All language subtitles for 2 CP

so right now

we're ready to start on song one

and usually

the way that I start a song is with one sound

um and that sound

in this case being uh

I have this like

melody in my head that I want to

uh start with

and then I'll put the chords under that melody

um so let's think of a melody right now

that can play throughout the entire song

that won't be annoying you

you can't see them

but I have a whole friendly crew behind me

helping me film this for you

and the way that they're

this is gonna sound pretty crazy

but the way that they're speaking right now

like they're average

like how um

he's speaking right now

he was hitting like

a d flat and an F

and the F is the major third of the d flat

and I'm thinking that I want the song to be in d flat

I have no idea why I just thought of that right now

I'm far fetched and weird

but then he said

so why don't you just like

start talking about like this

that and that

and then he said he was kind of talking out of d flat

which is d flat

and then I'm thinking

I want to make it

I don't really make a lot of songs in d flat and um

I feel like whatever song I make right now

I'm gonna uh

it's gonna be something that I'm not like

it's gonna be a comfortable song

which is a song that I

you know my isms

my Charlie isms are gonna be all over

and this song

but there's gonna be something like

10% different about it

because I have

you know some friends watching me

and you watching me right now as I make it

so it's bound to be just like

a little bit of different

a little bit of different

I can't even speak right now

I want to just get this down before I forget it

so there has to be like a

like hmm if it's in d flat

just like say that tempo is probably gonna get fat

I always seem to like make things faster

um it's like maybe like 95 98

I'll just loop that over oh here here's the loop

probably just like

repeat that over and over again

I'm always like oh

the back half of the melody has to be different

from the front half

but it just has to be the same

maybe like a trumpet or something I don't know

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

but then I'll take my phone and just kind of

I'll just loop that over

sidebar why does

your voice always sound different when it's recorded

I said it was gonna I said it was gonna be trumpet

but now it's turned it to

by the way I'm using Analog Lab right now

I just just going through random sounds

I could take this and

you know put that into literally text it to myself

and just put it in the Pro Tools and tune it

and I just don't

I always do that though I wanna

I would love nothing more to do that but oh

it's like it's so weird

I had this is a melotron sound

and I have the real one right there

but I'm not gonna use it cause

something with attack I don't

like that's too ugly

you don't want the sound to be like offensive

it's just like should be like blend in

that's cool it doesn't really sound like a choir no

you know what

I might end up doing what I said I wasn't gonna do

and using what I just recorded on the phone into

but let's just look at a couple more sounds

and if I can't find anything

we'll do the no

like it's you should never like be

I know there's guys and girls out there who can make

like beats like super fast

but it's like

I go with the more methodical approach

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

and that's like

totally okay

you don't have to be like

adding hi hats and like

doing all that crazy stuff

like from the get go

it's like I just like to

I have something in my head and I don't wanna

like rush it

no no

no no

well that's actually kind of cool

I could layer that say I wasn't gonna do that before

I think I'm gonna do that I could layer that

I think that's the way

one more thing

I like

okay I like that

what's the temple here

so right now

um I have a tempo in my head

it'll probably change

but right now in my head it's 95

and I just hit the little t

if you're using Pro Tools

I hit the tempo map and boom

boom boom boom

boom boom boom

something really simple like that

that's gonna give it some rhythm

um okay so I can easily play that in on MIDI like this

2 3 you could do something like this like

but in my mind and Benny Blanco always told me this

like record each note separately

then you have individual control over each note

so I'm gonna

like take my time and just play the f

and then I'm gonna play the a flat

and now the E flat

and now the C

and then the a flat

and then I can easily copy and paste the other f

but I'm gonna play it for different velocity

and now

and then so now

gonna quantize these just so they're on the grid

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

I just never liked it

I always work using audio and like

trimming it and adjusting the attack and the sustain

just feel so

feel so final

I don't know so

see that little transient right there

I'm gonna trim that up

and kind of just make it a little

take the click off so you can

I'm wanna kind of fade it out a little bit

cause in my mind from this voice note

I was doing a little bit shorter

so I'm gonna just do that here as well

I'll make it bigger

there we go

that's good I always commit it I don't know

you don't have to it's just something I've always done

gonna do the same thing with this a flat here

I'm gonna draw you

and look now it's not gonna tail over any

just fix that little fade

see it's like going up

so you can kind of hear the click a little bit

so I'm just gonna do a gentle cross fade

is it without the click

nice and clean I'm gonna do that here too with this

commit it that's just option shift 3

and then it just consolidates it

you could also do option shift G and group it

but I don't know

I just love to eat the CPU up on my computer

and just have prosoles hate me at the end of the day

from all the things that I've committed

but still that

that little click is there

so you gotta

the most important thing for me is making like

the Rudimental sounds like

like don't worry about the clicks later

just make it super clean from the beginning

because it'll actually inspire a melody

if what you hear sounds like a final product

gonna cross fade that E flat

the same thing commit that no

see I already see

I see what I just did

I then I start like beatboxing because I just like

kind of thought of like a little hi hat pattern

but I don't wanna get ahead of myself

I just wanna get this main sound going first

gotta do that a little bit

it just I start to like sing along with it

even though it's like not even kind of done

MWA MWA

I submit that

Bang Bang ah

always have to like feel the rhythm out boom boom boom

here's that cross fade that I can easily just like

highlight them all and do

like the little quick phase

but there's something

I don't know why

I feel like if I do it by hand

just feels more natural

I could be completely wrong

it could be a complete placebo

but I think you need these fun placebos

to make the music sound personal

like there's that

oh okay

uh huh there's a loop ah

I could be cool if I had like

a high hat that kind of like

you know what I'm gonna do right now

okay so when I'm first coming up with a sound

I never just use the soft synth because I don't know

it sounds like

I need like

some thing of me on top of that

so I will take a

we'll go back to my voice note memo thing here

and I'll just do

you know how I

like recorded each note separately

um I'll do that on my phone

so ho ho ho ho

ho

Ho ho ho ho

let me airdrop this to myself now drag this MP three in

I always put whatever I'm working on

I just put it right on top of the last track

so refresh we have

that's now we're gonna take the notes

I just record on my phone

so let me get a

I like that one

okay delete that

put this note this f goes over the f here

I think that should be a cool blend

do a little fade maybe just a little notch it forward

boom

I'm definitely gonna put some auto tune on there

I don't like that a flat as much like this e flat here

so I'm just layering

my voice on top of the synth right now

and now as I'm doing this

I'm thinking I don't want

I want this

I want this voice to sound

I don't want it to sound like me

I want it to sound ambiguous

I just want it to

I want it to feel like texture

um like it was part of the soft sense

so I'm gonna kind of lower it down a little bit

okay so I'm gonna put

I hear the air conditioning in the background

you can kind of hear it when I swallow it

so waves makes this great NS1 noise suppressor

gonna put the auto tune to a flat major

even though I said we're gonna do d flat major

I think these notes are just gonna hit better in the

a flat major key so you do

so I could easily just like

scoop a bunch of lows out of this

but the notes are different

not too different

but they're kind of jumping up and down

so I love this Surfer EQ plugin which is

it'll follow

it's like an EQ Automator

it'll follow all the different notes

so I just put it right here

see how it's

see how it's changing all the

it's adjusting to all the frequencies

it's even telling you the hurts in the note too

which is cool

oh oh it's like changing oh oh

um so I'm just gonna take a little

see it's just a little bit of texture

I'm actually gonna throw it on the synth too

but make sure when you put the auto tune on the synth

make sure you change it to instrument

it definitely makes a difference changes the algorithm

and effort let's take some frequencies out the synth

too it's like I still haven't thought of like

what I'm gonna say or what the lyrics gonna be

or what the melodies even gonna be

I'm just focusing right

now I'm making these little

and I'm slowing down a little bit

just to kind of make these sound perfect

and then everything else will be just like

just put this kick in there

put the snare in there

but right now

at the core of it

we wanna make sure that the core is really good

okay so now let's go into sound toys

sound toys what's that one thing Benny told me about

little Alter Boy

put it after the EQ

I don't know if that's correct

or the right way to do it

but works for me

change the format a little bit

and I think just overall just take

like a little bit of lows out

take some put the noise suppressor on the synth too

okay so I got all the plugs on there

I want to create a new aux

just wanna make it always wanna like

make an interesting sound

and this sounds pretty weird and interesting uh

highlight the two of them

bus something random 17 18

17 18 put like

this wonderful Delay Valhalla mix that I just got

I love this setting to the tape setting

I know you're supposed to make like

a separate aux for the delay

and then feed it to your channel

I just put it right on the channel

it's just more instant gratification

um I'm gonna put it to note and make it really fast

because like

it's not gonna act as a delay

it's just gonna act as a Widener

cause right now it's very in the middle

and I kind of wanted to

I know that

there's gonna be other instruments surrounding it

so I wanted to

spread eagle as was a weird way of saying that

the spread little thing here we could bring this up

I usually bring it to right here

seems like I'm already

I keep catching myself

I'm starting to sing another great thing

Valhalla makes like 50 bucks

everyone should have it

this vintage verb is really

really special

I put it on this Peter Gabriel sounding thing

non linear reverb settings of 1980s

you know put it right on the channel

so right there I just went to the shape

I brought the size down to like 10%

because it's like in the 80s

they had a lot of gated stairs like

and the like the river would just stop

and that's kind of what this does too

and really easy way

gonna take some lows out of the reverb

see it doesn't even like

sound like I recorded my voice with my phone anymore

just sounds kind of dope all the sudden

this Pro Tools air lo fi

fun fact I actually put this on all of my vocals

it just kind of dirties them up a little bit

put a bring the sample right down give it a little irk

you just adjusted the sample right to

wherever you think it sounds the best

I don't know what

technically

is supposed to be the right way but

I usually when I do this I try not add another note

not another harmonic to it

I just want to add the grit to it

so if I did this

it's kind of adding like a like a

you don't

and bring the mix like to ten

bring the bit deaf down a little bit

I said bring down like 4

just a little something extra um

I'm going kind of crazy here

but this towel chorus

you should download all these plugins

they're like super cheap too

towel chorus LX

it's basically emulating the chorus of

like my favorite keyboard over there

which is the Juno and the Juno 1:06

but it does it without all the analog artifacts

just put it on a little bit

and finally

XL ends everybody uses this RC twenty

just give it a little bit of

and finally I know I said finally a bunch of times

Britt Skrillex always told me to use this plug in

this is the best transient master plugin you just

it's not really giving me the punch

so I want to put it on the track

bringing the attack up

kind of just makes it hit just a little bit more

oh and I brought this oh

I didn't even know that was gonna happen

I brought the sustained down on my vocal track

listen to how it was and listen to it now

so now you can't

you can't like really tell what instrument that is

like if you ever

if I were to play you that

having you not seen what I just did

like it kind of sounds like a string instrument

with a hybrid of

dog howling I don't know

okay so that's all done

so the most important thing

Max Martin always told me to do this

because I used to leave a bunch of open tracks open

just commit everything

he was like

you're not gonna change anything

just commit it

it's so much more pleasant to look at

when you render everything you did

that's why I spent so much time

like cross fading everything

cause now I'll have like one track to work with

which is this one right here

hide and make an active

always label your stuff um it's much easier

um call it choir thing

oh

I have a I have a high hat pattern in my head

but I don't

I have there's one more thing that I wanted to add

just let me work it out

okay let's open a new track

what number is the June 0 1 0 6 um okay we'll go to

let's see here 3 4

Juno put it on input since I don't really

ah that analog hiss

okay so I have this Juno plug in

but it doesn't sound nearly as good as the

the real thing

and I have the real thing conveniently right there

so I'm gonna go take the truck over there

and I'm just putting this on input

I'm not recording anything yet

I'm just gonna find the sound

and just have it in my head

and I think it's gonna work out well for everybody

and it doesn't have to be the most

groundbreaking sound either

it just has to be something to give it a little body

oh

oh hello

oh oh

okay so I know this has

like a brilliant chorus sound to it

but it actually

it adds a lot of noise to it

so I'm gonna take the chorus off on the Juno

and it's only cause it's a

it's a analogue thing

um I'm gonna record now

these notes separately with the metronome off

at no particular tempo or anything

that might be too many notes maybe just

okay so I have those four

let's line them up on the grid

put the noise suppressor on let me take it off

it's the noise is kind of nice but I don't want it so

out of every plugin I probably use this NS1 the most

it's just so good

good job waves

shout out Boston Massachusetts let's see here

oh that sounds really good

it's always

always when you're laying chords down

don't go like

a mistake that I used to make is just adding too many

notes in the beginning

a couple of my friends just told me

just like keep it super

super simple

and then you can always add more to the notes later so

right around this time

I start to like

this reminds

I know it's the beginning of the song

but I start to think of like

a picture in my head

and it reminds me of me and my friend Mike in 2,013

driving to a very suburban town uh

over going over the Tobin Bridge in Massachusetts

in Boston and then going into

like a suburbany kind of town

I don't know why

it's kind of 80 sounding

I was like Peter Gabriel

that's like

that's that's the

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

this is the comfortable song I

my mode lately

I'm making this album is kind of like that

like all 80 19

87 88 kind of thing

I don't usually like

start with a melody

I usually start with the chord

so that's a little bit different

um let's go back to the towel plug in

put the chorus on

so satisfying

and one thing I did

so it doesn't sound super on the grid

just drag it to the right ever so slightly

I don't know how to nudge so don't ask me

I just take it and just use my cursor and drag it over

give it a little movement

LFO tool is great if one knob pumper is great too but

but I don't want it to be

I want it to be

so I'm gonna just put it to

half there and kind of

just nudge it down a little bit here

a little much maybe

I put it on the line too but I'm kind of regretting it

I might take it off

but let's see what it sounds like up here

it doesn't need it

that's really good

hold on so I don't forget it

so I need to do

okay so if this

now I starting to like map it out a little bit

so there's a four bar intro

you know it could be really cool

duplicate for the intro just thinking of

you have to stay organized the whole time

um I know I could easily just put a

I want it like a filter to open up um

I can put it on the same track

but for whatever reason it just makes my

it puts my mind at ease when I just duplicate it

and put the intro on a different track

um I'm gonna use fab filter to open it up here

so I wanted to sound like this

kind of like that so

okay so I'm gonna press control option command

enable automation is what you do in Pro Tools enableton

I know it's different

enable automation for one band frequency

go to my automation

um kind of just draw it up like that

I kind of want to open up mid halfway

maybe that would sound good on the little line too

let's see and look they can just well duplicate this

see I would have totally forgot

I kind of remember the melody

but I feel better because I recorded in my phone

too much let's kind of adjust it

just bring it up lazy way to do it

I don't like that I like I wanted to do the reverse

you have to play around with things and

it doesn't need it

I regret what I said

it doesn't need it

hold on let me delete it

it's just trial and error

not gonna be right all the time

um but what I will

I do know now

is I have to take a little bit of highs off it

cause I'm gonna be singing over this

I don't want the instrument to be crowded with my voice

the whole time

it's hard to believe that

just start out with my voice now

get to a point where I like it

by the way as far as faders go

my stuff is super

super low right now

this Juno is minus 15 the

I mean there is some

it is going through some stuff

that's kind of gain staging it a little bit but um

everything is super

super low cause I know I'm gonna add a lot of stuff

and I want the most headroom

and I want those drums to hit whatever drums I

um call this intro yes I label my stuff all the time

everyone makes fun of me oh you know be cool

okay so weird example

you know when teenage dream

like blah blah

blah blah blah

blah blah blah

you think I'm pretty without any makeup on

it's you don't really know the chords yet

it just sounds like it's in B flat major

and then when the second half of the verse comes in

you start to hear the E flat G F

and you're like oh

that's the chord progression

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

and I'm thinking if we started off with like

these very like

Breakfast Club chords

and then at this section maybe this is the pre

I don't know different chords

so you have these chords the the typical chords

Ding ding right here let's just

let's duplicate this Juno track

um this is another section we're gonna come up with

arm it uh put the different

maybe like a slightly different sound

but definitely with different chords

um

because those chords would work over

so right now I have

and maybe the chorus could like

I won't say that yet

because I want to get too ahead of myself

44 let's see if there's any

that could work if the release was shorter

so staying up

no I don't it's like too black

take the frequency down a little bit

when I'm putting like the Rudimental stuff down

I don't want the you know shit to be too like

because it's just gonna be intrusive

so just make it as like muffly as possible

oh that's kind of dope actually

so let's record that separately we've been doing

I think that's probably it see

oh yeah that's gonna work so put these on the grid

these four chords here um take this noise out

do the

oh that's kind of fire

um

my dog just barked the sea natural

I should probably put something it's weird

uh uh I want that last chord to have a C

like my dog just barked uh

just like a C and a C sharp kind of rubby together

so it's interesting the entire time um

yeah you kind of hear the seed like tucked in there

and it just keeps the ear entertained at all times

where you might never hear it

it's gonna be in the background but screw it

oh oh oh oh d flat major chord oh

or

and kind of hold that one out

so there's some velocity difference here

I think I'm wrong

maybe an F at the bottom so

the first inversion of a d flat I think

maybe let's see

no I like the pure d flat better sorry trial and error

that's why it's always important to record

whatever melody you think is good right away

because I'm in a completely different section

and I would be freaking out thinking

I forgot that melody

take that down in volume a little bit

cross fade that no pops or clicks

so I'm about to show you now is a little bit extra

but I think it lends to some special stuff

because I grew up playing in bands in high school

and my main goal was to not overplay

or play on top of everybody

and like guitar player always wanted like

do a big solo

I wanted to like

blend in with them

and because it would make them sound better

I didn't really care

so much about me sounding like a rock star

I just wanted the whole band sound like a rock star

so that's why I'm just like

taking extra care with like

stuff like this

just like instrumentation melt

like ecuing early and just like

it all melting into each other

so let's go go back a little bit

maybe push that note now

no no no maybe yeah

like sounds like there's drums already and there's not

okay so you take each individual hit

and kind of just drag this one over to the right

maybe this one to the left a little bit

cause if a human were playing it it wouldn't be perfect

it would have some imperfections to it

that way I can make the drums like

super on the grid and it'll all sound like in pocket

so take that to the right a little bit

this one maybe to the left

maybe that one's right on it okay so now

so now I'll just kind of play it from the beginning

and kind of rock a little bit

look at that

maybe an organ on top of this part

I don't know like that

like I love things that like don't get annoying

I don't think that little sound will be too intrusive

on top of the melody was about to do just now

this little thing has to have some more move

it's kind of lame for just like brown

so maybe just add a go back to that Valhalla delay

kind of 1975 sounding I love Maddie and

hmm sounds like kind of bouncing

so this is Juno 2

and that the first channel

I'm gonna put a transient master here

if I'm bringing the Transit Master up it's gonna

you know clip a little bit so just adjust accordingly

kind of clip I don't mind it though

okay organ DX seven has a really cheap

it's like I love cheap sounding instruments

so I'm gonna go to the DX seven

another it's a mono instrument so I'm gonna go mono

going to go free DX seven I believe is number one

give me an organ

yeah that's it

so I'm gonna record that with all the reverb and stuff

cause I don't really know a lot about that keyboard

and record all the

the chords separately

let the reverb ring out so it doesn't overlap

and I already know in my mind

I don't want it to sound that brash again

that's the theme of the day

I feel like for my uncomfortable song

I'm gonna just make a whole bunch of loud sounds

and see if they work but

yeah it should sound like kind of churchy here see you

oh but I want a little bit more of that

there's that

okay so simple E Q

but there's like

a certain note that I'm not getting enough of

so I'm gonna duplicate that and just hold down a d flat

and I think that'll solve my haha

there ring out

it should sound like a drone

okay huh

so now the two are kind of playing against each other

but I'm still getting like I'm still hearing the

so I want to maybe adjust the milliseconds to 100

I'm just guessing that might work

yeah

okay so now I have those two organ tracks

I'm gonna go to ox

and you don't need to do this

but again it's just my OCD 1920

I feel like you have more control when you bounce

all to one group

and now that it's going through one aux

I can bring these channels up and get more of what

it's a little

there's like

it's there's this amazing plug in called soothe

that is just like an engineer's go to

and I don't know what it's just takes all somehow

just magically takes the harshness now

harshness this harshness

put it on like a

hmm I love plugins

interesting but no

orchestral nose job

I like this one

cause I can make it super loud and it's not annoying

I don't know

I can kind of hear the little dip there

but I'll just put a little

that Peter Gabriel kind of reverb on it

where is it

where is it

I'll put it on the actual thing

oh oh oh oh oh oh oh

I'll probably fix that little dip layer this

I'm talking about this right here that's bothering me

but not gonna trip on that right now

I'm just gonna keep it moving

that's another thing

you don't wanna get too caught up in production land

I know it seems like I am

I'm just like

kind of just like

over explaining so you can see my process

but you don't wanna get like

so caught up in like the production

where you still have a song written

I've made that mistake in the past where um

I've been with an artist

and they've just been on their phone

like watching me for four hours

produced out a beat

and they've heard it so many times

that they don't even wanna write anything over it

so just getting it

I would usually maybe do this in like 20 minutes

but just kind of go in super detail

to show you the process

put the LFO tool on there

do I wanna go

oh the whole drum should come in there too

okay so we're good with sounds right now

let's put the

let's open up a contact and just put a hi hat

and then maybe put some melodies down

this is exactly what I would do

if there were some songwriters in the background

they usually are

um and some collaborators um

found these great I my Charlie sounds

but found these great drum machines

let's see let's go to a random one

was Doctor Bone

sounds weird contact

individual hits

let's see

hmm that might be a little too lo fi

let's see got the cuckoo kits oh dope

that's nasty

hmm hmm

listen up

baby

oh that's

so let me put like that little

I know I'm gonna open it up with like

but it's just easier for me to just like

do it layer by layer so I'm gonna start with the hi hat

um with the metronome on

why you have to go and get my hopes up oh that's

look at me oh get

kind of just kind of adjust the velocity

on these little offstep ones right here

maybe just see

kind of gets like

a more in and out feeling

I'm just trying to like

make the drum pocket as full as possible

with this few drum sounds as possible

that way when I add more drum sounds

it's gonna be like oh wow

do it

this one like right here

I'm gonna disregard all the rest of them

it's gonna loop this one

there's my loop okay

right to audio dumb the MIDI I don't want to look at it

I hate it I don't know why

I just dislike MIDI so much even though I use it

I just wanted to go right to audio

I delete I don't even save it

and this is really extra but let's be a little extra

this is a little to the right next one

drag it over to the left

next one to the right this one

hmm cause then you get like

something like delightfully imperfect

oh it's so dope okay hmm

oh my God

I want a girl a girl okay

now it just sounds like I just imperfectly

kind of perfectly played it

like I have rhythm

which I I kind of do but not really

I can paste it from the 30 second note

so no stone left unturned label it

go back to that delay thing

just

a little bit

might have to

so I'm just like barely I

I hate using wideners like a um

like a you know

I just like using like delay

and that's how they used to make things wider anyway so

might as well just take the highs off just a little bit

that way doesn't sound so in the middle

it's very you know before

take the click off before after

barely noticeable but makes me happy

I never do this but I feel like I should

I don't wanna put a snare in yet

cause I don't really know what snare is

gonna be there but I'm gonna go to the signal generator

hmm is that this might be loud no it's not

some white noise

kind of just take a little bit here

hmm maybe just kind of tuck it

kind of sounds like a little snare

bring it down in volume

cause what that's gonna act as like

some top hissy stuff on um

on top of the snare

it's essentially like going to splice and like

getting some vinyl crackle

and just putting it on top of your snare

um which I could probably do too

I just felt like using white noise

cause you know the beginning of like um

because your kiss

your kiss is on my lips

that like drum sound that all I know is do do do

do dudes like kind of corny sounding

I kind of wanna do that with the percussion here

could do that

put the delay on here too maybe a little more

oh that one's

I'm gonna take one tiny little frequency out in one EQ

that I absolutely adore

because I'm not like to technically uh savvy

is this neutron uh

where the hell is it neutron EQ

let me just

what should I put out

put it before and

and Neutron Equalizer

like neutron to equalizer

see how that goes

you hit learn

and it literally tells you like

the best place to tremor at so

that

make room for this

so you have like multiple pitches

and the inch in

the small little bits of drum instrumentation um

you zoom really close in and kind of just take this

the white noise snare

and just drag it a little bit closer

to that high hat transient

white noise nerve

the verse would be

I thought that was gonna be the pre

I think that could be the chorus and just go like

no pre and maybe pre on the

after the second verse I don't know

why I have to go and get my hopes up

like I won't write all the lyrics right now

but something dope you could say

that's why I have to go and get my hopes up and may

bugging in like bugging in like

that's kind of dope like

like why did you have to go and get my hopes up

and make me think you wanted me from the beginning

that's like

I feel like people could relate to that

and I definitely can

let's just put like for fun

just one of those snares in and then I'll

I swear I will oh

oh that's right I want to do like an open hat okay so

I think it's better there

no that's better

oh that's dope

baby commit audio

let's go

do I want that high hat there I don't know

I kind of do but I'm gonna make it a little lower

call this open hat

sounds like cruising down the street or

I'm not gonna say that it sounds like an easy E record

sounds like an old

like dry record

but like a lot happier

I do want that little open hi hat

but I'm gonna make it shorter

so just a little

commit to audio

hmm

now it's on some track oh wow what was that

oh um

oh I'm gonna bring that one up here

this this one right here I'm gonna bring up

gives a little nice pocket

and I'm gonna bring this one down

um maybe put a little RC twenty on this one

give it a little different

my favorite setting on this thing

I know everybody uses it but like sad piano so good

bring it up in the game a little bit

put over there

I think the hat could use a little LFO tool too

so let's just like put

suggesting volume knobs as I go

definitely gonna put that there too

that's too much distortion

maybe the two bear

take this off take this off

now this one's a little too high as well there we go

let me this one more time so

you know it's just a rough track you know

the drum should come in right there

before I do all the other drums first let me just add

I always I don't have um

the attention base was a trillion retro 60s

um but I don't have trillion on here so I'm gonna use

ah simpler at the end

okay so I wouldn't quantize that

because there's

like a little transient at the beginning of these

all these base samples

and it's not gonna line up anyway

so just if I were you

and you're using this base

I would just print it

and then kind of just manually drag it

all the files yourself

it'll just like be

in the pocket move better or something I don't know

see what I mean like all this stuff at the beginning

you kind of want in this world here

I'll even go as far just like trim it even more

so cleaning the sound clean like that

um same thing just over damn bit

so just continue to that's a little bit more

just gonna blast through this real quick

you get the idea

label it

I think now is a good time to get a kick

I always do the kick before the snare because it just

my mind makes sense

boom

this is the best shit ever listen to this

oh look how I just did this work

I don't play drums

so the way I kind of figure out

where the kicks are going to go is I just have like

beatbox it out loud

make it a little bit lower

so it's going to go there boom

I'll do the velocity layers

want to get them the sample down

okay so it's gonna go there

um this one here

just kind of zoom in on that

um and make just a little bit shorter

and just a little bit lower

it's already run through the drum machine

so all the compression

everything is printed

there's just a difference between that

it being the same volume cause now it feels like

I can see what I was saying before about like

keeping all your levels super low

this one this Juno here was like minus 15

and everything is bound to get louder

so now I have so much

I've ample headroom to make it louder

okay so a little trick to make as much room

and to kind of like sculpt

I want every time the base hits

I'm gonna trigger um

a invisible kick and sidechain it

so every time the invisible kick happens

it's the same time

it's gonna be the same wave frequency as the

as the kick drum I just put in

but I'm just gonna duplicate it

active playlist everything

and then take the output off

there's a ton of ways to do this

but this is the way that I was taught

um put it to like

hmm I have a whole lot open busting

so just my Io No. 13

just call it key

um so that kick is

oh wow but maybe 21 there we go

21

key

um go to this thing here

go to like I don't know

any compressor will use the prosoles 1

activate the key

key and then kind of just solo it and listen to the

so I'm triggering it to sidechain

every time this red kick happens

so it's making room when I put the kick in

um

it's exaggerated

so we know exactly what the release is gonna be

baby just gotta use your ear

10

it's pretty good

just the ratio a little bit

dope it gets a little

I did that on we don't talk anymore with the guitar um

cause ASOF was doing

and it would be really annoying if it didn't have some

like dips in it

and the kick I feel like wouldn't come out as much

Manny taught me that

Manny Marequin taught me that

we're not a lot long time ago

so it's gonna lose some volume so you bring it up

good thing we have headroom

here's a little dip

I like them when the ratio was a little more tough

stick put it on the base too

why not so we got now the base here

your little dips in it

put the kick there

you are so a little lying too

sounds good on the line

starting to think that that needs a little muffly

or needs to be a little more mufflier

cause I knew I want my voice to be heard

okay so from the beginning now

oh I forgot

see that's the crazy thing

about working on a section for so long

you forgot that

like these chords are completely

sound like church in the beginning

and then it's just gonna be like whoa

that organ is way too intense

bring it down even more

I know I have e cues on it already

but there's no wrong way to do things

I'll fix that dip later

I'm gonna bring the little one 2 3 4

not perfect but it doesn't matter I like it

no it has to be perfect

I I'm gonna bring this

separate track so when there's no side chain

it's a little bit lower I have complete control over it

I'm gonna do is like

you think I'd like a like a

I would usually put like a big freaking 80s snare there

but I almost wanted to be like more low key cause

I kind of fell in love with this analog bounce kit

so there might be like let's see

longest 8:08 I've ever heard

yeah

that's good

I would like trim out that

okay let's just do that

if we have to change it later we can

done commit do nothing

okay so I wanted to take just

I want to make this like super

super punchy and not a whole lot of stuff after it

that's too much so just trim it back

the snare wouldn't be here

it would be in this next section

it's not previous just like just something to

that's where the first verse would be

and I think that's enough to write to

we got like a solid form

we got a kick snare

a hi hat couple sounds

and this is literally what I would write to

as if it was just

like a band warming up

this is just like

not the completely done thing

just a little bit to get my mind going

and I think I already have the melody in my head

but yeah that should be enough

okay so before we get into writing our song

it's now your turn to kind of do what I just did

I didn't make a completely finished track

I just made some vibes

and the bare essentials to make it easy for me

in my brain

to think of some melodies and lyrics

a synth kick snare

a hi hat pattern

and most importantly

just like labeling your stuff

staying organized because

I can't write anything when things are jumbled in

all over the place

so if you remember that

just stay organized

label all your stuff

at most for distinct sounds

and just a little bit of rhythm pockets

you can write something pretty consistent