All language subtitles for 2, Creating an Initial Track

So right now we're ready to start on song
one and usually the way that I start a

song is with one sound.

And that sound, in this case being I have

this like melody in my head that I want
to start with and then I'll put the

chords under that melody.

So let's think of a melody right now that

can play throughout the entire song that
won't be annoying you, you can't see them

but I have a whole friendly crew behind
me helping me film this for you.

And the way that they're this is going to
sound pretty crazy but the way that

they're speaking right now, like their
average, like how he's speaking right

now, he was hitting like AD flat and an F
and the F is the major third of the D

flat and I'm thinking that I want the
song to be in D flat i have no idea why.

I just thought of that right now i'm far
fetched and weird.

But then he he said, so why don't you
just like start talking about like this,

that and that.

And he's that he was kind of talking out

of D flat, which is D flat.

And then I'm thinking I want to make it i

don't really make a lot of songs in D
flat.

And I feel like whatever song I make
right now, I'm going to, it's going to be

something that I'm not like it it's going
to be a comfortable song, which is a song

that I, you know, my isms, my Charlie
isms, are going to be all over in this

song. But there's going to be something like 10

% different about it because I have, you
know, some friends watching me and you

watching me right now as I make it so
it's bound to be just like a little bit

of different, a little bit of different i
can't even speak right now i I want to

just get this down before I forget it so
there has to be like a if it's in D flat,

just like, say that tempo, it's probably
going to get fat i always seem to, like,

make things faster.

It's like maybe like 9598 I'll just loop

that over.
Oh, here's the loop robably just like

repeat that over and over again i'm
always like, oh, the back half of the

melody has to be different from the front
half, but it just has to be the same.

Maybe like a trumpet or something i don't
know.

I'm not i'll I'll worry about the sound
later.

But then I'll take my phone and just kind
of I'll just loop that over sidebar why

does your voice always sound different
when it's recorded i said it was going to

i said it was going to be trumpet, but
now it's turned it to.

By the way, I'm using Analog Lab right
now and I just just going through random

sounds. I could take this and you know put that

into literally text it to myself and just
put it in the Pro Tools and tune it and I

just don't i always do that though I want
to.

I would love nothing more to do that, but
it's like, it's so weird.

This is a mellotron sound, and I have the
real one right there, but I'm not going

to use it because you see here something
with attack I don't I don't like that's

too ugly you don't want the sound to be
like, offensive it's just like it should

be like blend in.

That's cool it doesn't really sound like

a choir.
No, no.

You know what i might end up doing what I
said I wasn't going to do and using what

I just recorded on the phone into.

But let's just look at a couple more

sounds and if I can't find anything,
we'll do the no, no.

Like it's you should never, like be.

I know there's guys and girls out there

who can make like beats like super fast
but it's like, I go with the more

methodical approach like I'll probably
only put three sounds down right now and

that's like totally OK you don't have to
be like adding high hats and like doing

all that crazy stuff like from the get go
it's like, I just like to I have

something in my head and I don't want to
like, rush it.

No, no, no, no.

Well, that's actually Chronicle.

I could layer that.

See, I wasn't going to do that before i

think I'm going to do that i could layer
that.

I think that's the way.

One more thing I like no, no, OK, I like

that. What's the tempo here?

So right now I have a tempo in my head
it'll probably change, but right now in

my head it's 95 and I just hit the little
T If you're using Pro Tools, I hit the

tempo map and something really simple
like that that's going to give it some

rhythm. Ok, so I could easily play that in on

MIDI like this two three, you could do
something like this like.

But in my mind and Benny Blanco always
told me this, like record each note

separately then you have individual
control over each note so I'm going to

like take my time and just play the F and
then I'm going to play the A flat and now

the E flat and now the C and then the A
flat.

And then I could easily copy and paste
the other F but I'm going to play it for

different velocity.
And now, so now I'm just going to

quantize these just so they're on the
grid.

I'm going to print it to audio since I
hate MIDI.

I've just never liked it.

I always work using audio and like

trimming it and adjusting the attack and
the sustain just feels so final i don't

know. So see that little transient right there

i'm going to trim that up and kind of
just make it a little take the click off

so you can.

And I want to kind of fade it out a

little bit because in my mind from this
voice note, I was doing a little bit

shorter. So I'm going to just do that here as

well. I'll make it bigger.

There we go.

That's good i always commit it i don't

know. You don't have to it's just something

I've always done, going to do the same
thing with this, a flat here oh, I'm

going to drag it.

Hold on a second and look now it's not

going to tail over anything.

Fix that little fade.

See, it's like going up so you can kind
of hear the click a little bit so I'm

just going to do a gentle cross fade.

Here's it without the click.

Nice and clean i'm going to do that here
too with this.

Commit it.

That's just a option shift three and then

it just consolidated it you could also do
option Shift G and group it, but I don't

know i just love to eat the CPU up on my
computer and just have pro souls hate me

at the end of the day, from all the
things that I've committed, it's still

that that little click is there, so you
got to.

The most important thing for me is making
like the Rudimental sounds like like

don't worry about the clicks later, just
make it super clean from the beginning

because it'll actually inspire a melody
if what you hear sounds like a final

product, going to crossfade that east
flat same thing commit that see I already

see. I see what I just did i then I start like

beatboxing because I just like kind of
thought of like a little high hat pattern

but I don't want to get ahead of myself i
just want to get this main sound going

first. Got to do that a little bit.

I start to like sing along with it, even
though it's like not even kind of done

nice commit that always have to like feel
the rhythm out.

Here's that cross fade that I can easily
just like highlight them all an do like

the little quick fades but there's
something I don't know why i feel like if

I do it by hand, it just feels more
natural i could be completely wrong it

could be a complete placebo, But I think
you need these fun placebos to make the

music sound personal like, there's that.

Ok Uh huh.

There's the loop.

Like it would be cool if I had like a

high hat that kind of like, but you know
what I'm going to do right now oK, so

when I'm first coming U with a sound, I
never just use the soft synth because I

don't know, it sounds like I need like
something of Maine on top of that O we'll

go back to my voicenote memo thing here
and I'll just do you know how I recorded

each note separately?
I'll do that on my phone.

So ho ho ho ho ho ho ho ho ho ho ho.

Let me AirDrop this to myself now, drag

this MP three in and I always put
whatever I'm working on, I just put it

right on top of the last track.

So refresh we're going to take the notes

that I just record on my phone.

So let me get AI like that one.

Ok, delete that put this node.

This F goes over the F here, and I think

that should be a cool blend do a little
fade, maybe just a little nudge it

forward. I'm definitely going to put some auto

tune on there i don't like that A flat as
much i like this E flat here, so I'm just

layering my voice on top of the synth
right now.

And now as I'm doing this, I'm thinking I
don't want, I want it to i want this

voice to sound.

I don't want it to sound like me i want

it to sound ambiguous i just want it, I
want it to feel like texture, like it was

part of the soft synth so I'm going to
kind of lower it down a little bit.

Ok so I'm going to put, I hear the air
conditioning in the background you can

kind of hear it when I solo it.

So Waves makes this great NS one noise

suppressor kind of sounds good.

Going to put the auto tune to A flat

major, even though I said we're going to
do D flat major i think these notes are

just going to hit better in the A flat
major key so you do.

So I could easily just like, scoop a
bunch of lows out of this, But the notes

are different not too different, but
they're kind of jumping up and down so I

love this Surfer EQ Lugin, which is,
it'll follow.

It's like a EQ automator it'll follow all
the different notes.

Oi just put it right here.

See how it's changing all the it's

adjusting to all the frequencies it's
even telling you the Hertz in the note

too, which is cool.

It's like changing.

So I'm just going to take a little,
that's too much EE, It's just a little

bit of texture i'm actually going to
throw it on the synth too.

But make sure when you put the auto tune
on the synth, make sure you change it to

instrument. It definitely makes a difference, changes

the algorithm, and F it, let's take some
frequencies out, the synth too.

It's like I still haven't thought of like
what I'm going to say or what the lyrics

going to be or what the melody is even
going to be i'm just focusing right now

I'm making these little and I'm slowing
down a little bit just to kind of make

these sound perfect and then everything
else will be just like just put this kick

in there, put the snare in there but
right now at the core of it, we want to

make sure that the core is really good.

Ok, so now let's go into Sound Toys.

Sound Toys?
What's that one thing Benny told me about

Little Altar Boy?
Put it after the EQ i don't know if

that's correct or the right way to do it,
but works for me change the format a

little bit and I think just overall just
take like a little bit of lows out this

thing too.
Take some, but the noise suppressor on

the synth too.

Ok, so I got all the plugs on there i

want to create a new aux.

Just want to make we just want to make an

interesting sound and this sounds pretty
weird and interesting.

Highlight the two of them.

Bus something random seventeen eighteen.

Seventeen eighteen put like this
wonderful delay Valhalla mix that I just

got. I love this setting to the tape setting.

I know you're supposed to make like a
separate aux for the delay and then feed

it to your channel i just put it right on
the channel it's just more instant

gratification. I'm going to put it to note and make it

really fast because it's not going to act
as the delay, it's just going to act as a

widener, because right now it's very in
the middle and I kind of want it to i

know that there's going to be other
instruments surrounding it so I wanted to

spread eagle, as was a weird way of
saying that the spread little thing here,

if we could bring this up, I usually
bring it to right here.

See, it's like I'm already I I keep
catching myself i'm I'm starting to sing

another great thing Valhalla makes it's
like 50 bucks.

Everyone should have it.

This vintage verb is really, really

special i put it on this Peter Gabriel
sounding thing, non linear reverb

settings of nineteen, eighties you know,
put it right on the channel.

So right there I just went to the shape i
brought the size down to like 10 %

because it's like in the eighties they
had a lot of gated snares like in the

like the reverb would just stop and
that's kind of what this does too, in a

really easy way going to take some lows
out of the reverb.

See, it doesn't even like sound like I
recorded my voice with my phone anymore

it just sounds kind of dope all of a
sudden, this Pro Tools.

Air lofi fun fact, I actually put this on
all of my vocals it just kind of dirties

them UA little bit.

Bring the samle right down, give it a

little URC.
You just adjusted the sample rate to

wherever you think it sounds the best i
don't know what you know technically is

supposed to be the right way, but I I I
usually when I do this I try not add

another note not another harmonic to it i
just want to add the grit to it.

So if I did this, it's kind of adding
like a like a which you don't.

So just bring it down and bring the mix
like to 10.

Bring the bit death down a little bit i'd
say bring it down to like 4, just a

little something extra.

I'm going kind of crazy here, but this

towel chorus, you should just download
all these lug insurance they're like

super cheap too.

Towel Chorus LX.

It's basically emulating the chorus of
like my favorite keyboard over there,

which is the Juno and the Juno One O 6,
but it does it without all the analog

artifacts. Just put it on a little bit and finally

XL ends.
Everybody uses this RC twenty.

Just give it a little bit of cheap little
and finally.

I know I said finally a bunch of times.

Just Skrillex always told me to use this

plugin this is the best transient master
plugin you just and it's not really

giving me the punch, so I want to put it
on the track.

Bringing the attack up kind of just makes
it hit just a little bit more.

And I brought this i didn't even know
that was going to happen i brought the

sustain down on my vocal track.

Listen to how it was and listen to it

now. It's kind of dope.

So now you can't, you can't like really
tell what instrument that is like, if I

were to play you that having you not seen
what I just did like, it kind of sounds

like a string instrument with a hybrid of
dog howling i don't know.

Ok, so that's all done so the most
important thing, Max Martin always told

me to do this because I used to leave a
bunch of open tracks open.

Just commit everything he was like,
you're not going to change anything, just

commit it.

It's so much more pleasant to look at

when you render everything you did that's
why I spent so much time like crossfading

everything because now I'll have like one
track to work with, which is this one

right here.
Hide and make an active.

Always label your stuff.

It's much easier.

We'll call it choir thing.

Oh, I just had an idea.

I have a hi hat pattern in my head, but
there's one more thing that I wanted to

add just let me work it up.

Ok, let's open a new track.

What number is the Juno one oh six?
Ok, we'll go to, let's see here, three

four juno.
Put it on inputs since I don't really

have that analog hiss.

Ok, so I have this Juno plugin, but it

doesn't sound nearly as good as the the
real thing, and I have the real thing

conveniently right there so I'm going to
go take the trek over there and I'm just

putting this on input i'm not recording
anything yet i'm just going to find the

sound and just have it in my head and I
think it's going to work out well for

everybody. And it doesn't have to be the most

groundbreaking sound either it just has
to be something to give it a little body.

I'm going to OK, so I know this has like
a brilliant chorus sound to it, but it

actually it adds a lot of noise to it so
I'm going to take the chorus off on the

Juno and that's only because it's a it's
a analog thing i'm going to record now

these notes separately, with the
metronome off at no particular tempo or

anything. That might be too many notes, maybe just

OK, So I have those four.

Let's line them up on the grid.

Put the noise suppressor on, let me take
it off.

The noise is kind of nice, but I don't
want it So out of every plugin, I

probably use this NS one the most it's
just so good good job, waves.

Shout out Boston, massachusetts.

Let's see here.

Oh, that sounds really good.

Yeah, I was right.

It's always when you're laying chords
down, don't go like a mistake that I used

to make is just adding too many notes in
the beginning, a couple of my friends

just told me just like keep it super,
super simple and then you can always add

more to the notes later.

So right around this time I start to like

this reminds.

I know it's the beginning of the song,

but I start to think of like a picture in
my head and it's it reminds me of me and

my friend Mike in 2013 driving to a very
suburban town over going over the Tobin

Bridge in Massachusetts in Boston and
then going into like a suburban Y kind of

town. I don't know why it's it's kind of

eighties sounding i don't know it's like
Peter Gabriel.

That's the that's the vibe I'm getting
and I do.

This is the comfortable song my mode
lately I'm making this album is kind of

like that, like Alt eighty nineteen
eighty seven eighty eight kind of thing.

I don't usually like start with a melody,
I usually start with the chords, so

that's a little bit different.

Let's go back to the towel, plug in, put

the chorus on so satisfying.

And one thing I did so it doesn't sound

super on the grid, just drag it to the
right ever so slightly i don't know how

to nudge so don't ask me i just take it
and just use my cursor and drag it over,

give it a little movement.

Lfo tool is great if one knob Umer is

great too, but but I don't want it to be,
I want it to be.

So I'm going to just put it to half there
and kind of justice nudge it down a

little bit here a little much maybe I put
it on the line too, but I'm kind of

regretting it i might take it off, but
let's see what it sounds like U here.

It doesn't need it.

That's really good.

Hold on South i don't forget it.

All I needed to do.

Ok, so now I'm starting to map it out a
little bit so there's a four bar intro,

you know it could be really cool dulicate
for the intro just thinking of you have

to stay organized the whole time.

I know I could easily just put AI want it

like a filter to open up.

I could put it on the same track but for

whatever reason it just makes my it puts
my mind at ease when I just duplicate it

and put the intro on a different track.

I'm going to use fab filter to open it up

here so I want it to sound like this,
kind of like that so OK, so I'm going to

press control option, command, enable
automation this is what you do in Pro

Tools and in Ableton i know it's
different.

Enable automation for one band frequency,
go to my automation, kind of just draw it

up like that.

I kind of want it to open up mid halfway.

Maybe that would sound good on the little
line too let's see, we'll duplicate this.

See, I would have totally forgotten i
kind of remember the melody, but I feel

better because I recorded it in my phone
too much let's kind of adjust it.

Just bring it up.

Lazy way to do it.

I don't like that.

I want it to do the reverse you have to

play around with things and it doesn't
need it.

I regret what I said it doesn't need it
hold on, let me delete it.

It's just trial and error i'm not going
to be right all the time, but what I

will, I do know now is I have to take a
little bit of highs off it because I'm

going to be singing over this i don't
want the instrument to be crowded with my

voice the whole time.

It's hard to believe that just started

out with my voice now get it to a point
where I like it by the way way as far as

faders go, my stuff is super, super low
right now this Juno is minus fifteen the

I mean there is some it is going through
some stuff that's kind of gain staging it

a little bit but everything is super,
super low because I know I'm going to add

a lot of stuff and I want the most
headroom and I want those drums to hit

whatever drums I choose.

Call this intro.

Yes i label my stuff all the time
everyone makes fun of me Oh you know it'd

be cool.

Ok so weird example you know in Teenage

Dream, like Blum Blum Blum Blum Blum,
Blum, Blum Blum Blum, you think I'm

pretty without any makeup on, it's you
don't really know the chords yet it just

sounds like it's in B flat major and then
when the second-half of the verse comes

in you start to hear the E flat GF and
you're like, oh that's the chord

progression it'd be cool if we did the
reverse of that.

And I'm thinking if we started off with
like these very like breakfast club

chords and then at this section maybe
this is the pre, I don't know different

chords. So you have these chords the the typical

chords right here let's just let's
duplicate this Juno track.

This is another section we're going to
come up with.

Arm it, Put the different maybe like a
slightly different sound, but definitely

with different chords because those
chords would work over it so right now I

have and maybe the chorus could like.

No, I won't say that yet because I want

to get too ahead of myself 44 let's see
if there's any that could work if the

release was shorter.

Sustain U Yeah, no I don't it's like too

take the frequency down a little bit when
I'm putting like the Rudimental stuff

down i don't want the, you know, shit to
be too like because it's just going to be

intrusive. So just make it as like muffly as

possible. That's kind of dope actually so let's

record that separately.

We've been doing.

I think that's probably it.

Oh yeah, that's going to work.

So put these on the grid, these four
chords here, take this noise out.

Do the oh, that's kind of fire.

My dog just barked the sea natural.

I should probably put something I want
that last chord to have AC like my dog

just barked.
Just like AC and AC Shar kind of Ruby

together. So it's interesting the entire time.

Yeah, you kind of hear the seed like
tucked in there and it just keeps the ear

entertained at all times or you might
never hear it it's going to be in the

background, but screw it.

Oh, D flat major chord or and kind of

hold that one out.

So there's some velocity difference here.

I think I'm wrong.

Maybe an F at the bottom so first

inversion of AD flat i think maybe let's
see.

No, I like the Ure D flat better sorry,
trial and error.

That's why it's always imortant to record
whatever melody you think is good right

away because I'm in a completely
different section and I would be freaking

out thinking I forgot that melody.

Take that down in volume a little bit.

Crossfade that no OS or clicks.

So what I'm about to show you now is a

little bit extra, but I think it lends to
some special stuff because I grew up

playing in bands in high school and my
main goal was to not overplay or play on

top of everybody and like guitar player
always wanted like do a big solo.

I wanted to like blend in with them and
because it would make them sound better,

I didn't really care so much about me
sounding like a rock star i just wanted

the whole band sound like a rock star so
that's why I'm just like taking extra

care with like stuff like this just like
instrumentation melt, like Eqing early

and just like it all melding into each
other.

So let's go go back a little bit.

Maybe push that note now maybe.

I think I like that.

Like, sounds like there's drums already

and there's not oK so you take each
individual hit and kind of just drag this

one over to the right, maybe this one to
the left a little bit, because if a human

were playing it, it wouldn't be perfect,
it would have some imerfections to it.

That way I can make the drums like super
on the grid and it'll all sound like in

pocket O.
Take that to the right a little bit and

this one maybe to the left, maybe that
one's just right, right on it oK.

So now, so now I'll just kind of play it
from the beginning and kind of rock with

a little bit, maybe an organ on top of
this part.

I don't know.

Like, I love things that like, don't get

annoying and I don't think that little
sound will be too intrusive on top of the

the melody what was I about to do just
now?

This little thing has to have some more
movement.

It's just kind of lame it's just like, so
maybe just add, go back to that Valhalla

delay add a little kind of 1975 sounding.

I love Maddie and oh, sounds like kind of

bouncing. So this is Juno Two and that the first

channel i'm going to put a transient
master here.

If I'm bringing the transient Master U,
it's going to clip a little bit, so just

adjust accordingly kind of clipping i
don't mind it though.

Ok organ that DX seven has a really.

It's like I love cheap sounding

instruments, so I'm going to go to the DX
7.

It's a mono instrument, so I'm going to
go mono i'm going to go three DX seven i

believe is number one.

Give me an organ, Yeah, that's it so I'm

going to record that with all the reverb
and stuff, because I don't really know a

lot about that keyboard i'm going to
record all the the chords separately, let

the reverb ring out so it doesn't
overlap, and I already know in my mind I

don't want it to sound that brash.

Again, that's the theme of the day.

I feel like for my uncomfortable song I'm
going to just make a whole bunch of loud

sounds and see if they work but yeah, it
should sound like kind of churchy Here,

See you.
Oh, but I want a little bit.

There's that.

Ok, so simple EQ, but there's like a

certain note that I'm not getting enough
of, so I'm going to dulicate that and

Justice hold down AD flat and I think
that'll solve my haha, let it ring out.

It should sound like a drone.

Ok, O, now the two are kind of laying

against each other, but I'm still hearing
the so I want to maybe adjust the

milliseconds to 100 I'm just guessing
that might work yeah.

Ok, Doe, let me take this out.

Ok, so now I have those two organ tracks

i'm going to go to AUX and you don't need
to do this but again, it's just my OCD

1920 I feel like you have more control
when you bounce all to one group and now

that it's going through one AUX, I can
bring these channels up and get more of.

There's like, there's this amazing plug
in called Soothe that is just like an

engineer's go to and I don't know what it
just takes all somehow it just magically

takes the harshness now Harshnessness
harshness.

Utah it on like AI love Lugins.

Oh interesting, but no orchestral nose

job. I like this one because now I can make it

super loud and it's not annoying i don't
know.

I can kind of hear the little dip there,
but I'll just put a little of that Peter

Gabriel kind of reverb on it where is it?
Where is it?

I'll put it on the actual thing i'll
robably fix that little dip later this

i'm talking about this right here that's
bothering me, but I'm not going to trip

on that right now i'm just going to keep
it going.

That's another thing you don't want to
get like too caught up in production land

i know it seems like I am i'm just like
kind of just like over explaining so you

can see my process but you don't want to
get like so caught up in like the

production where you still don't have a
song written i've made that mistake in

the past where I've been with an artist
and they've just been on their phone like

watching me for four hours roduce out of
beat, and they've heard it so many times

that they don't even want to write
anything over it O just getting it i

would usually maybe do this in like 20
minutes, but just kind of go in super

detail to show you the process.

The LFO tool on there.

Oh, the whole drum.

Come in there too oK, so we're good with

sounds right now let's open up contact
and just put a hi hat and then maybe put

some melodies down this is exactly what I
would do if there were some songwriters

in the background.

There usually are, and some

collaborators. I found these great my Charlie sounds but

on these great drum machines.

Let's see, let's go to a random one.

Was doctor Bone?
Sounds weird contact.

Individual hits.

Let's see.

That Might be a little too though, Fi.

Let's see kits oh, dope.

That's nasty.

Listen help.

So let me let's put like that little.

I know I'm going to open it up with like,

but it's just easier for me to just like
do it layer by layer so I'm going to

start with the hi hat with the metronome
on why you have to go and get my kind of

just kind of adjust the velocity on these
little offset ones right here maybe just

see kind of gets to like a more in and
out feeling i'm just trying to like make

the drum pocket as full as possible with
as few drum sounds as possible that way,

when I add more drum sounds, it's going
to be like, oh wow, OK, just one like,

right here i'm going to disregard all the
rest of that i'm just going to loop this

one. There's my loop.

Ok, right to audio i'm dumb with the MIDI
i don't want to look at it.

I hate it i don't know why I just dislike
MIDI so much, even though I use it.

I just want it to go right to audio i
delete it i don't even save it.

And this is really extra but let's be a
little extra.

This is a little to the right.

Next one.

Drag it over to the left.

Next one to the right.

This one.

Because then you get something

delightfully imperfect that's so dope oK,
hold on.

Oh my God.

Ok, yeah, now it just sounds like I just

imperfectly, kind of perfectly played it
like I have rhythm, which I I kind of do,

but not really i can aste it from the
thirty second notes, so no stone left

unturned. Label it.

Go back to that delay thing.

Just just a little bit.

Ooh, might have to.

So I'm just like, barely.

I hate using wideners like like a you
know, I just like using like delay and

that's how they used to make things wider
anyway, so might as well just take the

highs off just a little bit that way it
doesn't sound so in the middle.

It's very, you know, before take the
click off, before after.

Barely noticeable but makes me happy.

I never do this, but I feel like I

should. Don't want to put a snare in yet because

I don't really know what snare is going
to be there, but I'm going to go to the

signal generator, use that.

This might be loud no, it's not some

white noise.
Kind of just take a little bit here,

maybe just kind of tuck it kind of sounds
like a little snare, bring it down in

volume because what that's going to act
as like some top hissy stuff on on top of

the snare it's essentially like going to
splice and like getting some vinyl

crackle and just putting it on top of
your snare on, which I could probably do

too i just felt like using white noise
because you know the beginning of life

because your kiss, your kiss is on my
lips that like drum sound that the hall

of knows use, it's like kind of corny
sounding i kind of want to do that with

the percussion here.

Could do that with the delay on here too.

Maybe a little more.

I'm going to take one tiny little

frequency out and one EQ that I
absolutely adore because I'm not like,

too technically savvy is this neutron?
Where the hell is it neutron EQ let me

just where should I put it i put it
before and neutron equalizer like neutron

2 equalizer see how that goes.

You hit learn and it literally tells you

like the best place to trimmer.

Add to it so that make room for this.

So you have like multiple pitches and the
small little bits of drum

instrumentation. You zoom really close in and kind of just

take this the white noise snare and just
drag it a little bit closer to that hi

hat transient white noise.

The verse would be.

I thought that was going to be the re i
think that could be the chorus and

justice go like no re and maybe re on the
after the second verse i don't know why

you have to go and get my hopes up.

Like I won't write all the lyrics right

now but something dope you could say
that's why you have to go get my hopes up

and make me think it did want me from the
beginning.

Like bugging and like, that's kind of
dope like, like, why'd you have to go and

get my hopes up and make me think you
wanted me from the beginning?

That's like, I feel like people could
relate to that and I definitely can.

Let's just put like for fun.

Just one of those snares in and then I

swear I will.

Oh, oh, that's right i want to do like,

an open hat oK, so maybe it's better
there.

No, let's.

Oh, that's dope.

Yeah, that's just, oh, baby, commit
audio.

Let's go.

Do I want that high hat there i don't

know. I kind of do, but I'm going to make it a

little lower.
Call this open hat.

It sounds like cruising down the street,
or I'm not going to say that it sounds

like an Eazy E record, sounds like an old
like Dre record, but like a lot happier.

I do want that little open hi hat, but
I'm going to make it shorter.

So just a little commit to audio.

Now it's on its own track.

Whoa, what was that like a Pharrell intro
oh, I'm going to bring that one up here

this this one right here i'm going to
bring up gives a little nice pocket and

I'm going to bring this one down now.

Maybe put a little RC twenty on this one.

Give it a little different.

My favorite setting on this thing.

I know everybody uses it, but like, sad
piano, so good.

Bring it up in the gain a little bit,
foot over snare.

I think the HOT could use a little LFO
tool too, so let's just like put just

adjusting volume knobs as I go.

I'm definitely going to put that there

too. That's too much distortion.

Maybe the 2 bear.

Take this off take this off.

Kind of dope.

Now this one's a little too high as well.

There we go.

Let me do this.

Let me just one more time.

So just a rough track.

The drums should come in right there let
me before I do all the other drums first

let me just add I always I don't have the
attention base was a trillion retro

sixties. But I don't have trillion on here, so I'm

going to use simpler at the end.

Ok so I wouldn't quantize that because

there's like a little transient at the
beginning of these, all all these base

samples and it's not going to line up
anyway so just if I were you and you were

using this base, I would just print it
and then kind of just manually drag it

all the files yourself it'll just like be
in the pocket mO better or something i

don't know, see what I mean like all this
stuff at the beginning you kind of want

in this world here I'll even go as far as
just like, trim it even more.

So clean the sound clean like that.

Same thing. Just over.

Damn it, O just continue to that's a
little bit more i'm just going to blast

through this real quick.

You get the idea.

I think now is a good time to get a kick
i always do the kick before the snare

because it's just my mind makes sense.

This is the best shit ever listen to this

oh, look how I don't play drums so the
way I kind of figure out where the kicks

are going to go is I just have to like
beatbox it out loud, make it a little bit

lower, so it's going to go there.

Boom, I'll do the velocity later i just

want to get them, the sample down.

Ok so it's going to go there.

This one here, just kind of zoom in on
that and make just a little bit shorter

and just a little bit lower.

It's already run through the drum

machine, so all the compression,
everything's printed.

There's just a difference between that,
it being the same volume because now it

feels like I can see what I was saying
before about like keeping all your levels

super low.

This one, this Juno here was like minus

fifteen and everything is bound to get
louder.

So now I have so much, I have ample
headroom to make it louder.

Ok, so a little trick to make as much
room and to kind of like sculpt i want

every time the base hits I'm going to
trigger a invisible kick and side chain

it so every time the invisible kick
happens it's the same time it's going to

be the same wave frequency as the kick
drum I just put in, but I'm just going to

duplicate it, active playlist, everything
and then take the output off.

There's a ton of ways to do this, but
this is the way that I was taught put it

to like I have not a whole lot of open
buses i need to adjust my IO number

thirteen just call it key.

So that kick is oh wow what, maybe 21

there we go.

21 key go to this thing here go to like,

I don't know any compressor we'll use the
Pro Tools one, activate the key key and

then kind of justice solo it and listen
to the O I'm triggering it to side chain

every time this red kick happens.

O it's making room when I put the kick

in. Let's exaggerate it so we know exactly

what the release is going to be.

Maybe just got to use your ear.

That's pretty good.

Just the ratio, a little bit dope it

gives it a little.

I did that on We Don't Talk Anymore with

the Guitar because Asaf was doing and it
would be really annoying if it didn't

have some like dips in it and the kick I
feel like wouldn't come out as much manny

taught me that manny Merrick wouldn't
taught me that.

Learned that a lot a long time ago, so
it's going to lose some volume so you

bring it up.

Good thing we have headroom.

Here's a little dip.

I liked it when the ratio was a little

more tough stick.

Put it on the base too.

Why not?
So we got now the base here.

Here are little dips in it.

Put the kick there.

They want to show a little line too.

Ounds good on the line tarting to think

that that needs a little muffly or needs
to be a little more mufflier cuz I want

my voice to be heard.

Ok, so from the beginning now.

Oh, I forgot see, that's the crazy thing
about working on a section for so long

you forgot that, like, these chords are
they sound like church in the beginning

and then it's just going to be like,
whoa, that organ is way too intense let

me bring it down even more.

I know I have EQ's on it already, but

there's no wrong way to do things.

I'll fix that DI later now I'm going to

bring the little 1-2-3-4 It's not
perfect, but it doesn't matter.

I like it.

No, it has to be perfect i'm going to

bring this separate track so when there's
no side chain, it's a little bit lower

and I have complete control over it uh
huh, I'm going to do you think I'd like a

like AI would usually put like a big
freaking eighties snare there but I

almost want it to be like more low key
because I kind of fell in love with this

analog bounce kit so there might be like,
let's see the longest eight oh eight i've

ever heard.

That's good. I would like trim out that

OK, let's just do that.

If we have to change it later, we can

done commit, do nothing.

Ok, so I want to make this like super

punchy and not a whole lot of stuff after
it.

That's too much, so just trim it back.

Oh yeah, just a little bit more nice.

The snare wouldn't be here, it would be
in this next section, Not pervious, just

like just something to write to and
that's where the first verse would be and

I think that's enough to write to.

We got like a solid form, we got a kick

snare, a hi hat, a couple of sounds, and
this is literally what I would write to,

as if it was just like a band warming up
it's just like not the completely done

thing, just a little bit to get my mind
going and I think I already have the

melody in my head, but yeah, that should
be enough.

Ok, So before we get into writing our
song, it's now your turn to kind of do

what I just did i didn't make a
completely finished track i just made

some vibes and the bare essentials to
make it easy for me and my brain to think

of some melodies and lyrics, a synth kick
snare, a high hat pattern and most

importantly just like labeling your
stuff, staying organized because I can't

write anything when things are jumbled
and all over the place so if you remember

that, just stay organized label all your
stuff at most 4 distinct sounds and

justice a little bit of rhythm ocket so
you can write something retty consistent.