Original subtitles

These are some really great guitar parts that I had pulled up

from a Kontakt sample library.

And I just wanted to give a little bit of a feeling...

...that sh*t's going down.

Here we go. Here's some more.

It looks like here, it's just a bunch of different...

...guitar samples just adding textures.

I decided to treat this on a Group Bus because they're all very similar.

Let's take a look at what's up.

I remember using this plug-in from Denise, The Sweeper.

I love it.

It filters out at the top end or the low end or whatever you want,

and it does it based off of the amplitude of the input of the audio.

And as you can see, we're getting the high end at the initial peaks

and it's slowly smoothing out.

I found that this really helped in creating this sound.

Super lo-fi I suppose.

It just makes it feel like it's in the back, it's moving.

I followed it up with a plug-in called SketchCassette but it no longer works

on the new version of Ableton.

I imagine I was probably doing some cool stuff on there.

I followed this up with a plug-in called Blend.

It's a multi-voice chorus from a great company called SineVibes.

Check this out now.

Beautiful plug-in.

I use another one from them.

It's just keeping things moving.

I just messed with this until it sounded good.

It's really just that simple, y'all.

I wanted to kind of get a little bit more movement in there.

I followed this up with a plug-in from Waves called Center where I remove 6 dB

from the center channel.

I love doing this because I find a lot of times there's too much content

in the center and I've always been... and I love stereo

and I love just creating sounds that just feel like you're somewhere else.

There are only so many elements that need to be in the center, right?

Those are the most important ones.

And a background textural guitar thing that's moving

doesn't need to be in the center.

That needs to be moving on the stereo on the left and the right.

We don't need too much content in the center channel so this really helps.

And then I follow this up with the standard FabFilter Pro-Q 3

doing a hard shelf, 96 dB/oct because why not?

We have the technology.

And this on the top end just to smooth it out.

Again, you want everything to have its space in the entire frequency spectrum.

It's really important that y'all get into the habit of carving things out.

It makes your life so much easier.

Trust me.

Here we got the 808 that gets introduced.

I use SubLab on this part.

It's a great plug-in.

I'm sure I messed with it a lot.

But as you can see, we got that nice hit.

We got the accents when they need to have the accents.

Let's see what this sound is here.

And it looks like I just added a layer just to help to find the chordal movement.

If we go back on this 808 real quick, let me show y'all something.

Standard CLIP, Soft Clip Pro as the mode, Saturator.

I just wanted to have that feeling that it was almost distorting

without actually distorting.

I achieved that with this plug-in.

I'm going to loop this.

We got a patch from Omnisphere here.

Let's open it up.

Follow this up with Ohmicide.

Just want it to be really up front.

And I followed this up with some more stuff.

So I got a little Audio Effect Rack here.

We got the dry signal and we got the FX1.

Looks like I used Valhalla Delay, quarter note, Feedback.

You just want it to sound...

Next up, let's focus on this sound.

Let's see what it is.

As we can see here, we got the Q-3 cleaning up.

We got Utility here.

I use this to bring up from -12 dB to 0.

Now, something to keep in mind, every 12 dB

you're hearing back is reduced by half.

If I remember this right, this is the way that the math goes,

but every 12 dB, whatever you're listening to, if you reduce it by 12

or if you increase it by 12, you're doubling what you hear.

I love using numbers that fall within that so anything like 3, 6, 9, 12, 24, 36, 48,

whatever, there's something special about using those numbers

or those multiples of numbers.

Those are great starting places anyways because at the end of the day,

you got to move it where it needs to be to feel right, but I just wanted to share

that little bit of math with y'all.

This is just used as a riser really, and you are just building this energy

that we're about to go into this next section.

Let's see what happens.

Crazy.

All right.

Let's get to this last little section here.

Let's see what's up. Let's loop it.

Let's start with this group.

So it looks like I put two in here.

I did one hard left, one hard right.

I did two here.

I did one hard left and one hard right, and the idea is just to further build

the cinematics of what's happening, what's building.

So let's see what this bottom track is doing.

Beautiful.

Let's see what this track is.

So again, just a bunch of textural melodics just helping build,

creating the tension, creating the scene.

We must bring up the most important sounds in this section.

It's this low bass.

Okay, so unfortunately, I froze it.

But we got a little bit... we can see a little bit of what's going on here.

I threw RBass on it.

I wanted more.

I got it from RBass.

It's that simple.

I just wanted more.

More of what?

Of this. You hear that?

I just wanted that specific thing to hit.

So now you dial that back a little bit.

I think this was at -9.

So this is also followed up.

96 dB/oct, I'm cutting it at 30 Hz.

You want to save as much as you can, as much as you can.

And again, a Virtual Channel at the end, and again, we got some automation here

at the very end to cut.

So let's hear this.

Let me run through one more thing here before we jump into the vocals.

So as you can see here on the Master Bus, if we take off this Effect Rack...

There's nothing wrong with it.

It sounds great, but I wanted more.

So I just added this reverb on the Master track

before all of the Master Bus sauce.

And I'm using Utility to feed the moment when it's ready to feed into the reverb.

And as we can see, this looks like it was on the second half.

It's hitting this reverb from Native Instruments.

And as it's going, we're allowed to hear it.

This Utility that's following it is wide open.

We want it clean.

Right there, we want it off.

We don't want this trailing because it dirties up the second half of the song

so we wanted that hard cut.