> 00:05:43,440
like an angel playing harp in in heaven

115
00:05:43,440 --> 00:05:45,600
or something. That's what I envision it.

116
00:05:45,600 --> 00:05:47,840
Um so that's the breakdown. And as soon

117
00:05:47,840 --> 00:05:49,520
as you got the breakdown, it's just then

118
00:05:49,520 --> 00:05:50,960
the fun starts, you know. you know, you

119
00:05:50,960 --> 00:05:53,680
have a great vocal, you have that hookie

120
00:05:53,680 --> 00:05:56,479
uh kind of feel, and then we want a big

121
00:05:56,479 --> 00:05:58,320
riff to come in as soon as the drop

122
00:05:58,320 --> 00:06:01,199
comes. We want massive paths to go along

123
00:06:01,199 --> 00:06:03,199
with that beautiful plug. So, in this

124
00:06:03,199 --> 00:06:06,479
case, we just stacked a bunch of u

125
00:06:06,479 --> 00:06:10,080
sawtooth saw wave synths. Uh a silent

126
00:06:10,080 --> 00:06:12,560
with a lot of stuff on it, another

127
00:06:12,560 --> 00:06:15,039
silent, another silent, all with

128
00:06:15,039 --> 00:06:18,160
different processing on top of it.

129
00:06:18,160 --> 00:06:19,840
And they're all basically playing the

130
00:06:19,840 --> 00:06:23,039
same lead melody. So if I play you the

131
00:06:23,039 --> 00:06:28,240
individual stems, you'll hear it.

132
00:06:28,240 --> 00:06:31,639
Here it's filtered.

133
00:06:39,120 --> 00:06:41,280
So the more I stack on top of it, the

134
00:06:41,280 --> 00:06:44,000
more epic it gets. The bigger this the

135
00:06:44,000 --> 00:06:46,240
squares, the the you really you want to

136
00:06:46,240 --> 00:06:47,520
make that transy feel. because you want

137
00:06:47,520 --> 00:06:49,759
to have that euphoric uh moment and

138
00:06:49,759 --> 00:06:52,720
that's why I use stack and in this case

139
00:06:52,720 --> 00:06:55,199
I use a track stack which basically

140
00:06:55,199 --> 00:06:56,960
means a couple of these tracks all these

141
00:06:56,960 --> 00:07:00,319
sins are being routed to a bus and on

142
00:07:00,319 --> 00:07:03,599
the bus again there's loads of EQing

143
00:07:03,599 --> 00:07:06,639
going on there's a big SSL plugin on

144
00:07:06,639 --> 00:07:08,960
that just to make it big make it nice

145
00:07:08,960 --> 00:07:11,199
and of course uh very important for the

146
00:07:11,199 --> 00:07:13,759
mixing part the LFO tool again to give

147
00:07:13,759 --> 00:07:17,400
the kick some case.

148
00:07:21,440 --> 00:07:25,440
What we do is we make our edit soon as

149
00:07:25,440 --> 00:07:28,400
we've done the extended version. We make

150
00:07:28,400 --> 00:07:30,880
the edit in the same arrangement.

151
00:07:30,880 --> 00:07:32,880
There's a reason for it because if you

152
00:07:32,880 --> 00:07:35,840
want to make changes to your extended

153
00:07:35,840 --> 00:07:38,080
version, you also want to make them in

154
00:07:38,080 --> 00:07:41,199
your edit. So, for example, if you

155
00:07:41,199 --> 00:07:43,039
decide to put your kick louder or softer

156
00:07:43,039 --> 00:07:45,360
or you want to add an element to it, you

157
00:07:45,360 --> 00:07:46,319
don't only want to do it to your

158
00:07:46,319 --> 00:07:47,680
extended mix, but you also want to do it

159
00:07:47,680 --> 00:07:51,520
to your edit. So, as soon as we've done

160
00:07:51,520 --> 00:07:53,199
um with the extended version, we

161
00:07:53,199 --> 00:07:55,360
basically copy the entire media

162
00:07:55,360 --> 00:07:57,919
automation, the audio information behind

163
00:07:57,919 --> 00:08:00,000
the track and we just start removing the

164
00:08:00,000 --> 00:08:01,759
beginning and the end, make it shorter,

165
00:08:01,759 --> 00:08:03,759
so you have an edit for the online

166
00:08:03,759 --> 00:08:06,240
portals and and whatnot. So, usually the

167
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edit is the one that gets on all the

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online portals. The extended version is

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usually more for the DJs. It's available

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on Beatport and a number of other

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portals. Um, but the edit is usually the

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version you hear, but we always think in

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extended versions. And the cool thing

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about making an edit is you can throw

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away everything and make it shorter. And

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usually shorter is better. Not always,

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but uh in this particular case, the if

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you hit a track in 3 minutes, uh I like

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the extended version better, but you

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know, in these times, everybody wants to

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hear an edit of three minutes, three and

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a half. So that's why we always choose

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to put the edit behind the extended

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version.

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The basis of DJing is very simple. It is

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you're entertaining somebody else. And

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it starts with your enthusiasm for a

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certain piece of music, whether it's

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your own music or other music that you

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really like. And I'm sure you know the

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feeling that when you've heard this

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amazing song or this amazing album, if

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you're really excited about it, the

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first thing you do is you share it with

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somebody else. Uh you know when and back

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in the days when I used to buy CDs,

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when I was excited about a track, the

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first thing I would do is I would either

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call my brother or I would tell my wife,

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"Come, come here, listen to this track.

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Listen." I would put it really loud and

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and that excitement is the basis of

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DJing. You want to share your passion.

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You you you want to scream from the top

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of your lungs, listen to this music,

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whether it's your own or or music from

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somebody else, this music needs to be

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heard. You need to hear this. So, if you

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have that enthusiasm, you're already

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basically a DJ cuz you're sharing your

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passion, your excitement for for music.

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I started to DJ in a local club in

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Leiden, uh which was basically my

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education. And it was a really really

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small club. I think just as big as a

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studio. I I think it had a capacity of

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about 50 or 60 people. But it was a

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great place to start for me. And that's

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how I educated myself. You know, I I

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DJed for 7 hours uh once a week, twice a

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week, sometimes three or four times. And

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it was a normal thing, you know, playing

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seven hours straight. And uh sometimes I

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even had to bartend while I was DJing,

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while I was spinning. And I was just

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having the best time because that was a

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place where I could test my uh my music

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for an actual crowd and sometimes there

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were 20 people in the room and if I got

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them dancing, you know, that it meant

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that the track worked, you know. So I

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was I started to use that really small

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residency that I had as basically that

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was my university

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that nightclub cuz I self-educated and

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of course there were other DJs there

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that taught me some tricks and and uh if

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I saw uh if I saw that there was a

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poster for a DMC mix championship or

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something I went you know I bought all

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the VHS tapes to see all the DJs do the

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weird tricks with scratching and and and

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all that sort of stuff and I try to

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recreate that cuz with my friends we had

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battles um uh mixing, you know,

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scratching for each other and and having

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a little fun. So everything that I

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learned I, you know, sucked it up.

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Well, being a DJ these days is different

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than 20 years ago. I mean, 20 years ago,

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the DJ was basically just a little bit

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better than the barman. Back in the day,

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uh, the DJs were were the the the guys

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spinning the vinyl, and the producers

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were usually glued against the wall

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behind the DJ, and they were usually the

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nerds holding their white labels, hoping

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they would get a moment to give the

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white label to the DJ and praying that

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that DJ would play that track. And now

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the nerds took over like me.

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And now we're we're the DJs because

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every DJ out there, every popular DJ out

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there, uh, is making their own music.

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Uh, it sounds crazy. So, if you want to

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be playing music, you have to make your

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own music. But that's the reality.

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An important factor if you want to be a

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DJ is to stay on top of things. So, you

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have to self-educate not only about

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software, about production

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possibilities, but the most important

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thing is if you're an aspiring DJ and

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you want to play the major festivals, I

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mean, you can also be an underground DJ

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and choose to go a completely different

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direction. I'm not here to tell you what

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to do, but if that's what you want to

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do, you need to know what other DJs are

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playing. You need to know what tracks

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are hot. I'm not saying you need to play

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those tracks, but you it's good to have

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that knowledge. Maybe you can do

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something with it. Use an element of it

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in your own music. make a mashup or

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maybe speed it up or, you know, give

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people a little hint. You're an

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entertainer, so people want to be

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entertained. And if you're going to play

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radically different music,

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I don't know if people are really going

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to enjoy it. Maybe because you're so

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radically different and you do it with a

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big smile and maybe you put an elephant

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on your head. I don't know if that

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entertains people. It can work. But it's

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really important to keep on top of

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things. And fortunately, we have the

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internet. You're only a few few mouse

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clicks away from the latest developments

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in electronic music. And I'm not saying

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again that you need to play the top 10

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most popular tracks. That probably won't

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get you anywhere because that's what

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people hear everywhere. But maybe play

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one or two, mix it up, mash it up, play

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a few of your own tracks.

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Maybe that's a good start.

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I'm not the type of guy that prepares

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his set to the minute. There are DJs

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that do that. No disrespect. That's

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fine. I can completely understand. But

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I'm a bit old school. Uh the way I

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started as a DJ was in a bar and I used

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to look at the crowd and then decide

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where I went with my set. If I would

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play a pre-programmed DJ set, I wouldn't

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like my job very much anymore. I love

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room for experimentation. And so the way

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I organize my DJ sets uh is that for

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example, if I have a 1 hour DJ set and I

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know I can play between 18 and 22 tracks

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in one hour, I would have a folder of 40

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tracks standing by. Everything

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organized. So the tracks that are in the

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same key, they're all mixed together. Um

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and then I know in my head which tracks

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I absolutely want to play. I usually

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know my starting track and my second

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track. After that, they can go any way.

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And that also makes it exciting for me

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because I've noticed that the crowd kind

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of feels when I'm excited or not. So if

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I'm tired or if I pre-programmed my sets

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in a minute, I can't get excited. It's

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not exciting for me. So that's why every

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DJ set that I prepare, I I want to leave

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room for experimentation.

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A DJ set, a good DJ set, in my opinion,

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tells a story. Um, and the story it

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doesn't mean uh every story starts the

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same. But, uh, I love it. Uh, when a DJ

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set has a a beginning, a middle, and an

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end. On my last show, I had a really

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famous trumpet player called Eric Flums.

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Uh, he was introduced in three sections

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of the show. It's an old theater rule.

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Um, to he was there for the opening, he

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was there in the middle playing a a

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really small little thing right in the

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middle of the show, and he was there for

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the end. So, I love that that that's

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storytelling and and bringing back those

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elements and people love that because

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they recognize it. I've just used this

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trumpet in three different ways, but it

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does connect uh the whole evening and

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and give some sort of a flow and and

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tells a story. For example, this track

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is Sunny Days, but I also have a

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beautiful encore version of this. So,

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let's say this track would be the

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absolute highlight of my set. people

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will go crazy and I I just feel like in

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my set halfway through this was the

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highlight. Then I could as an option uh

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play another version of the same song

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but just as an encore version. So, we

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had the set and you already heard Sunny

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Days, but it's already been an hour ago.

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And this was the highlight of your set,

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but I introduced the same track,

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same chord progression, but as an encore

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song. Now, this could be an encore song

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for me. So, I we'd be playing the the

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the same song twice in my DJ set, but in

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a completely different way.

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She woke up in the morning.

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It's like, you know, the sweet dessert

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at the end.

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And further on in this track, I do

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introduce

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the breakdown of the club mix again.

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So, here we go. The plucks come again.

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And one more time, I build up to that

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massive drop.

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So that would be my last track of my

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set. And it would just be a reference to

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one of the highlights of my set. And

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this is one way you could build a DJ set

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by bringing in elements or different

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versions of of your set and tease fans

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with it. Especially if it's a big single

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and it's doing well.

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If you want to be successful and if if

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you're an aspiring DJ, you want to be a

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headliner on all the major festivals,

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you got to have something unique. And

215
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that can mean that you have to play a

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track or you have to play a set that

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people recognize but is a little

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different. So try to surprise people. Um

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I think it's very important to ask

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yourself one question. Give people a

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reason to come out of their homes. Tell

222
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me in two sentences why they would have

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to come and see you. What is so special

224
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about you as an artist? Why are you

225
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better than the next headliner? Do you

226
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have a a great track out? Is it your

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performance? And dare to be different.

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You know, nobody tells you what to do in

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this life. Life is short. Make it worth

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and try to be different than the other

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guy. So think yourself, what do I really

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like? Because you know, one thing I find

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extremely important as a DJ, if you're

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trying to be the next DJ and you're

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trying to be a copy of somebody else,

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people are going to see. People are

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00:10:00,800 --> 00:10:02,640
smart. But if you're real and you're

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playing music that comes from your soul

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and from your heart and you're having an

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00:10:06,080 --> 00:10:08,720
amazing time, that's all that people

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want to see. So try to be you. And

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that's probably the best advice I can

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give you of the entire master class. Be

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yourself. My mother always taught me

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every day we wake up a little bit more

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and you discover yourself your own

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tastes. I now listen to completely

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different music than I used to listen to

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10 years ago because your sound changes.

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Accept who you are and try to present

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who you are on stage because that's when

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you are at your best.

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There's a lot to say about constructing

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a DJ set. I think it's a whole different

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craft. Um I could talk for this about

4
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this for hours. Uh but normally the way

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I would construct a DJ set is I would

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say okay um here's all my music. Um I

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used to DJ with vinyl and when I was

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DJing with vinyl I usually had a bag of

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records and that bag could hold maybe

10
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100 150 tunes. Um and I would probably

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go shopping for records twice a month or

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three times in a month. Uh my crate now

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is digital, but I still like to think of

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my uh record box as you know stack of

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vinyl. So what I do, I organize my

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tracks in folders for months. And these

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this is the the folder for this month.

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These are all the tracks that I think uh

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I I want to play in my DJ set. This is

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my record box.

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Um, when I prepare a Tomorrowland set,

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for example,

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um, I make a folder and I call it, um,

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Tomorrowland

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and I start with the tracks that I

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really, really, really want to play

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because usually when you're playing on a

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big stage like Tomorrowland or EDC or

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Ultra, you get an hour, an hour and a

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half and you have to make it worth

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because there's a probably a really

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popular DJ beame before you and probably

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a really popular DJ playing after you.

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So, how are you going to impact? How are

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you going to uh have a character there?

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How are you going to stand out from all

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the other DJs that are playing before or

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after you? Well, uh my advice would

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always to introduce be to always

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introduce a couple of your own songs.

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Your own songs is what makes you stand

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out. And the cool thing is if you if

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you're your uh your uh your own producer

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and you produce your own songs, then you

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have the freedom to play it for as many

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times as you want. If other DJs play a

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specific song for five years, it's a bit

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weird. But your own songs you can start

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playing forever. So let's say this is

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the folder that are all my tracks of the

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month October or the month that I'm I'm

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going to play. All right, I've decided I

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really want to play

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this one and this one.

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Maybe this one.

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I live for red energy. So, let me just

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grab a few tracks.

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I like that one.

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So, these are are the essentials for me

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that I absolutely want to play in my DJ

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set.

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I throw them in this folder.

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So, these are the essential tracks. So,

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I'm starting to look to see if there's

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uh a possibility of creating mashups or

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editing tracks. Every track that I play

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in my DJ set gets an edit. So, I would

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really strip down uh my set to the bare

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minimum to see if I can create

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interesting combinations, but really,

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okay, what do I want? What part of this

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track do I want to use? I'm not I don't

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have the time to play the entire track

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because the entire track is maybe six

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minutes and I want to play 18 or 19

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tracks. So, I have to edit my tracks

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and, you know, making mashups, combining

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different tracks, making using different

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elements from different tracks. That's

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also a way to set you up.

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Let's say I really love this track. So,

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let's um let's pull up Ableton. It's 132

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BPM. So, I start to listen to this song.

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has a pretty long intro. It's a very

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long track. I want to play it. It's not

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a known track. So, that's a bit risky

87
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because if I'm playing a massive stage

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somewhere, the attention span of the

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crowd is bound to go away. If I play the

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entire intro of the song, I mean, don't

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get me wrong, I love the intro and I

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think it really suits the track. Just

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for my set that I want to play and I

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only got an hour and I really insist on

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playing this song, I have to make a

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choice. So, what I usually do is I I

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look for where that the track starts.

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That would be a starting point for me.

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I don't need this. Throw that away

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here.

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So instead of going here, I would go

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there. So let's just I just remove all

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the extra information. I'm sorry because

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sometimes it feels like I'm I'm ruining

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somebody's painting, but I have to

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because I can't play the entire track. I

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simply don't have the time. So now the

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buildup will go something like this.

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Few bars of this

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and move this

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already there.

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Already feels pretty long to me.

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Now you hear that transition. It's not

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really going smooth. There's a couple of

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tricks for that. You just grab the last

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bit of uh of this, put it on a different

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track,

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uh, you know, just pull up a reverb,

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put it on wet, make it a bit long, roll

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off the low end, down the volume a

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little bit.

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That's still a bit weird. it still

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sounds like it's a cut. And there's

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several tricks to do that. What I love

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to do is pull up my sample library. Uh

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go to a a library that I love. Here's uh

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fills. And I go to this one, long fills.

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And let's see if that one works. I don't

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know.

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128.

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It already introduces the breakdown a

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little bit more. Um,

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let's see if I have a a nice drop or

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something that helps me with the

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transition.

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A little impact. Maybe

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that sounds nice. Maybe something with

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more low end. That could work. So, put

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that here.

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And maybe something reversed.

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Uh, reversed

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synth or a vocal.

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That could be nice. Just a reversed

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effect. So now where we previously

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really hurt the cut, now I get this.

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So I've cut the track, made it shorter.

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I can still play it. Uh I can introduce

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people to new music. Yes, I'm I'm

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cutting into somebody's painting, but

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you know, if you want to hear the

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original version, it's it's it's out

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there. But, uh, at least I can play the

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stuff that I want to play. So,

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especially if I play these massive sets

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for uh big festivals, I always make

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edits of all my tracks, try to add

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elements to it, u maybe enhance the

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drops a little bit, and also look at the

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mastering because sometimes I feel that

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a track, even though it's mastered,

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doesn't really sound uh like the track

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before that I want to play or the track

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after. So, I do spend a lot of time also

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maybe EQing a little bit here and there

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or making sure it's loud enough or it

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has a big impact.

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So, when I prepare for a DJ set, I look

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at my short list of tracks that I've

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selected that I I absolutely want to

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play and then I start looking at

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interesting combinations. Uh there's

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several ways to organize uh uh your

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crates. Uh a lot of people use this

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software. Uh mixing key. Uh it's a piece

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of software that helps you to analyze uh

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what keys your tracks are in, what BPMs

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your tracks are in. Uh there's several

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ways that you can use uh the key

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notation. You can use the Camelot keys

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uh which is something that's very easy

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to help you with minor and major chord

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scales to see what tracks fit together

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easily. I'm a bit old school.

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I love to use sharp keys.

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So, my entire DJ career, every track

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that's that I've used or played, uh,

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first I've put into the right key in

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BPM.

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So, here you see all the tracks that

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I've selected for my set. I want to play

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it Tomorrowland.

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And behind every track, you see what the

193
00:09:41,920 --> 00:09:44,320
source is. It's a web file or it's a

194
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it's a 320 MP3. I try to avoid that as

195
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much as possible. I try to play web or

196
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AIF or the highest quality I can get

197
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and I start analyzing what keys I have.

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I don't want to play my entire set the

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00:09:59,200 --> 00:10:00,560
same key because that's a bit boring.

200
00:10:00,560 --> 00:10:02,800
But let's see. I I'm seeing here I've

201
00:10:02,800 --> 00:10:07,440
got F. I got one in G. Oh, here's one in

202
00:10:07,440 --> 00:10:10,800
Gar. Hey, I see one in G

203
00:10:10,800 --> 00:10:14,560
So my track UR u my track F flashlight

204
00:10:14,560 --> 00:10:17,279
and another track from a guy called Coma

205
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are all 128G sharp.

206
00:10:21,440 --> 00:10:24,160
So that's interesting. So I can see what

207
00:10:24,160 --> 00:10:26,480
elements of these tracks do I like best.

208
00:10:26,480 --> 00:10:29,040
Let's play the coma track to see if what

209
00:10:29,040 --> 00:10:30,720
that track is about and why when I play

210
00:10:30,720 --> 00:10:33,720
it.

211
00:10:38,480 --> 00:10:41,040
I like that. Good energy in there. It's

212
00:10:41,040 --> 00:10:42,880
a bit boring that section. What track do

213
00:10:42,880 --> 00:10:44,640
I What What section of this track do I

214
00:10:44,640 --> 00:10:47,880
really like?

215
00:10:49,200 --> 00:10:52,760
I like that melody

216
00:10:59,600 --> 00:11:02,600
creator.

217
00:11:02,959 --> 00:11:04,720
I don't know if I necessarily like that

218
00:11:04,720 --> 00:11:07,279
drop so much, but I do like the melody.

219
00:11:07,279 --> 00:11:09,600
So, let me put uh that track into

220
00:11:09,600 --> 00:11:12,600
Ableton.

221
00:11:13,600 --> 00:11:16,160
Let me grab another track

222
00:11:16,160 --> 00:11:20,959
flashlight that's also in 128 BPM.

223
00:11:20,959 --> 00:11:24,279
And maybe

224
00:11:24,560 --> 00:11:28,200
let's grab URO,

225
00:11:28,240 --> 00:11:31,200
which also happens to be 128 G

226
00:11:31,200 --> 00:11:34,480
just going to throw them all in.

227
00:11:34,480 --> 00:11:36,959
Now, in Ableton, you want to make sure

228
00:11:36,959 --> 00:11:40,640
everything's attached to the grid.

229
00:11:40,640 --> 00:11:42,560
So, what I normally do, I would grab one

230
00:11:42,560 --> 00:11:45,760
of the last kick drums and the first one

231
00:11:45,760 --> 00:11:48,560
and tie them to the grid.

232
00:11:48,560 --> 00:11:51,920
So, here we go. There's the first beat.

233
00:11:51,920 --> 00:11:53,760
That's correct.

234
00:11:53,760 --> 00:11:57,120
Here I go.

235
00:11:57,120 --> 00:11:59,200
If you don't know where you are with the

236
00:11:59,200 --> 00:12:01,120
grid, there's a little metronome here to

237
00:12:01,120 --> 00:12:03,360
help you. So, I'll solo this. Turn on

238
00:12:03,360 --> 00:12:08,680
the metronome. Go to 128 BPM.

239
00:12:13,040 --> 00:12:15,920
So, I hear it's on the grid. The third

240
00:12:15,920 --> 00:12:18,639
track.

241
00:12:18,639 --> 00:12:21,040
Let's go.

242
00:12:21,040 --> 00:12:24,399
Here's another track. Put the first beat

243
00:12:24,399 --> 00:12:26,639
right there.

244
00:12:26,639 --> 00:12:30,480
Make sure it's accurate. Last beat here.

245
00:12:30,480 --> 00:12:32,639
See, it's always a little off. You make

246
00:12:32,639 --> 00:12:33,839
have to make sure that the beginning and

247
00:12:33,839 --> 00:12:37,440
the ending are tight.

248
00:12:37,440 --> 00:12:39,200
Okay. Um, now I'm going to drop the

249
00:12:39,200 --> 00:12:41,040
volume a little bit because I don't want

250
00:12:41,040 --> 00:12:42,720
to distort. So I'm going to put every

251
00:12:42,720 --> 00:12:46,680
track at minus 10

252
00:12:47,680 --> 00:12:51,360
minus 10 dBs. All right, here we go. So

253
00:12:51,360 --> 00:12:54,399
now I can start

254
00:12:54,399 --> 00:12:57,040
mashing the tracks up. See where I find

255
00:12:57,040 --> 00:13:01,399
it. What elements do I want to use?

256
00:13:03,760 --> 00:13:05,519
I like this section. It's a really good

257
00:13:05,519 --> 00:13:07,120
song, but I think I want to use the

258
00:13:07,120 --> 00:13:09,519
melody of this section.

259
00:13:09,519 --> 00:13:12,000
I want to use that, but I want to use

260
00:13:12,000 --> 00:13:14,800
the intro of this track.

261
00:13:14,800 --> 00:13:16,399
So, for example, I'm just going to throw

262
00:13:16,399 --> 00:13:19,040
away that entire section of the song and

263
00:13:19,040 --> 00:13:22,160
use this as the uh as the intro for that

264
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track.

265
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Flush light. Flush light. Flash light.

266
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Okay. Um, that's not going to work. So,

267
00:13:38,959 --> 00:13:42,920
what if I put it here?

268
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See, now I made a seamless transition.

269
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This track is 128 Garp and this one is

270
00:13:52,880 --> 00:13:58,120
the same. So just by cutting it,

271
00:14:03,040 --> 00:14:05,839
I've added another intro to that uh to

272
00:14:05,839 --> 00:14:07,680
that part. Here's my other track with

273
00:14:07,680 --> 00:14:10,160
Senary James and Ryan Marciano. It

274
00:14:10,160 --> 00:14:13,720
already has a lead.

275
00:14:16,959 --> 00:14:18,639
A lot of elements going on. You know

276
00:14:18,639 --> 00:14:20,800
what? Maybe I'll just pull up the ac

277
00:14:20,800 --> 00:14:22,639
capella of this song. And I it happens

278
00:14:22,639 --> 00:14:25,360
to be my track. So, let's see if I can

279
00:14:25,360 --> 00:14:28,399
pull up the ac capella here. So, let me

280
00:14:28,399 --> 00:14:31,279
pull up another audio track. Let me see.

281
00:14:31,279 --> 00:14:36,000
Uh, you are extended ac capella.

282
00:14:36,000 --> 00:14:38,800
So, I know this track is 128 BPM. Oh,

283
00:14:38,800 --> 00:14:41,279
it's a little softer. That doesn't

284
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matter.

285
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All right. Here we go.

286
00:14:46,000 --> 00:14:51,360
You are You are sexy. You are free. You

287
00:14:51,360 --> 00:14:52,880
are.

288
00:14:52,880 --> 00:14:56,000
You are. You are pure. You're my God. I

289
00:14:56,000 --> 00:14:57,839
want more. You are fire.

290
00:14:57,839 --> 00:14:59,440
So, I have the ac capella of this track.

291
00:14:59,440 --> 00:15:02,480
You are sexy. You are sweet.

292
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I'm going to throw away the entire other

293
00:15:04,000 --> 00:15:06,079
track. I just want the ac capella. So,

294
00:15:06,079 --> 00:15:08,880
let's see if if it sounds cool if I put

295
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if I put this here. So, we introduce the

296
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drums here.

297
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Flesh light.

298
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You are sexy.

299
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Okay, that needs to go here.

300
00:15:34,959 --> 00:15:37,199
You are sweet. You are hot. Feel the

301
00:15:37,199 --> 00:15:39,600
heat. You are pretty. You are pure.

302
00:15:39,600 --> 00:15:41,920
You're my kind. I want more. You are

303
00:15:41,920 --> 00:15:44,480
fire. My desire. You are fine. And

304
00:15:44,480 --> 00:15:48,639
you're mine. Mine. Mine. Mine. Mine. You

305
00:15:48,639 --> 00:15:51,759
are sexy. You are sweet. You are hot.

306
00:15:51,759 --> 00:15:54,079
Feel the heat. You are pretty. You are

307
00:15:54,079 --> 00:15:56,720
pure. You're my kind. I want more. You

308
00:15:56,720 --> 00:15:59,519
are fire. My desire. You are mine. And

309
00:15:59,519 --> 00:16:03,600
you're mine. Mine. Mine. Mine. Mine. You

310
00:16:03,600 --> 00:16:05,440
are.

311
00:16:05,440 --> 00:16:06,959
Actually, I think the drop should go

312
00:16:06,959 --> 00:16:09,279
there. Let's cut this entire section

313
00:16:09,279 --> 00:16:10,639
because I don't want my tracks to be

314
00:16:10,639 --> 00:16:12,720
that long. I just want to tease a little

315
00:16:12,720 --> 00:16:14,079
bit with different elements from

316
00:16:14,079 --> 00:16:16,240
different tracks. So, I think this is

317
00:16:16,240 --> 00:16:19,040
long enough.

318
00:16:21,920 --> 00:16:24,079
There we go.

319
00:16:24,079 --> 00:16:26,800
Make that shorter. Maybe we need a

320
00:16:26,800 --> 00:16:28,639
little bit more of a dramatic drop right

321
00:16:28,639 --> 00:16:34,079
there. So, that's when I use uh samples.

322
00:16:34,079 --> 00:16:37,839
So, let's go here. Let's pull up uh I

323
00:16:37,839 --> 00:16:41,680
don't know, some dramatic fills

324
00:16:41,680 --> 00:16:45,839
and maybe a big drop uh a drop fill. Let

325
00:16:45,839 --> 00:16:48,320
me see.

326
00:16:58,720 --> 00:17:00,480
I want to add some elements to it so I

327
00:17:00,480 --> 00:17:03,839
can introduce that new drop. So, let me

328
00:17:03,839 --> 00:17:06,400
pull up another audio channel. See if I

329
00:17:06,400 --> 00:17:10,919
can find a nice fill to fill up.

330
00:17:14,079 --> 00:17:15,679
That sounds nice. Let's just put that

331
00:17:15,679 --> 00:17:19,360
here. I know it's 128 BPM.

332
00:17:19,360 --> 00:17:22,079
See if that fits.

333
00:17:22,079 --> 00:17:25,360
Turn down the volume a little bit.

334
00:17:25,360 --> 00:17:28,679
Here we go.

335
00:17:31,840 --> 00:17:34,080
You are sweet. You are hot. Feel the

336
00:17:34,080 --> 00:17:36,480
heat. You are pretty. You are pure.

337
00:17:36,480 --> 00:17:39,600
You're my kind. I want more. You are my

338
00:17:39,600 --> 00:17:42,160
desire. You are mine. And you're mine.

339
00:17:42,160 --> 00:17:46,080
Mine. Mine. Mine. Mine.

340
00:17:49,840 --> 00:17:52,880
So, I just made a mashup of four tracks.

341
00:17:52,880 --> 00:17:55,360
Um, I intro I'm using this as an

342
00:17:55,360 --> 00:17:57,360
introduction to Koma the Creator. I'm

343
00:17:57,360 --> 00:17:58,960
coming out of a track called Flashlight.

344
00:17:58,960 --> 00:18:01,360
I have the ac capella view and I'm using

345
00:18:01,360 --> 00:18:05,200
a snare fill from a package from uh

346
00:18:05,200 --> 00:18:07,919
Vengeance just to introduce that drop.

347
00:18:07,919 --> 00:18:10,080
This way I can still play the tracks I

348
00:18:10,080 --> 00:18:12,480
want. I've played the ac capella of UR,

349
00:18:12,480 --> 00:18:14,960
so my fans have heard UR just in a with

350
00:18:14,960 --> 00:18:17,440
a completely different uh feel to it. It

351
00:18:17,440 --> 00:18:19,039
has a completely different background.

352
00:18:19,039 --> 00:18:21,360
For every DJ set, I try to make edits

353
00:18:21,360 --> 00:18:23,919
like this to make my set more exciting,

354
00:18:23,919 --> 00:18:25,360
throwing elements from different tracks

355
00:18:25,360 --> 00:18:27,120
together and making your set more

356
00:18:27,120 --> 00:18:29,919
unique.

1
00:00:13,440 --> 00:00:15,519
The secret to making people dance is the

2
00:00:15,519 --> 00:00:17,760
music that you play. And this is your

3
00:00:17,760 --> 00:00:20,800
equipment. Uh, as a DJ, uh, you can use

4
00:00:20,800 --> 00:00:22,400
all these wonderful knobs and buttons.

5
00:00:22,400 --> 00:00:24,000
And there's a there's a lot of buttons.

6
00:00:24,000 --> 00:00:25,439
And over the past couple of years,

7
00:00:25,439 --> 00:00:26,560
they've been adding more and more

8
00:00:26,560 --> 00:00:28,720
buttons and more possibilities. When I

9
00:00:28,720 --> 00:00:30,480
started my DJ career, I had nothing but

10
00:00:30,480 --> 00:00:33,600
vinyl, two turntables, and uh over the

11
00:00:33,600 --> 00:00:35,440
last couple of years, they uh switched

12
00:00:35,440 --> 00:00:37,600
completely to digital. So, basically,

13
00:00:37,600 --> 00:00:39,200
the tools that I'm using, basically,

14
00:00:39,200 --> 00:00:43,040
this is a computer. Uh this has uh uh

15
00:00:43,040 --> 00:00:45,360
almost nothing to do with uh with with

16
00:00:45,360 --> 00:00:47,920
vinyl anymore. I would strongly advise

17
00:00:47,920 --> 00:00:50,960
if you're an aspiring DJ, anybody to

18
00:00:50,960 --> 00:00:54,239
really get into this equipment. And that

19
00:00:54,239 --> 00:00:56,559
doesn't mean you have to buy it. Uh, I

20
00:00:56,559 --> 00:00:59,039
tell all aspiring DJs to rent this

21
00:00:59,039 --> 00:01:01,600
equipment for a month. Uh, put it in

22
00:01:01,600 --> 00:01:03,840
your home and turn it upside down.

23
00:01:03,840 --> 00:01:06,159
There's a lot of functionality on these

24
00:01:06,159 --> 00:01:08,479
uh, on these players and you can use

25
00:01:08,479 --> 00:01:10,479
them in so many different ways. I know

26
00:01:10,479 --> 00:01:12,320
hip-hop DJs like to scratch with the

27
00:01:12,320 --> 00:01:14,479
CDJs and that's super cool. That's

28
00:01:14,479 --> 00:01:17,200
something I normally won't do. I may do

29
00:01:17,200 --> 00:01:19,280
a backspin using the vinyl mode

30
00:01:19,280 --> 00:01:23,280
function. Um, I limit uh myself to using

31
00:01:23,280 --> 00:01:27,680
a few functionalities of the CDJ and my

32
00:01:27,680 --> 00:01:30,000
u my audio goes into a mixer. I've

33
00:01:30,000 --> 00:01:32,400
chosen this mixer. Um, I like the sound

34
00:01:32,400 --> 00:01:35,360
of this particular mixer. I like uh the

35
00:01:35,360 --> 00:01:37,040
effects that that are on this mixer

36
00:01:37,040 --> 00:01:40,159
because it has separate reverb, delay,

37
00:01:40,159 --> 00:01:41,920
um, you know, different effects per

38
00:01:41,920 --> 00:01:43,600
channel. U, there's other mixers where

39
00:01:43,600 --> 00:01:45,840
you only have can select one effect that

40
00:01:45,840 --> 00:01:47,759
you do on your master or on a on a

41
00:01:47,759 --> 00:01:50,799
specific channel. Um, all my audio comes

42
00:01:50,799 --> 00:01:53,280
from a USB thumb drive. The cool thing

43
00:01:53,280 --> 00:01:56,159
about USB is um is that you can upload

44
00:01:56,159 --> 00:01:58,399
the tracks using the record box software

45
00:01:58,399 --> 00:02:01,280
um that's provided. Record box uh not

46
00:02:01,280 --> 00:02:02,960
only helps you to organize your tracks,

47
00:02:02,960 --> 00:02:06,640
but also it automatically analyzes every

48
00:02:06,640 --> 00:02:09,599
single track. It basically puts a grid

49
00:02:09,599 --> 00:02:12,160
over each track. It recognizes the BPM.

50
00:02:12,160 --> 00:02:14,160
It recognizes the key. And that's a

51
00:02:14,160 --> 00:02:15,920
great way to organize your music.

52
00:02:15,920 --> 00:02:17,920
There's a link functionality in every

53
00:02:17,920 --> 00:02:21,760
Pioneer uh player. I stay away from it

54
00:02:21,760 --> 00:02:23,920
because the Pioneer players are

55
00:02:23,920 --> 00:02:26,480
connected via an Ethernet cable. Uh so

56
00:02:26,480 --> 00:02:27,920
it means if you're using the link

57
00:02:27,920 --> 00:02:29,440
functionality that you're basically

58
00:02:29,440 --> 00:02:31,680
playing the audio not from your local

59
00:02:31,680 --> 00:02:33,519
thumb drive that's inserted in your

60
00:02:33,519 --> 00:02:35,280
player. You're playing it you're playing

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00:02:35,280 --> 00:02:37,360
the audio from a thumb drive that's

62
00:02:37,360 --> 00:02:40,000
connected to this player. Generally in a

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00:02:40,000 --> 00:02:42,239
live environment, I would suggest to

64
00:02:42,239 --> 00:02:44,959
only use the USB that is plugged into

65
00:02:44,959 --> 00:02:48,080
the actual player. Um, don't use the

66
00:02:48,080 --> 00:02:50,239
link functionality because that cable

67
00:02:50,239 --> 00:02:52,160
can get loose. You know, you have to

68
00:02:52,160 --> 00:02:53,360
understand you're working in an

69
00:02:53,360 --> 00:02:54,480
environment where everything is

70
00:02:54,480 --> 00:02:56,319
trembling, everything is moving, your

71
00:02:56,319 --> 00:02:59,200
cables are moving and sometimes it can

72
00:02:59,200 --> 00:03:01,760
happen that a cable will detach from the

73
00:03:01,760 --> 00:03:03,599
other player. Gone is your link

74
00:03:03,599 --> 00:03:06,800
functionality and then uh the uh CDJs

75
00:03:06,800 --> 00:03:09,040
will go in an emergency loop. and then

76
00:03:09,040 --> 00:03:10,720
you'll lose the vibe of your set and

77
00:03:10,720 --> 00:03:12,400
then you start shouting at everybody and

78
00:03:12,400 --> 00:03:14,000
that that's not a nice thing. That's not

79
00:03:14,000 --> 00:03:16,080
what you want to do. The reason why I

80
00:03:16,080 --> 00:03:18,720
have four players. I I may be using a

81
00:03:18,720 --> 00:03:20,480
third player just for an extra loop if

82
00:03:20,480 --> 00:03:22,640
I'm you know if I'm feeling like it. But

83
00:03:22,640 --> 00:03:24,319
the main reason why I have two more

84
00:03:24,319 --> 00:03:27,120
decks is because uh these these are

85
00:03:27,120 --> 00:03:29,200
computers and they can break and it

86
00:03:29,200 --> 00:03:31,200
often happened that you know for example

87
00:03:31,200 --> 00:03:33,760
the jog dial here breaks or you know

88
00:03:33,760 --> 00:03:35,360
somebody spilled a drink and your pitch

89
00:03:35,360 --> 00:03:36,959
and you can't use your pitch control

90
00:03:36,959 --> 00:03:38,799
anymore. There's a thousand things that

91
00:03:38,799 --> 00:03:41,200
can happen. So, if you have an option to

92
00:03:41,200 --> 00:03:43,440
do that, always make sure you have at

93
00:03:43,440 --> 00:03:47,040
least three CDJs standing by. Uh, so in

94
00:03:47,040 --> 00:03:49,280
case something happens, you can always

95
00:03:49,280 --> 00:03:53,000
move to the other CDJ.

96
00:03:57,120 --> 00:03:59,760
I like to organize my uh my USB thumb

97
00:03:59,760 --> 00:04:03,040
drives and two ways. First of all,

98
00:04:03,040 --> 00:04:04,959
I here have all my tracks for this

99
00:04:04,959 --> 00:04:07,360
month, October. So, this is my October

100
00:04:07,360 --> 00:04:09,599
folder. These are all the tracks that I

101
00:04:09,599 --> 00:04:11,840
like to play this month. It's my record

102
00:04:11,840 --> 00:04:13,840
box. These are all the tracks that I

103
00:04:13,840 --> 00:04:15,920
play that I trust, some new tracks, some

104
00:04:15,920 --> 00:04:18,079
old tracks. I start with my intro

105
00:04:18,079 --> 00:04:20,160
tracks. I have several intro tracks here

106
00:04:20,160 --> 00:04:23,520
at the beginning of uh my October month

107
00:04:23,520 --> 00:04:26,320
folder. And then I go down and I order

108
00:04:26,320 --> 00:04:29,360
my tracks in order of BPM. And I order

109
00:04:29,360 --> 00:04:32,080
them in key. So you'll see here there's

110
00:04:32,080 --> 00:04:36,160
quite a few tracks that are 128 F minor

111
00:04:36,160 --> 00:04:39,759
and I go all the way down my BPM will go

112
00:04:39,759 --> 00:04:42,720
up and I'll order them um in such a way

113
00:04:42,720 --> 00:04:44,800
that the next key that's coming up so if

114
00:04:44,800 --> 00:04:47,680
I'm moving from F minor I know uh I can

115
00:04:47,680 --> 00:04:50,080
use C minor uh because it's in the same

116
00:04:50,080 --> 00:04:52,080
chord so it's the last note on the same

117
00:04:52,080 --> 00:04:55,360
chord. So that's why I put C minor 128 C

118
00:04:55,360 --> 00:04:57,440
minor after that. So, making sure your

119
00:04:57,440 --> 00:04:59,280
tracks are ordered in key gives you the

120
00:04:59,280 --> 00:05:00,960
opportunity to quickly mix to the next

121
00:05:00,960 --> 00:05:02,800
track because the crowd won't really

122
00:05:02,800 --> 00:05:05,120
notice if you're mixing properly, uh,

123
00:05:05,120 --> 00:05:06,560
that you're go that you're transitioning

124
00:05:06,560 --> 00:05:09,199
to another song. You have to be very

125
00:05:09,199 --> 00:05:10,639
wary of one thing, though. If you're

126
00:05:10,639 --> 00:05:12,800
mixing your entire track, your entire

127
00:05:12,800 --> 00:05:17,280
set list in, let's say, uh, F minor, it

128
00:05:17,280 --> 00:05:18,880
can be a little bit boring. Sometimes

129
00:05:18,880 --> 00:05:22,080
it's cool to dramatic dramatically go to

130
00:05:22,080 --> 00:05:24,000
a different key because that makes it

131
00:05:24,000 --> 00:05:27,160
more exciting.

132
00:05:30,880 --> 00:05:32,800
As a DJ, I'm always counting in the back

133
00:05:32,800 --> 00:05:34,080
of my head, and that's something you

134
00:05:34,080 --> 00:05:36,240
have to teach yourself. Um, the best way

135
00:05:36,240 --> 00:05:37,759
to make a transition, obviously, is

136
00:05:37,759 --> 00:05:40,800
follow the 16 bars. I'm always counting.

137
00:05:40,800 --> 00:05:47,840
1 2 3 4 2 2 3 4 3 2 3 4 2 And you, you

138
00:05:47,840 --> 00:05:50,000
know, when you start as a DJ, it may

139
00:05:50,000 --> 00:05:53,440
sound a little tedious, but it can

140
00:05:53,440 --> 00:05:56,320
really get you going. Um because if you

141
00:05:56,320 --> 00:05:57,600
start counting in the back of your head,

142
00:05:57,600 --> 00:05:59,520
you can never miss a single beat. Almost

143
00:05:59,520 --> 00:06:01,759
every track is built off of sections of

144
00:06:01,759 --> 00:06:04,960
16 bars, 32 bars. Um maybe you've heard

145
00:06:04,960 --> 00:06:06,720
it. If you've been mixing yourself, then

146
00:06:06,720 --> 00:06:08,800
you know that. Um if you order your

147
00:06:08,800 --> 00:06:10,639
tracks in keys, that makes your job even

148
00:06:10,639 --> 00:06:13,600
more easy. And I like to work with hot

149
00:06:13,600 --> 00:06:16,160
cues and Q's. Basically, it means if I

150
00:06:16,160 --> 00:06:18,479
select a track,

151
00:06:18,479 --> 00:06:20,880
let's go to this track,

152
00:06:20,880 --> 00:06:22,960
it automatically starts at the very

153
00:06:22,960 --> 00:06:25,759
first beat.

154
00:06:25,759 --> 00:06:28,880
Now you can see that I made a hot Q here

155
00:06:28,880 --> 00:06:31,120
and a Q point here and I can instantly

156
00:06:31,120 --> 00:06:33,039
jump to that particular section using

157
00:06:33,039 --> 00:06:35,199
these two buttons. I do this in my

158
00:06:35,199 --> 00:06:38,960
record box software. So now I jump uh 16

159
00:06:38,960 --> 00:06:42,000
bars further into the track.

160
00:06:42,000 --> 00:06:44,319
Why do I do that? Well, I have an

161
00:06:44,319 --> 00:06:46,960
option. Let's say I'm playing a longer

162
00:06:46,960 --> 00:06:48,720
set. Then maybe I want to play this

163
00:06:48,720 --> 00:06:50,960
section of the beat. But when I'm

164
00:06:50,960 --> 00:06:52,319
playing a short set, maybe on a

165
00:06:52,319 --> 00:06:53,919
festival,

166
00:06:53,919 --> 00:06:55,360
and maybe I don't want to have that

167
00:06:55,360 --> 00:06:56,720
section at all because it makes the

168
00:06:56,720 --> 00:06:59,199
track really long. So using Q Q buttons

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and Q positions in your track, you can

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instantly jump to different positions in

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your track and then shortening the

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track. A lot of people ask me, why don't

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you just make an edit? I mean, a lot of

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people go into Ableton, shorten the

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tracks. Well, here's a very simple

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reason. Maybe people really like this

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track, but I've edited into 3 minutes.

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Hey, uh, there's no way to extend this

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track anymore because I made an edit.

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So, what I do, I use the quantize

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functionality of the CDJ. And this is

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some a function that I absolutely love.

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And I'm going to show it to you right

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now. What I've done, I made a hot Q

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here. Now, I'm going to fast forward to

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that position, the first drop in the

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track.

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This is the breakdown.

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Now, what I'm doing, I'm looking at the

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crowd, and I'm carefully analyzing to

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see if people are enjoying this track.

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Put my hands up, try to build the party.

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I mean, I love this track. That's why

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I'm playing it.

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Now, this drop that's coming right now

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is the exact same as later on in the

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track.

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I'll play the first drop.

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And now I'll jump to the second drop.

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The same sound.

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So when I when I plan this methodically,

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but I I'll jump to the same position

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again. And because of the quantiz

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functionality, it will end the bar and

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jump to the second track.

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Nobody hears that I jumped. And I just

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skipped half the record.

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So, this gives me the option to decide

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maybe I do not want to play the entire

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track because I'm looking at the crowd.

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Are they feeling this? Maybe this is a

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little bit more of an unknown track. You

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know what? I'm just going to jump to

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that second drop and nobody hears it.

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At the beginning of my career, I thought

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I needed to do a lot of uh effects and

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and scratching and all that, but I found

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out that for my type of music, people

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really come for the tracks. So, I want

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the tracks to shine through and

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celebrate the music with the people that

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are in front of me. Scratching and all

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that sort of stuff can be cool.

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Definitely, if that's your thing, it can

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be. But for my type of DJ sets and and

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the music that I would like to play,

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people really come to hear the tunes.

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So, the vocals, the breakdowns. So, I

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really do not mess too much with if

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there's a beautiful melody there or if

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there's a beautiful breakdown coming.

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You know, once I've decided to play that

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track, I let it breathe.

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Let's make a transition. Uh, I'm going

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to start in the in the first breakdown

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of this track. My crowd doesn't like the

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track, so I'm going to play a little bit

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of a different track. Same BPM, and I'm

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going to start mixing in this track that

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h that is in the same key. Uh, now

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listen carefully what happens.

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Check out the mix. This is the mix. This

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is the queue. And I'm going to queue up

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this track. And I'm going to move 16

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bars further.

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Looking at the crowd interacting. See if

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they like the track.

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Kick the feel the bass on this one.

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Fader still closed.

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They don't like this track. So, I'm

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going to drop.

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Nobody noticed that I actually jumped

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and I shortened this track.

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I'm going to bring in this track slowly.

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Now there's a fill coming here and I

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still haven't introduced the low end of

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the next track.

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Here we comes and instead of the

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baseline on this track, I'm going to

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move to this track right at at the right

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point.

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This is still running. I can hear the

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percussion going and hear the lead, but

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I've already introduced the baseline of

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the second track.

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I love to use the loop functionality.

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So, I still have

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the stab going

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and I'm using the reverb

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and open it up.

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That's a I've just I've just ended this.

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This could be the end of my set or

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something. But that's how I would

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generally do a a transition. Make sure

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it's smooth and people don't actually

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notice that you're going to the next

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track.

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Let's jump into this track.

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So here I'm playing here I'm playing

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this track and instead of mixing in the

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track when the beat's running, I've

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decided to start mixing it already.

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It's already running, but it's in the

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same key. And I'm I've decided that I

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only want to play a very very short bit

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of this track because I want to quickly

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mix in the next breakdown. I'm in a

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hurry, you know. I only have 1 hour. I

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need to impress people. But this track

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is already running.

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I'm already teasing with the next rag

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without the the low end already.

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Because the two tracks are in the same

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key, I can quickly mix. And now I'm

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overlapping two tracks almost the entire

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track. And here's the next breakdown.

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So this mixing in key enables me to put

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more tracks in a shorter time. It gives

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high energy to the crowd. really makes

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him going. This is a transition I

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normally wouldn't do when I'm playing

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like let's say a three-hour set. I would

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let the record breathe a little bit

71
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more. Uh because, you know, the producer

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of the track probably meant something

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with the arrangement, make out the you

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know, make it come out the melodies a

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little bit better and a little bit more,

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which is fine, but if you're playing a

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mainstage set, you want to impress

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people. So, probably means that you have

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to mix very fast. So, some of my tracks

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are in the mix, maybe two, two and a

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half minutes maximum, and then I'm on to

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the next track.

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00:05:35,520 --> 00:05:37,600
Well, the problem with uh tempo shifts

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in tracks is that you're basically not

85
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on the grit. And it doesn't have to be a

86
00:05:41,600 --> 00:05:43,440
problem. You know, everything comes with

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preparation. So, let's say I'm switching

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to 150 BPM. I probably make sure that I

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00:05:49,039 --> 00:05:52,720
have another 150 BPM track uh ready to

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stand by and you know mix it in into

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that but then I can't use the grid

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functionality. Some people like to use

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the beat sync. I'm not a fan of that

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00:06:01,440 --> 00:06:03,840
because it means record box need to

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needs to do its job right and sometimes

96
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when you're quickly importing a track

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record box doesn't always get it right.

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Nine out of 10 times it does but if it

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00:06:12,080 --> 00:06:13,919
doesn't you're looking really silly if

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your track just you know runs out of

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sync. So, I don't trust uh record box

102
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fully. I always trust my own ears and I

103
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I never look at the grit. These tracks,

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obviously, it worked out really well,

105
00:06:25,759 --> 00:06:27,759
but especially if there's a a speed up

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in a track, obviously record box won't

107
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be able to follow you. So, you still

108
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have to use your ears, but that doesn't

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mean you can't play that track. You

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know, if there's a transition could be

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really cool, but one of the things that

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can help you is also just start stop. I

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mean, you don't always have to do a

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transition like I've just showed you.

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You can also decide to just stop the

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track with a reverb and then start the

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next track, maybe a start stop mix. You

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00:06:48,880 --> 00:06:50,080
don't always have to do the same

119
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transition. I like it because it brings

120
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you into a certain state of trans,

121
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especially with trans music. People like

122
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to be connected to the beat all the

123
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time, but there's other types of

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electronic dance music where it's almost

125
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a rule to start stop your mixing. So

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again, how you mix and how you make your

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transition is entirely up to you. I like

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to mix in key and try to make the

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transitions as smooth as possible. And

130
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sometimes stopping my DJ set and, you

131
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know, doing a some sort of an encore or,

132
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you know, transitioning to a little bit

133
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of a different section. But generally

134
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speaking, I stick to 132 BPM and build

135
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up my set slowly to 134, 136, and 138.

136
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But that's just the style that I choose.

137
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Um, it depends on who you are as a DJ

138
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and what you want to represent. Again,

139
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there's no right and wrong. If the crowd

140
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is dancing in front of you, who am I to

141
00:07:40,000 --> 00:07:43,880
say it's right or wrong?

142
00:07:47,360 --> 00:07:49,919
I like to use reverb a lot. Uh, it

143
00:07:49,919 --> 00:07:51,759
smoons out my transitions. For example,

144
00:07:51,759 --> 00:07:53,680
when I'm going into a breakdown, I like

145
00:07:53,680 --> 00:07:55,360
to have the reverb from the previous

146
00:07:55,360 --> 00:07:57,919
track a little bit only in the high end.

147
00:07:57,919 --> 00:08:00,080
So, it makes the transition even more

148
00:08:00,080 --> 00:08:01,759
smooth. And I like the sound of the

149
00:08:01,759 --> 00:08:04,000
reverb diff of this particular thing.

150
00:08:04,000 --> 00:08:05,919
So, let's say I'm playing this track,

151
00:08:05,919 --> 00:08:08,919
right?

152
00:08:16,879 --> 00:08:20,919
You are

153
00:08:46,240 --> 00:08:49,320
Heat. Heat.

154
00:08:54,399 --> 00:08:57,399
Heat. Heat.

155
00:09:09,360 --> 00:09:12,959
So the track I used a reverb to it was a

156
00:09:12,959 --> 00:09:14,959
little bit loud. Uh now I would normally

157
00:09:14,959 --> 00:09:16,320
bring it the volume down a little bit

158
00:09:16,320 --> 00:09:18,080
more but you get the point for the

159
00:09:18,080 --> 00:09:20,480
demonstration. Uh you have a reverb on

160
00:09:20,480 --> 00:09:22,160
the previous sound. So the last note

161
00:09:22,160 --> 00:09:24,240
will last a little bit longer if you use

162
00:09:24,240 --> 00:09:25,920
it very smoothly if you're really

163
00:09:25,920 --> 00:09:28,880
interacting and you know you can use it

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00:09:28,880 --> 00:09:32,519
as an extra instrument.

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00:09:36,320 --> 00:09:38,080
Also, one of the uh things that I love

166
00:09:38,080 --> 00:09:40,080
about this mixer is that you're able to

167
00:09:40,080 --> 00:09:42,240
switch very quickly and add another

168
00:09:42,240 --> 00:09:43,920
channel to your sound. So, for example,

169
00:09:43,920 --> 00:09:46,560
I'm playing this track and I can pull

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00:09:46,560 --> 00:09:48,480
this channel here and I have the same

171
00:09:48,480 --> 00:09:51,360
audio on this channel.

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00:09:51,360 --> 00:09:52,959
So, I have two channels of the same

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00:09:52,959 --> 00:09:54,480
track.

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00:09:54,480 --> 00:09:55,600
And you would think, why would I do

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00:09:55,600 --> 00:09:57,519
that? Well, it makes it makes it for

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00:09:57,519 --> 00:09:59,040
quite interesting possibility. Let's say

177
00:09:59,040 --> 00:10:02,880
I put a reverb on this

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00:10:02,880 --> 00:10:04,399
I can make the track sound bigger. This

179
00:10:04,399 --> 00:10:08,360
is a wet reverb, right?

180
00:10:14,640 --> 00:10:16,079
can make the drop even bigger and make

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00:10:16,079 --> 00:10:18,640
the effects more dramatic or put a delay

182
00:10:18,640 --> 00:10:21,120
behind it or you know that's that's what

183
00:10:21,120 --> 00:10:22,880
I love about the the possibilities of

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00:10:22,880 --> 00:10:25,200
this mixer because uh you can easily

185
00:10:25,200 --> 00:10:27,680
move and add tracks like if it's like I

186
00:10:27,680 --> 00:10:30,079
can even put one track over four

187
00:10:30,079 --> 00:10:32,079
channels and put a different effect on

188
00:10:32,079 --> 00:10:34,320
all channels so you can go absolutely

189
00:10:34,320 --> 00:10:36,320
crazy with that and I I quite often use

190
00:10:36,320 --> 00:10:39,320
that

191
00:10:42,959 --> 00:10:44,560
another thing I really like to use is

192
00:10:44,560 --> 00:10:46,480
the loop functionality. If a beat's

193
00:10:46,480 --> 00:10:47,760
running and you're doing a transition

194
00:10:47,760 --> 00:10:49,920
and your track's almost about to end,

195
00:10:49,920 --> 00:10:51,920
uh, put it in loop, but make sure that

196
00:10:51,920 --> 00:10:54,160
record box uh, put your grid behind it

197
00:10:54,160 --> 00:10:56,720
in the right time. Uh, there's a couple

198
00:10:56,720 --> 00:10:59,279
of effects that are possible. U, I'm I'm

199
00:10:59,279 --> 00:11:00,640
sure if you visited one of these

200
00:11:00,640 --> 00:11:03,760
festivals, you heard a DJ play. Um, let

201
00:11:03,760 --> 00:11:07,279
me make a short loop.

202
00:11:08,079 --> 00:11:13,120
I can put the tempo in wide up the tempo

203
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and shorten the loop.

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And if I use the reverb, I can make it

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even bigger.

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It's great to use as a pitch riser or as

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an ending of your set or, you know, you

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can use it, you can make effects with

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the CDJ. Like I said, it's an instrument

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and it's fun to use.

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This may sound weird to you, but I I

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still get really nervous for all the

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sets that I play. I start looking

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around. I I want to see what the mood is

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like in the room. Uh is there a line

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outside the door? Uh how are the

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bouncers treating the fans? Uh how's the

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promoter? Is he happy or is he stressed?

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Were there any technical issues? That

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kind of stress can be can be can be

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really heavy. Uh so be aware of that.

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But also tell yourself that people on

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the dance floor are there to have a good

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time. So they're not there to to boo

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you. They are there to give you a shot.

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People like to see you smile. Make eye

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contact with people in the first row.

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Also, if you want to uh make sure you

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contact with the entire crowd in front

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of you, a really nice rule that uh

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somebody from the world of theater

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taught me is look at the last line of

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people. So, when you're talking to the

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crowd, don't don't be going like that.

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Address your crowd, you know, be an

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artist, present yourself.

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One of the things that I learned uh

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playing in the early start of my career,

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I was playing in this really really

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small club that's probably not even

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bigger than this room that we're

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currently standing in. Uh it had a

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capacity of about 50 60 people, but I

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learned some really basic rules there.

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Uh I learned, for example, the rules

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that if people are at the bar ordering a

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drink and they really have to shout in

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the ear of the bartender, you're

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probably playing a little bit too loud.

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the the people in front of you, they're

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really in a good mood. They're going to

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dance anyway. Uh, of course, you're

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playing to them as well, but I always

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like to look at the back and the people

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on the sides. Those are usually the

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critics. If they're headnodding, you're

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probably on your way. You're doing a

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good job. If they're not having their

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arms up, it doesn't mean they're they're

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not having a good time. You know, I've

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seen DJs where the crowd would be having

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their arms up the entire set and the DJ

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after their arms were up, but not the

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entire time. In general, speaking

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online, after the DJ set, they thought

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that he was a better DJ because he had a

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little bit more daring track selection.

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So, arms up in the air is not always a

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sign of you doing a good job. If you see

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the dance floor emptying, it can mean

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either you're not playing a good set or

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it's late, it gets cold. I mean, it's a

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very delicate balance on a dance floor.

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You know, the sound can be harsh. Uh

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there can be a fight going on. uh it can

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be 4:00 a.m. and people have to get up

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in the early in the morning, so they're

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leaving. It doesn't necessarily mean

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that you are doing a bad job instantly.

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So, please take that into account.

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It's good to talk to the crowd because

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it gives a personality, but I don't like

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to overdo it. There's DJs that use the

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microphone in every track. That's also

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dependent on your style. I'm not here to

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criticize other DJs. My style is to use

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the microphone every four or five tracks

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or when I feel the crowd is going down a

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little bit. Whatever you say, say it

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loud and say it proud and make sure that

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they're able to hear you. Especially if

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you're a young upand cominging DJ and

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you have a DJ name, you know, put the

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fader down for a little bit. Make sure

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that people hear your name, but don't

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talk for hours. people come to dance,

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you know,

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especially if you're an upand cominging

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DJ, you probably have to warm up or play

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after the headliner. Uh, that's always a

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tough job, but guess what? That's what

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everybody had to do. When I started as a

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DJ, I had to play after the headliner or

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before the headliner. I was just so

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happy that I got a break. So, there's a

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few tricks to overcome this. You have to

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try to grasp them. So don't scare them

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by all of a sudden putting the volume

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really soft or really loud. Try to get

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into the groove of what the of what the

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the previous guy is doing and try to

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lure them into a different sound, you

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know, and also try to bring it down

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because if you bring it down, you can

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bring it back up. It's a very simple

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rule. If you play nothing but peaks and

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and highs and known track, people sort

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of get fed up with vocals and mashups.

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Sometimes you want to hear a track

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that's a little bit more empty uh that

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people can dance to, that they can

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groove to. You know, I like to call this

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dance music. So, I like to see the crowd

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not stand still, though. The breakdowns

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should not be too long, unless that's

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something you do on purpose. But, um if

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you're looking at an arc of a DJ set,

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I'll be very careful not to have too

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long breakdowns, especially in the

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beginning. Uh, if the DJ before you has

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a lot of long breakdowns or a lot a lot

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of stops, you know, an encore and

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another encore and another encore, maybe

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it's a wise thing to uh, you know, the

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first 20 minutes of your set to have no

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breakdowns at all. Quickly mix and, you

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know, skip the breakdowns. People want

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to dance. You know, sometimes you see

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young DJs, they come up and they want to

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score and they want to, you know, they

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want to be successful. They want to put

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the hands up in the air and they want to

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have the energy and they want, "Yeah,

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I'm finally here. I'm standing in front

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of 40,000 people. Yeah. You know, dude,

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uh the DJ before you already played like

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a ton of hits.

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If you're playing for a mainstream

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crowd, so a crowd that generally doesn't

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go clubbing a lot or maybe a few times

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and they're not really known in the

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underground uh uh stuff, then I have the

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one on oneoff rule. Uh, for me, like I

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like to play a known track, whether it's

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my own or or something that may be

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bubbling on the radio a little bit and

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then an unknown track and see how far

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you can stretch it. I mean, I love

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nights where I play one known track and

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then four unknown tracks and then go

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back to the known track. A known track

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can just either be one of my tracks, uh,

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a classic, uh, a top 40 record, maybe a

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mashup, or something that you've played

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before. I love to step out of my comfort

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zone and I always look at the crowd and

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see if I see the energy go. I also have

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a folder on my USB drive that says if

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all else fails. It's kind of that it's

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my tried and tested tunes. It's the

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tunes that I generally do not want to

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play anymore. But if you're playing for

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that crowd and they're waiting and

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they're screaming for that tune, uh this

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is just the type of DJ that I am. I like

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to please people and you know if I'm

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coming in a specific venue or specific

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gig and people are holding up signs and

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they want to hear that tune, I want to

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be able to have that tune instantly

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available.

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Generally speaking, there are quite a

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few unwritten rules in the world of

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DJing. Don't play tracks from another DJ

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that's before you or after you. Don't

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play tracks from his or her label. And

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if you can be a little nice and you know

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that there there's a DJ that has a track

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and that he loves and he plays every

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set. Don't play it as your last track. I

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mean

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it's it's not it's you know there are no

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rules in music. I know but still you can

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try to be a little bit professional. I

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don't want to go over my time. That's

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something that always annoys me. If I

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only have an hour and the DJ after me

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has an hour, I make sure I stop exactly

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dead on the hour so he has an hour as

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well. Usually they have an intro. So

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going 2 minutes over, it makes you look

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a little bit silly. I mean, I don't get

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angry anymore. I know that there's DJs

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that do, but generally speaking, I like

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a good atmosphere and I like a

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professional attitude also from my

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colleagues. I think it's really nice

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when they are uh uh professional nice

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and and you know, they shake each

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other's hands and be respectful. Be in

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the moment. Be in the moment. Be in the

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moment. Be in the moment. Be in the

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moment. Be in the moment.

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Everything comes down to preparing. Um,

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and this is I can't stress this enough.

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Go online, go on Beatport, buy and

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support the other artists that are out

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there. They're making all this great

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music for you to shine as a DJ. So, I do

210
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a lot of homework. I spend hours on the

211
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internet, checking other DJs track list,

212
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listening to their radio shows, making

213
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mashups, uh, mashups of other tracks, my

214
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own tracks, trying to create interesting

215
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elements to spice up my set. I mean, I

216
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think if you're a DJ, you should be

217
00:08:08,400 --> 00:08:10,560
ready for any situation. That also means

218
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you have to be ready for the little

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unprofessional guy that plays before you

220
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and decides to play five of your own

221
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tracks. You can do two things. You can

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walk on stage and hit him in the head.

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Or you can be professional and say,

224
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"Okay, I'm going to change up my set."

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So, that's why I have this October

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folder with like five different intro

227
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tracks. And of course, I'd love to start

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with my best intro, but sometimes it's

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simply not possible because the guy

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before you plays the same track, but

231
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then not as the intro, as his last

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track. Well, too bad for you. Uh, that's

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also a part of DJing. If you're playing

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a party, you're playing for the people.

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You're not playing for your own ego.

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That's the way I like to view it.

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The tracks you select is basically are

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basically your your identity as a DJ.

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That's the sound you're going to play.

240
00:09:00,959 --> 00:09:03,040
So try to gather as match as many

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mashups, exclusive tracks, edits,

242
00:09:05,600 --> 00:09:08,160
remixes that no one has and mix it up

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with a little bit more known tracks so

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you can get, you know, you have exciting

245
00:09:12,640 --> 00:09:14,880
uh stuff to present to your crowd. If

246
00:09:14,880 --> 00:09:16,240
you're friends with other DJs and you

247
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share your mashups with them, it's very

248
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likely they'll send you a link to one of

249
00:09:20,160 --> 00:09:22,640
their mashups. And then you have an a

250
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pretty exclusive tune. So the next party

251
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you might be playing, the other DJ isn't

252
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playing. Hey, you have a mashup that no

253
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one has. And that's your weapon. That's

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your that's your merchandise. That's

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what you have to sell. Also, what I like

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to do is uh on my USB stick, I always

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have a little bit of folder that has

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weird tracks in it. You never know what

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situation you're going to end up. Maybe

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a DJ likes you very much and he asks you

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to come and play backtoback with him in

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an afterparty. Be ready for it. You

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know, as a DJ, I think you just need to

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select and collect and organize yourself

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that as soon as you walk on stage, put

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your thumb drive in and you start having

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fun. I mean, at least that's my

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philosophy and that's what I really

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enjoy.

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when your set's being broadcasted online

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or on a radio show. Are you playing for

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the crowd that's in front of you or are

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you secretly playing for all the

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tracklisters online? Because guess what?

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When your set's over, you'll grab your

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phone and you'll start reading the

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comments on Twitter. Trust me, you will,

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cuz I've done that as well. And then

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you'll read the comments from the people

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that are not on the dance floor. They're

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sitting at home watching on on on

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whatever social media. they're they're

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they've experienced your set and maybe

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the transition wasn't that smooth on

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your third to fourth track and you know

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you'll feel down because somebody gives

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a comment about the mistake you made

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but always remember this you're DJing

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for the crowd that's in front of you. Um

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I think it's really important to state

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that. Um when you're making a radio show

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that's different because then you're

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interacting with the fans that are at

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home listening or watching your radio

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show. But when you're playing for a

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crowd and that set's being broadcasted

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all over the world, try to focus on the

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people that are in front of you and try

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to forget about all the people listening

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online. I'm not saying they're not

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important. I'm just saying like you have

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to rock the crowd that's in front of

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you. Those people are important and that

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those are the people that matter. The

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rest comes later.

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I like to play the tracks that people

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expect me to play a little bit, about

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50%, the other 50% is stuff that I

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really like. And I like to try to find a

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middle ground. So in an ideal situation

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when I'm having a good time, the crowd

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is also having a good time. I think

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that's a a very important thing to state

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because if you're if you're there and

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you're playing seven nights in a row and

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you're on your seventh night and you're

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a bit tired and you play the same set as

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you played the night before, the crowd

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sees that. I mean, you may be able to

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fool one person, but there's a crowd of

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40,000 people there. You're not going to

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be able to fool them.

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a radio show or a podcast is a very

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direct way to communicate with your

3
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fans. Uh the good thing about it is is

4
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that there's no uh journalist or

5
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anything uh correcting that. It's you

6
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talking to your fans. I use my radio

7
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show as a center of everything that I

8
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do. Whether it's telling about a new

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track, a new album, something that I did

10
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on tour, something big coming up, a an

11
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artist that I admire, uh a label I want

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to support, I use my radio show as a

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direct way to communicate. Also, the

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radio show sort of uh makes me go

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through all the new music that week. So,

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I have to go through all my promos,

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which is tedious sometimes because I get

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sent so much new music, but because I

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have a radio show, I need to go through

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all those new tracks, which also uh

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excites me because it prepares me for

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the weekend. Uh, so sometimes I'm a

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little bit bored. I go through all the

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tracks, but there hasn't been a week

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since I started the radio show that I'm

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not inspired by a brand new song. That

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also excites me to go back into the

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studio to create my own music. So in a

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way I make the radio show not only for

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my fans but also for myself.

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Every week I have about 60 new tracks

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that I want to play in a radio show and

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every week I get to play about 28

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including uh the the standard things of

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the show. Like every week on the show I

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have a tune of the week which is my

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favorite track of that week. I have a

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future favorite which is uh the the web

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vote. Uh people can vote on my website

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and pick their favorite. We have a

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trending track which is the most

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discussed track of that specific week uh

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like on social media. So I have a guy

44
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monitoring the social media activity

45
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during the show of last week. And then

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again I play the the track that was most

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talked about but not necessarily the

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best but most talked about track of the

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week after. Then I got this new thing

50
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called Service for Dreamers, which is a

51
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track that I get a story with from a

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listener. Uh, which is one of my

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favorite things of the show because we

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always invite a guest to the studio,

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tell a story about a specific track and

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it really makes a connection with the

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crowd. Uh, so those are always the

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standard uh things uh in my radio show

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and uh I always play a few recurrents. I

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don't want to play all new music in my

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show because that can be a little bit

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uncomfortable if you play nothing but

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new music. But mainly I would say 70% 60

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to 70% of every radio show I do is new

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music because that's what I want to use

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radio for to get people in touch with

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brand new music that I think they should

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hear. Uh I dare to say that if you

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listen to my radio show a state of trans

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that you hear about well at least 60 to

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70% of the trans tracks that matter you

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know that really can have a big impact

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or are successful in the charts or

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whatever and underground charts that is.

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So, uh, that that is what my goal is,

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you know. Uh, I I feel like I'm the guy

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in the middle. Uh, the connection

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between all the great producers that are

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out there and and the fans. So, I'm just

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passing on the great music. Uh, and I

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hope that people will like it. And the

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radio show gives me a lot of creative

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freedom because I can just play the

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music that I really, really like and

85
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share it with the crowd.

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There's a lot of sources for good music,

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and you don't need to be on all the big

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promo lists to uh have a really good uh

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forward-thinking radio show. Uh there's

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a lot of blogs out there that you can

91
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follow. Uh there's a lot of websites uh

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that can tell you exactly what the new

93
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and hottest tracks are. And again,

94
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there's so much music out there. So many

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new tracks every week. I think somebody

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told me the other week there's like

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30,000 tracks being uploaded to some of

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the streaming portals every week or so.

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So that's hours and hours of music. So

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it's it's it's not possible for a human

101
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being to listen to all the new music

102
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that's being released every week. But

103
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it's your job as a DJ to find that

104
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specific track. So, you need to look on

105
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the online and find the blogs that

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support the music that you really like

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and and look for the, you know, the the

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trends. Also, there's quite a few

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websites out there that tell you the set

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list of the other DJs. I look at them

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not to copy other DJs. I just want to

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know what tracks are popular at the

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moment. Use the internet as your tool

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to, you know, get information about what

115
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tracks are hot and not. And I got to be

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honest with you, sometimes I miss out on

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a track. But hey, you're a human being

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and people understand that. So I will

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tell that on the show like, okay, I I

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got this as a promo two weeks ago,

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missed out on it, but hey, this week I'm

122
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going to make it up because you know

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what? It is a great track.

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What I'm looking for in a track when I I

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listen to it, it has to hit me. It has

126
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to hit me emotionally. Sometimes I even

127
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switch off uh the naming. So, I just uh

128
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make a playlist and I put on a different

129
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screen like the news. I start reading

130
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the news and I just use my keyboard to

131
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go to the next track cuz sometimes I

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don't want to know the name of the

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artist because some that can be, you

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know, sometimes you can just look for

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labels and names and oh that's a great

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artist, his previous track was great so

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the next track will be great too. No, I

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think it's also important to sort of

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randomly pick tracks and start listening

140
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through them. Uh because you you can be

141
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very uh surprised how many really good

142
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tracks didn't make it onto the top of

143
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the pile. I every week I'm so surprised

144
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that I find a track that like why did

145
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nobody jump on this, you know, and it's

146
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an unfair world in that sense because

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some some good tracks don't get the

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attention that they deserve. It's just

149
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how it is. But it's your job as a DJ to

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share that track with people.

151
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I can play a new track on my radio show.

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Tell my listener, "Hey, it's a new track

153
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by such and such. I don't know if you

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like it. Tell me if you like it." And

155
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then the people talk back to you through

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social media. They tell you if they like

157
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the track. So, there's many tracks that

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when I first heard them, I wasn't too

159
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sure about it. Then when I played it on

160
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the show and people replied to me, I I

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all of a sudden I used their ears. You

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know that feeling when somebody tells

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you that, oh, the new album by such and

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such is so great and you're like really?

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But because your friend pointed you to

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that album, you started listening to it

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and you're like, hey, you're right. It

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is a great album. You know, so sometimes

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you need to use the ears of somebody

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else to sort of be more open to a

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specific track.

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when you plan your radio show, let's say

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you have an hourlong radio show, uh I

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don't think it's wise to announce every

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track because you know internet is so

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good nowadays you don't have to put you

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don't have to announce every track

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because people can go online and can

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find the track list. It is good to tell

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them the website address. Um and it is

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00:07:12,800 --> 00:07:15,440
very good to keep reminding people what

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radio show they're listening to. to

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almost every talk. You can say

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you're listening to a state of trance.

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That was a new track by Vincent the

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Moore still coming up. My brand new song

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stay tuned. It's hot. But first, check

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out this one. That can be one talk. And

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you you get people excited because they

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00:07:34,479 --> 00:07:36,160
know that they have to stay tuned and

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00:07:36,160 --> 00:07:38,720
you want them to listen as long as as as

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they can, right? Um so, and if you talk

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too much, people will be annoyed by that

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too. So, they're going to switch off the

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radio. So, plan it, let the music

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breathe, and when you say something,

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make it short, make it snappy, a little

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humor, uh, something specific like, uh,

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I once said in my radio show, Who's

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Afraid of 138? As a joke, now it's a

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label. Uh, so, you know, stuff like that

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makes people excited to listen to your

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radio show. If you have a few things to

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to say, for example, you've got a gig

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coming up that's important that

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everybody should know about. you've got

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a uh a new single that you want to

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premiere in that radio show. Um you've

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got a new website that you want to

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promote. Don't put all those things in

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one talk. Try to spread it out through

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the radio show. Also, if you have

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jingles in your radio show, make sure

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the jingles are uh that that they're

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telling the right story. Sometimes I

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hear a radio show going like this. The

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jingle saying, "This is a state of

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trance with Army Vanurren." Hey guys,

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what's up? It's Army Vanurren with a new

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episode of A State of Trends. That's

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what your jingle already said, right?

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So, don't share the information double.

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You know, your jingle said that, so

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don't repeat it. It's little tricks like

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that that can help you.

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It's good to be aware of the attention

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span of the listener. Uh, somebody once

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said that it's not bigger than 20

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seconds. So you get 20 seconds to say

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something and that will stick to

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people's minds and the rest they will

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forget. It's very important to uh write

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down the things that you want to say in

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a radio show. It's very particular how

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you have to say it. Um I'll give you an

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example. You have a competition, right?

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You can give away a new album, your new

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album or new compilation. So you could

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present it in two ways. You could say,

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"Hey, it's Army Vanurren. Stay tuned.

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just a little bit, you'll win my new

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album and here's a new track by such and

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such. I don't think you'll get a lot of

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reactions. But if you say,

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"So, imagine you're one of the few

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people that actually gets a signed copy

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of my brand new album. Would you like

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that?" Stay tuned. In just a little bit,

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I'll tell you how you can be the lucky

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winner.

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That's just sort of u psychology of the

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human mind, I guess. Uh we they call it

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the inverse setup construction. Uh that

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we also do that with for example giving

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away tickets. You can say

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in just a little bit I'm going to give

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away tickets for my new show and here's

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a new track. Or you can also say

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how would you like to be dancing with

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your best friends on one of the hottest

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parties of the year? Stay tuned. In just

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a little bit I'll tell you how you can

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join my party. It's it's about involving

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the listener in your world.

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I make live radio every week. Uh even if

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I record it, I do it in one take. Uh cuz

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I like the element of live. Um when you

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pre-record it, it sometimes loses that

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that excitement of,

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you know, the live radio show and people

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miss that human connection. So, if you

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make a little mistake in your talk,

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that's okay. It gives it a human uh uh

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character thing. Also, be very wary that

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people that listen to your radio show,

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they want to know about you. They want

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to know what what happened on tour, why

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you like a track. Be be a try and be a

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personality on the air. Uh that makes it

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fun to listen to a radio show. You know,

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I I love to hear DJs that say like, "Oh,

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uh yeah, so I'm playing this track. I'm

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not too sure if I like this one or I

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like this previous one better. What do

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you think? So, interact with your

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listener because your listener will

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really appreciate it. And I think it's a

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great way to promote your gigs if you

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have gigs coming up, no matter how big

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or how small. Also, a very important

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rule is don't talk down on yourself.

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Well, it's not such a big gig, but you

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know, I hope you guys show up. No, tell

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everybody like, "Okay, this weekend I'm

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playing there. You need to come down.

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It's going to be an epic night, and I

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hope to see you there." You need to sell

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yourself a little bit. You know, I hear

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radio shows sometimes that make me feel

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really uncomfortable because people are

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just talking down on themselves.

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I can't really listen to music with

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normal ears anymore. I overanalyze

3
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everything. You know, what's going on?

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Is the baseline going up and down? Uh

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what does the top melody do? That's why

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when you take me to a bar or a club, I

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immediately turn silent because I'm

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starting to analyze the music. You have

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to train your ear. It's also, I guess,

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it's the same thing as as looking at

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photographs or watching a painting. You

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know, some people have attention to

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detail. You know, how is this painting

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made or how was this photograph shot?

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What kind of lights did they use? What's

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the shutter speed? Um, and that's how

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you have to learn how to listen to

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music.

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There was always music in my house. My

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father was a doctor and he worked really

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really hard and uh his way to relax was

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to play music really loud and that made

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me feel at home cuz my bedroom was just

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above his living room, the our living

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room and my dad had these massive

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speakers and he already had this big

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tape machine and he used to record

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really strange radio shows in the 70s

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and 80s synthesizer music uh by the

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likes of uh Claus Schulz Jeanjar. Of

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course, I remember the the big cover,

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the vinyl covers of his concerts in

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China, which is still uh one of the

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greatest albums ever made, I think, uh

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together with Zuluke, also one of the

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best albums ever made. So, I guess my

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dad has been a massive influence first

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and foremost.

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When you're 14, 15, you try to love

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something that your parents hate.

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And boy did my parents hate dance music.

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I guess that was really a big part of it

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too, you know. Um I mean now they they

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they appreciate it and and you know

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everything is full circle now cuz you

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know I I use classical elements in my

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music and my father's extremely proud

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but back then I can I I I think I lost

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count how many times my dad came

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storming up in my room saying please

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turn it down like the same kick drum is

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always on the same spot. Can you play

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some different music? and like no

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cuz I was at that age you know it was my

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I was being rebellious against my

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parents and dance music brought me

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exactly that. So I felt at home

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listening to electronic music. I felt at

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home uh being with my friends talking

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about the radio shows that we taped and

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these other DJ s we were listening to. I

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made my own concerts in my own bedroom,

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you know, uh pretending that there were

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be thousands of people there and I was I

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really looked up to the popular DJs of

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that era, you know. Uh they're still my

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heroes now. I I know all of them. I I

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said hi to them, but they're still my

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heroes, you know.

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There's quite a few artists that have

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been extremely important for me. Uh

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well, first of all, I call him the Jedi

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Master, Ben Libron, simply because he

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had a mix show on Dutch radio, uh which

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was actually a part of another radio

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show, and he used to uh make

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combinations of several tracks or or he

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would use a he would make an 8-minute uh

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mega mix of all the Madonna tracks or

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whatever. And I wasn't the biggest

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Madonna fan, but he made her sound so

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cool with all those edits and cuts. And

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it just it just it wasn't, you know, it

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was ear candy cuz it sounded so

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different. and and I I looked back at

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what he was doing and he was cutting

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tape and was making edits and it was

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making it sound so cool. Um, for me, I

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guess I wouldn't be sitting here if it

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wasn't for Ben Lebron. Back then, there

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was nobody else mixing two records

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together. And certainly he there was

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nobody doing a 1-hour mix with all the

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big hits of the year, 100 tracks in an

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1-hour mix. Every kid that I knew was

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taping his mixes and overanalyzing how

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that mix was constructed and he, you

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know, he used the chorus from one track

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and then had the first verse from

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another track and it sounded so cool. It

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almost sounded like a new track. So that

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was my inspiration to become a DJ. I

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wanted to know how that was done.

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Another guy that was really important

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for me was Jojar. Um, I think he's uh so

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uh he's been so important for the birth

107
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of electronic music. He made it popular.

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You know, he made synthesizers popular,

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which is a weird thing now, but back in

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the day, you have to understand that a

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lot of people thought of the synthesizer

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as a devilish instrument that could

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never be used as as, you know, as a m

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musical instrument. It's not it's not a

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guitar, you know, that it can't be

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anything. and Jean Zojar was the guy to

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really make that popular together with

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Vanelis who's a genius as well. I love

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his music. Uh I have all their albums

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and I still listen to them. Those albums

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still sound timeless to me. They

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basically invented trans music in a way.

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I mean it was trans music before trans

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00:05:01,520 --> 00:05:04,880
music was named trans music I guess. Um

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00:05:04,880 --> 00:05:07,039
and I remember my father and I used to

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listen to all of them you know. Uh

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Antarctica the album by Fangelis was

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hugely important to me. Zulu by

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Jeiahojara, one of the greatest albums

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ever made, I think. Same thing like um

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Xiaomi Zhojara who made an ambient track

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called Ananton

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50minute ambient track with just a piano

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pad. Beautiful, crazy. And I love this

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different way of thinking. A little bit

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rebellious, I guess. Uh that's what I've

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always been into a lot.

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Well, I have to mention a few DJs.

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Obviously Paul Oakenfold, Sasha, John

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Dickweed, Kyle Cox, Pong, Judge Jules,

141
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To Paul, you know, the the the founders

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of of of what we now call EDM or

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electronic dance music or whatever you

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want to name it. Uh they've been really

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important to me. Uh a few Dutch DJs I'd

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like to mention. Ron Mullandike, Dutch

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DJ was really important to me. Dimmitri,

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00:06:04,000 --> 00:06:06,160
Marcelo, Remy, they were the Dutch

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00:06:06,160 --> 00:06:08,560
heroes back then and you know, I used to

150
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follow them closely. Michelle de he had

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00:06:11,520 --> 00:06:12,800
a label that was really really

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influential to me. Was sort of the early

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techno I guess. Uh Speedy Jay, a Dutch

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producer that uh I really admire a lot.

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I have all his albums. So he would make

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a track and then he would just put the

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tempo of the entire track. You just just

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half half of it and that that was the

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track.

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So that that those things always

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inspired me.

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I do think you can learn a lot from

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classical music. Bach and Beethoven and

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especially Mozart, they were already

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really aware of of the emotion and how

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you can play with melodies to really get

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people excited or emotional. If you

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listen closely, you can see that those

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chords are quite basic. If you strip

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them down, you're like, "Hey." And

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that's how I get my inspiration, you

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know, every time, every week, I have

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piano lessons and I play a piece of

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shopen. And I'm not a really skilled

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piano player. I'm not I mean, don't ask

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me to play for a big audience. I won't

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because I'm not worthy.

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But I always get inspired making a new

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song, playing something that's already,

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you know, out there.

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Every DJ that I know or every top 100 DJ

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in the world has become famous in a

3
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different way. For some DJs, it was

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their radio show. For other DJs, it was

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their big track. Uh for other DJs, it

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was their big collaboration with another

7
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artist. That's also something to notice.

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Or a couple of great releases on a

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well-known label. So, there's always a

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different story with every other DJ. So

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there's not a path you have to walk. You

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have to find your own path. It's out

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there, but you just have to look for it.

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Be in the moment. Be in the moment. Be

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in the moment. Be in the moment. Be in

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the moment. Be in the moment.

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I'm 40 years old now. Uh, and I've been

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making music for well since I was 15, I

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think. And in the beginning, there

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weren't that many people interested in

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my music. Like like I said, I I released

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that one track in 1992 on that small

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label in the H. It took me eight years

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to have my first big track and that was

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a hit in the UK. So that was a long

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journey. Of course, my parents were a

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little scared of of you know what's he

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doing with this dance music thing and I

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had I had a good thing to fall back on

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and I had that education. So that's why

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I never felt the pressure of having to

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perform or having to make a next track

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to pay rent. You know, then you can get

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pressured and that music is no longer

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fun anymore because you have to make

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music to make a living. So I was always

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always very aware of that. So let's

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finish my degree. Let's have something

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to fall back on so I can still be having

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fun in the studio. So I was trying to be

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a little bit experimental because of

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that because I wasn't I I I didn't have

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to make tracks to be number one or

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anything. I was just having fun in the

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studio, you know, making really really

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weird tracks. I made like a track of

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that that lasted for two hours and there

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was constantly elements adding. I mean

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it's a silly thing, but I was just

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trying different stuff, you know. I was

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trying to think out out out of the box

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and I guess that that helped me.

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I remember uh uh having this little

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small job just to make some money uh at

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this firm that uh basically was a

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supplier for the local record stores. So

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uh um and there was a guy working there

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who knew a guy who knew a guy and he was

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working at a label. So, I made sure that

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I I gave him a tape, a cassette tape,

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and I gave him 10, you know, which was a

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little bit of money for me back then,

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buying 10 tapes and and putting all

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those tracks on those tapes. And one of

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those tapes ended up on the right desk.

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So, there was a lot of frustration

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there, making a lot of tapes that that

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were just I probably ended up with the

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garbage somewhere, you know. And I feel

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bad because now I get a lot of USBs and

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and and demos from other people and I do

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give them to my ANR managers at at the

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Armada office which is my label and uh

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yeah, most of them are just not good

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enough. You know, it's just because

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there's so much music out there. If we

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want to sign a track or release a track,

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it has to be something special. It

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really has to stand out. Uh there's tons

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of stories of DJs that all of a sudden

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are playing the main stages just because

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they had one or two really successful

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tracks. And those tracks are usually

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really good standout tracks. They're

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really special and they're usually

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classics. So, uh, the way to get heard

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is just to make a really good track. Uh,

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and that's something that you have to

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teach yourself. Um,

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if nobody's hearing you, it probably

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means that your track just isn't good

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enough yet. You still need to work a

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little bit more. I think every artist is

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frustrated at some point because you

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know it's not going exactly as you

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planned in your head. But you know what?

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I think that is something we share.

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That's everybody shares that. You hear

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this track by this other producer and

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you think like why is he successful with

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that track? I think my track is better.

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No, it's not. Your track's not better.

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His track's better cuz it's working on a

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dance floor. The dance floor doesn't

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lie. It's very true. It's a very harsh

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lesson.

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The quickest way to the top is to get

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other DJs to play your tracks. And

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that's a very important thing. There's a

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couple of ways to do that. To reach

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other DJs, you can either go through a a

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well-known label. Labels are really good

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at promoting and supporting you. So, if

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you can associate your with your

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favorite label and you think that your

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music fits that label, just stalk the

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record company. Uh most record companies

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have demo drops. uh they have a phone

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number, they have an office. So just

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like I started, I just sent so many

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tapes. I mean in the beginning of my

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career, that's all I did. I wanted to

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release on this and this label. Another

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thing you could do, it's a little

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harder. Uh but you can also approach

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individual DJs. Many popular DJs out

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there have their own labels. You can

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also try to get signed to a label of a

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DJ that you really like. For example, on

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Armada, we have a demo drop. We have

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seven ANRs that check all the records.

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And trust me, we do check every demo

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that's out there. Just make sure that

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your track is good. If you are an

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aspiring DJ, don't send a demo with,

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"Oh, this track is not mastered."

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Or, "Uh, I'm not too sure if you like

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this, guys." No. Present yourself as,

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"Guys, I have this track. It's great.

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You need to hear it. Please check my

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track." And also, don't send 12 tracks

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at once. Send your three best ones.

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Don't forget to include your email

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address and make sure that they can

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reach you if they like the track because

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they will listen. And if they hear

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something that they like, make sure they

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can reach you. That's a very, very

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important rule.

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Your fan base is everything. And the way

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to reach your fan base nowadays is

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through social media. You need a social

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media platform. You need to be on

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Facebook. You need to be on YouTube. You

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need to be on Instagram. You need to be

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on Twitter. You make you have to make

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sure that people can find you. That's

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your job. You you're an entertainer and

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you need to interact with your fans. And

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fans love personality. They love to

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hear, you know, it can be you can be an

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extreme personality. Even online, you

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know, uh I generally do not like people

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who are negative, but if that's your

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thing and if you can get noticed that

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way, why not? I mean, there there's

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quite a few examples of DJs that have

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this arrogant look. Some people like it.

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you know, they drive big cars and other

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people think it's cool. It's fine. Who

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am I to judge? Right? For my social

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media, I love to share positive things

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with my fans. Also, some of my doubts, I

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mean, one of the things I do in my radio

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show, I tell my fans if I if I'm not

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sure about a track because it also makes

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you human. So, not every picture you'll

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see me on social media is a filled arena

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with a lot of people with hands in the

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air. Sometimes you'll see a picture of

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my cat. Um, you know, we have a really

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young cat now and it's that's also a

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part of my personal life and I like to

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share that because this cat stole my

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heart and you know, I'm having a good

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time with my cat or sometimes I'm having

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fun with my crew on the road. I love to

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share it with my fans because, you know,

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I'm a human being just like yourself and

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sometimes I want to have a little bit of

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a laugh or sometimes I'm tired or

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actually my set didn't go that well and

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I share that with a vlog or I tell it on

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the air and my radio show. I think it's

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it's good to share something show

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something of your personality because

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you're a human being.

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I made the conscious decision to keep my

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private life private also because that's

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my um my personal thing. I have two

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children. I have a wife and I don't want

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to share too much about that. There's

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nothing uh exciting about that. I I'll

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immediately admit I you know I take out

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the trash. I go shopping. I help my wife

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with cooking. where have nothing to

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hide. But I think it's also important to

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have a little bit of a private life.

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Some DJs choose to share everything

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about their kids online. That's fine,

211
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too. I chose to have a moment of peace

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and a moment where I find energy to do

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my next set. Uh cuz sometimes I like to

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be anonymous.

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Well, it's very important to read the

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response on on social media. Uh follow

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your fans, see what they like.

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Um, you also have to be very careful of

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that because social media is a platform

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where people can also be very

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expressive. Let's put it that way. Uh,

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also we human beings, we have the trend

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to not really notice the positive

224
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comments and to focus too much on the

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negative. Um, I know of quite a few DJs

226
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that are so eager to get out there that

227
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they read every little comment on

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Facebook and Twitter. I think it's very

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important to protect yourself a little

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bit from those comments because

231
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they can hurt you. This is something

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that really bothered me when I was uh

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the number one DJ in 2010. I went to was

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went to see a coach u because I couldn't

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handle it anymore. I wanted to please

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everybody. I wanted to be 100% perfect.

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I wanted to play the latest tracks. I

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wanted to play the best set and I I

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couldn't handle it anymore. pressure. I

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saw 100 positive comments and then I saw

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two people that really weren't digging

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my set because you know what? Oh, he

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played that track already a month ago or

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I was expecting something more and I was

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down. I was feeling down and now I

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understand what I have to do. Always

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remember that when you're playing a set

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or you're making a track that is a a

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personal expression, you're basically

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telling people, "This is me. Do you like

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it?" And guess what? There's never been

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a work of art that 100% of people on

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Earth liked. That is because we're all

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different. So, we all have different

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opinions. This is very important to

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realize. Best way to protect yourself is

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just telling yourself, "I've done

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everything possible to have a good and

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decent set."

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In 2000, I had a big uh success in the

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UK with a track called Communication, an

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instrumental trans track uh that was

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actually being played on daytime radio

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in the UK. So, for I think two or three

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years, I DJed in almost every club in

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the UK. Uh and I was so thankful for

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that. You know, I got paid like $600 and

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I had to pay my own flights and my own

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hotels, but I didn't care. I was I was

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DJing in the UK, which was, you know, a

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dream coming true. Uh the only problem

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was that after communication I had a big

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blackout. I couldn't think of anything

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anymore. I just felt uninspired and I

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guess I was really influenced by the

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label as well telling me oh you need to

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make another communication cuz that

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track was so huge and everywhere I came

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everybody wanted to hear communication.

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Uh so but after three years I got pretty

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sick of that track you know playing it

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over and over and I had wasn't having

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any inspiration at all and that was just

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because I was trying to recreate the

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success that I had with that specific

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track. So all I was trying to do was I

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was using the same kick drum. I was

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using the same high hat. I was using the

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same piano sound and it didn't get me

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anywhere.

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I was just trying to please other people

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where I found the answer and the answer

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was in me. So, the only way I can make

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music is be in the studio and have fun.

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And that's the essence of everything

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about making music. If you're not having

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fun, stop doing it.

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So, thank you for listening to me. Uh,

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it was an honor and a pleasure to share

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this information with you. I really hope

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that you have the tools now that you

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need and you're a little bit more

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inspired and especially motivated to go

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and have a lot of fun because please do

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not forget to have fun. If you're

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standing behind the decks and you're

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shining and you're having an amazing

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time, it will have an effect on people.

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Same thing with your music. If you're

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having fun in the studio, it will shine

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through your track. So, please remember

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that. Always the most important thing is

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try to have as much fun as possible.

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When I started as a DJ, I never thought

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I'd end up where I am today. Um, I

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thought there were so many DJs, um, you

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know, so many aspiring DJs. My best

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friends were aspiring DJs and I thought

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they were a lot better than me. Well,

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here I am presenting my master class to

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you. So, it's it is possible. I dreamed

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big because I loved this music and I

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always focused on just one thing, the

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music itself and what it does to people.

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If you focus on that and if you keep

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dreaming and keep trying to persuade

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people with your music and your passion,

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you can get there. Trust me.