Lessons
Class Introduction
07:14 2Analyzing the Song and Preparing the Stems
27:43 3Constraining Scale: Kontakt and Massive Inside Patch
23:36 4Setting up the Bassline
12:21 5Creating Different Bassline Options
26:23 6Creating a Sub Bassline & Using Dump Score Log
12:31 7Adding Vocal Stems
26:09 8Routing & Using a Peak Controller
28:52Lesson Info
Creating a new Pattern Clip with Battery
We're going to do is we're going to take and um play with we're going to create a new pattern clip from this is going to be kind of a rhythm that we're going to do with this sample that we had here so um I'm afraid a new pattern and this is going to be called I don't know rhythm thing great names here this's called movie thing so um first drop it right down here right from the beginning go back to that battery instance where I was playing with this um this is something that I, uh tend to sort of a lot I'm gonna copy this over here so I'm not messing with what a already had um and the very tail and a zone nice sort of um we're going to the piano rolls for this sound and um I'm going to very crudely perform something but while I do it I'm gonna have the quanta eyes set tio sixteenth notes so no matter what I do it's always kwan tai zing the sixteenth notes and I'm gonna hammer out some kind of ah rhythm saying over the top of this city something like that right will detail it later but i...
t's I can feel something like that right? So um just hit recording go for it I think one of the recorded this actually did it through the entire song but yeah one just one straight long as take do not just record a section and then loop it changes and then back in my mind I think that you're like everybody's brain khun detective looping and I want that, you know, but, you know, I bet you no one would ever know if I just did it for twenty five bars and looped it or whatever. It doesn't even go through the whole song. I like chopped it up and deleted parts of it, but so but basically so now we've got this thing and, um, it's kwon ties to already actually bring up the lawsuit. If you write so in the velocity window, you have some options. If you right, click and drag in the, uh, in the velocity when you can actually draw lines and stuff, which is pretty me, um, so what I do is I would write, click over here and then draw a line like that, too. Like, flatten out all the volume I could I could even, you know, scale levels, old x, and then, you know, I guess offset it straight up till it's flat there's other options for doing it, but, um, but now we have this, I think, actually under the quantum ization well, yeah, because the input quant ization it quantifies the end of it as well and that's not exactly what I was looking for something to teo um again actually so pardon me for doing it again you don't do it for as long they want to keep the uh released time a little bit not so um all take you or I can just ah edits it's in the editing tools qantas tools quantifies I'll get this window here I'm gonna kwan ties it to step all right but uh the duration I don't really want tio quantifies that so uh close something a little better I'm going to now one didn't make a duplicate sample of this uh control click drag um this other one so their sample is going to be just a different spot on here, so this one maybe I'll bring it up a little bit this morning I'm going to make it a little bit farther down on the sample so we've got two different ones and everywhere in this where there isn't a sample but whether everywhere in this where I didn't that whether you see it blanks but I'm seeing a blank spot that's we're going to put this other sample manually and it's going to lead over to the next one um so they suppose to sort of fill in the blanks with this other sample and this is one of those little painstaking things kind of like when I did the baseline where I just went through and needled in each each piece one by one manually this this hook here did not happen by just happenstance, you know, it was like a little bit of happened since a lot of like, fine tuning it into the uh the hook that it became anywhere I felt like it needed they all sound a little bit sharp so I might just adjust the attacks that they feel a little bit softer. All right, um, so yeah, I would go through the entire thing, but I think you get the idea of how I made but this whole coming that actually loaded up so you can get it, um I better ideas. Like what? A which one? It wass ism sincere. It was actually the next one forty one you're not being a pretty nice hook that filled up some additional space. I did, uh, end up doing this whole thing with the with the q and a the pee controller on the kick drum so you get to fifty percent one. So no, I also added additional automation on this one as well to create a little bit more movement, so hook sounded more interesting even though it was looping straight through so here's what I did on the parametric e q. You could get sort of a filter sound just by automating this drab, any old, um, any of the notches and drag it around. So starting right from the beginning, um, again, another layer of just noodling that straight through the entire song. So I'm not gonna do that here. But that's. Another thing that I did straight through the song. A lot of my songs have this continuous, just everything, sort of being automated, straight through on dh. It just goes with my theory that you know, nothing is repeated, and it keeps it interesting.
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Electronic Music Production