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I'm

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a

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my Music philosophy is creativity is a

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welcoming thing.

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As long as you love music,

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you're welcome in this world of

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producing.

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Well, here we are in the hit factory. I

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have my team Timbo here. Chris, my

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engineer, been with me for years. Fetty

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and Angel. Team Timbo. Part of Team

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Timbo is a big expansion. But this is

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the main hub. What are you seeing here

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is I'm opening up to y'all and showing

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you how I do it at home. This is what I

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do with my crew. All my, you know, Angel

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and Fetties, we all collectively be

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together. We all work together through

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our laptops. and how we our workflow is

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just like a ongoing party. We just

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transfer sounds to one another and just

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cut the speakers on and jam out.

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So, we're going to make music. We're

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going to talk about the music and I'm

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going to talk about some of my songs

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that I already created that were hits

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and talk about how I created them at the

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time and what was my thought process.

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We're going to we're going to record

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vocals. We're going to show you how

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melody is structured from a writer, from

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me working with a writer, me working

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with a artist. You're going to see all

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of that in this class. But if you want

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to know about the technical parts about

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the EQing and producing, that's more

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about going online tutorials about

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plugins and other things. But you're

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going to learn about filling. You're

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going to learn about getting the groove

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and enjoying one another. fellowship,

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new producers, young producers, other if

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you're up and coming, show me your work.

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Show me what you got. Show me what it

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is. Show me what you want to do.

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I started using my mouth as an

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instrument because when I tried to tell

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people what I want or what I was looking

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for or what I wanted to hear, I always

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had a problem with articulating. But my

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mouth was the easiest way to articulate

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things for me when it comes to music. If

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I can do the rhythm with my mouth first,

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then I can duplicate it on a drum

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machine. But the first part has to be in

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my head and my mouth have to come out

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with the sounds cuz it's in my head and

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it just comes out. Take Are you That

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somebody I use my mouth on that because

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I wanted to do a roll and I knew I know

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how to do this clicking sound. So I put

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that in that and I just fill up the

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space with my mouth. Cry me a river was

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started with my mouth and then the song

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was created around that. I started with

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doing just the melody, just the the

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melody of the song with my mouth and

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then I layered it and then we added

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instruments on top. So, a lot of times I

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can start off with just my mouth to get

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the basic melody and then I build around

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that.

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So, I would like to show you instead of

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talking about it how I start from

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scratch making a beat with my mouth.

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All right,

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take the last two bars loop.

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Pay attention.

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There you go.

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All right.

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Now, what I just did, I doubled my snap

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and Chris is going to pan them like a a

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Vshape.

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There you go.

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again. Pan Vshape.

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M

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you me

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you you

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You

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m

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you

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m

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All right.

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All

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right.

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Pando's B shape.

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All right. On this track, give me the uh

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reverb and autotune.

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More reverb.

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Everyone,

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everyone.

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There you go.

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Pano panel like a VJ. No two melody

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sounds.

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Whip

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on.

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Yeah.

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Oh,

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you

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oh.

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on a on a hill. Hey, give me the reverb

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on this one.

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And I'll auto

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more reverb.

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you

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down

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when you

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when you

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wake when you take me with you when you

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Hey baby you All I got my

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drink and get all I got my

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we all I got my business.

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She got me in a whisp.

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All right.

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Stop.

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Now,

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as you see,

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I did melody, beat,

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cymbals,

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claps, snares, kicks,

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and we could play it back. You can hear

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what I did. And I start doing drops. And

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I add around that if I like it and flip

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my little vocals and just play. I just

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do the little melody to give me a drive

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or a groove so I can keep going. If I

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want to build, if I want to add on it, I

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just keep listening to it and I script

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that little melody part off and add to

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the beat. So, I'm more of a stack

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person. I like to stack a lot of things.

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If you don't know how to beat box,

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everybody don't know how to beat box,

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but everybody knows how to hum what

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they're looking for or mimic or tell

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somebody that knows how to do it. what

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you're trying to get out. But most of

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the time, everybody harms to themselves.

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So, you can do that and build around

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that. And you don't have to think it's

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stupid because it's not stupid. It

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actually starts to form a whole song.

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You can really edit anything that you

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do. So, just be free with it. That's the

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whole beauty about making music. You can

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be free.

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I'm Timan and this is my master class.

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So, what we going to do now, the beat

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that I made earlier with my mouth, we

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going to expand on that.

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She got the boo. She got me. She got me

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standing on my head again.

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Let's play the loop.

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I got to sync it.

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Oh yeah.

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Oh yeah.

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I got you. One, two, three. Am I Am I on

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quick?

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Mh.

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Oh yeah.

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I like that.

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Ooh.

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Ooh.

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Moo.

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Uh oh. Uh uh uh.

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It's like a dope pad, but it needs like

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some chords to go with it. Not long

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chords, like

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something to move. Got this straight

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like um something something ill.

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Something different than that. A

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different sound.

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That's cool. What what I did is just add

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on what is there. I'm just adding just

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filling the space in. Just filling in

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what's already I did with my mouth with

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digital or with my drum kits and just

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trying to fill in the space and make it

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keep the essence of the beat box there

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but just not over cluttering it just

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making it just special. That's what I

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like about starting tracks with you like

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that start with your voice cuz it's it's

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a pretty cool concept cuz you have like

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sound

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like these sounds we could switch the

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chords easily.

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Yeah. Easy. You know, because there it's

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not like there's sounds that are married

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to a specific there's a key in there,

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but they're not married to a specific

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set of chords. And that's what's cool of

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taking something with Tim's voice

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and then we can take my voice out and

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see what it's you know. You know,

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just keep the beatbox or we keep those

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melodies and then

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reverse it.

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Yeah. So, this this bass part is a

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massive patch.

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Um, and then I put it through the famous

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kickstart side chain effect. Um,

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I rolled off a little bit of the bass

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and I just played.

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It's just a solid preset for Massive.

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Um, very great synthesizer.

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And uh all I did was put the side chain

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on and it kind of grew with what Tim was

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doing with the beatbox and the groove.

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Yeah. So, it's just a little bit of

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texture with the vocal sample. Um we're

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not necessarily committed to it, but

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it's just a nice little texture that

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inspired me right off the bat and we

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added it. Um, for this one I use the

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plugin called Tantra.

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And I have this preset that we call the

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Ransauce.

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And I also filter the low end on it. Um,

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and then on the other one, it's an

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ethnic sample.

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And I put it through what I call the 40

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sauce. Basically, I'm desampling. It's

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almost as if I'm filtering the top end

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of the sample. And then I'm running it

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through an EQ. and then also kickstart.

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Um, and that's just texture. So, it's

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not a lot like this one. Sometimes

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you'll run through uh through samples

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and they happen to be in a kin. There

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isn't really a lot you could do. Um, and

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they work out fine and you want to use

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them as texture. So, this would be one

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of them.

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So, that's the original. And then,

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so the side chain is pumping it a little

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bit. And then the EQ makes it real

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distant and kind of etheral. And then

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the other one, this is the first texture

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and dry. It's

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so then when we put the rans on it

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and the EQ,

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it's kind of textured. It's meant to be

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very tucked. You don't want all those

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sounds to be very prominent. And again,

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it might end up on it, it might not. It

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might be used as a transition sound or

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it might just end up not going anywhere,

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but we have them.

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We're a band

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with laptops instead of instruments.

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That's what it is.

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That's crazy. Do that again.

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So that could be a whole

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What was that vocal? That low vocal.

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That was you.

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Oh, that was you. Someone play some low

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vocal thing. Oh, no. It was this.

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That's three parts.

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One is a guitar.

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I'm going to play with no effects.

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First effect is actually one of those

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side chains like Angel was saying

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before. It's a different plugin, but

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it's the same type of effect.

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Almost makes a groove a little bit. Then

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I have this compression. changes the

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pitch a little bit so it sounds more

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like it's coming from a tape.

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Then I filter it,

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taking some top end out of it.

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This plugin, what it does is really

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cool. It makes the sound, it's like a

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sequencer, and I can decide what the

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sound is going to do at certain parts of

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the beat. So in here I have it set up in

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a way that at the end of the bar the

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sound is going to have a vinyl effect

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like when a DJ scratches uh an album and

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it goes down this effect.

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So that that's what it does.

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Next is some EQ. Um, just equalizing,

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making sure I have all the frequencies

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that I want so it's not fighting with

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the other instruments. And the last

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thing I add is this compressor. I just

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did it when I was hearing it through the

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speakers. I was doing it on my

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headphones and it sounded fine. When I

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heard in the speakers, I thought I

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needed a little bit more punch in the

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sound.

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It's very subtle. It just adds a little

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bit more high-end to it. And that and

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then there's a vocal that is reverse.

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Now it's the same thing as reverse, but

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I lower it an octave.

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I don't think there's I can tell you why

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I decided to put that in it. It just I

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was going through sounds and I heard

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that vocal. it wasn't the same key and I

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was like, "Wow, that sounds really

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cool." Um, but it wasn't cool enough.

157
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So, I think if you reverse any sound,

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it's kind of a lazy way of making it

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sound cool, but it's effective. You can

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take anything as soon as you reverse it,

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it just gives it this like magic to it.

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And then

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that's just a simple sound that I found.

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I put a big reverb on it. Reason why is

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because the sample the vocal sample

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starts a little later. So I don't have

167
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nothing on the down bit. So I added

168
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that. And then when you put it with the

169
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guitar

170
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and then with the the beat

171
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simple but sounds kind of cool.

172
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These are some chords over top of that

173
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baseline.

174
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Chords

175
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something over top of it. Just more than

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a baseline.

177
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You need something like that.

178
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Yeah.

179
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Amazing.

180
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No.

181
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Yeah, you doing right.

182
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Yeah.

183
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No, no,

184
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Damn. I hear it's like Yeah,

185
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it's high.

186
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That was cool.

187
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Yeah, that's it.

188
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Yeah.

189
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Yeah.

190
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Yeah.

191
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Something like that.

192
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Yeah.

193
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No, that ain't the right.

194
00:13:27,760 --> 00:13:30,800
No. Hi. Go. Back up. The first The first

195
00:13:30,800 --> 00:13:35,399
one you had was right. That was it.

196
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Is the rhythm wrong?

197
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Matter of fact, do another sound like

198
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this.

199
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What if I with a guitar?

200
00:13:54,959 --> 00:13:56,480
Oo,

201
00:13:56,480 --> 00:13:58,959
that sound good. It was putting me in a

202
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trance.

203
00:14:02,160 --> 00:14:04,880
I think it I think now I might need a

204
00:14:04,880 --> 00:14:06,639
just to see a melody note to make sure

205
00:14:06,639 --> 00:14:09,360
we don't over clutter. Yeah,

206
00:14:09,360 --> 00:14:10,880
maybe Asian see if he come up with a

207
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melody something like that.

208
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Or I can do it.

209
00:14:19,680 --> 00:14:21,279
Yes.

210
00:14:21,279 --> 00:14:24,279
Perfect.

211
00:14:31,600 --> 00:14:33,120
Yeah.

212
00:14:33,120 --> 00:14:36,120
Yeah.

213
00:14:36,240 --> 00:14:41,399
Yeah. I feel free in here. Oh man, there

214
00:14:44,240 --> 00:14:47,240
hey,

215
00:14:49,279 --> 00:14:53,079
I need autom

216
00:14:56,079 --> 00:15:00,680
They want to test me on a woman.

217
00:15:03,680 --> 00:15:07,279
It was you. It was me.

218
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No,

219
00:15:09,600 --> 00:15:12,600
no, no.

220
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She was all

221
00:15:16,320 --> 00:15:21,040
I would love to go. She was all my love

222
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and with all my

223
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baby. She was all my love and all my

224
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love keep.

225
00:15:32,000 --> 00:15:35,839
She got the poop. She got me. She got me

226
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standing on my heading up. She got me

227
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standing on my head.

228
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She got me. She twisted up. She got me

229
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standing on the corner baking up. She

230
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got me standing on my head. Breaking it

231
00:15:50,160 --> 00:15:53,600
up. She got me on my head. Break it up.

232
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Hey, I need you talking, baby. Won't you

233
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come and do that? I want you dancing on

234
00:15:58,560 --> 00:16:00,959
that corn and make it blue back. I make

235
00:16:00,959 --> 00:16:03,600
you dance all night and make it do that.

236
00:16:03,600 --> 00:16:05,680
I make you want me to get on and make

237
00:16:05,680 --> 00:16:08,639
you do that. That was my name, baby. I

238
00:16:08,639 --> 00:16:12,000
got my name, daddy. I want my blue and

239
00:16:12,000 --> 00:16:15,519
you sing, baby. I got my money in do

240
00:16:15,519 --> 00:16:19,959
that. I got my one,

241
00:16:27,279 --> 00:16:28,000
huh?

242
00:16:28,000 --> 00:16:28,800
That's crazy.

243
00:16:28,800 --> 00:16:29,199
The king

244
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for real.

245
00:16:30,000 --> 00:16:33,000
Yeah,

246
00:16:34,639 --> 00:16:36,480
that's crazy.

247
00:16:36,480 --> 00:16:38,160
Y'all see they be telling me that stuff

248
00:16:38,160 --> 00:16:42,920
to be gassing me up. Push play.

249
00:16:45,440 --> 00:16:48,440
Hey,

250
00:16:50,240 --> 00:16:52,800
can you get rid of the bubble sound? I

251
00:16:52,800 --> 00:16:55,959
like it.

252
00:17:01,360 --> 00:17:03,440
Damn.

253
00:17:03,440 --> 00:17:04,720
Can we get some more volume? I need to

254
00:17:04,720 --> 00:17:07,959
finish it.

255
00:17:10,400 --> 00:17:13,400
No

256
00:17:13,919 --> 00:17:18,319
way. She was all

257
00:17:18,319 --> 00:17:25,640
I would love to go. She was all my love.

258
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She was all my love and all my love.

259
00:17:33,360 --> 00:17:36,600
Oh, let me

260
00:17:36,799 --> 00:17:40,400
Yeah. She got me standing on my head.

261
00:17:40,400 --> 00:17:42,720
She got me standing on my head.

262
00:17:42,720 --> 00:17:46,400
Yo yo yo. Chris, give me give me delay

263
00:17:46,400 --> 00:17:50,520
on this track. Put the reverber

264
00:17:51,280 --> 00:17:55,200
and the um reverb. Reverb.

265
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Autotune.

266
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Auto tune.

267
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She was all my love. All my love it up.

268
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She want all my love. All my love.

269
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She got the boo. She got me. She got me

270
00:18:22,000 --> 00:18:24,960
standing on my head. Turn it up. She got

271
00:18:24,960 --> 00:18:27,120
me standing on my head. Standing up.

272
00:18:27,120 --> 00:18:29,840
Standing up. She got me up. She twisted

273
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up. She twisted up. She got me on the

274
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picking up. She got me standing on my

275
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head. Waking up. She got me dancing on

276
00:18:38,400 --> 00:18:40,880
my head. Break it up. I need you

277
00:18:40,880 --> 00:18:42,720
talking, baby. Won't you come and do

278
00:18:42,720 --> 00:18:45,919
that? I want you dancing and make you do

279
00:18:45,919 --> 00:18:48,400
that. I make you dance all night and

280
00:18:48,400 --> 00:18:51,039
make you do that. I make you want me to

281
00:18:51,039 --> 00:18:52,960
get on and make you do that. Do that.

282
00:18:52,960 --> 00:18:55,520
That was my name, baby. I got my name,

283
00:18:55,520 --> 00:18:58,720
baby. I want my

284
00:18:58,720 --> 00:19:01,679
baby. I got my money in it. Baby, do

285
00:19:01,679 --> 00:19:04,799
that. Do that. I got my money in it. Do

286
00:19:04,799 --> 00:19:07,760
that.

287
00:19:12,880 --> 00:19:15,039
Yeah.

288
00:19:15,039 --> 00:19:18,200
And if

289
00:19:18,960 --> 00:19:23,320
my hot

290
00:19:24,320 --> 00:19:27,320
shing

291
00:19:28,240 --> 00:19:31,679
find the one in the way in your face

292
00:19:31,679 --> 00:19:34,480
talking

293
00:19:34,480 --> 00:19:36,559
I don't want to talk to talking the long

294
00:19:36,559 --> 00:19:38,400
way

295
00:19:38,400 --> 00:19:41,360
you kiss she all day I don't want to

296
00:19:41,360 --> 00:19:45,919
talk baby way I got

297
00:19:46,400 --> 00:19:50,360
I could have gone somewhere though.

298
00:19:52,160 --> 00:19:55,880
They jamming out there.

299
00:19:56,799 --> 00:19:57,919
Yo, that's

300
00:19:57,919 --> 00:19:59,520
that's wet.

301
00:19:59,520 --> 00:19:59,919
What?

302
00:19:59,919 --> 00:20:01,760
I'm sweating.

303
00:20:01,760 --> 00:20:04,080
That's what happened when the speakers

304
00:20:04,080 --> 00:20:08,000
in my ears hit me. Brings the energy.

305
00:20:08,000 --> 00:20:12,280
Wakes you up. Play back.

306
00:20:19,679 --> 00:20:26,000
She was all was all I would love to go.

307
00:20:26,000 --> 00:20:30,799
She was all my love with all my

308
00:20:30,799 --> 00:20:32,400
baby.

309
00:20:32,400 --> 00:20:38,559
She all my love. All my love keep.

310
00:20:38,559 --> 00:20:42,240
She got the boo. She got me up. She got

311
00:20:42,240 --> 00:20:44,720
me standing on my heading up. Standing

312
00:20:44,720 --> 00:20:46,720
up. She got me standing on my head.

313
00:20:46,720 --> 00:20:49,919
Standing up. Standing up. She got my She

314
00:20:49,919 --> 00:20:51,919
twist it up. She twist it up. She got me

315
00:20:51,919 --> 00:20:54,480
dancing on the baking up. Break it up.

316
00:20:54,480 --> 00:20:56,480
She got me standing on my head. Breaking

317
00:20:56,480 --> 00:20:58,640
it up. Break it up. She got me dancing

318
00:20:58,640 --> 00:21:01,360
on my head. Break it up. I need you

319
00:21:01,360 --> 00:21:03,120
talking, baby. Won't you come and do

320
00:21:03,120 --> 00:21:05,600
that? I want you dancing on that corn

321
00:21:05,600 --> 00:21:08,159
and make you do that. I make you dance

322
00:21:08,159 --> 00:21:10,640
all night and make you do that. I make

323
00:21:10,640 --> 00:21:14,080
you want to get you do that. That was my

324
00:21:14,080 --> 00:21:19,200
name, baby. I got my baby. I want my

325
00:21:19,200 --> 00:21:21,919
baby.

326
00:21:21,919 --> 00:21:26,280
Do that. Do that. I got my

327
00:21:32,559 --> 00:21:35,440
do that. Yeah.

328
00:21:35,440 --> 00:21:39,440
And if come on

329
00:21:39,440 --> 00:21:42,440
my

330
00:21:44,720 --> 00:21:47,720
shell

331
00:21:50,799 --> 00:21:54,960
in your face talking

332
00:21:54,960 --> 00:21:58,799
I don't want to talk the wrong way

333
00:21:58,799 --> 00:22:01,840
you wish you all day I don't want to

334
00:22:01,840 --> 00:22:07,320
talk about I got it.

335
00:22:08,720 --> 00:22:11,840
See, stop. You see what the feeling made

336
00:22:11,840 --> 00:22:14,320
me do, class? That's what it should do

337
00:22:14,320 --> 00:22:17,559
to you.

338
00:22:18,400 --> 00:22:23,400
I found the magic of Harry Potter.

339
00:22:23,520 --> 00:22:25,679
I found magic when I w put the

340
00:22:25,679 --> 00:22:27,760
headphones on.

341
00:22:27,760 --> 00:22:31,520
I needed to I knew it needed something,

342
00:22:31,520 --> 00:22:33,360
but

343
00:22:33,360 --> 00:22:36,159
I needed to find a bounce. And I said,

344
00:22:36,159 --> 00:22:37,360
"Let me just go in there and do it

345
00:22:37,360 --> 00:22:38,799
myself." I look at Fetty. He kind of

346
00:22:38,799 --> 00:22:41,440
gave me his eyes kind of say, "You

347
00:22:41,440 --> 00:22:45,120
should do it without saying it." So,

348
00:22:45,120 --> 00:22:48,559
so when a like, "Yeah, you go do it."

349
00:22:48,559 --> 00:22:50,000
And I just went in there, put the

350
00:22:50,000 --> 00:22:53,360
headphones on, closed my eyes,

351
00:22:53,360 --> 00:22:54,799
and let the music take me where it's

352
00:22:54,799 --> 00:22:56,240
want to take me. And that's where it

353
00:22:56,240 --> 00:22:59,280
took me. And now I'm having a lot of fun

354
00:22:59,280 --> 00:23:01,919
and you should too. When you making

355
00:23:01,919 --> 00:23:05,360
music, find elements

356
00:23:05,360 --> 00:23:07,280
to make, you know, jump out at you and

357
00:23:07,280 --> 00:23:09,120
just attack it. Just do stuff. Like I

358
00:23:09,120 --> 00:23:12,080
don't think is none of the stuff I do. I

359
00:23:12,080 --> 00:23:14,880
I I like go crazy, but it gives me a

360
00:23:14,880 --> 00:23:17,280
vibe to

361
00:23:17,280 --> 00:23:19,360
keep going and adding on to the

362
00:23:19,360 --> 00:23:23,200
production or muting stuff out. So now

363
00:23:23,200 --> 00:23:24,320
we can get a feel because there's a

364
00:23:24,320 --> 00:23:26,159
melody there and the melody strong and

365
00:23:26,159 --> 00:23:27,679
everybody's feeling it and then we

366
00:23:27,679 --> 00:23:29,440
elaborate on that. I might get Adrian in

367
00:23:29,440 --> 00:23:32,799
here and we'll probably he might take

368
00:23:32,799 --> 00:23:34,799
the same melody. I said just follow I

369
00:23:34,799 --> 00:23:36,799
give if he like that we'll give him

370
00:23:36,799 --> 00:23:38,880
that. I said I do this part with you and

371
00:23:38,880 --> 00:23:40,320
I do that. We are structured a little

372
00:23:40,320 --> 00:23:42,640
bit, but that's just me vibing to and

373
00:23:42,640 --> 00:23:44,000
usually I like to sit with and keep

374
00:23:44,000 --> 00:23:46,880
playing it and I like I know I mumble

375
00:23:46,880 --> 00:23:49,679
lyrics, but it ain't they're not lyrics,

376
00:23:49,679 --> 00:23:52,320
but I just mumble really the cadence of

377
00:23:52,320 --> 00:23:56,360
what I think it should be.

378
00:24:00,480 --> 00:24:02,240
When I have a melody that I think is

379
00:24:02,240 --> 00:24:04,720
cool, I just keep sitting with it like,

380
00:24:04,720 --> 00:24:06,720
you know, like what we all do. I'm not

381
00:24:06,720 --> 00:24:09,039
the writer. I don't be writing stuff,

382
00:24:09,039 --> 00:24:10,640
but I can and I do it. But I just like

383
00:24:10,640 --> 00:24:12,320
listen to the melody and pass it on to

384
00:24:12,320 --> 00:24:14,640
other people that are artists such as

385
00:24:14,640 --> 00:24:16,080
Adrian and New City. I'm like, "Do you

386
00:24:16,080 --> 00:24:18,799
like this melody?" Or take parts of it

387
00:24:18,799 --> 00:24:20,480
and incorporate it what somebody else

388
00:24:20,480 --> 00:24:23,679
would do. Or if somebody else hopped on

389
00:24:23,679 --> 00:24:25,520
the track, I would probably keep my

390
00:24:25,520 --> 00:24:27,760
melody and get and start getting with

391
00:24:27,760 --> 00:24:29,919
top liners and start writing putting the

392
00:24:29,919 --> 00:24:32,080
words to it to the melody that I have.

393
00:24:32,080 --> 00:24:33,440
And this probably do I would probably do

394
00:24:33,440 --> 00:24:35,360
it myself and be a feature and pick the

395
00:24:35,360 --> 00:24:37,279
parts that I would want to do. Which

396
00:24:37,279 --> 00:24:39,120
part I want to do? Make it a eight bar,

397
00:24:39,120 --> 00:24:41,840
12 bar. Just keep vibing with it because

398
00:24:41,840 --> 00:24:43,360
it feels good the way it is now.

399
00:24:43,360 --> 00:24:45,440
Sometimes when something feels so good

400
00:24:45,440 --> 00:24:47,919
and you try to put words to it, it just

401
00:24:47,919 --> 00:24:50,720
don't feel right. You know, sometimes it

402
00:24:50,720 --> 00:24:52,720
is what it is. And it's like it's a

403
00:24:52,720 --> 00:24:55,200
vibe. And so I might I don't know. It's

404
00:24:55,200 --> 00:24:57,120
like I just want to keep vibing with and

405
00:24:57,120 --> 00:24:59,840
get other people opinion. And what is

406
00:24:59,840 --> 00:25:02,240
it? A filter vocal. We we it's so much

407
00:25:02,240 --> 00:25:04,320
you can do but all I know the energy is

408
00:25:04,320 --> 00:25:06,400
there so we have to like contain this

409
00:25:06,400 --> 00:25:08,559
energy and put it and make it something

410
00:25:08,559 --> 00:25:10,240
special. It's already special but it

411
00:25:10,240 --> 00:25:12,240
like really make make sense of what we

412
00:25:12,240 --> 00:25:14,480
have. I could jab to this for probably

413
00:25:14,480 --> 00:25:16,159
hours and just figure out and then I

414
00:25:16,159 --> 00:25:18,960
keep adding but I like to go I like to

415
00:25:18,960 --> 00:25:20,720
just rest for a little bit then play it

416
00:25:20,720 --> 00:25:22,880
again because some of the words if I

417
00:25:22,880 --> 00:25:24,640
keep hearing it words will start to come

418
00:25:24,640 --> 00:25:25,760
at me. You know what I'm saying? I'm

419
00:25:25,760 --> 00:25:28,000
like ooh. So I most of the time I would

420
00:25:28,000 --> 00:25:30,240
probably play it for about a thousand

421
00:25:30,240 --> 00:25:34,000
times like low or tell Chris

422
00:25:34,000 --> 00:25:36,720
to give it to me in my um air drop it to

423
00:25:36,720 --> 00:25:38,880
me and while they working I would listen

424
00:25:38,880 --> 00:25:41,279
to my headphones and walk just sit back

425
00:25:41,279 --> 00:25:44,000
on the couch and just you know I don't

426
00:25:44,000 --> 00:25:47,279
want to interrupt the flow and just say

427
00:25:47,279 --> 00:25:48,640
this should be this. And if I got

428
00:25:48,640 --> 00:25:50,880
something I I stop I say stop stop

429
00:25:50,880 --> 00:25:53,520
y'all. I think I got the title line. I

430
00:25:53,520 --> 00:25:55,840
have what it should be. it should say

431
00:25:55,840 --> 00:26:00,880
this or we are all vibing this

432
00:26:00,880 --> 00:26:02,720
and figure out words but you know that's

433
00:26:02,720 --> 00:26:04,400
a you know it's a process so it's it's

434
00:26:04,400 --> 00:26:06,159
just long as the vibe is there and the

435
00:26:06,159 --> 00:26:08,000
energy is right and so far the energy is

436
00:26:08,000 --> 00:26:10,000
right and it's just about it's just

437
00:26:10,000 --> 00:26:12,159
about

438
00:26:12,159 --> 00:26:15,039
putting it all together it's the same

439
00:26:15,039 --> 00:26:16,880
thing the same this is one of the same

440
00:26:16,880 --> 00:26:18,720
ways how I started commiscuous girl and

441
00:26:18,720 --> 00:26:21,679
I had the

442
00:26:21,679 --> 00:26:25,760
uh I just had the melody And we just

443
00:26:25,760 --> 00:26:27,440
kind of sat with until I was like, I I

444
00:26:27,440 --> 00:26:30,320
don't want it to be. I want it to be

445
00:26:30,320 --> 00:26:32,720
something that's not normal. This that's

446
00:26:32,720 --> 00:26:35,200
normal, but it's simple,

447
00:26:35,200 --> 00:26:37,840
but it's sophisticated.

448
00:26:37,840 --> 00:26:39,840
And we just kept going through words.

449
00:26:39,840 --> 00:26:41,520
It's like playing chess. It's like a

450
00:26:41,520 --> 00:26:43,600
puzzle, you know, freaky. No, I don't

451
00:26:43,600 --> 00:26:44,640
want to say freak. I don't want to say

452
00:26:44,640 --> 00:26:46,159
that. I don't want to say this. So, this

453
00:26:46,159 --> 00:26:49,880
is the same process.

454
00:26:53,760 --> 00:26:55,360
Now, here's something that's going to

455
00:26:55,360 --> 00:26:57,279
help you get through the days that

456
00:26:57,279 --> 00:26:59,760
you're not feeling creative. Here's

457
00:26:59,760 --> 00:27:03,600
where you know, if you play video games,

458
00:27:03,600 --> 00:27:06,799
read a book, whatever you do outside of

459
00:27:06,799 --> 00:27:09,279
music, just get into that, you know,

460
00:27:09,279 --> 00:27:11,200
just live life. Don't let it beat you

461
00:27:11,200 --> 00:27:13,919
up. Don't you have a off day every day

462
00:27:13,919 --> 00:27:16,400
going to be on point and you just come

463
00:27:16,400 --> 00:27:18,640
back at it. You might get it might still

464
00:27:18,640 --> 00:27:20,159
not be there and you going to probably

465
00:27:20,159 --> 00:27:22,400
get more frustrated. That's a good sign

466
00:27:22,400 --> 00:27:24,080
you're getting frustrated because that

467
00:27:24,080 --> 00:27:27,840
means your love is real. It's not false.

468
00:27:27,840 --> 00:27:30,400
Just come back. It's like an argument.

469
00:27:30,400 --> 00:27:32,720
Walk away.

470
00:27:32,720 --> 00:27:36,240
Come back another day. It'll be there.

471
00:27:36,240 --> 00:27:38,720
The love just don't die like that, you

472
00:27:38,720 --> 00:27:40,559
know. Don't don't get too frustrated and

473
00:27:40,559 --> 00:27:44,159
beat yourself up. Beat yourself up. get

474
00:27:44,159 --> 00:27:45,840
happy because you love it that much that

475
00:27:45,840 --> 00:27:48,240
you want to beat yourself up, you know?

476
00:27:48,240 --> 00:27:51,600
So, it'll come. Sometimes it make four

477
00:27:51,600 --> 00:27:53,840
days, three days. Hey, it's life. Long

478
00:27:53,840 --> 00:27:55,760
as you living, you got all the time in

479
00:27:55,760 --> 00:27:58,240
the world.

1
00:00:12,320 --> 00:00:14,880
The way I'm The way I laid my push out

2
00:00:14,880 --> 00:00:16,560
is

3
00:00:16,560 --> 00:00:18,880
I just took a lot of I just made drum

4
00:00:18,880 --> 00:00:22,720
rack one, two, three, four, five, ASR10

5
00:00:22,720 --> 00:00:24,960
10. Just make up all put all my drums in

6
00:00:24,960 --> 00:00:27,359
a rack. And then after I I make my drum

7
00:00:27,359 --> 00:00:28,880
rack, I try to pick my favorite ones.

8
00:00:28,880 --> 00:00:31,199
The same way I did on my ASR. I try to

9
00:00:31,199 --> 00:00:34,880
move the same way that I move on my ASR.

10
00:00:34,880 --> 00:00:38,079
I don't organize my drum racks to say,

11
00:00:38,079 --> 00:00:41,040
"Oh, this sound, that sound," because it

12
00:00:41,040 --> 00:00:45,360
kills my freedom. I don't have like a

13
00:00:45,360 --> 00:00:47,520
like uh like, "Oh, all the kicks on one

14
00:00:47,520 --> 00:00:49,280
roll, all I know, I just put them all

15
00:00:49,280 --> 00:00:52,559
like I grab if it's 128 or whatever

16
00:00:52,559 --> 00:00:55,280
these pads are, I just grab. Boom. Just

17
00:00:55,280 --> 00:00:57,120
getting to the fill all the blocks up.

18
00:00:57,120 --> 00:01:00,719
Then I move on and I name that batch.

19
00:01:00,719 --> 00:01:03,600
Timbo one, Timbo drum rack two, tempo

20
00:01:03,600 --> 00:01:06,080
drum rack three. And then as I'm

21
00:01:06,080 --> 00:01:08,400
producing, I I find my favorites out of

22
00:01:08,400 --> 00:01:10,960
that. And then on your template, you can

23
00:01:10,960 --> 00:01:12,960
put your favorites and go to a

24
00:01:12,960 --> 00:01:14,960
preference to say save your template.

25
00:01:14,960 --> 00:01:16,640
And you just save your template and it

26
00:01:16,640 --> 00:01:18,080
comes up with all your favorite drum

27
00:01:18,080 --> 00:01:21,439
racks. I don't label or like I label

28
00:01:21,439 --> 00:01:24,560
like like if you see up here Timbo drum

29
00:01:24,560 --> 00:01:27,920
one Timbo team timbo two it's like it's

30
00:01:27,920 --> 00:01:30,159
the same these all the same three up top

31
00:01:30,159 --> 00:01:32,240
three that I just duplicate it then you

32
00:01:32,240 --> 00:01:35,439
got Timbo one over here then Timbo big

33
00:01:35,439 --> 00:01:37,520
drum kick it's like I that's on that's

34
00:01:37,520 --> 00:01:39,200
the only names I do you know what I'm

35
00:01:39,200 --> 00:01:41,840
saying I'm not going to say say uh big

36
00:01:41,840 --> 00:01:44,880
kick one or uh supersonic kick two no I

37
00:01:44,880 --> 00:01:47,439
just put them all on one and like how it

38
00:01:47,439 --> 00:01:49,920
says 365 Five. I know that's a drum

39
00:01:49,920 --> 00:01:52,079
rack. I know that's a drum rack. You

40
00:01:52,079 --> 00:01:53,759
have to label to things that you know

41
00:01:53,759 --> 00:01:56,000
that fits how you're going to remember

42
00:01:56,000 --> 00:01:59,040
things. And this for me is how and when

43
00:01:59,040 --> 00:02:01,600
I don't if I put drum rack with the big

44
00:02:01,600 --> 00:02:04,880
bass, it'll make me always go to the

45
00:02:04,880 --> 00:02:06,399
drum rack with the big bass. But if I

46
00:02:06,399 --> 00:02:07,920
put like four, five, six, I don't

47
00:02:07,920 --> 00:02:10,720
remember what five have in it. And I

48
00:02:10,720 --> 00:02:12,800
just take the sounds from the ASR10 that

49
00:02:12,800 --> 00:02:15,200
I always made all these hits and create

50
00:02:15,200 --> 00:02:18,080
different, you know, ambience out of

51
00:02:18,080 --> 00:02:20,080
them because the computer, the Ableton

52
00:02:20,080 --> 00:02:22,000
allows you to to expand on what you

53
00:02:22,000 --> 00:02:24,879
already created in life. So I don't

54
00:02:24,879 --> 00:02:26,560
necessarily say, "Oh, this kick and go."

55
00:02:26,560 --> 00:02:29,200
No, I just load them all up and play

56
00:02:29,200 --> 00:02:33,680
them back. I load up drum

57
00:02:33,680 --> 00:02:39,319
drum rack five and it's right here.

58
00:02:39,680 --> 00:02:42,879
drum rack five

59
00:02:42,879 --> 00:02:47,120
and there it is all the pads. So, and

60
00:02:47,120 --> 00:02:48,239
this is how it's like I don't know

61
00:02:48,239 --> 00:02:51,840
what's on the pads. So, as I load it up,

62
00:02:51,840 --> 00:02:54,400
I would just

63
00:02:54,400 --> 00:02:58,080
And it gives you my by me not knowing

64
00:02:58,080 --> 00:02:59,920
what's up here, it makes me more

65
00:02:59,920 --> 00:03:01,760
creative.

66
00:03:01,760 --> 00:03:05,560
So, I just

67
00:03:07,360 --> 00:03:09,280
I just start and there it is. But I

68
00:03:09,280 --> 00:03:10,640
don't I didn't know that was on this

69
00:03:10,640 --> 00:03:12,080
drum rack. I didn't know that. I'm like,

70
00:03:12,080 --> 00:03:15,720
"Oh, this kick sound."

71
00:03:16,159 --> 00:03:17,760
See,

72
00:03:17,760 --> 00:03:19,440
there you have it. This is my

73
00:03:19,440 --> 00:03:22,239
organization. This is to me organized.

74
00:03:22,239 --> 00:03:25,360
But to somebody else, to you, you have

75
00:03:25,360 --> 00:03:27,599
to create your own organization. This is

76
00:03:27,599 --> 00:03:30,560
mine. This is I know I like the element

77
00:03:30,560 --> 00:03:33,440
of surprise. I load my rack. I push

78
00:03:33,440 --> 00:03:34,879
buttons not knowing what's going to

79
00:03:34,879 --> 00:03:37,879
happen.

80
00:03:38,159 --> 00:03:41,480
That's beautiful.

81
00:03:45,200 --> 00:03:46,959
You know, it's so many ways that I

82
00:03:46,959 --> 00:03:49,200
start. You know, one time it could be

83
00:03:49,200 --> 00:03:50,640
the percussion, sometime could be just

84
00:03:50,640 --> 00:03:52,879
the metronome, like you know, just the

85
00:03:52,879 --> 00:03:56,239
metronome and I bounce around that. It

86
00:03:56,239 --> 00:03:57,920
is sometimes that click, you know, it's

87
00:03:57,920 --> 00:03:59,840
all about the day. That click can

88
00:03:59,840 --> 00:04:03,480
inspire something

89
00:04:04,959 --> 00:04:06,319
and I might just want to click in there

90
00:04:06,319 --> 00:04:08,319
the whole time and just a baseline, the

91
00:04:08,319 --> 00:04:10,799
kick that, you know, but that's just for

92
00:04:10,799 --> 00:04:12,319
that moment, you know. So that's that

93
00:04:12,319 --> 00:04:14,159
one particular thing. So for me it

94
00:04:14,159 --> 00:04:16,400
varies. You know I start different ways

95
00:04:16,400 --> 00:04:19,040
each time. Sometimes my crew will start

96
00:04:19,040 --> 00:04:21,359
and I just add on to what they did. You

97
00:04:21,359 --> 00:04:24,320
know sometimes I start off, you know,

98
00:04:24,320 --> 00:04:26,080
with a percussion. Sometimes I start off

99
00:04:26,080 --> 00:04:28,960
with the sample. Sometimes just be a

100
00:04:28,960 --> 00:04:30,639
click and just do like what I showed

101
00:04:30,639 --> 00:04:32,240
you.

102
00:04:32,240 --> 00:04:34,320
I might do just a basic beat because

103
00:04:34,320 --> 00:04:36,560
that's what I'm feeling and I know. Then

104
00:04:36,560 --> 00:04:39,759
I bounce around say this.

105
00:04:39,759 --> 00:04:41,600
If it's just that that simple but it

106
00:04:41,600 --> 00:04:43,520
feels because the kick is right right

107
00:04:43,520 --> 00:04:46,639
the son of the kick is right but then it

108
00:04:46,639 --> 00:04:50,080
gives me room if it's just that one then

109
00:04:50,080 --> 00:04:52,400
it gives you room say

110
00:04:52,400 --> 00:04:54,160
like with the sequence I can add and

111
00:04:54,160 --> 00:04:58,160
place and flip it and then drop out and

112
00:04:58,160 --> 00:05:01,120
change it around and resample it and

113
00:05:01,120 --> 00:05:03,360
check it out. You know I do it a lot of

114
00:05:03,360 --> 00:05:05,680
ways. I create a basic groove and flip

115
00:05:05,680 --> 00:05:08,080
it. And the thing about Ableton, I could

116
00:05:08,080 --> 00:05:12,120
just go through and skim like

117
00:05:16,320 --> 00:05:20,520
that's a and I could take it

118
00:05:20,560 --> 00:05:22,800
and change it

119
00:05:22,800 --> 00:05:26,080
and I can do that all day. So I just go

120
00:05:26,080 --> 00:05:29,280
through that. I would take that and nine

121
00:05:29,280 --> 00:05:31,440
out of 10 I would take that right there.

122
00:05:31,440 --> 00:05:33,280
That sample I could just move number

123
00:05:33,280 --> 00:05:38,479
four said wave. I'll move it over here

124
00:05:38,479 --> 00:05:42,400
to a say drop file add device

125
00:05:42,400 --> 00:05:44,720
and either I'll go right here and just

126
00:05:44,720 --> 00:05:47,120
put make it a simpler it'll put

127
00:05:47,120 --> 00:05:48,400
everything right here and the colors

128
00:05:48,400 --> 00:05:49,680
will be white. I don't know what colors

129
00:05:49,680 --> 00:05:51,680
they turn into.

130
00:05:51,680 --> 00:05:54,320
So now it's golden.

131
00:05:54,320 --> 00:05:59,080
So that's a loop that's on here.

132
00:06:00,160 --> 00:06:03,880
I just changed it.

133
00:06:07,360 --> 00:06:11,560
Or I can put it and make it

134
00:06:16,000 --> 00:06:16,960
and and make something totally

135
00:06:16,960 --> 00:06:19,280
different. Just manipulate it. It's up

136
00:06:19,280 --> 00:06:24,520
to me. So I just take melodies and

137
00:06:26,400 --> 00:06:28,720
and just take stuff and just make my

138
00:06:28,720 --> 00:06:30,240
own.

139
00:06:30,240 --> 00:06:32,000
So like that I can just take that and

140
00:06:32,000 --> 00:06:35,039
put it at the end

141
00:06:35,039 --> 00:06:39,759
or you know load up that one.

142
00:06:39,759 --> 00:06:43,759
Say if I like to have the horns come in.

143
00:06:43,759 --> 00:06:49,479
I can again make it a simpler.

144
00:06:51,680 --> 00:06:55,199
I can go to the slice mode and just play

145
00:06:55,199 --> 00:06:56,960
with it.

146
00:06:56,960 --> 00:07:00,199
Let's go.

147
00:07:19,520 --> 00:07:22,919
There you go.

148
00:07:28,400 --> 00:07:31,400
So

149
00:07:33,680 --> 00:07:37,880
all I need is a two bar loop.

150
00:07:38,800 --> 00:07:41,680
So

151
00:07:41,680 --> 00:07:44,080
see you see it. This is playing. I just

152
00:07:44,080 --> 00:07:47,280
double the loop.

153
00:07:47,280 --> 00:07:51,039
Can add on to it.

154
00:07:51,039 --> 00:07:53,599
Then step sequence is already it's like

155
00:07:53,599 --> 00:07:56,080
it's like like t it's already swinging

156
00:07:56,080 --> 00:07:59,360
for me. So I can say

157
00:07:59,360 --> 00:08:01,039
or right there or I can stop on the

158
00:08:01,039 --> 00:08:04,039
note.

159
00:08:12,879 --> 00:08:14,400
So

160
00:08:14,400 --> 00:08:18,280
then play it back.

161
00:08:22,080 --> 00:08:26,280
So I just play around make then

162
00:08:30,000 --> 00:08:33,000
see

163
00:08:33,440 --> 00:08:37,880
just playing around. Get it right.

164
00:08:46,720 --> 00:08:51,560
Bam. There we go. Yeah.

165
00:09:08,720 --> 00:09:11,519
Then you know this now I got a basic

166
00:09:11,519 --> 00:09:14,399
groove. But I just go back to

167
00:09:14,399 --> 00:09:19,080
I'mma put that horn thing I show you.

168
00:09:35,760 --> 00:09:38,560
So we got that. Then I just, you know, I

169
00:09:38,560 --> 00:09:39,760
got to go back and do it again because I

170
00:09:39,760 --> 00:09:42,720
just

171
00:09:47,760 --> 00:09:50,640
So that's like a cool groove, right? So

172
00:09:50,640 --> 00:09:53,760
me, I'm like, "Okay, that's cool. That's

173
00:09:53,760 --> 00:09:57,800
basic." Then I might say,

174
00:09:58,080 --> 00:10:03,000
"Hold on. You hear a one is off."

175
00:10:05,440 --> 00:10:09,080
So I can move it.

176
00:10:21,920 --> 00:10:25,959
See, I just play with the patterns.

177
00:10:26,240 --> 00:10:28,399
Now I would take that and say, "Oh,

178
00:10:28,399 --> 00:10:30,800
that's just basic, right?"

179
00:10:30,800 --> 00:10:34,000
Then I'll go over here and trigger

180
00:10:34,000 --> 00:10:37,200
another track

181
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and record and resample the whole thing.

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Sometimes I do it this way. I'm like,

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"Oh, it's cool.

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00:10:54,160 --> 00:10:55,920
So that's a four bar loop. Then I'll go

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over convert it into a simpler, you

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00:10:57,839 --> 00:11:00,160
know, just play with it. See what it

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sound like.

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See, sounds better.

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00:11:11,760 --> 00:11:15,079
Hold it.

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00:11:24,880 --> 00:11:26,880
See, that's it allows you to do that. Or

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00:11:26,880 --> 00:11:32,200
I could just be like or I could be

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00:11:35,920 --> 00:11:38,399
and see it because I sampled it as a

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whole. It'll say, "Oh, if I It allows me

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to hear the kick in different octaves

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and tones and hear the horn in a

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different key and allows me to

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00:11:48,720 --> 00:11:50,079
manipulate it and be like, "Oh, this is

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not as simple as you." It could be it

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00:11:51,680 --> 00:11:55,480
could be dope. It could be.

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It could be anything.

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00:11:59,680 --> 00:12:02,920
Look at that.

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00:12:11,680 --> 00:12:15,600
See, and it don't sound like

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00:12:15,600 --> 00:12:17,839
I was doing that, but it actually sounds

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dope. So, I had to come back to it. I

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save that little make it a sample and be

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like oh and I could I did the beat as

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simple and I could I know I can go back

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and remember and do the same thing I

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know and I might change up the drum

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because I I don't know if it was five or

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six by the time I come back too it could

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00:12:34,240 --> 00:12:37,120
be I could change it up and create and

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take that and just use it as a template

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and create around it. I think I would

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want somebody to put something over it

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00:12:43,760 --> 00:12:46,399
before I go before I go any further cuz

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00:12:46,399 --> 00:12:47,760
I could go further. I would probably

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pass it on to Fetty and Angel or Rants

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the team and say what y'all think about

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this and let them and then I'm like oh

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then I could change this would be the

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idea that spark off something else and

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it won't be this no more but it will

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00:13:01,360 --> 00:13:03,760
start from

1
00:00:09,599 --> 00:00:12,000
What I like to do

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when I come in a session, I like to just

3
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play what I've been working on and just

4
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get the sonics right and then I then

5
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we're going to start from scratch and

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just make something. See what we come up

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with. Just have fun. Let the music guide

8
00:00:24,240 --> 00:00:29,279
us in this sweet old session of today. I

9
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want to see how this Sonic sounds. Let's

10
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play this. Let's see how this Sonic

11
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sounds.

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How do you keep the right people around

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00:00:37,520 --> 00:00:39,360
you in your community? It has to be a

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community of music. There's no right or

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wrong to communicating and sharing. It's

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just do they have the same love as you?

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And if they don't have the same love as

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you, why is you communicating with them?

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You know, and if they get you can sit on

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the phone or on the text, talk about

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stuff for hours and you like, "Yo, we

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were talking about music for like an

23
00:00:58,960 --> 00:01:01,680
hour or this drum pattern or teaching

24
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the notes and you're like, dang, it's

25
00:01:03,600 --> 00:01:06,080
our life." And when you got that type of

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person, the community builds

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watch.

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See

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what the tempo on this one? 81.

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What is it?

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81.

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Woo.

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Watch the trick.

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See?

35
00:02:04,960 --> 00:02:08,759
We getting warmed up.

36
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See, that sound make me feel like I'm on

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the beach. It's too, you know.

38
00:02:18,959 --> 00:02:21,959
Yeah.

39
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What temple is that? 81.

40
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81.

41
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I never was that great in school. I'm

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going sit here admit like reading like

43
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my thing was like even talking to you.

44
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It's hard for me to talk about music as

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something that cuz I just I can express

46
00:02:50,720 --> 00:02:53,920
it more than talking about it. Like if I

47
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baseline, okay, what? And somebody might

48
00:02:56,800 --> 00:03:00,080
be smart. A quarter note. No,

49
00:03:00,080 --> 00:03:03,680
that's how I talk. I can't do the high

50
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intellect.

51
00:03:05,200 --> 00:03:09,360
Quarter note, minor to this to. No, it

52
00:03:09,360 --> 00:03:12,560
should move like this. What? And then,

53
00:03:12,560 --> 00:03:14,400
you know, it's people who know all the

54
00:03:14,400 --> 00:03:17,360
intelligence of music talk. But when I

55
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come in like, no, you don't hear off.

56
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Move it back a grid. Move it this way.

57
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Huh? It going to be off the grid. It's

58
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going to move a certain way. Trust me.

59
00:03:25,200 --> 00:03:27,840
So they'll move it, but their musical

60
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theory and and you know how they see it

61
00:03:30,000 --> 00:03:32,480
on the screen or the computer don't

62
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match up to how I see it in my brain.

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And then when I get to show them, how

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you know cuz I just mimic. I need you to

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mimic what I just did. It might don't

66
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look right on the screen,

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but it's going to feel right.

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I get it. So I talk with my mouth with

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sounds from my mouth. Like if I say I

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00:03:55,200 --> 00:03:58,480
want to sn I want it sound like that.

71
00:03:58,480 --> 00:04:02,319
Oh, okay. It's like a clap. So I can't

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I'm not a very descriptive person. I got

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to

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do what you call it. What's that? Uh

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charades or what? I got to do it that

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way.

77
00:04:13,840 --> 00:04:16,560
Okay. So Fetty,

78
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what is that sound that you just played

79
00:04:18,400 --> 00:04:21,759
over top of that? is actually,

80
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let me play you the sound without

81
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effects.

82
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See that?

83
00:04:28,000 --> 00:04:30,000
So, it's actually kind of a bell.

84
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Thank you.

85
00:04:32,960 --> 00:04:36,080
And then you add some effects to it. Um,

86
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this one is sort of a distortion.

87
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It actually emulates a very thing called

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the speak and tell. It was like a

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computer that used to like speak. You

90
00:04:47,759 --> 00:04:49,520
can write on it. And in the 80s people

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used it and someone made a plugin that

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emulates that

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so messes with the sound. And then I

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added this thing as a side chain.

95
00:05:01,919 --> 00:05:06,080
So it's making the sound go up and down.

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Then we have a delay.

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Gives a little tail, little EQ.

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See?

99
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So that's why he sound like that. But

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it's a simple song.

101
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Very simple but complex. It did. We hit

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it.

103
00:06:05,680 --> 00:06:09,080
about you.

104
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So,

105
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I'mma do one more, play one more, get

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everything warmed up, and then we'll do

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something from scratch. See what we come

108
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up with. See how Fetty just add it on.

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Angel's more complex. He like to

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sequence it all and then play it back.

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So, he his memory bank, he takes what

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the melody is and he already hears it.

113
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So, as I move on to something else, he

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already has what was there and he's

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creating the whole thing around from the

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idea that I just played and he'll play

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it back and say, "Can you pull up that

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other beat? I got something for it."

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That's how it usually works,

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you know? It's getting the vibe right.

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Then we'll start then he whatever he

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create in his his thing, I could create

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something totally different. That's how

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we usually do it, right? So, I'm just

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let him create

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and he might play a sound after I blow

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up this other one while me and Fetty

128
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just jamming out.

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See what he come up with. And I make a

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start from scratch. Maybe let Angel

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start the It's like a band leader. Let

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him take the role instead of me taking

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the role. And we see what we come up

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from there.

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I'm just having fun. I'm in the music.

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I'm I'm just enjoying the time and just

137
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letting the music take me over and just

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being loud with it. Just coming up with

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creative stuff. Me and Fetty Angel just

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bouncing ideas, showing what I, you

141
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know, what I would do. Just having fun,

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you know, stuff like,

143
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you know, like right. You see what I'm

144
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saying?

145
00:07:50,400 --> 00:07:52,080
See, I like take a trash can. You hear

146
00:07:52,080 --> 00:07:56,800
that? Those are like bells from a

147
00:07:56,800 --> 00:07:59,360
garbage disposal,

148
00:07:59,360 --> 00:08:02,160
trash cans, and rakes. Look at the

149
00:08:02,160 --> 00:08:04,560
beautiful sound that it made. And then

150
00:08:04,560 --> 00:08:07,840
you get a cra a rapper say

151
00:08:07,840 --> 00:08:10,840
he he

152
00:08:19,680 --> 00:08:22,479
let me tell you where I got these sounds

153
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from. a rake from my backyard from a

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lake. I just wish all across the world

155
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the states and then I add this

156
00:08:32,080 --> 00:08:35,680
[ __ ] 808. Here we go. Always

157
00:08:35,680 --> 00:08:37,760
think of the next rhythm. If you hear

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something could be a tight, right? You

159
00:08:40,240 --> 00:08:43,599
know what I'm saying? You're like, man,

160
00:08:43,599 --> 00:08:45,760
and then you're it's like if I'm out

161
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with you and I hear you like you

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00:08:48,080 --> 00:08:50,080
clacking on your drinking a coffee,

163
00:08:50,080 --> 00:08:51,600
whatever you're doing, and if you

164
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clicking the cup and you

165
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then you're thinking like how I would

166
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think cuz that's what I would do. It's

167
00:08:58,880 --> 00:09:01,360
like the the least suspected like some

168
00:09:01,360 --> 00:09:03,120
you have to get on somebody's nerve and

169
00:09:03,120 --> 00:09:05,200
be like, why you always mingling in your

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mouth making sound? Then you thinking

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like me. That's how you think. Like me,

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you have to be open

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to just always dedicating yourself to

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new ideas, evolving. I can wake up if

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00:09:19,920 --> 00:09:23,200
the wave, if I'm by the house and I'm on

176
00:09:23,200 --> 00:09:25,920
the water, I hear the waves, it can move

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00:09:25,920 --> 00:09:31,000
a certain way. And I'm like,

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00:09:34,320 --> 00:09:38,279
to me, in my head, I was like,

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00:09:40,000 --> 00:09:41,839
Oo.

180
00:09:41,839 --> 00:09:44,000
So, I might record it on my phone. I'm

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00:09:44,000 --> 00:09:45,920
like, "Do y'all hear that? Is it a

182
00:09:45,920 --> 00:09:47,920
rhythm?" So, I put a snap to it. I don't

183
00:09:47,920 --> 00:09:49,920
I don't hear that. I don't Okay, let me

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00:09:49,920 --> 00:09:52,320
put the snap to it.

185
00:09:52,320 --> 00:09:53,920
How did you hear that? I said, "I don't

186
00:09:53,920 --> 00:09:56,320
know. It just it was moving to a

187
00:09:56,320 --> 00:09:59,360
currency that made me find a different

188
00:09:59,360 --> 00:10:02,320
hop or a different bounce or something.

189
00:10:02,320 --> 00:10:05,839
You have to be open to just like

190
00:10:05,839 --> 00:10:09,440
meditation, just clearing your mind and

191
00:10:09,440 --> 00:10:13,040
just be engulfed in music and sound. And

192
00:10:13,040 --> 00:10:14,880
music is not like listen to a song a

193
00:10:14,880 --> 00:10:17,360
day. I'm talking about just

194
00:10:17,360 --> 00:10:19,360
listen to your surroundings. Listen to

195
00:10:19,360 --> 00:10:24,839
what's around you. If you notice, okay,

196
00:10:25,519 --> 00:10:29,120
it's high hats and just percussions.

197
00:10:29,120 --> 00:10:31,920
And you got to let the high hats and

198
00:10:31,920 --> 00:10:33,920
percussion and the junkyard boogie just

199
00:10:33,920 --> 00:10:37,680
take you over. And you see how

200
00:10:37,680 --> 00:10:40,240
this part the the bells are very

201
00:10:40,240 --> 00:10:42,480
complex.

202
00:10:42,480 --> 00:10:45,120
The bass is the simpleness. So this part

203
00:10:45,120 --> 00:10:46,800
is

204
00:10:46,800 --> 00:10:49,800
is

205
00:10:50,560 --> 00:10:53,680
it's all that going on. So it's all that

206
00:10:53,680 --> 00:10:56,640
is a rhythm. So with that being so I

207
00:10:56,640 --> 00:10:58,160
just vibe to that for a minute. And I'm

208
00:10:58,160 --> 00:11:00,079
like, "Okay, now it's so so many ways

209
00:11:00,079 --> 00:11:04,079
you can go on it." So I I do a high hat

210
00:11:04,079 --> 00:11:06,160
to

211
00:11:06,160 --> 00:11:08,079
to give me where I want to go. And then

212
00:11:08,079 --> 00:11:09,440
I say, "Okay, what's the simplicity in

213
00:11:09,440 --> 00:11:11,360
it?" So I say, "Oh, here's the bass."

214
00:11:11,360 --> 00:11:14,360
Hey,

215
00:11:15,920 --> 00:11:17,200
but the bells are doing something

216
00:11:17,200 --> 00:11:18,480
totally different. I'm just bouncing.

217
00:11:18,480 --> 00:11:22,440
Boom. Boom.

218
00:11:25,279 --> 00:11:27,040
See, I just like to play with the the

219
00:11:27,040 --> 00:11:28,560
space. See, I'm going to do it with my

220
00:11:28,560 --> 00:11:31,560
hands.

221
00:11:45,680 --> 00:11:47,760
You know that just that simple, you

222
00:11:47,760 --> 00:11:49,920
know, just having fun with it. trying to

223
00:11:49,920 --> 00:11:53,040
take something simplistic,

224
00:11:53,040 --> 00:11:55,519
some something complex and making it

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simplistic. That's like the whole key to

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it. And the junk y'all with the bells

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and the rakes and all that stuff going

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on with the effects on it

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gives it uh uh like it's another rhythm

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inside of rhythm.

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An example of what I thought was great

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sonic innovation was Dirt Off Your

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Shoulder. Are you that somebody?

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My Love sonically those records

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on My Love. Just that rhythm haven't

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been heard. Try again. The bass

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just moving all over the place. But the

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rhythm and if I just gave you the

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baseline, it wouldn't have been a hit.

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That's why I'm trying to tell you about

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unorthodox rhythm. One rhythm is doing

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this. Then I brought it down to the

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beat.

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So when it got to that you

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So it's like complex meet simplicity,

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you know? So

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that record I knew it was special

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because it was complex and simplicity

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allinone. Get your free comb. Complex

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and simplicity allin oneing

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first. Your first reaction. I just play

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you the good time. First your first

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reaction.

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That's your first probably most normal

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people maybe reaction to claping the

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clap.

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But

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you know I play with the rhythm to make

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you bob a different then put in the

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little toddlers. what I learned from

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this culture, just going across the

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world and adding all those elements,

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it's like making a great gumbo, you

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know, and I knew it was a special

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product. Um, dirt off your shoulders.

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It was a tape machine

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um string that sound mono and I knew it

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was I'm like, I ain't heard this before.

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This I was like, it sounds fresh and I

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just put the beat to it. make sure the

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beat knock

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and I knew it just was a special Sonic.

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I knew that I didn't know if there was

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hits. I just knew the Sonics was

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special.

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And that's why I try to look for a

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special Sonic. So when you playing your

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record, not saying somebody else records

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is is other people records are great,

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but when you get to it's like if

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everybody stands up in line and play

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their track,

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when somebody play Whoa. Whoa. So you

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know, it's like

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your turn.

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Your Sonics better be right because you

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want to make them be like, "What the

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freak is

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You play Play me something. I know where

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I'm going. Huh? You play me something.

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Oh man, I go through this every freaking

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time.

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Yeah. Remember what?

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now tuned into the [ __ ]

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greatest.

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Jay-Z was doing Fade to Black with Dirt

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Off Your Shoulders. As you if you saw

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Fade to Black, the story line is there.

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I had a bunch of beats made

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and I played the beats, but when it got

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to Dirt Off Your Shoulders, even the

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beat I played before, I knew was dope,

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but I felt that Dirt Off Your Shoulders

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was was

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the first one was special, but Daryl

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shows something about it. It just I

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don't know what it was, but it's just it

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was a feeling. And I knew when I did it,

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it had a certain feeling. And when I

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played it, that's why I reacted that way

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because the feeling was so contagious

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that it passed over to him, you know.

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So, let's play it.

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Now, tuned into the [ __ ]

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greatest.

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You hear that? It was the sonics of the

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drums.

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See, watch this.

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You can go and brush your [ __ ]

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You know why it was the Stop. his ad

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lives at that moment with the feeling.

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All you feeling is the excitement. You

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now tun. That's what this track made him

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do. Like Jay-Z is one of the best poets

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that I know. I call him a poet. He's not

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a rapper. He's a poet. He doesn't write

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anything down. The beat made him feel

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that way. Dare off your shoulders.

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Don't ask me how you came up with that

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title. That's Jay-Z. But I know the beat

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made him say, "Yo, now dude." You know

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what I'm saying? All the ad libs, that

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was all the feeling. So, let's play the

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beat. Play it again.

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That's all that is is two three sounds.

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That's it. Uh, it was a tape screen and

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I I I had got a a tape screen sound from

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Japan.

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I forgot where I got it from. Some part

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of Japan.

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And I just

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I was actually I was just playing around

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just hitting like

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and recorded it and I like I push play

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this sound good. So I had these these

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drums that I always loved that it was

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heavy but I never had the right sound to

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put on top of it. And when I came up

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with that tape screen was so mono it was

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so dirty and dull and I just ran with

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that. And after that he put his rap over

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that that that song don't have that many

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instruments in it. That song has

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this three instruments. There's nothing.

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It's all about that tape that tape

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screen that just like in Pony was about

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the that one sound, you know, back then.

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And the drums, my drums are always heavy

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from the ASR. So that one sound just

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went perfect with that, you know. Let's

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listen to it.

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Oh, you listen to high dirty

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handing

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[ __ ] Said the ladies love me from the

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bleachers. They screaming all the

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ballers.

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I got that part. And I went back and

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overlay with with

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that sound. It was on I just took a

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sound like just sped it up like said

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they just it was a sample. They said I

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slowed it down.

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I put a bell to give it some like

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give it a little crispiness, but it's

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cuz everything is dull. The only thing

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crispy is that bell and his vocals.

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That's it. and the Sonics. And then

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one shaker.

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That's it. Now watch your homie holding

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position in the kitchen with soda. I

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just whipped it out trying to get me a

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rover trying to stretch out the [ __ ]

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That was the engineer at the time. Um

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when he was doing the demo was doing he

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was spearman to beat the groove. So it's

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00:04:57,600 --> 00:04:58,800
like when he played around with his

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00:04:58,800 --> 00:05:00,880
raps, he put the effects in there and at

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the end he tried to chop up and do

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different things with the groove. That

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wasn't like something I did. It was like

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the groove was so infectuous. So it gave

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it made people want to experiment with

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it. And then when Jay heard it,

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I like that. No, keep that. I like, you

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know, it was just that the groove was

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that infectuous cuz once he put the I

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remember when he like he said it was we

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came in the next day and when we filmed

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00:05:23,039 --> 00:05:24,960
he's like oh and I came in and he was

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00:05:24,960 --> 00:05:26,880
already started. He's like said, "Hold."

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He came out. Here it is. He pushed play.

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The rest is history. He knew it when he

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00:05:32,479 --> 00:05:34,080
did it. I came in like right when he

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00:05:34,080 --> 00:05:37,680
started the first he always he hit me

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00:05:37,680 --> 00:05:40,400
like

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out of here. Then he plays you down to I

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00:05:44,160 --> 00:05:46,639
was like, "Oh my." If you he watch fade

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00:05:46,639 --> 00:05:50,280
to black. Can you see

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00:05:53,440 --> 00:05:57,320
the opposite?

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You saw my face reaction. I'm like, mm-

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00:06:00,000 --> 00:06:02,479
this ain't normal. And that's what it

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was. Jay-Z wasn't He's not normal.

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Well, he right over top. He just That's

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not that song. What he wrote. If you

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feeling like he he made you he it's the

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song like the screens the tape screens

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is the the orchestra and he gave you the

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he was the conductor. He gave you that.

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So that song is simplistic but it's that

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tape string that gave it

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the whole character.

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My hustler homie, you a customer

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on my shoulder cuz you brushing up on

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me.

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Every rapper that's out,

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every rapper that's out that supposed to

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be so-called hot will be terminated. I'm

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00:06:49,360 --> 00:06:52,960
tell this come out. Oh god.

1
00:00:15,280 --> 00:00:17,440
What do y'all got? What we What we doing

2
00:00:17,440 --> 00:00:17,840
today?

3
00:00:17,840 --> 00:00:20,320
I got this crazy sound. The crazy chord

4
00:00:20,320 --> 00:00:23,320
progression.

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00:00:30,000 --> 00:00:33,960
Hey, hey, hey.

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00:00:39,600 --> 00:00:40,239
Okay, you got that.

7
00:00:40,239 --> 00:00:43,800
I put that on loop.

8
00:00:50,800 --> 00:00:55,600
So, this sound I have a bunch of um

9
00:00:55,600 --> 00:00:57,360
I'm going to turn everything off, all

10
00:00:57,360 --> 00:01:00,320
the effects I have on it,

11
00:01:00,320 --> 00:01:03,440
and then explain

12
00:01:03,440 --> 00:01:06,000
what is going on. So, the chord sound

13
00:01:06,000 --> 00:01:09,720
will sound like this.

14
00:01:10,000 --> 00:01:12,640
So, that's the raw sound. And then I

15
00:01:12,640 --> 00:01:17,320
threw a chorus plugin on it.

16
00:01:19,200 --> 00:01:21,439
So, that's with the chorus plugin. And

17
00:01:21,439 --> 00:01:23,840
then I threw on Echo Boy on it to put it

18
00:01:23,840 --> 00:01:26,479
in a room. I kind of like the There's

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00:01:26,479 --> 00:01:28,159
this effect I really like. It's like a

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00:01:28,159 --> 00:01:30,640
restroom effect as if it was being

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00:01:30,640 --> 00:01:33,200
played in a restroom.

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00:01:33,200 --> 00:01:35,840
So, I put that on there.

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00:01:35,840 --> 00:01:40,960
And then I put another chorus on there.

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I like double the effects on it. I don't

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00:01:43,119 --> 00:01:47,000
know why. It just feels right.

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00:01:47,040 --> 00:01:50,240
And I put it in another bathroom

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with a different setting. It's a little

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00:01:52,159 --> 00:01:54,320
bit more wet

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00:01:54,320 --> 00:01:56,320
on the mix. And then I threw some

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00:01:56,320 --> 00:02:00,600
Valhalla. Put it in a big room.

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And then topped it off with kickstart

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00:02:03,439 --> 00:02:06,640
just for a side chain. Not too drastic,

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00:02:06,640 --> 00:02:08,959
just at like 62% just to kind of give it

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00:02:08,959 --> 00:02:11,039
a little pump,

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00:02:11,039 --> 00:02:13,760
a little groove. That's it for that

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00:02:13,760 --> 00:02:16,800
sound. Basically what we like to do is

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00:02:16,800 --> 00:02:18,959
just find what feels right. It's like,

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00:02:18,959 --> 00:02:22,319
you know, knowing

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00:02:22,319 --> 00:02:24,879
something just different from others

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00:02:24,879 --> 00:02:28,000
that's out there. We just try to find We

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00:02:28,000 --> 00:02:29,520
like to experiment with different

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00:02:29,520 --> 00:02:32,480
feelings and different ambient sounds

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00:02:32,480 --> 00:02:34,480
and just play around with it till the

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00:02:34,480 --> 00:02:36,640
groove is right. So we'll go through a

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00:02:36,640 --> 00:02:40,080
lot of different processes of the sound.

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00:02:40,080 --> 00:02:42,720
And if you play something like

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00:02:42,720 --> 00:02:47,120
I like how we kind of manipulate a road

48
00:02:47,120 --> 00:02:49,760
and make it sound like

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00:02:49,760 --> 00:02:53,440
maybe a string sound, you know? See,

50
00:02:53,440 --> 00:02:58,080
it's like the you use space and make

51
00:02:58,080 --> 00:03:01,920
you recreate this world of like echo so

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00:03:01,920 --> 00:03:04,400
it just don't stay in one place like

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00:03:04,400 --> 00:03:06,400
it's like

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00:03:06,400 --> 00:03:10,879
so it feels like wind to me.

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00:03:11,440 --> 00:03:13,120
We just go by the feeling. I don't know

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00:03:13,120 --> 00:03:16,000
where to take it. I just let it take me

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00:03:16,000 --> 00:03:17,840
where it's going to take me, you know? I

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00:03:17,840 --> 00:03:20,640
just sit and vibe to it for a minute and

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00:03:20,640 --> 00:03:22,480
we just keep jamming out till we got the

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00:03:22,480 --> 00:03:25,640
right parts.

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00:03:35,680 --> 00:03:39,000
It's cool.

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00:03:49,440 --> 00:03:52,440
Hey,

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00:03:58,319 --> 00:04:00,480
hey,

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00:04:00,480 --> 00:04:03,480
hey.

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00:04:16,160 --> 00:04:19,160
Hey,

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00:04:25,040 --> 00:04:28,040
hey, hey.

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00:04:36,000 --> 00:04:39,880
What temp are we at? T

68
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Think

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Oo.

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Now see,

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can you keep it up? Like I got a feeling

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on the top. So

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I got a mic on.

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So that's like the I started off with

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like this. I got to feel the vibe of the

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groove. Make sure I feel it. When I laid

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out percussion, I try to find a groove

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and find space in the chords to make it

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groove a bounce that I want to bounce

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to.

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Not that I want to bounce it, but I

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think this not the typical. I try to do

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something that's not typical. Like you

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can hear it one way, you can hear it

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forward to the floor. I rather do it

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like

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I like to think about songs that I might

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have done like um

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I heard it like um first I heard it like

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a dance kind of to the floor, but then I

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was like, wait a minute. I try to find

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that groove with that pocket. Here we

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are.

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Yeah.

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M.

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getting the bass right, making you the

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balance of the beat, the rhythm of the

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beat has to be infectuous first. Like

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the

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if that's right, I'm like, "No, I could

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bounce a different way." And once I get

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the bounce

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and it's not and once you have the

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bounce, you don't really need a lot. I

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think producers we we we we

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have a tendency to keep adding. For me,

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I keep adding and that cuz I'm always

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hearing more. But sometime it's just

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that plain pound cake that's just

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beating you across the head. And I

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realize and I go back to a lot of my

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songs. I'm like, it don't really got a

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lot. It's just where I space it at.

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Might have four sounds, that's it. But

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it's the spacing where the sounds are

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and how it

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overlaps the other to make a a rhythm.

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Like this baseline

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but the kick might

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but the baseline

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but the kick but it's moving the bass to

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make but he's not playing like you like

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well he's not playing that rhythm of

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that kick but the sonics

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will make the bass move that way. So

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that's but it's only a bass and a kick

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and you'll be like why I feel like it's

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much more because I didn't follow his

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pattern. I went off my feeling to give

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it uh a different texture.

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Cut it.

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Cut.

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Cut short.

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You got to cut the bass short right

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here.

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Like

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not

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like

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not that.

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Not that.

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That's it. Not that.

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Yeah.

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See, I wanted the space. And then for

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the chorus, we might could put the

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baseline like But no, it should be like

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a um

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that bass like like a breakdown when you

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put in F,

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you know, I'mma fix something else.

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Yeah. There we are.

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Cut up a little bit, Chris.

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Then we going to bring it down. Break it

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down. Now, no. Take that. We're going to

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do that part right now. Then when I say

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stop, we going to take that long bass

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out. Wait, wait, wait, wait, wait.

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Now

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back to

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that's how I know

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bass.

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That's where that's going to come in at.

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Not my fault.

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Here we go. Damn. Here we go. Here we

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go. I'm a little slow. I'mma catch it.

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I'mma catch it. I'mma catch it. Here we

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go. One 2 3 go.

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Right. One. One. Baseline. baseline

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with the baseline.

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Yeah, that's how we going to do it

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now.

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Everybody listen to music on headphones,

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earpods, earbuds.

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Nine out of 10, nobody listens to music

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these days in big speakers. So

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the drums have to sound big in my

6
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earpods and in my headphones. I want

7
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them to sound big. So I just kind of

8
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take my time and how I sample them in. I

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really like deal with the compressors

10
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and the EQs and make sure it's right and

11
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then I make a whole drum kit. But I just

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take a kick and just kind of like make

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sure it sounds great in my headphones.

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And then I put it on a drum rack.

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And there it is. That's why it sounds so

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fat. I don't have to layer anything.

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Only thing I layer is maybe a rhythm off

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a kick, like a like a boom boom. So it's

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like two different tones of a kick, but

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I don't really I don't have to layer the

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kick because I make sure the kick is

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hitting at the capacity that I want it

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to hit. So I don't have to layer it. If

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I had a kick drum that's not hitting

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like that, I you know, it's hitting, but

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I'm like, um, it can hit harder. So, I

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just, you know, just add

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a EQ.

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So, I'll go find it. Now,

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let's switch drum. Let's take that drum.

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So, I take that's this drum.

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It's It's cool, but we want to lift it

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up a little bit. So, you put I put a EQ

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on it right quick. So,

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just fatten it up a little bit.

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See, I just But it didn't sound like

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that. This how it sound regular.

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Beef it up

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with snares really like I think snares

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going you don't really you don't want

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them to to be just as hard as the kick.

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So you just you don't that's cool

43
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enough.

44
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a snare's,

45
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you know, it's all about the texture of

46
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the snare, you know,

47
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it's all about texture or what snare you

48
00:02:55,040 --> 00:02:57,440
want. It's not about raising it up all

49
00:02:57,440 --> 00:02:59,440
for a snare. For me, I just raise the

50
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volume because the texture is there. I

51
00:03:01,599 --> 00:03:04,319
don't want it to be

52
00:03:04,319 --> 00:03:05,920
nothing else. It's a matter of getting

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the kick drum to match the snare for me.

54
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And it should be for you.

55
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Tim is a unique case. U he uh he's got a

56
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thing in his software and you know he's

57
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processing his drums pretty well before

58
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they even come to me. So when I get a

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track from Tim, I'm just trying to kind

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of keep it what he did and then make it

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a little bit better. So like right here,

62
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he gave me that drum loop and the snare

63
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was kind of part of it. So I went in and

64
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looked at the track as he put it in here

65
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and was able to pull that snare onto a

66
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different track so I could kind of level

67
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the snare a little bit and give it a

68
00:04:00,000 --> 00:04:03,360
little more knock and punch. Um, apart

69
00:04:03,360 --> 00:04:06,080
from where it originally came in, I

70
00:04:06,080 --> 00:04:07,920
mean, most people kind of track their

71
00:04:07,920 --> 00:04:09,680
drums out and like, you know, this drum

72
00:04:09,680 --> 00:04:11,120
and this drum and this drum, but the way

73
00:04:11,120 --> 00:04:13,120
Tim works in his computer, he really

74
00:04:13,120 --> 00:04:16,720
likes to make his drums hit a certain

75
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way before they come out. And

76
00:04:19,840 --> 00:04:21,919
he's a unique case. Like I said, like

77
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everyone's got to find their workflow

78
00:04:23,600 --> 00:04:26,160
and what makes things work for them. But

79
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this is kind of the workflow that works

80
00:04:27,840 --> 00:04:29,280
for us.

81
00:04:29,280 --> 00:04:31,759
This kick has, you know, very little on

82
00:04:31,759 --> 00:04:35,440
it. Um, a little a lot of the sub low

83
00:04:35,440 --> 00:04:38,800
stuff builds up and if you get a bunch

84
00:04:38,800 --> 00:04:41,280
of drums coming in with a bunch of sub

85
00:04:41,280 --> 00:04:43,600
material, they're all going to stack up

86
00:04:43,600 --> 00:04:46,560
and get things. So if you if you roll

87
00:04:46,560 --> 00:04:50,960
off a little bit like way down low

88
00:04:50,960 --> 00:04:52,240
a little bit of all of them that come

89
00:04:52,240 --> 00:04:55,440
in, you're able to make the drum hit a

90
00:04:55,440 --> 00:04:57,680
little harder without

91
00:04:57,680 --> 00:05:01,280
over bassing it. Cuz if you put too much

92
00:05:01,280 --> 00:05:03,520
bass, then you lose some of the the

93
00:05:03,520 --> 00:05:07,280
knock. Like here's the beat kind of as

94
00:05:07,280 --> 00:05:09,840
Tim did it and

95
00:05:09,840 --> 00:05:13,440
I have, you know, it's really all

96
00:05:13,440 --> 00:05:16,080
balance. Like I start with the balance.

97
00:05:16,080 --> 00:05:19,280
That's super important to not get crazy

98
00:05:19,280 --> 00:05:21,520
plugin happy before you've struck a good

99
00:05:21,520 --> 00:05:25,680
balance. And then you can start applying

100
00:05:25,680 --> 00:05:28,639
things slowly to not lose what you

101
00:05:28,639 --> 00:05:31,960
started with.

102
00:05:32,800 --> 00:05:35,440
Like this is just some simple EQ stuff

103
00:05:35,440 --> 00:05:38,479
right here. And I mean it's making a big

104
00:05:38,479 --> 00:05:42,800
enough difference um to the kicks.

105
00:05:42,800 --> 00:05:46,080
It's really kind of taking some away so

106
00:05:46,080 --> 00:05:49,680
I can turn them up louder overall. Like

107
00:05:49,680 --> 00:05:51,600
a lot of low end just comes from where

108
00:05:51,600 --> 00:05:54,800
you set the fader and not a lot of EQing

109
00:05:54,800 --> 00:05:58,400
and stuff like that. on the snare. Like

110
00:05:58,400 --> 00:06:01,520
I did a little thing with a transient

111
00:06:01,520 --> 00:06:04,479
shaper to maybe make the transient of

112
00:06:04,479 --> 00:06:08,479
that snare hit a little harder. Um

113
00:06:08,479 --> 00:06:12,319
I use a neutron for that. And

114
00:06:12,319 --> 00:06:14,720
I'm able to make the snare pop out in

115
00:06:14,720 --> 00:06:18,560
the middle and not have so much top hit.

116
00:06:18,560 --> 00:06:20,639
So it makes the snare sound a little bit

117
00:06:20,639 --> 00:06:23,039
beefier.

118
00:06:23,039 --> 00:06:25,280
Um,

119
00:06:25,280 --> 00:06:28,160
that would be with

120
00:06:28,160 --> 00:06:30,560
and if I took it all off, that would be

121
00:06:30,560 --> 00:06:33,360
that

122
00:06:33,360 --> 00:06:37,199
a little thinner, a little less.

123
00:06:37,199 --> 00:06:39,600
I'm kind of introducing some warmth a

124
00:06:39,600 --> 00:06:42,680
little bit.

125
00:06:47,840 --> 00:06:50,000
See, even the bells hear the hear the

126
00:06:50,000 --> 00:06:54,160
percussion. It it has a it has a

127
00:06:54,160 --> 00:06:55,919
it's hard to explain. It's a feeling

128
00:06:55,919 --> 00:07:00,639
like one is complex, one just moves side

129
00:07:00,639 --> 00:07:04,960
to side. That just

130
00:07:04,960 --> 00:07:08,479
and I just fill in the blanks, you know,

131
00:07:08,479 --> 00:07:10,160
ghost notes,

132
00:07:10,160 --> 00:07:14,319
ghost notes, poly rhythms, ghost notes,

133
00:07:14,319 --> 00:07:16,560
poly rhythm, ghost notes.

134
00:07:16,560 --> 00:07:18,560
It's just it's not even notes. It's it's

135
00:07:18,560 --> 00:07:20,240
it's

136
00:07:20,240 --> 00:07:22,560
a percussion thing. It's like all of

137
00:07:22,560 --> 00:07:24,560
Tim's tracks have they tend to have

138
00:07:24,560 --> 00:07:27,680
these like he layer a kick under it that

139
00:07:27,680 --> 00:07:30,880
gives it makes you bounce in a way that

140
00:07:30,880 --> 00:07:32,639
you're like whoa. Like that beat right

141
00:07:32,639 --> 00:07:33,919
there doesn't even start on the one.

142
00:07:33,919 --> 00:07:37,639
It's coming in after.

143
00:07:39,280 --> 00:07:42,479
It's it it's a different

144
00:07:42,479 --> 00:07:44,240
He finds these little pockets in the

145
00:07:44,240 --> 00:07:46,000
rhythm that give the whole track a

146
00:07:46,000 --> 00:07:47,840
certain feel. And when we add our

147
00:07:47,840 --> 00:07:50,400
sounds, we're playing on a very straight

148
00:07:50,400 --> 00:07:52,720
grid for say or straight rhythm, but his

149
00:07:52,720 --> 00:07:54,800
rhythm makes our sounds it comp it it

150
00:07:54,800 --> 00:07:56,479
even complements what we're doing as

151
00:07:56,479 --> 00:07:59,199
well. Um, it's pretty cool.

152
00:07:59,199 --> 00:08:01,039
There's like five different grooves at

153
00:08:01,039 --> 00:08:03,759
the same time. They all interlock and

154
00:08:03,759 --> 00:08:08,639
make the collage of rhythm. I just if it

155
00:08:08,639 --> 00:08:10,639
feels good, if it brings something out

156
00:08:10,639 --> 00:08:12,960
of me,

157
00:08:12,960 --> 00:08:16,599
that's what comes out.

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00:08:23,759 --> 00:08:25,360
Everybody has a different swing. That's

159
00:08:25,360 --> 00:08:28,319
what makes producers unique. Kanye will

160
00:08:28,319 --> 00:08:30,879
swing a certain way. He has his swing

161
00:08:30,879 --> 00:08:34,640
that when he raps on his beats, they so

162
00:08:34,640 --> 00:08:37,440
unique. It fits him. You know, everybody

163
00:08:37,440 --> 00:08:40,159
bounce is different. You know, I just

164
00:08:40,159 --> 00:08:41,760
like rhythms. I try to find all

165
00:08:41,760 --> 00:08:44,399
different rhythms. Some rhythms are not

166
00:08:44,399 --> 00:08:46,560
from the US. A lot of rhythms I study

167
00:08:46,560 --> 00:08:48,959
rhythms from Africa. I studied rhythms

168
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from Egypt, Israel. I went all I went to

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all these countries to to dibble dab in

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their music culture. That's why I love

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Arabic and Lebanese and all that type of

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music because they don't play on

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American scale. They play on a different

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scale. Music is is so different across

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the world. So I just search across the

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world and I've seen stuff

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and I just try to, you know, do what

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take all what I've seen and create and

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try to mimic in my way and find my

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balance to it. Like

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if I was a love song like uh let's take

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a uh George Michaels a song.

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I might

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that's my bounce. Somebody might hear

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it.

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That's their bounce. So your bounce is

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whatever fits

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00:00:08,639 --> 00:00:11,440
That was They don't I don't think they

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have them anymore, but that was like a

3
00:00:12,800 --> 00:00:14,960
rack mount. And I remember it was a I

4
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forgot the name. It was a O fat or Oh,

5
00:00:16,800 --> 00:00:18,400
yeah. Something fat something something

6
00:00:18,400 --> 00:00:21,039
fat, right? You scroll through them and

7
00:00:21,039 --> 00:00:23,760
it was a sound like W and I just

8
00:00:23,760 --> 00:00:27,960
truncated and I just said

9
00:00:29,840 --> 00:00:32,079
that B was so interesting when I was

10
00:00:32,079 --> 00:00:34,079
turning trying to find a bass and I hit

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that frog kind of sound. I was like,

12
00:00:36,320 --> 00:00:40,520
"Oh, that's dope."

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It was just a sound and it sounds so

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cool. And now and when we did that, you

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know, Static, I remember Static coming

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in the room. He was like,

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"What's that, Tim?" Cuz he had a country

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like he was from Louisville. He's like,

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00:00:59,760 --> 00:01:02,879
"What's that, Tim? That's fly." Like

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00:01:02,879 --> 00:01:06,159
then, you know, static. He me and him

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00:01:06,159 --> 00:01:08,000
when I did a groove, he bounced the same

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way I bounced. Meaning, when I say he

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bounced the same way I bounce,

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um the way I bob my he

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00:01:15,840 --> 00:01:17,520
rhythm he was going to catch, you know?

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We had to have the same kind of be on

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the same page. And he wrote that for

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Juwine. Genuine came down to the studio

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like, "Oh man, Juan got his deal at Sony

30
00:01:27,680 --> 00:01:30,479
10, eight, nine years later." That was

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the first song we put out, but that

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song's like 9 years old before it before

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it hit them. That's what I try. I try I

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tried to do timeless things that just

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don't sound like what's going on today

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at that time. and play it.

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Still sound new.

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00:01:48,240 --> 00:01:51,960
Put the car sound.

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Then I had this vocal right here of a

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girl. Listen, ah, and I just went down

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hit it.

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00:02:06,320 --> 00:02:09,759
If you hear the piano overlapping,

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it's about finding the space. Hear the

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You look at Cubert. Cubert. That was a

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Cubert. The Cubert when you know the

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00:02:20,160 --> 00:02:23,440
video game Cubert when it jumped. I took

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00:02:23,440 --> 00:02:26,160
that sound and put the car crashing. So,

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00:02:26,160 --> 00:02:28,480
it's like

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00:02:28,480 --> 00:02:31,440
then I had um I believe at the time this

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guy named Craig play some chords over

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top of what I had just the base of the

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baseline and he add

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and I add that

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just a little simple sound and he just

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put that little part and that was it. We

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put the to get to make the chord stand

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up. But it if it had none of those

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sounds, the song was so powerful, just

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that eight up, just that bomb.

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00:02:58,239 --> 00:03:00,400
That's just extra ear candy. But just

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that bomb in the beat,

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we already there. We The song is That's

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the song. It's right there. And the

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pony, ride my pony. Just that line.

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Stop. Stop it, Chris. just about the

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word the static instead of saying a

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vulgar thing he made it made you think

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if you're horny let's do it let's ride

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00:03:23,360 --> 00:03:26,720
it my pony he took he just made we try

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to find cleverness and things you know

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and try to make it like you know how

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would you say it would it be fly would

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it be this and static was always that

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fly guy at that time and he said a lot

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of fly things and we just did a lot and

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But when I had the baseline, he already

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00:03:44,239 --> 00:03:48,560
had the melody cuz he just I'm he

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already had it, you know. And when he he

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wrote the whole song, I just started

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adding ear cannon around it. But the

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00:03:55,200 --> 00:03:58,239
whole basis of that song was about that

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bulb. That was really about it. And once

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I once I found that sound, it kind of

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like

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made me do the beat that way. Like I

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found that sound before I did the beat.

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So I was like I just did a simple beat

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and I put that baseline on top. Then I

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add all the extra the cubic the car

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crash and the find. I went in the booth

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and did a

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put my more mouth sounds but not not all

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of that. Just

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you know before filtering and all that.

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I did it with my mouth. I just added all

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the rest of the elements. But I made

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sure the kick and the snare just like I

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did when I showed you how the kick and

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snare blended. I just took the same I

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found two kick and snares that blend and

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did the rest with my mouth. And here we

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are.

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See how beautiful

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00:00:16,240 --> 00:00:19,640
that sounds.

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So that loops

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uh that's actually I had this very

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00:00:32,079 --> 00:00:36,120
cheesy ac capella.

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It's like from a sample CD. It's really

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00:00:39,840 --> 00:00:43,520
bad. Um and I chopped it in the

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keyboard. So I chopped it. There's a

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00:00:46,719 --> 00:00:48,960
function in Logic which is what I use

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that can chop every transient. So then I

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have

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every note that this guy sang.

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Oh. Oh, I could do that on able to

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slice. Exactly. Okay. I thought it was

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like amazing.

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But that is amazing. You took a What

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made you take that particular man?

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I wanted to have a rhythmic vocal thing.

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But what play the play the original?

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you knew just

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00:01:18,320 --> 00:01:20,479
like I wouldn't have See, that's what

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makes everybody special. I would have

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never thought to take that

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and put on top of that. Like that just

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would have thrown me off. I would have

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went I like what is this man saying, but

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you saw the vision in him singing that.

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That's beautiful.

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Yeah, it's like the raw material and

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then you just

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So that's how he sounds. And then I just

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added a bunch of effects. reverb.

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It's like a room delay,

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uh, compression,

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side chain,

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and then EQ.

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And

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that's it. That's how you make it.

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So beautiful.

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Crazy.

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00:02:08,239 --> 00:02:12,160
Then there's one more sound.

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It's just like a embellishment for the

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down beat of the song.

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Yeah.

45
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It's a woo, right?

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00:02:18,640 --> 00:02:20,319
Yeah. And that just comes on the one

47
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every eight bars. Um

48
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with a delay on it.

49
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Yeah.

50
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Like a woo. That's perfect. And then

51
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there's another sound that comes

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here

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to to to enhance the the the

54
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exact

55
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perfect.

56
00:02:43,519 --> 00:02:47,879
I'll tell you where it goes in a minute.

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Just give it a little

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It just blends with the the

59
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Exactly.

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Yeah. Perfect.

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00:02:52,800 --> 00:02:56,720
And then we have the bass. Um,

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two different bases for section one.

63
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One is this.

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Oo, that's a flanger on it.

65
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That's actually a filter on it. So

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good. Like a phaser. It's almost like a

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phaser a little bit.

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It's almost like Yeah, this is the

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original sound.

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00:03:17,040 --> 00:03:21,599
It's like a electric bass sample. Um,

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and this sound is what is called a

72
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foreman filter. It makes like a vocal

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sound almost.

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00:03:28,720 --> 00:03:30,640
It's called wow.

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00:03:30,640 --> 00:03:31,599
I know that.

76
00:03:31,599 --> 00:03:34,799
Then after that is side chain to make it

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funky compression on top of that. And

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00:03:38,560 --> 00:03:40,000
then I thought it was good to make it

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wider. So I widen it up a little bit

80
00:03:42,879 --> 00:03:45,280
with guitar rig.

81
00:03:45,280 --> 00:03:47,040
And then underneath that there's another

82
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layer

83
00:03:48,159 --> 00:03:50,879
with a deeper bass. So when you put them

84
00:03:50,879 --> 00:03:55,640
together, it sounds a little more full.

85
00:03:57,599 --> 00:04:01,560
Uh here goes.

86
00:04:05,360 --> 00:04:08,400
You did that less than two minutes, huh?

87
00:04:08,400 --> 00:04:10,959
I don't know. See, when the feeling

88
00:04:10,959 --> 00:04:12,319
takes over, it takes over. You just

89
00:04:12,319 --> 00:04:14,000
don't think about it. You just go.

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00:04:14,000 --> 00:04:17,640
Sounds all my sounds.

91
00:04:20,959 --> 00:04:23,680
So, all this is is an Omnosphere patch

92
00:04:23,680 --> 00:04:26,560
that one of my friends made. Um, and all

93
00:04:26,560 --> 00:04:28,560
I did was put the the same side chain

94
00:04:28,560 --> 00:04:30,960
that Fed was talking about, the uh

95
00:04:30,960 --> 00:04:32,639
kickstart.

96
00:04:32,639 --> 00:04:36,800
Um, and then I have this vocal

97
00:04:36,800 --> 00:04:40,400
chop that.

98
00:04:40,400 --> 00:04:42,160
So, that's the original. The original is

99
00:04:42,160 --> 00:04:44,960
like this.

100
00:04:44,960 --> 00:04:47,960
So

101
00:04:48,400 --> 00:04:50,800
that's the the whole pluck, the whole

102
00:04:50,800 --> 00:04:53,360
loop. And then I added this loafy. I

103
00:04:53,360 --> 00:04:56,800
call it uh the 40 sauce.

104
00:04:56,800 --> 00:04:59,199
Um which des it.

105
00:04:59,199 --> 00:05:00,400
So it it brings it

106
00:05:00,400 --> 00:05:03,680
up to 40.

107
00:05:03,680 --> 00:05:05,919
So it it's kind of like EQing, but it's

108
00:05:05,919 --> 00:05:08,240
desampling

109
00:05:08,240 --> 00:05:10,880
um the sample and it gives it a nice

110
00:05:10,880 --> 00:05:12,720
little gritty character. Then I tossed

111
00:05:12,720 --> 00:05:15,199
it through movement

112
00:05:15,199 --> 00:05:18,800
um which is a great plugin that uh is

113
00:05:18,800 --> 00:05:21,840
made by output. Toss it through that and

114
00:05:21,840 --> 00:05:25,440
then it sounds like this.

115
00:05:25,440 --> 00:05:28,240
Then I side chain that to kind of tame

116
00:05:28,240 --> 00:05:30,400
the

117
00:05:30,400 --> 00:05:34,759
the effect the movement effect

118
00:05:35,440 --> 00:05:39,520
and then I eqed it

119
00:05:39,520 --> 00:05:43,520
and it sounds like this.

120
00:05:45,600 --> 00:05:46,000
Oh,

121
00:05:46,000 --> 00:05:47,199
so I didn't take the whole loop. I just

122
00:05:47,199 --> 00:05:49,120
took the front end and I placed it. I

123
00:05:49,120 --> 00:05:50,720
didn't even place it on the one. I

124
00:05:50,720 --> 00:05:53,840
placed it on the back beat. Um, and then

125
00:05:53,840 --> 00:05:56,400
to complete the vocal chops that I did,

126
00:05:56,400 --> 00:05:59,759
we have this other one

127
00:05:59,759 --> 00:06:02,560
that follows that one

128
00:06:02,560 --> 00:06:06,039
and it goes

129
00:06:09,360 --> 00:06:11,759
so together with the other one. It goes

130
00:06:11,759 --> 00:06:15,000
like this.

131
00:06:34,560 --> 00:06:35,039
Yes.

132
00:06:35,039 --> 00:06:36,960
And that same vocal chop, that vocal

133
00:06:36,960 --> 00:06:39,759
chop I use, I tossed it through the same

134
00:06:39,759 --> 00:06:41,680
sauce. I call them sauces. I have like

135
00:06:41,680 --> 00:06:44,319
this folder of like sauces that I use.

136
00:06:44,319 --> 00:06:46,800
It's just presets. It's just grouped

137
00:06:46,800 --> 00:06:49,680
plugins that I go to and line up and

138
00:06:49,680 --> 00:06:51,600
then I turn one on, turn off, you know,

139
00:06:51,600 --> 00:06:54,319
turn it on, turn off, and take off a

140
00:06:54,319 --> 00:06:56,960
certain effect or tweak it um until it

141
00:06:56,960 --> 00:06:59,199
feels right, which is the I think one of

142
00:06:59,199 --> 00:07:00,400
the biggest things I've learned from

143
00:07:00,400 --> 00:07:02,720
working with Tim is just tweak the sound

144
00:07:02,720 --> 00:07:05,520
until it feels right. Doesn't have to be

145
00:07:05,520 --> 00:07:07,360
cool, none of that. It just has to give

146
00:07:07,360 --> 00:07:09,199
you a certain feeling. And this kind of

147
00:07:09,199 --> 00:07:11,599
gives me a certain

148
00:07:11,599 --> 00:07:13,599
kind of gives it this this feel when you

149
00:07:13,599 --> 00:07:17,199
hear those vocal chops

150
00:07:17,199 --> 00:07:19,039
and the room they're in and the effect.

151
00:07:19,039 --> 00:07:21,840
It kind of gives you a certain vibe.

152
00:07:21,840 --> 00:07:24,560
It's very spacey, very airy and it sets

153
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a nice tone.

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00:07:26,800 --> 00:07:28,479
So what happens is we give Chris our

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parts

156
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and we kind of start piecing everything

157
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together and it leads to opening up the

158
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space of like Tim will be like I hear a

159
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a drop somewhere or you know it opens up

160
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spaces for us to add more but we have to

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see what we're working with and then

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Chris will do his thing with the sounds.

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He'll start tweaking them or start

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adding effects he may hear and he'll

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probably walk you through that shortly.

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My whole purpose here is to kind of

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00:07:54,960 --> 00:07:57,599
consolidate three different computer

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00:07:57,599 --> 00:08:01,120
rigs making sound. Um, I guess if you're

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making a beat alone, you could just kind

170
00:08:03,440 --> 00:08:06,479
of, you know, keep it where it is and

171
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just keep going. But when you've got

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three systems going, you got to have

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somebody like taking each little bit and

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um putting it all together so it all

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lives in in one place. when he's putting

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it all together and we play it like he's

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going to put it all together, play it

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loud. I sit or I usually lay back on the

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couch and I'm like, "Okay, close my eyes

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and let the music take me. Where else

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should it go?" Or I can sit right here

182
00:08:34,320 --> 00:08:37,120
and just look at the speakers and the

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speakers is I'm weird. So the speakers

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will probably say, "You should drop

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this." It's like the speakers will talk

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to me. It's weird. So, and I just keep

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gazing. Somebody might say, "Why is he

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just keep staring at the or why is he

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closing his eyes? Is he on I gotta swim

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in the music? I gotta

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let it bathe me so I can know where to

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to to enhance what we already have. Now,

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00:09:04,640 --> 00:09:07,360
we're going to all sit down and listen

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to what we have and add on and

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collaborate to what's already there and

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just just enhance it or just keep

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jamming to it because it's a lot there.

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We just have to hear it all back.

1
00:00:10,800 --> 00:00:12,719
Everybody want to know what makes a hit

2
00:00:12,719 --> 00:00:15,440
song. There's no formula really to a hit

3
00:00:15,440 --> 00:00:18,400
song because

4
00:00:18,400 --> 00:00:20,240
I believe a hit song is really about the

5
00:00:20,240 --> 00:00:22,640
energy that you put out. You know, if

6
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you really feel strongly about the

7
00:00:24,400 --> 00:00:27,599
record and you know it means something

8
00:00:27,599 --> 00:00:30,400
to you, it really manifests itself to

9
00:00:30,400 --> 00:00:33,840
the world. But a hit song to say, "Oh,

10
00:00:33,840 --> 00:00:36,480
that's a hit. Oh, that's a I mean, we I

11
00:00:36,480 --> 00:00:39,200
know I always I do it myself." But now I

12
00:00:39,200 --> 00:00:41,760
just be like,

13
00:00:41,760 --> 00:00:44,480
if it feels good, it might don't feel

14
00:00:44,480 --> 00:00:46,480
good to others, so it might don't be a

15
00:00:46,480 --> 00:00:48,800
hit, but it's a hit to me. And as long

16
00:00:48,800 --> 00:00:51,600
as a hit to you, then it's a hit. you.

17
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But you can't go in the process saying,

18
00:00:55,199 --> 00:00:57,360
"Oh, this a hit." Because it could be

19
00:00:57,360 --> 00:01:00,320
the the one that you don't like is the

20
00:01:00,320 --> 00:01:04,000
hit. So then what happens? You confuse.

21
00:01:04,000 --> 00:01:06,320
You really don't know. So it's all about

22
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your energy, what you put into the

23
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record. And that's, you know, you just

24
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your your your feeling of what you feel

25
00:01:12,320 --> 00:01:14,240
is contagious and it passes throughout

26
00:01:14,240 --> 00:01:16,560
the room. And you kind of like gauging

27
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off of your, you know, your peers, your

28
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friends and stuff. And if you got like

29
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25 or more people just like, "Yo, I love

30
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this record." You know, then you give it

31
00:01:26,560 --> 00:01:29,280
to radio or whoever, there's a hundred

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more

33
00:01:31,040 --> 00:01:33,040
and you hoping that it manifests itself

34
00:01:33,040 --> 00:01:35,840
to the world. But for the most part, you

35
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had fun doing it and it moves you.

36
00:01:38,000 --> 00:01:41,479
That's a hit.

37
00:01:45,840 --> 00:01:48,840
Ah,

38
00:01:58,079 --> 00:02:01,079
hey.

39
00:02:08,399 --> 00:02:11,399
Wait.

40
00:02:17,360 --> 00:02:21,800
All right, drop me on.

41
00:02:52,480 --> 00:02:56,200
Now cut it down some.

42
00:03:00,720 --> 00:03:03,720
that.

43
00:03:19,280 --> 00:03:22,280
All right.

44
00:03:24,959 --> 00:03:27,959
Here

45
00:03:38,720 --> 00:03:41,959
we go.

46
00:03:46,799 --> 00:03:49,799
Right.

47
00:03:54,879 --> 00:03:57,680
Here's your butt.

48
00:03:57,680 --> 00:03:59,760
A breakdown, right? But you should make

49
00:03:59,760 --> 00:04:00,159
up.

50
00:04:00,159 --> 00:04:01,200
I have something that I do.

51
00:04:01,200 --> 00:04:02,799
You got something?

52
00:04:02,799 --> 00:04:06,599
Okay. Might be cool.

53
00:04:08,080 --> 00:04:10,239
Yeah.

54
00:04:10,239 --> 00:04:13,879
Talk to me, speakers.

55
00:04:15,439 --> 00:04:17,440
Yes.

56
00:04:17,440 --> 00:04:20,440
Yes,

57
00:04:24,479 --> 00:04:30,800
for that breakdown. Um, well, this base.

58
00:04:30,800 --> 00:04:33,040
What bass is that?

59
00:04:33,040 --> 00:04:35,120
That's a bass that I made on uh silent.

60
00:04:35,120 --> 00:04:36,240
That's it. That's all you need to tell

61
00:04:36,240 --> 00:04:38,880
me that you made. I know I can't find

62
00:04:38,880 --> 00:04:40,639
it.

63
00:04:40,639 --> 00:04:43,280
It's really easy. Very, very easy. Like

64
00:04:43,280 --> 00:04:45,680
basically in silent if you start with a

65
00:04:45,680 --> 00:04:49,680
initialize preset you get this is a saw

66
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wave

67
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and then you have an option to add more

68
00:04:54,880 --> 00:04:58,000
uh waveforms to it is called unison. So

69
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I added a voices and the tuned them

70
00:05:00,800 --> 00:05:04,560
really easy. And it sounds like that

71
00:05:04,560 --> 00:05:07,520
almost like Lady Gaga, but now we put a

72
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filter to it.

73
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And that's the bass.

74
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This sound

75
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it's like this.

76
00:05:25,919 --> 00:05:28,639
I'll keep going. I heard a melody.

77
00:05:28,639 --> 00:05:30,960
So that sound, how you make that sound

78
00:05:30,960 --> 00:05:33,680
is there's a thing that's called a ebo

79
00:05:33,680 --> 00:05:35,600
evo. It's like someone that you put on

80
00:05:35,600 --> 00:05:38,000
your guitar and it makes the notes notes

81
00:05:38,000 --> 00:05:40,639
extra long. So I what I did is I sample

82
00:05:40,639 --> 00:05:43,039
one note for a very long time. So if I

83
00:05:43,039 --> 00:05:46,720
play one key, you actually can hear

84
00:05:46,720 --> 00:05:50,039
that note.

85
00:05:56,160 --> 00:05:57,919
So with one note, you can actually

86
00:05:57,919 --> 00:05:59,600
spread it in the keyboard. And that

87
00:05:59,600 --> 00:06:01,120
means that every note you play is going

88
00:06:01,120 --> 00:06:03,280
to have a different timing because when

89
00:06:03,280 --> 00:06:06,400
you start stretching things pitch-wise,

90
00:06:06,400 --> 00:06:08,479
then your timing change. So the lower

91
00:06:08,479 --> 00:06:10,880
notes are longer now.

92
00:06:10,880 --> 00:06:14,759
So if you play chords,

93
00:06:15,919 --> 00:06:17,919
it gives you a cool texture

94
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and

95
00:06:19,199 --> 00:06:23,639
then you add some effects, some delays

96
00:06:24,080 --> 00:06:29,440
and you get that um little rhythm thing.

97
00:06:29,440 --> 00:06:31,440
That's a call. That's That's a kill Bill

98
00:06:31,440 --> 00:06:32,000
sound.

99
00:06:32,000 --> 00:06:35,000
Yeah,

100
00:06:36,560 --> 00:06:38,960
that's the original sound.

101
00:06:38,960 --> 00:06:41,199
It's just like a mima.

102
00:06:41,199 --> 00:06:45,800
Put an arpeggiator on it.

103
00:06:47,440 --> 00:06:51,240
Start adding some effects.

104
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You know what that sound like? That

105
00:06:56,479 --> 00:06:57,759
effect sound like you heard moments of

106
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love.

107
00:06:58,479 --> 00:07:01,479
Yeah.

108
00:07:01,680 --> 00:07:05,080
Play it again.

109
00:07:05,520 --> 00:07:09,080
You don't be dope.

110
00:07:09,199 --> 00:07:10,160
Yeah.

111
00:07:10,160 --> 00:07:11,919
You find that little other sound that go

112
00:07:11,919 --> 00:07:12,560
top of that.

113
00:07:12,560 --> 00:07:15,120
Yeah. Like a vocal.

114
00:07:15,120 --> 00:07:17,280
So that's that.

115
00:07:17,280 --> 00:07:19,520
This sound

116
00:07:19,520 --> 00:07:22,479
is another one

117
00:07:22,479 --> 00:07:26,199
with loop looper.

118
00:07:26,880 --> 00:07:27,440
Ooh.

119
00:07:27,440 --> 00:07:30,639
So it was really this um

120
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the original sound.

121
00:07:35,360 --> 00:07:38,080
I play that sequence but then added a

122
00:07:38,080 --> 00:07:40,560
bunch of effects on it. Again, similar

123
00:07:40,560 --> 00:07:42,960
to the other ones, some reverbs,

124
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compression.

125
00:07:45,360 --> 00:07:47,360
This one called looperator is cool.

126
00:07:47,360 --> 00:07:49,440
Little overused now. Try not to use it

127
00:07:49,440 --> 00:07:50,479
that much. But

128
00:07:50,479 --> 00:07:51,199
yeah,

129
00:07:51,199 --> 00:07:53,759
uh has it glitches the sound so it

130
00:07:53,759 --> 00:07:56,639
creates loops and it filters it and it

131
00:07:56,639 --> 00:08:00,319
sequence all these effects. And the same

132
00:08:00,319 --> 00:08:03,960
vocal we had before.

133
00:08:04,560 --> 00:08:08,280
So all combined.

134
00:08:16,080 --> 00:08:18,960
I think contrast is very important when

135
00:08:18,960 --> 00:08:21,759
you're making music cuz

136
00:08:21,759 --> 00:08:24,639
you need to in order to feel all the

137
00:08:24,639 --> 00:08:26,400
greatness of the groove, you need to

138
00:08:26,400 --> 00:08:28,000
come from a place at some point that you

139
00:08:28,000 --> 00:08:29,440
don't have groove. So when it comes

140
00:08:29,440 --> 00:08:31,440
back, it hits you even harder. If you

141
00:08:31,440 --> 00:08:32,719
just have groove over and over,

142
00:08:32,719 --> 00:08:35,200
sometimes it might not hit as hard. So I

143
00:08:35,200 --> 00:08:36,240
think that's why

144
00:08:36,240 --> 00:08:39,440
Fetty I would I think it's just layers.

145
00:08:39,440 --> 00:08:44,440
You take what you have which is

146
00:08:44,640 --> 00:08:46,640
how do you make this better? What can

147
00:08:46,640 --> 00:08:50,640
you do? And sometimes it's not adding

148
00:08:50,640 --> 00:08:52,800
on. It's just breaking down and adding

149
00:08:52,800 --> 00:08:55,440
other layers or other

150
00:08:55,440 --> 00:08:58,080
parts to what we already have. So, we're

151
00:08:58,080 --> 00:09:00,640
just trying to expand what we already

152
00:09:00,640 --> 00:09:02,320
have, right? Expand on what we have.

153
00:09:02,320 --> 00:09:04,480
Yeah. And sometimes you want to make

154
00:09:04,480 --> 00:09:06,160
sure that you still keep a little bit of

155
00:09:06,160 --> 00:09:08,959
the other uh vibe that you're coming

156
00:09:08,959 --> 00:09:12,399
from. So, if he was just pads,

157
00:09:12,399 --> 00:09:14,240
then it's like too much of a breakdown.

158
00:09:14,240 --> 00:09:15,760
But I think adding all these little

159
00:09:15,760 --> 00:09:19,240
sequence sounds,

160
00:09:19,440 --> 00:09:21,680
it just keeps you like moving even

161
00:09:21,680 --> 00:09:23,120
though you don't have drums.

162
00:09:23,120 --> 00:09:24,399
Exactly.

163
00:09:24,399 --> 00:09:25,760
The way I listen to music is I'm

164
00:09:25,760 --> 00:09:28,240
listening for all the acrobats in it.

165
00:09:28,240 --> 00:09:31,279
All the unique stuff, but the uniqueness

166
00:09:31,279 --> 00:09:33,920
could be just in two sounds. Look how I

167
00:09:33,920 --> 00:09:36,800
made you just repeat my repeat my song

168
00:09:36,800 --> 00:09:40,000
and I'm like just saying

169
00:09:40,000 --> 00:09:43,920
boo boo gaga like them Gundam style.

170
00:09:43,920 --> 00:09:46,160
That's two words but but you singing it

171
00:09:46,160 --> 00:09:47,440
like you know what I'm saying? But he

172
00:09:47,440 --> 00:09:50,720
like I got you. But it's the sonics of

173
00:09:50,720 --> 00:09:53,680
everything together in this tone.

174
00:09:53,680 --> 00:09:56,000
You can try and you will make fun of

175
00:09:56,000 --> 00:09:58,720
him, but you can never do it like him

176
00:09:58,720 --> 00:10:00,080
and you'll be like, "That's why I like

177
00:10:00,080 --> 00:10:03,839
it." Cuz he has It's not a lot. It's

178
00:10:03,839 --> 00:10:07,839
just what is coming out. His voice for

179
00:10:07,839 --> 00:10:10,240
that one second makes you cheer up and

180
00:10:10,240 --> 00:10:11,920
make you make a joke. You know what I'm

181
00:10:11,920 --> 00:10:14,079
saying? But you can't do it. And that's

182
00:10:14,079 --> 00:10:17,120
the beauty of it. And I tell, you know,

183
00:10:17,120 --> 00:10:19,120
sometimes stuff comes in small packages.

184
00:10:19,120 --> 00:10:20,720
You don't need a lot. You know, it's all

185
00:10:20,720 --> 00:10:22,320
about the feeling, the voice, the

186
00:10:22,320 --> 00:10:26,760
sonics. Sonics is amazing.

187
00:10:34,560 --> 00:10:37,360
What Fetty played on his drop kind of

188
00:10:37,360 --> 00:10:40,320
inspired me to kind of try to find other

189
00:10:40,320 --> 00:10:45,160
textures and possible sounds I could go

190
00:10:55,600 --> 00:10:57,680
I call that the assassin creed. Like you

191
00:10:57,680 --> 00:11:00,560
know the speakers are telling me like

192
00:11:00,560 --> 00:11:03,200
there's

193
00:11:03,200 --> 00:11:06,000
somebody need help

194
00:11:06,000 --> 00:11:10,200
like at the hospital you're running.

195
00:11:11,760 --> 00:11:12,800
That's a breakdown.

196
00:11:12,800 --> 00:11:15,279
Yeah. Go ahead. I would probably put

197
00:11:15,279 --> 00:11:17,600
that like at the end

198
00:11:17,600 --> 00:11:19,279
or like a part where it just smooths

199
00:11:19,279 --> 00:11:20,240
out.

200
00:11:20,240 --> 00:11:22,880
Yeah. So, it's just bunch of textures

201
00:11:22,880 --> 00:11:25,880
though.

202
00:11:27,920 --> 00:11:31,519
Uh, so beautiful.

203
00:11:31,519 --> 00:11:33,680
Oh, who that talking? That talking is

204
00:11:33,680 --> 00:11:34,959
cold.

205
00:11:34,959 --> 00:11:38,920
Crazy sample I found.

206
00:11:50,640 --> 00:11:52,959
Yeah.

207
00:11:52,959 --> 00:11:55,839
Come on now.

208
00:11:55,839 --> 00:11:57,839
Yeah.

209
00:11:57,839 --> 00:11:59,680
No, I ain't got to follow. No, this how

210
00:11:59,680 --> 00:12:04,040
you got angel. Boom.

211
00:12:06,800 --> 00:12:08,000
You know when that when that part come

212
00:12:08,000 --> 00:12:10,560
on. Yeah.

213
00:12:10,560 --> 00:12:14,440
When that part come up,

214
00:12:15,839 --> 00:12:17,920
the whatever the whatever the piano

215
00:12:17,920 --> 00:12:18,320
thing.

216
00:12:18,320 --> 00:12:21,480
Yeah. Yeah.

217
00:12:24,399 --> 00:12:28,079
Keep it straight. Hold it.

218
00:12:28,079 --> 00:12:31,079
Yeah.

219
00:12:32,880 --> 00:12:36,240
Now we do the

220
00:12:36,240 --> 00:12:39,240
I

221
00:12:39,760 --> 00:12:41,440
almost feel like even might be cool to

222
00:12:41,440 --> 00:12:42,959
have just the 808 on

223
00:12:42,959 --> 00:12:44,880
by the bass instead of the patch.

224
00:12:44,880 --> 00:12:48,440
Or should it be high?

225
00:12:48,720 --> 00:12:50,320
Yeah, I think I think we should probably

226
00:12:50,320 --> 00:12:51,279
do that, right?

227
00:12:51,279 --> 00:12:55,880
I can almost sequence it here real fast.

228
00:13:17,600 --> 00:13:19,760
All right. Now you got got to line it

229
00:13:19,760 --> 00:13:22,320
up. It'd be dope, Chris, if you said

230
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like

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do the on the snap. Make it roll.

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I guess it's testing us. See if we real

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producers.

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Pause.

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Yeah.

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By the way, Chris is like a machine

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himself.

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Nobody can do what he does.

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See on the spot now.

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Oo, that sound good.

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You know I'm good for it. You know I'm

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good for it.

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Ain't nobody else

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play that but lean it back. You know you

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could hold on. I can't even freaking you

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know.

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Come on.

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And I got your back.

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And I got your back over your life.

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And I got your back over your life.

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And I got your back.

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And I got your back.

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Oh, baby.

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Hey. Hey.

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Hey, put effect on that. I could have

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put a fact, but I was being lazy.

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What I just did um with Ableton, it has

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this thing that is is called a simpler.

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And with a simpler does, you could go

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you could like I could play it at at at

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each key. You can sample your whole

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track and just play it back and

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I can play with it.

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Break it down.

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So I just play with, you know, if I just

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play with it. So I use that to make a

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breakdown.

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Really the breakdown is whatever what

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the original is. This the simpler kind

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of like widens it a little bit, but you

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have to do it a certain way to get it

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that whiff. By my kick being heavy, when

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I lower it down an octave, it's going to

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be even heavier. And that's what we

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have.

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We either do that or sometimes we half

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time it, but it depends on the vibe and

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what we're trying to get. Um, sometimes

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the halftime beat will work and it'll

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sound crazy and give us this whole new

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direction or sometimes just by doing

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what what Tim did just gives it a whole

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different vibe cuz like the drums were

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already hitting you hard and then you

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drop it and it just sonically gives you

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this whole new character in the drums.

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It unlocks this whole new like

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soundsscape on the low end that makes it

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sound crazy.

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See

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That's example of halftime.

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See, that's Chris doing his thing.

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I know. As soon as I do it, I usually

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have to put that somewhere. So, I try

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not to overuse it,

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but

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it's a cool special.

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Every time you use it, it sounds good.

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So, it's really amazing.

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See?

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00:18:06,240 --> 00:18:09,640
Ah, yes.

302
00:18:12,080 --> 00:18:15,320
back there.

303
00:18:22,400 --> 00:18:25,400
Yeah.

304
00:18:29,679 --> 00:18:32,720
Okay. I'm going to share some stems with

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00:18:32,720 --> 00:18:35,679
you. Challenge me. Be a part of team

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00:18:35,679 --> 00:18:38,080
Timbo. Now, we made this track.

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Beautiful track.

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Fetty, what you think is next?

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00:18:41,600 --> 00:18:44,240
We got to get songwriter to topline on

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the song and see what we can do, which

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00:18:45,919 --> 00:18:47,440
is the most important part really.

312
00:18:47,440 --> 00:18:50,480
Yeah. So Adrian be see what he does.

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00:18:50,480 --> 00:18:52,559
Yeah. And then we can know what elements

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00:18:52,559 --> 00:18:54,000
are going to stay, what elements are

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00:18:54,000 --> 00:18:55,120
going to leave. We have all these

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ingredients. We have to see how they fit

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00:18:57,280 --> 00:18:58,000
the vocal.

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00:18:58,000 --> 00:19:00,160
When you working like this, it's it's

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00:19:00,160 --> 00:19:02,320
important for the energy to be always

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00:19:02,320 --> 00:19:04,799
correct. Have fun. Don't worry about

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00:19:04,799 --> 00:19:06,799
nothing is whack. If you're doing this

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at home, just have fun. Let the music

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00:19:08,799 --> 00:19:12,000
take you over. Don't criticize it. Just

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00:19:12,000 --> 00:19:13,840
make a bunch of music and just go back

325
00:19:13,840 --> 00:19:15,840
and play it and you'll know. Just have

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fun with it. Don't overthink it. Just

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00:19:18,559 --> 00:19:20,160
let it hit you and let it let it fill

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00:19:20,160 --> 00:19:23,440
you. Let it come out you.

1
00:00:06,319 --> 00:00:07,919
Now, when it comes to me and Missy,

2
00:00:07,919 --> 00:00:10,480
Missy likes to be in the room. So, when

3
00:00:10,480 --> 00:00:12,800
I was making that, she'll construct me

4
00:00:12,800 --> 00:00:15,120
how to be Take that out. No, keep it

5
00:00:15,120 --> 00:00:18,480
simple. She's hands on. Missy like she

6
00:00:18,480 --> 00:00:19,920
don't and I don't be in the room when

7
00:00:19,920 --> 00:00:21,840
she do her vocals. She kicks me out

8
00:00:21,840 --> 00:00:24,720
every time. So, I never do her vocals.

9
00:00:24,720 --> 00:00:27,039
So, she'll be in the room. She She got

10
00:00:27,039 --> 00:00:28,560
to be in I make it a beat cuz she has to

11
00:00:28,560 --> 00:00:30,880
feel it. She all and she was the main

12
00:00:30,880 --> 00:00:33,120
one. She was the my sister was the one

13
00:00:33,120 --> 00:00:35,600
who taught me about feeling. I'm like I

14
00:00:35,600 --> 00:00:38,239
do I used to do beats

15
00:00:38,239 --> 00:00:41,360
and she'd be like but yeah it's dark. I

16
00:00:41,360 --> 00:00:44,079
got to I'm a girl. She always I I got to

17
00:00:44,079 --> 00:00:45,760
move. I got to dance. I got to feel it.

18
00:00:45,760 --> 00:00:47,520
Like I got to perform the song. So when

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00:00:47,520 --> 00:00:50,879
I do a groove she'll bop. She like take

20
00:00:50,879 --> 00:00:52,800
that out. take take you know she was

21
00:00:52,800 --> 00:00:54,559
very

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00:00:54,559 --> 00:00:56,480
particular about what I put in my tracks

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00:00:56,480 --> 00:00:59,359
it sounds because it's going to mess up

24
00:00:59,359 --> 00:01:01,760
how she write to it you know had to be

25
00:01:01,760 --> 00:01:04,720
less was more for her I had a little

26
00:01:04,720 --> 00:01:07,680
chop a little piece of a horn said when

27
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when and I just kind of like when

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when just kept hitting it back and then

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I just found little just like I did with

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the track before I found little elements

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to fill up the space. So, let's hear it.

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Let's play it.

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Let's up the key.

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Stop it. So, it's only the kick, snare,

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and the shaker, and a little sound to

36
00:01:45,360 --> 00:01:48,079
give it the rhythm.

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00:01:48,079 --> 00:01:49,200
That's it. So, let's hear it from

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beginning. You hear it. I point it out.

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Tobless. Tobless. Snare. Kick. Shake.

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00:02:00,399 --> 00:02:03,680
She like when I just pick one or two or

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00:02:03,680 --> 00:02:05,920
three, not clutter it. You know what I'm

42
00:02:05,920 --> 00:02:09,640
saying? So she can

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00:02:10,080 --> 00:02:12,959
So if it had a It would throw her off.

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00:02:12,959 --> 00:02:16,080
It had to be burn.

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00:02:16,080 --> 00:02:18,800
So she can She's a She's an instrument

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00:02:18,800 --> 00:02:21,440
herself. So she has to be an instrument.

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00:02:21,440 --> 00:02:23,280
So when it comes to gossip, I just had

48
00:02:23,280 --> 00:02:25,200
to find the right sonics so she can

49
00:02:25,200 --> 00:02:28,400
capture that that um character. And we

50
00:02:28,400 --> 00:02:30,000
just went through a bunch and I did that

51
00:02:30,000 --> 00:02:34,360
loop. Stay right there. And I

52
00:02:35,440 --> 00:02:38,760
and I just

53
00:02:38,959 --> 00:02:40,879
he like Yeah. She started right to just

54
00:02:40,879 --> 00:02:43,680
that. Then I just start adding the

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shaker.

56
00:02:45,519 --> 00:02:48,080
And I had this other sound.

57
00:02:48,080 --> 00:02:52,120
So, I just left it with that.

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00:02:55,519 --> 00:02:57,360
When it comes to me and Missy, we we are

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00:02:57,360 --> 00:02:59,519
very special. We a special force to be

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00:02:59,519 --> 00:03:01,120
reckoned with because she's a producer

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00:03:01,120 --> 00:03:03,360
herself. She don't go up here and play,

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00:03:03,360 --> 00:03:06,239
but she knows what she want to hear.

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00:03:06,239 --> 00:03:08,720
She's very clear on what makes her move

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00:03:08,720 --> 00:03:11,360
and a lot of and that's why she who she

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00:03:11,360 --> 00:03:13,760
is today. I mean, when it comes to me

66
00:03:13,760 --> 00:03:15,760
and Missy Elliot,

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we are we a true team. And I say not

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00:03:18,159 --> 00:03:19,519
everybody, all the people I work with,

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00:03:19,519 --> 00:03:21,680
we are team, Justin, but Missy is the

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00:03:21,680 --> 00:03:25,519
one. She will take her and Aaliyah will

71
00:03:25,519 --> 00:03:28,080
take the track and go off with the

72
00:03:28,080 --> 00:03:30,560
engineer and come back and will add

73
00:03:30,560 --> 00:03:32,239
stuff to your track that you didn't even

74
00:03:32,239 --> 00:03:34,319
know was there. And you like you put

75
00:03:34,319 --> 00:03:37,519
that and it goes with her song. She took

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00:03:37,519 --> 00:03:39,760
the double Dutch the uh that's from the

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00:03:39,760 --> 00:03:41,280
that's from an old record called the

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double dutch bus.

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00:03:46,239 --> 00:03:49,239
Mis,

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00:04:12,720 --> 00:04:15,599
she took that that part of that song

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because we loved it when we was kids and

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00:04:17,519 --> 00:04:20,320
slapped it in there. She said and then

83
00:04:20,320 --> 00:04:22,960
she came and played it. I'm like, "Oh,

84
00:04:22,960 --> 00:04:25,199
snap." Then she sent it to Ludicrous and

85
00:04:25,199 --> 00:04:27,520
he hopped on it. What I did at the

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00:04:27,520 --> 00:04:29,520
beginning, that's all I done. The rest

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00:04:29,520 --> 00:04:33,040
is her. The rest is all her. I did my

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00:04:33,040 --> 00:04:36,080
part cuz getting to my part is finding

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00:04:36,080 --> 00:04:38,240
the the the ingredients to make her go

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00:04:38,240 --> 00:04:41,199
to that level. So, that's a process. And

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00:04:41,199 --> 00:04:42,560
to find that horn, you know, we probably

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00:04:42,560 --> 00:04:44,479
sit there for hours to come up with that

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00:04:44,479 --> 00:04:46,160
perfectang

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00:04:46,160 --> 00:04:49,199
to make her feel something. And she did

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the rest herself.

1
00:00:06,640 --> 00:00:10,880
Okay, so now I have Adrian, songwriter,

2
00:00:10,880 --> 00:00:14,480
group of New City, one of my new acts. I

3
00:00:14,480 --> 00:00:17,600
got him here. I did a track. Yes. Well,

4
00:00:17,600 --> 00:00:19,840
a day ago, and I want to play it for him

5
00:00:19,840 --> 00:00:23,519
and show you how we process music, how

6
00:00:23,519 --> 00:00:25,359
we go to the next level with something

7
00:00:25,359 --> 00:00:28,080
that we already started. So, Adrian,

8
00:00:28,080 --> 00:00:28,960
what's up my G?

9
00:00:28,960 --> 00:00:33,200
What's up? So, I want to play you what

10
00:00:33,200 --> 00:00:35,040
the crew what we all did

11
00:00:35,040 --> 00:00:36,079
for sure

12
00:00:36,079 --> 00:00:38,000
and let let's vibe to it.

13
00:00:38,000 --> 00:00:39,520
Let the speaker speak, man.

14
00:00:39,520 --> 00:00:41,200
See, we don't we don't really talk about

15
00:00:41,200 --> 00:00:43,120
it. We just let the speaker speak. So,

16
00:00:43,120 --> 00:00:48,200
with that being said, Chris

17
00:01:04,640 --> 00:01:07,640
Yeah.

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00:01:20,880 --> 00:01:24,240
Woo. Yeah.

19
00:01:24,240 --> 00:01:26,320
And as you see,

20
00:01:26,320 --> 00:01:27,680
speakers is talking to it as it's

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00:01:27,680 --> 00:01:29,680
talking to you.

22
00:01:29,680 --> 00:01:33,320
Break it down. Now,

23
00:01:35,520 --> 00:01:36,880
when you get in the room with an artist,

24
00:01:36,880 --> 00:01:39,040
it's all about just

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00:01:39,040 --> 00:01:41,759
conversation, just,

26
00:01:41,759 --> 00:01:43,520
you know, just talking. Then you doing

27
00:01:43,520 --> 00:01:45,680
music. It's no thought process. It's all

28
00:01:45,680 --> 00:01:48,320
about having fun. And the music come

29
00:01:48,320 --> 00:01:50,560
out. Then when you first get the first

30
00:01:50,560 --> 00:01:53,360
ooh then we should do and everybody's

31
00:01:53,360 --> 00:01:55,439
throwing ideas you know once the track

32
00:01:55,439 --> 00:01:57,280
is like everybody just throwing bouncing

33
00:01:57,280 --> 00:01:59,119
out. It's the energy you know having a

34
00:01:59,119 --> 00:02:01,840
drink laughing going going in the booth

35
00:02:01,840 --> 00:02:04,240
it's all about making this part fun

36
00:02:04,240 --> 00:02:06,960
because after this is work. Just be who

37
00:02:06,960 --> 00:02:10,080
you are. You're a musical genius. You're

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00:02:10,080 --> 00:02:11,920
you're a gift. You're a gift of sound.

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00:02:11,920 --> 00:02:13,440
You're presenting sounds to hear his

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00:02:13,440 --> 00:02:16,800
lovely voice or her voice serenate

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00:02:16,800 --> 00:02:19,920
across your lovely instruments and your

42
00:02:19,920 --> 00:02:21,760
your well thought out put together

43
00:02:21,760 --> 00:02:23,760
track. You ready?

44
00:02:23,760 --> 00:02:24,640
Yeah, I'm ready.

45
00:02:24,640 --> 00:02:26,640
Let's do this. Come on.

46
00:02:26,640 --> 00:02:28,319
Basically, now he's going to go in, but

47
00:02:28,319 --> 00:02:30,640
I know you heard the track before had a

48
00:02:30,640 --> 00:02:32,480
lot of instruments, but we empty out

49
00:02:32,480 --> 00:02:34,400
some of the instruments to create space,

50
00:02:34,400 --> 00:02:35,680
right, guys?

51
00:02:35,680 --> 00:02:37,360
So now we empty out some of the

52
00:02:37,360 --> 00:02:40,319
instruments so Adrian can go in there

53
00:02:40,319 --> 00:02:43,599
and layer or do what he do what he do

54
00:02:43,599 --> 00:02:45,440
best. See what he see what the speakers

55
00:02:45,440 --> 00:02:47,280
tell him what to do.

56
00:02:47,280 --> 00:02:49,519
That being said,

57
00:02:49,519 --> 00:02:50,720
Adrian, you ready?

58
00:02:50,720 --> 00:02:52,160
Yeah. All good.

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00:02:52,160 --> 00:02:55,480
Let's go.

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00:03:02,400 --> 00:03:06,680
Trying to talk about it.

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00:03:08,879 --> 00:03:11,760
Don't want to fight about it. Risk my

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00:03:11,760 --> 00:03:15,920
life without you. I put my life on D for

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00:03:15,920 --> 00:03:19,599
everything. I can't bring it to you.

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00:03:19,599 --> 00:03:22,560
Tell me where I got to go. Tell me I

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00:03:22,560 --> 00:03:25,519
take it there. Tell me if I'm on a roll.

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00:03:25,519 --> 00:03:28,959
Cuz I can't be the one.

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00:03:28,959 --> 00:03:31,920
You got to let me know it. I'm taking

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00:03:31,920 --> 00:03:37,799
you to focus. I'm picking up the focus.

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00:03:37,840 --> 00:03:40,640
I'm talking about your moment. Can't get

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00:03:40,640 --> 00:03:46,640
you out of focus. Baby, I know. Yeah.

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00:03:46,640 --> 00:03:51,120
Working around for the half of my life.

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00:03:51,120 --> 00:03:54,400
taking over where I

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00:03:54,400 --> 00:03:56,560
no

74
00:03:56,560 --> 00:03:59,959
try this

75
00:04:01,599 --> 00:04:05,439
want to know if you

76
00:04:05,439 --> 00:04:08,879
know that you

77
00:04:08,879 --> 00:04:12,239
trying to make them

78
00:04:12,239 --> 00:04:15,599
go real hard

79
00:04:15,599 --> 00:04:18,079
trying to

80
00:04:23,440 --> 00:04:25,840
Pause it.

81
00:04:25,840 --> 00:04:26,320
Yo.

82
00:04:26,320 --> 00:04:26,960
Yeah.

83
00:04:26,960 --> 00:04:30,000
So, it was a part go back to that where

84
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to break down that.

85
00:04:32,479 --> 00:04:35,479
Yeah.

86
00:04:42,960 --> 00:04:45,120
No. No. No.

87
00:04:45,120 --> 00:04:47,440
Try this.

88
00:04:47,440 --> 00:04:50,759
Don't know.

89
00:04:52,720 --> 00:04:54,400
That's little melody. Okay.

90
00:04:54,400 --> 00:04:55,440
Want me to put something in there like

91
00:04:55,440 --> 00:04:55,759
that?

92
00:04:55,759 --> 00:04:56,240
Yeah.

93
00:04:56,240 --> 00:04:57,520
That's good cadence.

94
00:04:57,520 --> 00:05:01,479
Yeah. I just took for

95
00:05:06,080 --> 00:05:09,479
match that spot.

96
00:05:11,840 --> 00:05:15,880
It sounds like

97
00:05:26,639 --> 00:05:27,919
you know this is a little different

98
00:05:27,919 --> 00:05:31,520
because usually we work in the dark and

99
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right now you wouldn't see me. You would

100
00:05:33,120 --> 00:05:35,120
just hear me and that's what I think is

101
00:05:35,120 --> 00:05:39,759
better. Sometimes people draw in the

102
00:05:39,759 --> 00:05:41,440
studio to look at the mic booth while

103
00:05:41,440 --> 00:05:43,360
the artist in there. And most of the

104
00:05:43,360 --> 00:05:46,880
time it's better for me and most artists

105
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that I work with, they cut the lights

106
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off because it's a feeling. It's a

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feeling of seclusion. It's like you're

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by yourself and you get the vibe. But if

109
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you see people with the lights on, it

110
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kind of like you you're doing things and

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you're worrying about pleasing somebody

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else instead of pleasing yourself.

113
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It's free.

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00:06:05,680 --> 00:06:08,400
just freeing yourself. But we got to

115
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have we have the lights on so you get to

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see part of

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not all the way free but semireee free.

118
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But but you know when you love music

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here it goes. Music sometimes is not

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always what you want it to be. Music you

121
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have to love it to get past all the

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hurdles that it come with. Some people

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want to watch you. So with that being

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said, if people want to watch you, you

125
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got to just love music and say, "I could

126
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do it if I'm standing on the mountain,

127
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if I'm laying in the boat, if I'm

128
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walking on water." You got to just be

129
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able to be ready to go. It's like if you

130
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anything that you do, you got to love it

131
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to say, "You know what? This is not my

132
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most comfortable position, but come on,

133
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bump it. I love it. Let's just do it."

134
00:06:51,120 --> 00:06:53,280
So, we're going to do another take and

135
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let Adrian feel it since we have lights

136
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on till he get into that mood to where

137
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you feel like the lights are off.

138
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You ready? A.

139
00:07:02,000 --> 00:07:05,240
Yeah, man.

140
00:07:12,080 --> 00:07:14,240
Trying to make sense.

141
00:07:14,240 --> 00:07:16,639
I got to make sense.

142
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Picking up them down. Trying to make

143
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plans.

144
00:07:21,039 --> 00:07:23,599
I don't want to talk about it. Making

145
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all the [ __ ] about it. Making all my

146
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friends about it.

147
00:07:29,199 --> 00:07:32,240
Yeah. Trying to make sense about it.

148
00:07:32,240 --> 00:07:36,599
Working on my plans about it.

149
00:07:37,599 --> 00:07:42,479
You got to know that I've been waiting.

150
00:07:42,479 --> 00:07:45,960
I've been trying

151
00:07:47,919 --> 00:07:49,599
to

152
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fight

153
00:07:52,400 --> 00:07:56,080
trying to make it. Will we make it out

154
00:07:56,080 --> 00:07:59,080
alive?

155
00:08:01,520 --> 00:08:05,440
Yo. Yo, hold up. Paul, stop. Now, see,

156
00:08:05,440 --> 00:08:07,440
the feeling is getting there. Now I have

157
00:08:07,440 --> 00:08:10,720
to go in the booth because I hear a dope

158
00:08:10,720 --> 00:08:13,199
part to go to what he was doing. That's

159
00:08:13,199 --> 00:08:14,879
how the, you know, the speakers just

160
00:08:14,879 --> 00:08:16,879
talk to us and that's how we do. We just

161
00:08:16,879 --> 00:08:19,440
vibe out. And now I'm going have to ask

162
00:08:19,440 --> 00:08:22,400
him to come out and I want to come in.

163
00:08:22,400 --> 00:08:25,639
Watch this.

164
00:08:27,520 --> 00:08:31,319
That cool for you?

165
00:08:32,719 --> 00:08:34,320
All right.

166
00:08:34,320 --> 00:08:36,159
From the top.

167
00:08:36,159 --> 00:08:41,959
Hey, you got auto auto turn on for me.

168
00:08:42,719 --> 00:08:45,600
Go back cuz I can't

169
00:08:45,600 --> 00:08:48,839
go backy

170
00:08:55,279 --> 00:08:56,720
trying to make sense.

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00:08:56,720 --> 00:08:57,360
Yeah,

172
00:08:57,360 --> 00:08:58,959
I got to make sense.

173
00:08:58,959 --> 00:08:59,760
What?

174
00:08:59,760 --> 00:09:02,320
Picking up, putting them down. Trying to

175
00:09:02,320 --> 00:09:02,880
make plans.

176
00:09:02,880 --> 00:09:05,200
What you saying? I don't want to talk

177
00:09:05,200 --> 00:09:06,480
about it.

178
00:09:06,480 --> 00:09:08,720
Making all the [ __ ] about it.

179
00:09:08,720 --> 00:09:13,080
Making all my friends about it.

180
00:09:13,120 --> 00:09:15,360
Trying to make sense about it.

181
00:09:15,360 --> 00:09:17,680
Working on my plans about it.

182
00:09:17,680 --> 00:09:19,680
Want to make sense about it.

183
00:09:19,680 --> 00:09:20,720
Yeah. Yeah.

184
00:09:20,720 --> 00:09:24,560
You got to know that I've been waiting.

185
00:09:24,560 --> 00:09:25,519
What you say now?

186
00:09:25,519 --> 00:09:30,800
I've been trying to keep you fading.

187
00:09:40,399 --> 00:09:42,880
Now, right there, Chris

188
00:09:42,880 --> 00:09:45,760
on that part. Take them all out. So,

189
00:09:45,760 --> 00:09:48,160
just play it with the ad libs that I

190
00:09:48,160 --> 00:09:49,839
just did. Just play with that and then

191
00:09:49,839 --> 00:09:53,720
punch me in on that part.

192
00:09:54,959 --> 00:09:58,480
trying to make it

193
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out alive.

194
00:10:01,680 --> 00:10:04,560
See when it comes over. I don't want to

195
00:10:04,560 --> 00:10:07,120
talk no more. I don't want to do it. Do

196
00:10:07,120 --> 00:10:09,279
it. Do it. Do it. I don't want to get

197
00:10:09,279 --> 00:10:12,800
that. She don't want to talk.

198
00:10:12,800 --> 00:10:15,440
I don't want to get that back. She don't

199
00:10:15,440 --> 00:10:19,720
want to do it. Do it. Do it. Do it.

200
00:10:20,000 --> 00:10:21,920
All right.

201
00:10:21,920 --> 00:10:24,959
Now come back in there.

202
00:10:24,959 --> 00:10:25,519
That was hot.

203
00:10:25,519 --> 00:10:27,120
Yeah, that was Let's hear it. Let me

204
00:10:27,120 --> 00:10:30,200
hear it.

205
00:10:34,480 --> 00:10:36,560
What we doing now? Just getting the

206
00:10:36,560 --> 00:10:37,760
melodies.

207
00:10:37,760 --> 00:10:39,760
Don't pay attention to the lyrics. Yeah.

208
00:10:39,760 --> 00:10:44,040
Trying to make sense about it.

209
00:10:46,320 --> 00:10:47,440
Yeah.

210
00:10:47,440 --> 00:10:49,440
You got

211
00:10:49,440 --> 00:10:51,839
the breakdown coming there.

212
00:10:51,839 --> 00:10:56,839
Now I've been trying to keep

213
00:11:02,079 --> 00:11:03,600
brought up a good point. It takes too

214
00:11:03,600 --> 00:11:05,040
long to get to that drop. So maybe we

215
00:11:05,040 --> 00:11:07,680
need to shift the the pre-arrangement.

216
00:11:07,680 --> 00:11:08,560
Bring it in

217
00:11:08,560 --> 00:11:09,040
closer

218
00:11:09,040 --> 00:11:10,560
over. What? What would it be? Eight

219
00:11:10,560 --> 00:11:11,360
bars.

220
00:11:11,360 --> 00:11:13,680
So be eight bars over.

221
00:11:13,680 --> 00:11:15,760
Um, so play from the top and we'll show

222
00:11:15,760 --> 00:11:18,720
you what

223
00:11:18,720 --> 00:11:20,399
studio is about having fun. Let the

224
00:11:20,399 --> 00:11:21,920
music take you over your soul.

225
00:11:21,920 --> 00:11:23,040
You got to enjoy it.

226
00:11:23,040 --> 00:11:24,880
That's what we doing right now. Enjoying

227
00:11:24,880 --> 00:11:27,360
it with the lights.

228
00:11:27,360 --> 00:11:28,079
Yeah.

229
00:11:28,079 --> 00:11:29,519
I got to make sense.

230
00:11:29,519 --> 00:11:33,800
You got to pick up.

231
00:11:34,959 --> 00:11:37,120
I don't want to talk about it. Why?

232
00:11:37,120 --> 00:11:39,360
Making all the [ __ ] about it.

233
00:11:39,360 --> 00:11:43,839
Making all my friends about it. Yeah.

234
00:11:43,839 --> 00:11:46,399
Trying to make sense about it.

235
00:11:46,399 --> 00:11:49,640
On my plans.

236
00:11:50,320 --> 00:11:53,320
Yeah.

237
00:11:57,200 --> 00:11:59,920
I don't want to talk now. I don't want

238
00:11:59,920 --> 00:12:00,880
to do it.

239
00:12:00,880 --> 00:12:02,000
What was that melody that you did there?

240
00:12:02,000 --> 00:12:06,440
Want to get that dete?

241
00:12:11,839 --> 00:12:14,839
Yeah.

242
00:12:15,120 --> 00:12:16,160
You should go do that.

243
00:12:16,160 --> 00:12:19,160
Yeah.

244
00:12:19,519 --> 00:12:21,760
The vibe, baby. The vibe. It's all about

245
00:12:21,760 --> 00:12:24,079
the vibe and the speakers in the music.

246
00:12:24,079 --> 00:12:26,320
Let it flow and let it hit you. We don't

247
00:12:26,320 --> 00:12:27,519
know what the words are. We don't know

248
00:12:27,519 --> 00:12:28,959
what the song is about, but you're

249
00:12:28,959 --> 00:12:30,880
hearing words that are coming out just

250
00:12:30,880 --> 00:12:32,639
freely cuz the music is telling us what

251
00:12:32,639 --> 00:12:34,720
it should say and kind of giving us

252
00:12:34,720 --> 00:12:37,440
notes on what it should be about, but

253
00:12:37,440 --> 00:12:40,399
necessarily it's not we just having the

254
00:12:40,399 --> 00:12:42,079
music is telling us what to say. I just

255
00:12:42,079 --> 00:12:44,639
do it, do it, do it, do it. It just I

256
00:12:44,639 --> 00:12:47,519
just came freely. I didn't think about

257
00:12:47,519 --> 00:12:51,760
it, but the music and what he was saying

258
00:12:51,760 --> 00:12:54,160
made me think of that melody. So is

259
00:12:54,160 --> 00:12:54,480
being

260
00:12:54,480 --> 00:12:56,320
it's like the feeling of what we're

261
00:12:56,320 --> 00:12:58,240
creating becomes this sort of gravity

262
00:12:58,240 --> 00:13:01,200
pool that just starts pulling us towards

263
00:13:01,200 --> 00:13:02,639
a certain direction where we don't even

264
00:13:02,639 --> 00:13:03,920
know where we're going or where the

265
00:13:03,920 --> 00:13:05,120
lyric is going or what the record is

266
00:13:05,120 --> 00:13:06,639
talking about but it's just

267
00:13:06,639 --> 00:13:09,040
gravitating us there in a very organic

268
00:13:09,040 --> 00:13:10,800
natural way and that's what's cool about

269
00:13:10,800 --> 00:13:12,079
what we do

270
00:13:12,079 --> 00:13:13,600
all while having fun

271
00:13:13,600 --> 00:13:16,240
basically. You ready? Hey

272
00:13:16,240 --> 00:13:16,800
you ready?

273
00:13:16,800 --> 00:13:18,480
I'm good man. All right.

274
00:13:18,480 --> 00:13:21,040
I don't want to get that. She don't want

275
00:13:21,040 --> 00:13:22,560
to

276
00:13:22,560 --> 00:13:23,040
get that.

277
00:13:23,040 --> 00:13:26,880
I don't want to get that kind of

278
00:13:26,880 --> 00:13:29,680
life.

279
00:13:29,680 --> 00:13:34,000
Breaking waves and getting by.

280
00:13:34,000 --> 00:13:38,320
Trying to make our life.

281
00:13:38,320 --> 00:13:42,760
Are we going to make it out?

282
00:13:45,279 --> 00:13:48,079
This should be right there.

283
00:13:48,079 --> 00:13:52,120
We make it right.

284
00:13:52,639 --> 00:13:56,360
Make it out alive.

285
00:13:56,399 --> 00:14:00,639
We going to make it out alive.

286
00:14:00,639 --> 00:14:05,160
Are we going to make it out alive?

287
00:14:06,800 --> 00:14:08,480
So, we just building and trying to find

288
00:14:08,480 --> 00:14:10,720
the right elements, seeing if it's the

289
00:14:10,720 --> 00:14:13,440
right melody. See if it feels good. Uh,

290
00:14:13,440 --> 00:14:17,600
if it's right. So, let's hear it back.

291
00:14:18,000 --> 00:14:21,560
Yeah. Yeah.

292
00:14:24,959 --> 00:14:27,360
I don't want to talk no more now. I

293
00:14:27,360 --> 00:14:28,800
don't want to do it. Do it. Do it. Do

294
00:14:28,800 --> 00:14:31,680
it.

295
00:14:31,680 --> 00:14:35,079
I don't want to

296
00:14:36,720 --> 00:14:39,199
make it out.

297
00:14:39,199 --> 00:14:42,920
I can Let me try again.

298
00:14:42,959 --> 00:14:46,800
Yeah, yeah, yeah. Trying to make this

299
00:14:46,800 --> 00:14:49,839
back. Always trying to get the back.

300
00:14:49,839 --> 00:14:52,079
Baby, can you get the

301
00:14:52,079 --> 00:14:53,680
I don't want to do it, do it, do it, do

302
00:14:53,680 --> 00:14:54,320
it.

303
00:14:54,320 --> 00:14:56,480
I don't want to get that back.

304
00:14:56,480 --> 00:14:59,680
I just want to hold it. I want to get

305
00:14:59,680 --> 00:15:03,839
that. We going to make it

306
00:15:03,839 --> 00:15:05,440
like that.

307
00:15:05,440 --> 00:15:06,880
That was That was it.

308
00:15:06,880 --> 00:15:07,920
Your rhythm is good.

309
00:15:07,920 --> 00:15:09,360
Thanks, man. Did you want me to do it

310
00:15:09,360 --> 00:15:10,320
again or did you want me to

311
00:15:10,320 --> 00:15:11,680
I mean, that's enough for That's cool.

312
00:15:11,680 --> 00:15:13,120
That's cool.

313
00:15:13,120 --> 00:15:14,720
messing with everything else.

314
00:15:14,720 --> 00:15:15,760
Just listen to it.

315
00:15:15,760 --> 00:15:18,760
Yeah.

316
00:15:28,880 --> 00:15:31,040
I think this right here. This should be

317
00:15:31,040 --> 00:15:33,120
something different. Yeah.

318
00:15:33,120 --> 00:15:36,120
Something

319
00:15:38,079 --> 00:15:39,760
that I did my part. You scrunched. What

320
00:15:39,760 --> 00:15:41,600
you say? What you say? No, I was

321
00:15:41,600 --> 00:15:43,600
thinking going back maybe,

322
00:15:43,600 --> 00:15:45,040
but it might be repetitive. Maybe it

323
00:15:45,040 --> 00:15:46,720
just needs a completely different chant

324
00:15:46,720 --> 00:15:48,959
kind of thing.

325
00:15:48,959 --> 00:15:50,639
Post.

326
00:15:50,639 --> 00:15:51,680
We need a post.

327
00:15:51,680 --> 00:15:55,320
Yeah, some kind of post.

328
00:15:55,440 --> 00:15:57,199
Is that a post what I'm doing or what?

329
00:15:57,199 --> 00:15:58,079
Can you run it back to the hook?

330
00:15:58,079 --> 00:15:59,440
What you were doing now? I think it was

331
00:15:59,440 --> 00:16:00,639
kind of a what?

332
00:16:00,639 --> 00:16:01,759
A pre a pre.

333
00:16:01,759 --> 00:16:04,320
It was a pre and I I think Samuel needs

334
00:16:04,320 --> 00:16:05,920
to come, but it sounded cool to at some

335
00:16:05,920 --> 00:16:07,680
point maybe go back to a melody in the

336
00:16:07,680 --> 00:16:09,360
post. I know it's not really the

337
00:16:09,360 --> 00:16:11,040
typical, but I heard in my head that

338
00:16:11,040 --> 00:16:11,839
could work, too.

339
00:16:11,839 --> 00:16:13,360
Let's try.

340
00:16:13,360 --> 00:16:15,040
So, we have the track. We made the

341
00:16:15,040 --> 00:16:17,199
track. Adrian listened to it. He really

342
00:16:17,199 --> 00:16:19,199
liked it. Jump in the booth and he start

343
00:16:19,199 --> 00:16:22,160
improvising melodies. And out of his

344
00:16:22,160 --> 00:16:24,399
improv, then we picking what we like

345
00:16:24,399 --> 00:16:26,480
best for each part of the song. So,

346
00:16:26,480 --> 00:16:28,880
there's like verse material, precourse

347
00:16:28,880 --> 00:16:31,600
material, and hook material. And then

348
00:16:31,600 --> 00:16:34,160
Tim went in the booth inspired with by

349
00:16:34,160 --> 00:16:36,399
what he did and added some really cool

350
00:16:36,399 --> 00:16:38,800
stuff for the pre. Now we want to take

351
00:16:38,800 --> 00:16:41,360
that pre stuff that Tim did and also use

352
00:16:41,360 --> 00:16:43,440
it on the post chorus of the song. So

353
00:16:43,440 --> 00:16:44,800
now is the moment where we have all

354
00:16:44,800 --> 00:16:46,800
these different melodies and we're like

355
00:16:46,800 --> 00:16:49,040
chopping and seeing what works better on

356
00:16:49,040 --> 00:16:49,920
each part.

357
00:16:49,920 --> 00:16:51,519
Yeah. Just filling in the gaps

358
00:16:51,519 --> 00:16:53,440
basically. When I think about

359
00:16:53,440 --> 00:16:55,839
structuring a a song, I'm trying to

360
00:16:55,839 --> 00:16:58,480
think uh in three levels I guess of

361
00:16:58,480 --> 00:17:00,240
intensity. Again, every song is

362
00:17:00,240 --> 00:17:01,920
different and you can break those rules.

363
00:17:01,920 --> 00:17:04,480
But in general, pop music is structure

364
00:17:04,480 --> 00:17:07,439
starting with a verse uh which invites

365
00:17:07,439 --> 00:17:09,679
you into the song. The pre chorus is

366
00:17:09,679 --> 00:17:10,959
kind of letting you know, hey, something

367
00:17:10,959 --> 00:17:12,959
big is about to happen. Pay attention.

368
00:17:12,959 --> 00:17:14,400
And then to me, the chorus is the

369
00:17:14,400 --> 00:17:16,959
climax. So, we're trying to look into

370
00:17:16,959 --> 00:17:20,640
the melodies give you that feeling. Uh

371
00:17:20,640 --> 00:17:23,520
rhythm and the notes, I think, are

372
00:17:23,520 --> 00:17:26,240
important when there's a lot of space. I

373
00:17:26,240 --> 00:17:27,760
think in the verses for example, he's

374
00:17:27,760 --> 00:17:29,440
leaving all this space and singing a

375
00:17:29,440 --> 00:17:31,760
little lower. So that g, you know, it

376
00:17:31,760 --> 00:17:33,360
invites you into a song. It's not

377
00:17:33,360 --> 00:17:35,120
creating any tension on you. It's just

378
00:17:35,120 --> 00:17:37,360
nice to listen to. The pre chorus takes

379
00:17:37,360 --> 00:17:39,120
it a little bit bit to the next level.

380
00:17:39,120 --> 00:17:41,120
And the chorus usually it might be

381
00:17:41,120 --> 00:17:43,600
higher in pitch, higher in intensity, uh

382
00:17:43,600 --> 00:17:45,600
more repetitive. So we're trying to look

383
00:17:45,600 --> 00:17:47,200
for those elements. Now, we don't think

384
00:17:47,200 --> 00:17:48,799
about it when when we're doing it

385
00:17:48,799 --> 00:17:50,720
because we already heard so much music

386
00:17:50,720 --> 00:17:53,440
that we just go by feeling. Uh this is

387
00:17:53,440 --> 00:17:56,160
me trying to explain to somebody uh what

388
00:17:56,160 --> 00:17:58,880
the thought process is behind. But like

389
00:17:58,880 --> 00:18:01,039
Tim said so many times during this

390
00:18:01,039 --> 00:18:03,200
master class is all about how you feel.

391
00:18:03,200 --> 00:18:04,640
I mean you could figure this out

392
00:18:04,640 --> 00:18:06,240
yourself because I'm sure you listen to

393
00:18:06,240 --> 00:18:09,360
a lot of music and you know what the

394
00:18:09,360 --> 00:18:11,120
chorus should feel like and it's

395
00:18:11,120 --> 00:18:12,640
something that when you leave the room

396
00:18:12,640 --> 00:18:14,720
you got to keep singing it in your head

397
00:18:14,720 --> 00:18:16,880
and it's infectious and you always

398
00:18:16,880 --> 00:18:19,200
remember it. you know, when you have a a

399
00:18:19,200 --> 00:18:21,360
song that you and you're structuring,

400
00:18:21,360 --> 00:18:23,760
it's cool to walk away. Don't let it

401
00:18:23,760 --> 00:18:26,240
frustrate you. You know, lyrics, let it

402
00:18:26,240 --> 00:18:27,760
come to you. So, just do stuff, you

403
00:18:27,760 --> 00:18:29,039
know, like walk away, get something to

404
00:18:29,039 --> 00:18:31,440
drink, walk to the bathroom, just do it,

405
00:18:31,440 --> 00:18:33,679
you know, just walk away from the music.

406
00:18:33,679 --> 00:18:35,919
Even if it's you have all the structure,

407
00:18:35,919 --> 00:18:38,799
you still got to cut it off and

408
00:18:38,799 --> 00:18:41,360
just decompress and come up and just

409
00:18:41,360 --> 00:18:42,559
listen to it again. You'll hear

410
00:18:42,559 --> 00:18:44,880
something fresh. I'm always I always do

411
00:18:44,880 --> 00:18:47,600
that. Always hear it. Cut it off. come

412
00:18:47,600 --> 00:18:48,799
back and I hear something totally

413
00:18:48,799 --> 00:18:50,240
different. Just like when I went in the

414
00:18:50,240 --> 00:18:52,640
booth, he did a melody at first, but

415
00:18:52,640 --> 00:18:54,080
then when he came back and did the

416
00:18:54,080 --> 00:18:56,000
second melody, it drew something out of

417
00:18:56,000 --> 00:19:00,480
me. So, and we got that,

418
00:19:00,480 --> 00:19:02,720
but I wouldn't have got that

419
00:19:02,720 --> 00:19:05,280
if he didn't do other takes or try. But

420
00:19:05,280 --> 00:19:07,039
we start overthinking. I think the

421
00:19:07,039 --> 00:19:09,200
moment you start overthinking,

422
00:19:09,200 --> 00:19:11,840
you start losing the feeling and which

423
00:19:11,840 --> 00:19:13,760
is our goal here to create a certain

424
00:19:13,760 --> 00:19:15,840
feeling off the record. And I find that

425
00:19:15,840 --> 00:19:17,440
this is the process of our team now

426
00:19:17,440 --> 00:19:19,679
where it's a crucial part of stepping

427
00:19:19,679 --> 00:19:22,400
away. And in this scenario, we may not,

428
00:19:22,400 --> 00:19:24,400
but typically we'll jump on another idea

429
00:19:24,400 --> 00:19:26,559
and start building just to refreshen the

430
00:19:26,559 --> 00:19:27,360
pallet.

431
00:19:27,360 --> 00:19:29,200
It's like the ginger and the sushi. The

432
00:19:29,200 --> 00:19:31,280
purpose of the ginger, I've heard, is to

433
00:19:31,280 --> 00:19:32,799
refresh the taste palette. And that's

434
00:19:32,799 --> 00:19:34,240
what we're doing. We're just refreshing

435
00:19:34,240 --> 00:19:36,000
the creative and making sure we're not

436
00:19:36,000 --> 00:19:37,840
overthinking. The moment we overthink it

437
00:19:37,840 --> 00:19:40,480
and we try to put it into a formula, we

438
00:19:40,480 --> 00:19:42,480
lose touch with what the record can be

439
00:19:42,480 --> 00:19:44,799
and what the feeling can be. So

440
00:19:44,799 --> 00:19:48,200
there it is.

441
00:19:52,720 --> 00:19:54,960
Studio time is is is expensive, but if

442
00:19:54,960 --> 00:19:57,120
you're getting going, you don't look at

443
00:19:57,120 --> 00:19:59,520
the being

444
00:19:59,520 --> 00:20:02,640
in expense. You just find a way to get

445
00:20:02,640 --> 00:20:04,400
the music out.

446
00:20:04,400 --> 00:20:06,640
And

447
00:20:06,640 --> 00:20:08,559
if if if it don't, you're going to get

448
00:20:08,559 --> 00:20:10,160
something out whether you like it or

449
00:20:10,160 --> 00:20:17,280
not. But your job is to to me bring that

450
00:20:17,280 --> 00:20:20,000
feeling out somehow because you can't

451
00:20:20,000 --> 00:20:21,360
sit there and say, "Oh, I don't have

452
00:20:21,360 --> 00:20:23,120
money for studio time or studio studio."

453
00:20:23,120 --> 00:20:25,120
You don't need studio time. Studio is on

454
00:20:25,120 --> 00:20:26,960
your computer. You don't need studio

455
00:20:26,960 --> 00:20:27,360
time.

456
00:20:27,360 --> 00:20:28,400
This could be your studio.

457
00:20:28,400 --> 00:20:30,000
Yeah. Yeah. Your phone is your studio.

458
00:20:30,000 --> 00:20:31,520
Like no voice.

459
00:20:31,520 --> 00:20:33,360
That's that's that's an excuse. It's not

460
00:20:33,360 --> 00:20:35,600
about a quality. It's like how people

461
00:20:35,600 --> 00:20:37,600
get signed. and they had a dumb demo or

462
00:20:37,600 --> 00:20:39,360
something they made in their house or

463
00:20:39,360 --> 00:20:40,880
they didn't have the money to put it.

464
00:20:40,880 --> 00:20:41,600
But

465
00:20:41,600 --> 00:20:43,200
it's not about that. We know we're going

466
00:20:43,200 --> 00:20:45,200
to get to the quality. People like, "Yo,

467
00:20:45,200 --> 00:20:47,039
that person talented or that track sound

468
00:20:47,039 --> 00:20:50,080
cra if they was in a studio or people

469
00:20:50,080 --> 00:20:52,240
don't have headphones. They use

470
00:20:52,240 --> 00:20:53,840
ear the earpods

471
00:20:53,840 --> 00:20:56,159
and make their beats on a computer. It

472
00:20:56,159 --> 00:20:58,799
it long as you can hear,

473
00:20:58,799 --> 00:21:00,960
you're good."

474
00:21:00,960 --> 00:21:03,039
Nowadays, we see stuff on Instagram that

475
00:21:03,039 --> 00:21:05,760
is recorded with a phone and it's so

476
00:21:05,760 --> 00:21:07,360
much better than stuff that was done in

477
00:21:07,360 --> 00:21:09,600
an expensive studio and those artists

478
00:21:09,600 --> 00:21:11,280
are the ones that we want to contact and

479
00:21:11,280 --> 00:21:13,039
we want to work with and they just

480
00:21:13,039 --> 00:21:14,960
recorded on a phone and we get demos

481
00:21:14,960 --> 00:21:16,320
from people that did it on a great

482
00:21:16,320 --> 00:21:18,000
studio and we don't care.

483
00:21:18,000 --> 00:21:19,840
Exactly. The Hit Factory is where I did

484
00:21:19,840 --> 00:21:21,600
a lot of my records. I don't necessarily

485
00:21:21,600 --> 00:21:23,440
need the Hit Factory. Like I said, I

486
00:21:23,440 --> 00:21:25,760
just need my computer. You don't need a

487
00:21:25,760 --> 00:21:27,520
big old studio to do what you need to

488
00:21:27,520 --> 00:21:29,600
do. This is where I always started from.

489
00:21:29,600 --> 00:21:31,440
I've been doing it for 25 years. The

490
00:21:31,440 --> 00:21:33,440
difference I I come in studios, but I

491
00:21:33,440 --> 00:21:34,799
don't have to be in a studio. We can be

492
00:21:34,799 --> 00:21:36,960
in a small room and if we have a mic

493
00:21:36,960 --> 00:21:38,880
booth, the feeling gonna be the same if

494
00:21:38,880 --> 00:21:40,559
we're in a studio. It's about the

495
00:21:40,559 --> 00:21:42,559
feeling. It's not about no studio. It's

496
00:21:42,559 --> 00:21:44,320
all about the feeling. It's just that

497
00:21:44,320 --> 00:21:46,799
simple and creating what vibe you want

498
00:21:46,799 --> 00:21:49,200
to create.

499
00:21:49,200 --> 00:21:51,440
I'mma share some stems to see what you

500
00:21:51,440 --> 00:21:54,000
would do. Create your own energy. Send

501
00:21:54,000 --> 00:21:56,240
it back to me. Share what you think it

502
00:21:56,240 --> 00:21:58,159
should be. If you have a part, you hear

503
00:21:58,159 --> 00:22:00,559
it now, you say, "Oh, it would be dope

504
00:22:00,559 --> 00:22:02,960
if it go to this, but I don't have

505
00:22:02,960 --> 00:22:05,520
that." So, show me what you have. So,

506
00:22:05,520 --> 00:22:07,679
I'm going to share some stems with y'all

507
00:22:07,679 --> 00:22:12,679
and let the game begin.

1
00:00:07,839 --> 00:00:10,320
Are you somebody man that that was a

2
00:00:10,320 --> 00:00:12,559
song that was the spirit of the moment

3
00:00:12,559 --> 00:00:14,320
it was for a soundtrack called Dr.

4
00:00:14,320 --> 00:00:18,160
Dittle and I remember we had to come up

5
00:00:18,160 --> 00:00:20,960
with a song

6
00:00:20,960 --> 00:00:24,560
by 11:00 the next day. So it was at

7
00:00:24,560 --> 00:00:26,240
night the other day I mean the day

8
00:00:26,240 --> 00:00:27,920
before

9
00:00:27,920 --> 00:00:31,039
and it was me static and Aaliyah all in

10
00:00:31,039 --> 00:00:33,680
studio and I was just going through

11
00:00:33,680 --> 00:00:36,079
sounds. So let's play the track I show

12
00:00:36,079 --> 00:00:39,079
you

13
00:00:41,760 --> 00:00:44,879
so I had a sound just one little note.

14
00:00:44,879 --> 00:00:46,960
So, I took it,

15
00:00:46,960 --> 00:00:49,120
played it on the keyboard to get that

16
00:00:49,120 --> 00:00:51,600
melody. The same way Fatty showed you

17
00:00:51,600 --> 00:00:53,600
how he manipulated a guitar sound with

18
00:00:53,600 --> 00:00:55,840
the Ebo. It's the same way. I started

19
00:00:55,840 --> 00:01:00,280
off at a slow tempo first. I said,

20
00:01:04,000 --> 00:01:06,720
but the the extra notes came later. like

21
00:01:06,720 --> 00:01:09,960
it wasoom.

22
00:01:15,920 --> 00:01:17,439
Then I took it and sped it all the way

23
00:01:17,439 --> 00:01:20,560
up to like about I don't know 145 or I

24
00:01:20,560 --> 00:01:22,560
don't know at that time but it gave it

25
00:01:22,560 --> 00:01:25,560
that

26
00:01:27,040 --> 00:01:29,680
because it was actually the sequence of

27
00:01:29,680 --> 00:01:32,079
the ASR10

28
00:01:32,079 --> 00:01:34,159
didn't when I put quantize it didn't

29
00:01:34,159 --> 00:01:36,240
quantize it the way I was doing it. So

30
00:01:36,240 --> 00:01:39,840
it gave it that I like it's kind of dope

31
00:01:39,840 --> 00:01:45,079
and then I just kept it. So let's play.

32
00:01:45,200 --> 00:01:47,360
Here we go.

33
00:01:47,360 --> 00:01:50,159
That was right.

34
00:01:50,159 --> 00:01:53,479
That was wrong.

35
00:01:54,640 --> 00:01:56,479
So, it allowed me

36
00:01:56,479 --> 00:01:58,479
to do the drum around that. I did the

37
00:01:58,479 --> 00:02:01,479
drum.

38
00:02:02,799 --> 00:02:04,880
It allowed me to create around that

39
00:02:04,880 --> 00:02:07,600
guitar sound. So, when I created the

40
00:02:07,600 --> 00:02:10,160
drums and the guitar gave me that that

41
00:02:10,160 --> 00:02:12,959
kind of cadence of the of the rhythm. Is

42
00:02:12,959 --> 00:02:16,920
it dude? I got the drum

43
00:02:17,680 --> 00:02:19,840
boom

44
00:02:19,840 --> 00:02:22,640
boom. So the other poly rhythm that did

45
00:02:22,640 --> 00:02:24,640
that part. So, what I did once I got

46
00:02:24,640 --> 00:02:26,480
that rhythm, I went back into the mic

47
00:02:26,480 --> 00:02:30,440
booth and said,

48
00:02:34,400 --> 00:02:36,879
I added my mouth elements on top of the

49
00:02:36,879 --> 00:02:40,239
drum and that just gave it that

50
00:02:40,239 --> 00:02:44,080
sweet sonic sound that I call feeling.

51
00:02:44,080 --> 00:02:47,920
Here we go. Push play.

52
00:02:47,920 --> 00:02:50,959
Now, her voice was the icing on the

53
00:02:50,959 --> 00:02:53,959
cake.

54
00:02:54,640 --> 00:02:54,800
And

55
00:02:54,800 --> 00:02:56,879
static writing,

56
00:02:56,879 --> 00:02:58,959
the way static wrote to the guitar was

57
00:02:58,959 --> 00:03:00,080
so

58
00:03:00,080 --> 00:03:03,680
it was as you hear the background but

59
00:03:03,680 --> 00:03:07,040
his melody it gave it the melody. So I

60
00:03:07,040 --> 00:03:09,200
was like yes we getting somewhere. This

61
00:03:09,200 --> 00:03:11,200
feels good. Then when he did this part

62
00:03:11,200 --> 00:03:14,360
we said

63
00:03:15,200 --> 00:03:18,159
it.

64
00:03:18,159 --> 00:03:21,280
So stop right there. So when it comes to

65
00:03:21,280 --> 00:03:25,200
the hook, if you notice, the beat is

66
00:03:25,200 --> 00:03:26,959
three probably three sounds right there

67
00:03:26,959 --> 00:03:28,640
in my mouth. So it's the guitar and the

68
00:03:28,640 --> 00:03:30,239
drums in my mouth. And then when it gets

69
00:03:30,239 --> 00:03:34,640
to the hook, I just added a lead sound

70
00:03:34,640 --> 00:03:36,640
to follow the

71
00:03:36,640 --> 00:03:38,480
And then I was like, okay, it could be

72
00:03:38,480 --> 00:03:40,720
something else. I need to I need that.

73
00:03:40,720 --> 00:03:43,680
So as you saw me going through sounds, I

74
00:03:43,680 --> 00:03:46,159
loaded up Spirit of the Moment. Back

75
00:03:46,159 --> 00:03:48,640
then it was a disc, so it was even it's

76
00:03:48,640 --> 00:03:50,720
the same as this. I don't know. So, I

77
00:03:50,720 --> 00:03:53,120
loaded up a disc and it had all these

78
00:03:53,120 --> 00:03:56,000
effects like toys and

79
00:03:56,000 --> 00:03:58,159
sounds of like just a whole bunch of

80
00:03:58,159 --> 00:04:00,959
sound and I got to this like this baby.

81
00:04:00,959 --> 00:04:04,000
She This baby was laughing like

82
00:04:04,000 --> 00:04:06,400
and I just chopped the other part and I

83
00:04:06,400 --> 00:04:08,239
chopped it the same way I did over here.

84
00:04:08,239 --> 00:04:12,000
This and playing the beat like,

85
00:04:12,000 --> 00:04:14,640
"Oh man, that matches." It's in the same

86
00:04:14,640 --> 00:04:17,840
key. And Aaliyah was sitting behind me

87
00:04:17,840 --> 00:04:20,479
at the time and she like, "Oh, that's so

88
00:04:20,479 --> 00:04:22,639
cool. What's she she just thought she's

89
00:04:22,639 --> 00:04:24,560
like, "Oh." And I said, "Yeah, we got it

90
00:04:24,560 --> 00:04:26,240
now." I I didn't know we had that like

91
00:04:26,240 --> 00:04:27,919
the song is done. You know what I'm

92
00:04:27,919 --> 00:04:29,919
saying? Like, woo, we finished the song

93
00:04:29,919 --> 00:04:34,960
like, you know, and let's play it.

94
00:04:37,759 --> 00:04:42,440
Are you baby?

95
00:04:44,560 --> 00:04:49,560
This is how how it lands. Watch

96
00:04:52,320 --> 00:04:55,919
the space of where the baby laughed at.

97
00:04:55,919 --> 00:04:58,560
Then you know my ad lips of course.

98
00:04:58,560 --> 00:05:01,040
See it's

99
00:05:01,040 --> 00:05:03,360
infectuous. You don't want then daddy

100
00:05:03,360 --> 00:05:06,600
gave me that.

101
00:05:07,680 --> 00:05:11,080
It's more like

102
00:05:12,320 --> 00:05:13,600
I call it

103
00:05:13,600 --> 00:05:15,680
the Kingsman song. You know what I'm

104
00:05:15,680 --> 00:05:17,280
saying? Like the king and his kingsman.

105
00:05:17,280 --> 00:05:18,639
Like you marching.

106
00:05:18,639 --> 00:05:20,000
It's like a nursery rhyme. Gingerbread

107
00:05:20,000 --> 00:05:22,000
man. Boom boom boom boom boom. It's a

108
00:05:22,000 --> 00:05:24,160
nursery rhyme. Kind of like

109
00:05:24,160 --> 00:05:27,600
really. And you hear

110
00:05:27,600 --> 00:05:31,080
that's the fill in.

111
00:05:34,479 --> 00:05:37,039
But then as you hear the end,

112
00:05:37,039 --> 00:05:39,039
can we go to the end of the song where

113
00:05:39,039 --> 00:05:40,880
just the beat and like the you hear you

114
00:05:40,880 --> 00:05:43,840
can really I

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mouth drum kicks.

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It's all about drops. All the elements

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are there. So, at the end, I kind of

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always give you a display of the art.

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There you go, Chris.

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Tell me that somebody. Are you that

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something somebody?

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And that's how we came up with that

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song. is really just like four elements

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and you just play around with those four

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elements and make the beauty out of it.

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But the baby kind of added the icing on

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the cake. Her tone

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or his tone, it's amazing. It's like an

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instrument that's you can never

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duplicate.

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Just really just all ideas of what I saw

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in life as a kid. Like if you really

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think about it, B. It's like looa loo.

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I got another puzzle for you. It's what

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you hear as a kid. You you you have all

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these things in your head and you just

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try to make them your way. So

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it's like it's it gives you the feel of

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Willy Wonka and the chocolate factory.

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And Willy Walking the Chocolate Factory

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to me was complex but simple. It's about

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a chocolate factory, but the factory

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itself was very complex, but it was all

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chocolate. So that song, the the the

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movement of the groove is so simple, but

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complex. It's not,

147
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it's sac.

148
00:07:33,440 --> 00:07:36,560
It's making you whoa. Then it's a snare

149
00:07:36,560 --> 00:07:40,080
too that keeps it keeps you right here

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through all that confusion.

151
00:07:43,759 --> 00:07:48,840
I'm you still right there in her voice.

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If I let you down, you can't tell

153
00:07:54,080 --> 00:07:56,160
nobody. And if I just like that, it's

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slow, but on top of that beat, it feels

155
00:07:59,039 --> 00:08:00,800
like it's moving fast. But if I just

156
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play ac capella as a snap, you'll be

157
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like, "Wow,

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it's just really a simple song." You

159
00:08:06,240 --> 00:08:07,840
know, when you get to the chorus, but I

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still kept you on.

161
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You still bounce the same.

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00:08:23,840 --> 00:08:27,360
Static is such a amazing writer. He's

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not, you know, he's want he was, rest in

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peace, the best writer I ever he's he is

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at that time was like beyond he was he

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was above his game. Him and Missy, they

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was they was somewhere else when it come

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to writing. They always try to challenge

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their self and that's really a static

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thing, you know. I just did the groove

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to make it feel a certain way and give

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it that specialness that I thought or

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uniqueness. And when we did Are You

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That's Somebody, it was like on a

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timeline. And I'm young at that time.

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I'm just loving music back again. You

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got to love what you do. So I didn't

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know it was going to be a hit. I

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00:09:06,640 --> 00:09:08,880
thought, you know, I knew it was cool. I

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knew it was dope. I know nobody going to

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say nothing. We had did I think before

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that one in a million, all these other

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records. So the synergy was already

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there. I just had to come. I'm trying to

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beat or to be on the same playing field

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as all those other number ones we

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created. But the thing what it goes back

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to this,

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the chemistry we had first as a family,

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the reason we got that song done is

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because of the chemistry.

1
00:00:12,559 --> 00:00:15,280
I don't think people influenced me. I

2
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think people had me interested in them

3
00:00:19,119 --> 00:00:21,760
and like how they do that. Dr. Dre is

4
00:00:21,760 --> 00:00:23,600
one.

5
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Dr. Dre, the way he mixed his simplicity

6
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and when you hear

7
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he made stuff sound so

8
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action-packed, so robust, so loud, and

9
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the beat was so in your face. And I'm

10
00:00:39,200 --> 00:00:41,440
like, my minds don't sound like that.

11
00:00:41,440 --> 00:00:43,120
Like, how do you get? So, I was

12
00:00:43,120 --> 00:00:45,920
intrigued how he hear music and how he's

13
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like, you know, when you watch the

14
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Compton, that's what I did. laying on

15
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the floor, listen to music, it just all

16
00:00:52,559 --> 00:00:56,160
day to kill out all the ghetto noise,

17
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you know, and whatever the problems is

18
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like listen to ring my bell. Boo. I be

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00:01:02,239 --> 00:01:04,000
like, what is that boo? How do you get

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00:01:04,000 --> 00:01:06,159
that boo?

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So

22
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he was a person like he took all the

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sonics that I took all those sonics from

24
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those old records and made it hip for

25
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that time. like Ring My Bell. He did

26
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like I'm like yo how he flipped like

27
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wow

28
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Teddy Raleigh the way he mix records it

29
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was amazing. I'm like

30
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it'll be in your face. I'm like then

31
00:01:35,600 --> 00:01:38,400
remember the time like

32
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and I'm like how did that snare like I

33
00:01:42,720 --> 00:01:44,960
can't have this conversation with a

34
00:01:44,960 --> 00:01:46,799
snare? I don't know about that. I'm just

35
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dancing to it. You know what I'm saying?

36
00:01:48,320 --> 00:01:50,399
But for me, that's what I'm thinking. So

37
00:01:50,399 --> 00:01:53,439
though I've been more amazed at their

38
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craftsmanship,

39
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you know, not, you know, I only um look

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00:01:59,360 --> 00:02:01,280
up to God, you know, said like I look up

41
00:02:01,280 --> 00:02:04,399
to people's talent and their

42
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craftsmanship, how many hours they put

43
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into a mix. Dre will spend days lead the

44
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mix up on the board. That's fascinating

45
00:02:12,000 --> 00:02:14,319
to me because every day he walk in the

46
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room, he's finding something different

47
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with the high hat. Little simple as the

48
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high head. High head ain't right. We got

49
00:02:18,879 --> 00:02:20,959
on this for a week till we find the

50
00:02:20,959 --> 00:02:23,120
right high hat. That's what you call

51
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producing. Back then Dre, Teddy Riley,

52
00:02:27,040 --> 00:02:29,840
Devonte Swing, they knew the sonics of

53
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analog. They made that analog sound so

54
00:02:32,480 --> 00:02:35,760
crisp and so hidden. When you hear uh

55
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one, two, three, the

56
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regardless of the sample, if you play

57
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the original, it don't sound like Dr.

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Dre's. You know what I'm saying? So he

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took the time

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00:02:47,360 --> 00:02:49,920
on the board. He did it himself. Not an

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00:02:49,920 --> 00:02:54,160
engineer, but he knew all those knobs on

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00:02:54,160 --> 00:02:57,200
a on a SSL. That was his thing. You

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00:02:57,200 --> 00:02:58,800
know, I have talks. I was more like,

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00:02:58,800 --> 00:03:00,800
"How do you get your high hats?" You

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00:03:00,800 --> 00:03:02,400
know, those are question, you know, I

66
00:03:02,400 --> 00:03:06,480
was more intrigued by his sonics. Me and

67
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Forel Forel had a sound and I was like,

68
00:03:09,760 --> 00:03:11,040
"How you get that thing to bounce?" It's

69
00:03:11,040 --> 00:03:13,040
like you know it's

70
00:03:13,040 --> 00:03:14,319
I always look at the people

71
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craftsmanship how they did something

72
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like if I wasn't doing it like that's

73
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what I was trying to do. Oh that how you

74
00:03:20,800 --> 00:03:22,879
do that

75
00:03:22,879 --> 00:03:24,400
those were the people I love their

76
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craftsmanship for real Dr. Dre, Teddy

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Riley, Primo

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Premiere. That's if people don't know,

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Rodney had a Rodney Jurgens had a great

80
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sound. And then there's Nas.

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00:03:39,360 --> 00:03:42,239
You can hate me now. It's like, oh snap,

82
00:03:42,239 --> 00:03:44,480
there's another, you know, it was it was

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moments. We try to make moments. And

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00:03:48,080 --> 00:03:50,319
that's why I enjoyed the craftsmanship

85
00:03:50,319 --> 00:03:52,799
of these producers because they made

86
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moments that stills live on today.

87
00:04:02,799 --> 00:04:06,720
You should never try to copy

88
00:04:06,720 --> 00:04:09,760
what's been done. You should always try

89
00:04:09,760 --> 00:04:13,280
to innovate what's been done to make me

90
00:04:13,280 --> 00:04:16,400
reminisce what's been done.

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00:04:16,400 --> 00:04:20,000
take from the past and add on to the

92
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future.

93
00:04:21,600 --> 00:04:23,520
That's what I can tell most. If you're

94
00:04:23,520 --> 00:04:26,800
doing listen to what we've done, but

95
00:04:26,800 --> 00:04:29,680
make it what you're going to do. We

96
00:04:29,680 --> 00:04:32,160
already did it, you know, and that's

97
00:04:32,160 --> 00:04:35,600
what you love about us. Make what we've

98
00:04:35,600 --> 00:04:37,360
created

99
00:04:37,360 --> 00:04:40,160
a new slate for the future, a new era.

100
00:04:40,160 --> 00:04:41,919
So, if I if it was a Teddy Raleigh

101
00:04:41,919 --> 00:04:44,160
snare, we have so many plugins to make

102
00:04:44,160 --> 00:04:47,680
that snare sound. either

103
00:04:47,680 --> 00:04:51,120
spectacular or stupid but got to take

104
00:04:51,120 --> 00:04:53,440
the chance say oh I want this snail then

105
00:04:53,440 --> 00:04:56,000
when people come in the room history

106
00:04:56,000 --> 00:04:57,840
like somebody like me nostalgic will

107
00:04:57,840 --> 00:05:00,080
come that's something like that Teddy

108
00:05:00,080 --> 00:05:04,080
Rug is it how you know like because I

109
00:05:04,080 --> 00:05:06,400
come from craftsmanship

110
00:05:06,400 --> 00:05:10,160
but to their culture it's going to blow

111
00:05:10,160 --> 00:05:11,600
their mind like it blew other people

112
00:05:11,600 --> 00:05:13,600
mind when they first heard it cuz it's

113
00:05:13,600 --> 00:05:15,680
new to that culture to that to this

114
00:05:15,680 --> 00:05:17,919
generation. So, it's just if you're

115
00:05:17,919 --> 00:05:20,320
producing this, take learn as much music

116
00:05:20,320 --> 00:05:22,800
if you can learn. Learn what you like

117
00:05:22,800 --> 00:05:25,280
about it, why you want to do it. You

118
00:05:25,280 --> 00:05:29,199
know, Boy Wonder, I look at him as the

119
00:05:29,199 --> 00:05:31,840
Timberland of to of Drake. Like, he's

120
00:05:31,840 --> 00:05:33,919
Drake's Timberland. Like, I feel like

121
00:05:33,919 --> 00:05:36,479
they got a great chemistry. And Boy

122
00:05:36,479 --> 00:05:39,199
Wonder always tells me I'm a bounce god.

123
00:05:39,199 --> 00:05:42,160
So, like he the bounce king. And I but

124
00:05:42,160 --> 00:05:43,680
first I you know if he would have told

125
00:05:43,680 --> 00:05:45,199
me that a couple years when I first was

126
00:05:45,199 --> 00:05:46,639
in it I wouldn't have understood what

127
00:05:46,639 --> 00:05:48,960
he's talking about. But now I understand

128
00:05:48,960 --> 00:05:50,479
like

129
00:05:50,479 --> 00:05:52,880
cuz he does it. God's plan is it's

130
00:05:52,880 --> 00:05:55,120
simple. It's very simple but it it

131
00:05:55,120 --> 00:05:57,759
grooves and it's infectuous

132
00:05:57,759 --> 00:05:59,919
and and it shows cuz it stayed the weeks

133
00:05:59,919 --> 00:06:02,400
chop infectuous stuff stay at the charts

134
00:06:02,400 --> 00:06:05,280
for like 14 weeks. Now I know he is the

135
00:06:05,280 --> 00:06:08,560
almighty Drake, right? But the sonics

136
00:06:08,560 --> 00:06:10,880
still speak for itself. Drake put out

137
00:06:10,880 --> 00:06:13,840
records and it didn't last the same.

138
00:06:13,840 --> 00:06:16,400
God's playing had a sonic that sound

139
00:06:16,400 --> 00:06:18,400
like a classic,

140
00:06:18,400 --> 00:06:20,720
you know, and it's like you can't try to

141
00:06:20,720 --> 00:06:23,520
duplicate that. You can't. And at boy

142
00:06:23,520 --> 00:06:25,199
tried to say, I tried to duplicate, man,

143
00:06:25,199 --> 00:06:27,840
I got to make another. No, that was then

144
00:06:27,840 --> 00:06:30,960
move on. Like he made the GZ that was

145
00:06:30,960 --> 00:06:32,639
then you had your two cuz like when I

146
00:06:32,639 --> 00:06:34,240
did sexy back from Mrs. Girl, that was

147
00:06:34,240 --> 00:06:35,919
it. You never heard nothing from Mrs.

148
00:06:35,919 --> 00:06:39,360
Girl from us. It just once you make that

149
00:06:39,360 --> 00:06:41,759
cake, let it be eaten,

150
00:06:41,759 --> 00:06:44,160
you know, move on, make another one, you

151
00:06:44,160 --> 00:06:45,520
got to try. That's the whole beauty

152
00:06:45,520 --> 00:06:48,000
about music. It's like

153
00:06:48,000 --> 00:06:50,479
people always come, I need that set now.

154
00:06:50,479 --> 00:06:52,319
You know, goodness. Well, I can't get I

155
00:06:52,319 --> 00:06:54,639
could give you that

156
00:06:54,639 --> 00:06:56,160
template,

157
00:06:56,160 --> 00:07:01,039
but it it's me, Justin. It's a whole

158
00:07:01,039 --> 00:07:02,080
We're going to create something

159
00:07:02,080 --> 00:07:03,919
different because it's it's this is our

160
00:07:03,919 --> 00:07:06,319
energy. And so producers, you know, I

161
00:07:06,319 --> 00:07:08,240
know you're probably somebody might like

162
00:07:08,240 --> 00:07:10,080
I love Metro Booming. I love all the new

163
00:07:10,080 --> 00:07:12,080
producers, right? So they might say,

164
00:07:12,080 --> 00:07:15,840
"Oh, I need someone like 21 Savage." No,

165
00:07:15,840 --> 00:07:19,759
that's 21. Move on. You have to because

166
00:07:19,759 --> 00:07:22,080
if you try to stay in that, you going to

167
00:07:22,080 --> 00:07:23,840
now it's messing your mental up. You're

168
00:07:23,840 --> 00:07:25,599
not evolving. You're just trying to

169
00:07:25,599 --> 00:07:29,680
create what's already been created.

1
00:00:06,400 --> 00:00:09,200
How do you get heard? How do you get

2
00:00:09,200 --> 00:00:10,960
known?

3
00:00:10,960 --> 00:00:13,440
Ambition, persistence, hard work,

4
00:00:13,440 --> 00:00:15,759
dedication, never giving up. That's how

5
00:00:15,759 --> 00:00:18,560
you get known. Always sticking to it. If

6
00:00:18,560 --> 00:00:20,720
it's good, it'll manifest itself. If

7
00:00:20,720 --> 00:00:23,920
it's not, hey, you gave it your all. I

8
00:00:23,920 --> 00:00:25,439
can't tell everybody this. Say, I'm

9
00:00:25,439 --> 00:00:26,240
going to be a music producer. You're

10
00:00:26,240 --> 00:00:27,760
going to be a music producer. That's not

11
00:00:27,760 --> 00:00:29,679
going to happen. It's all about your

12
00:00:29,679 --> 00:00:32,000
perseverance,

13
00:00:32,000 --> 00:00:34,320
your strive to be better than what you

14
00:00:34,320 --> 00:00:36,399
are yesterday. Always trying to be a

15
00:00:36,399 --> 00:00:38,160
better you. Always trying to better

16
00:00:38,160 --> 00:00:40,800
yourself. Always trying to

17
00:00:40,800 --> 00:00:42,160
figure out what you're doing wrong.

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Taking criticism, you know. Well, what

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you don't, you know, it's going to be

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hard days where, you know, you want to

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give up. I still have those days, you

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know,

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but you can't give up cuz this is what

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you love.

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My first success

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was I think if your girl only knew

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Aaliyah and

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I I I I just wanted my music to be

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heard. I don't know what it took to get

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that. I was a young kid that was like

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I just wanted my music to be heard and

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and I'm was so blessed that Aaliyah

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loved my sound. Love me and Missy what

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we was doing. And when they called and

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told us, I remember Barry, her manager,

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her record label said, "Congratulations,

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got your first number one." I'm like,

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"What?" You know, you know, he put us,

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you smiling, but it's still I don't know

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about the business. I don't know was

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wow, people like my music. Yes. That's

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all I wanted. You know what I'm saying?

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Have some money to, you know, help my

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mom out, my dad, you know. But this

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lease, but that one that wasn't wasn't

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the drive. It was the drive to make the

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people say,

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"Wow." You know, it wasn't it really

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wasn't a drive. It was I wanted people

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to hear my music. You know, then as they

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heard it, this what kind of like made me

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be like, "Wait a minute."

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A girl said to me, "You got dope beats

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out of nowhere in a mall." You know,

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random. Okay. It's Jay-Z on it. That's

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Jay-Z. She looked past Jay-Z to tell me

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my beats were dope.

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So that means my music has touched her

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along with Jay and whoever artist was on

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the music. But she identified my music,

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my template. Moving that one particular

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person was more than money or number one

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on the charts

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because

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I was moved doing it. And I know I

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wanted people to be moved. And when she

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was when she told me that it's I know

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there's millions of other people out

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there that might feel the same way, but

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I needed that one voice. So

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that was a a moment that said, "Thank

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you, God, you know, for the gift.

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To be honest with you, I'm a type of

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guy,

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you know, I at one point I didn't spend

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nothing, which I'm like that now. Like I

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don't spend no I just want to spend on

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music stuff, music equipment, new stuff,

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new ideas. And you know, you got to be

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careful cuz once the fame come, you want

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to try things and it's nothing you can

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do cuz it's going to hit you in a

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different form. I'm telling you how it

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hit me. You know, you get hot, you start

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feeling yourself. So now you neglect

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what got you hot and that's music. So

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guess what? Music is now going to leave

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you. God's going to take that gift

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slowly. Your ears are not going to hear

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the same because you're worshiping man

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things, not the gift that God gave you.

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And

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always stay focused on the gift.

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The gifts will come, but don't let the

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gift leave you.

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And

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always stay persistent, but you're going

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to have falls and bumps.

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Do you love music enough to get back up?

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That's the key. And realize your

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mistakes

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to get known out here. You'll be known,

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but it's all about your perseverance and

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trial and error.

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We have so much available to us that

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it's all in you and what you want to do.

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It's all in your feeling and yo I can

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really do this. Your mom might say you

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better go to school. Your dad tell you

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might do this. But if you believe in

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that, why is you on the computer looking

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at this MacBook? These squares, these

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squares is gonna make this house become

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a mansion. You know what I'm saying? You

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have to know that. But you don't express

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it because music is not about making

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money. Money will come, you know, but

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you got to know that my music is good

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and people want my music. People want

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this feeling, you know, and it's not a

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joke cuz a lot of people like

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my computer's nothing looks real because

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you're making something and you're not.

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People think you're not working because

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you're hitting stuff. You're being lazy.

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Get out the bed. Do this. Do that. Or

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your mom could be a kid could be that's

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on a computer all day. Go. Oh, you need

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to get a job. Yes, you do need a job.

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You need a job. She can say, "Yes, I

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need a job to buy more plugins, more

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sounds, more this." Oh my goodness.

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Invest your money into school. This is

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school. And you know, it's hard for

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people to register that music producing

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is school. Cuz every day you're on that

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computer, you're learning something

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different. How to manipulate sound, how

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to move it a different way, how to shift

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the energy this way. It is school. you

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people just don't see the payoff because

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I'm not going to a job. I'm not clocking

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in. That's the amazing part about

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producing and being great at what you do

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cuz the sky's is the limit. It's like I

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look at it like Infinity War, you know?

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You got all the six stones. What you

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going to do with it?

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Every job that you choose in life is

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going to test your faith and your

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perseverance and who you made of and

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if you easy to quit and it maybe not be

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made is not meant for you. Now you can

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stop take a break

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but to just leave it alone completely.

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If people if a handful of people said,

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"Man, you got something." And it's like

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the opposite people outside of your

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circle, you need to keep striving. You

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need to keep pushing. You know, there's

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confirmation out there for you. It's not

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like you don't have confirmation.

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There's confirmation out there. You

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getting the strangest people saying,

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"Yo, your track's dope." But you might

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want this person to say it's dope. It

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will come. It will come in time. This

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will tracks what I thought was dope that

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I gave to artists, they didn't take.

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maybe want the time to take them. Maybe

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I gotta wait. You know, some people when

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it do happen, you hear people like,

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"Man, I did this all by myself. Oh, blah

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blah blah." That's cool. But the real

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attitude to have

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is

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yes, my faith, my trial, my perseverance

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paid off and just ride away because

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guess what? Everything has an end point.

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But it don't stop you from what you do.

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Now we come to the end of my class. I

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hope you enjoyed what you heard, what

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you saw. Thanks for watching. I hope

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you're inspired. I hope you enjoyed it.

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Until the next time, see you soon.