YT YouTube2Text

YouTube2Text → Transcripts → Group Call #9 - May 01, 2026

Group Call #9 - May 01, 2026 — Transcript

by Sonic Mentorship · 18,989 words · 2,670 segments · language en · Watch on YouTube

Open in transcriber Summarize with AI Download SRT/VTT

Full transcript

0:00Mhm.
0:03Hello everyone. Welcome to another week
0:06of Sonic mentorship group calls. Amazing
0:10to see you all here again. And um
0:16this week we're going to be deep diving
0:19[clears throat] Lampros's
0:20Lampros's track. Am I pronouncing that
0:23correctly? Lampro.
0:24>> Yes. Yes. Yes.
0:26>> Lampro from Athens.
0:29Um and um and that's it. So the track uh
0:34itself
0:36pretty banging underground I would say a
0:39little bit Sonic Species style like
0:41rolling with a heavy lead at the end. Um
0:45I really liked the track. Um really like
0:48the track. Can you tell everyone what
0:49key and BPM it is please? Lampros.
0:52>> It is 145 BPM and it is in F. Oh,
0:58>> usually I go between F sharp and G
1:00sharp. This is the the area that
1:03>> it's a great range. It's a great range.
1:05Also, for some reason, the kick and the
1:07bass phase is the easiest to get right
1:11with a kick in between F sharp and G
1:15sharp and sometimes A, but F# to G#
1:18sharp, it's the sweet spot for everyone
1:20who's maybe having issues getting that
1:23perfect phase alignment with your your
1:25bass and your kick. Um, that really is.
1:28And and G G just seems to work a lot. G
1:31sharp works a lot. F works a lot. F
1:34sharp works a lot. So that range most
1:38things just work. You can nudge it a bit
1:40or you can just flip the phase and it
1:42will work, you know, as Lampros is been
1:45experiencing. Um so yeah, really enjoyed
1:49this track. Um definitely when it's kind
1:52of [clears throat] taken to the ultimate
1:54ultimate uh finish line, it's probably
1:57something I would play in one of my sets
1:58to be honest with you, that kind of
2:00style. Um, so I'm going to start with
2:03the things that I love about your track
2:06first and then we can go on to to things
2:09that that I think uh need some attention
2:12to just take them up to the finish line
2:16um for this track. So things I love the
2:19grid around 2 minutes. Brilliant. That's
2:23just when that kicks off. you know,
2:25you've got that's when I can hear that
2:27this is not your first uh battle in the
2:30coliseum, so to speak. Um
2:33[clears throat] because the placement of
2:34the the delays and everything, it's
2:37Yeah, it's really uh it's really nice.
2:40Really nice. Really well done. I enjoyed
2:43that. And I've got a few ideas uh on how
2:45we can even take that grid just even
2:48slightly uh even better than that. Um,
2:52also the the lead, the end lead.
2:55Brilliant. Love it. That whole build,
2:58you know, the end of the buildup, the
3:00lead. I've got some ideas for that as
3:02well. It really excites me because it
3:04reminds me of a track that I play in my
3:06sets from Ace Venture and Volcano called
3:08Simulation. Um, it's got that buildup at
3:12the end, then it stops and then there's
3:14a lead and then it comes in. So, we've
3:17got some really nice ideas about how we
3:19can even tweak that a little bit as
3:21well. Um, love that lead, flange lead
3:24after that. Great as well. Anything with
3:26a fl
3:30um always a winner really for me that.
3:33And you've got the vocal. You've got the
3:35money vocal Morgan Freeman
3:38uh in just before the break, just before
3:40the uh the kick base comes in. Great.
3:43Iconic, you know, love that. Um, kick
3:46and bass is good as well, tight, and
3:49you've got a nice sounding layer as
3:52well. Um, so yeah, I'm enjoying that.
3:54Percussion is smooth and wellcrafted as
3:56as well. So, you know, generally
3:58speaking, it's a it's, you know, it's a
4:00nice sounding track, cohesive,
4:03you know, and um, that's it. So, I'm
4:07here to tell you ways that we can take
4:10it just that little bit beyond where it
4:13is to get it to a finish line for you.
4:17Um, so I'll start off with
4:20[clears throat] and Lampros, feel free
4:21to jump in or make a comment or ask any
4:24questions if you if you want to. Okay.
4:26>> Um, it doesn't doesn't need to be a
4:28monologue. As much as I love my own
4:30voice, it doesn't need to. No, I don't
4:34really don't really don't like my own
4:36voice, but as long as I don't have to
4:37listen back to it recorded, I'm fine.
4:40Um,
4:42so yeah, general things um to improve um
4:46and things that that it would be great
4:48if we just got a bit more of this and a
4:50bit more of that. So, these are general
4:52points um atmospheric sounds like a
4:56layer of kind of like effects. you would
4:59call them atmospheric think atmos or
5:02effects like the more ethereal side of
5:05things. Okay, we've obviously got the
5:07meat and potatoes, we've got the leads,
5:09we've got the stabs, we've got uh the
5:11kick and the bass and obviously all the
5:13drums and all the rest of it. So, we've
5:14got the main elements. What we're
5:16missing a little bit is those more
5:19ethereal atmospheric sort of layers. you
5:23know, whether it's a little effected
5:25pad, a little a little like melodic
5:28sweep, um, or whether it's, um, an
5:33[clears throat] atmosy layer behind your
5:35grids. And that's something we can we
5:38can look at. And that was that was
5:40something that uh my old partner Alex
5:43who was the original founding member of
5:45Sonic Species with me who went on to
5:47create his own company Future Phonic who
5:50create brilliant samples presets and
5:52master classes. Um he was very good at
5:56the atmospheric
6:03kind of textures that we would put
6:05behind the grids and the stabs. Right.
6:08So when you had a stab uh uh uh we'd
6:12have like like that, but there would be
6:14like like something
6:17sort of like reversing into one of the
6:20stabs. Just little ghostly kind of
6:21atmosphere
6:25like little things. Even if it's just a
6:27side chained pad or something um behind
6:32the stabs, it can give the the whole
6:34thing more depth. Um, if you think about
6:38it, like, you know, when you when I
6:40walked into this apartment, I thought it
6:42was too terribly small and it was not
6:44going to be suitable for me, but it was
6:46empty and there was no furniture and
6:49there was no rugs or carpet or anything.
6:51And over the next couple of years, I've
6:54filled it up with stuff. And now I've
6:56kind of got got things in here. It feels
6:59a lot bigger because I can see there's
7:01perspective. I've got something on the
7:02walls. So you can see how big it is. So
7:06in the same way as that, like if you've
7:09just got the stabs and the kick and the
7:10bass, it all it can all feel like it's
7:13it's existing here. As soon as you put
7:16something that is further back, like a
7:19like a pad, like think about it like
7:21this. The more reverb a sound has, the
7:23further it sounds like it's far away or
7:27when you take the high frequencies down,
7:29it sounds like it goes back. So easy
7:32thing to do if you want to put a delay
7:34on something, put a delay on a separate
7:37channel, put it on 100% wet, for
7:39example, and then bring the bring the
7:41high frequencies down and it will go to
7:44the back. So if you have any sort of
7:46like softer sounds, atmosphericy sounds,
7:50some effects, something soft ones, just
7:52a little bit occasionally behind the
7:54grid. It will give you that suddenly it
7:57will sound like really deep like
7:59there'll be a depth and it'll suddenly
8:01sound like the grid is here and then
8:03you've got this other layer here. It
8:06will open up a whole new dimension to
8:08your to your mix and it will be really
8:10really easy thing to do. So that's
8:12that's something I would do when the
8:14grid's playing. Um so that was just you
8:18know atmospheric
8:20layer that we can have on this track
8:21would really take it to the next level.
8:25Um, and then on top of that, and in the
8:28same vein as that, just a uh it would
8:30benefit from just a few more samples
8:32here and there, just a little bit of a
8:34wider range of sounds in the track. As I
8:38said, you got the synths, you got the
8:39stabs, you got the melody, you've got
8:41all of the the main things. All it needs
8:44now is a few rand more random the
8:47different textures, right? To take it
8:50into another dimension. You've got your
8:52synthesizers and you got the stabs and
8:55that's great, but now you need like
8:58sounds with a few different textures.
8:59Just go on splice or go on splice, go on
9:02effects and find some. Just click on the
9:05key of the track and there'll be 5,000
9:08different effects. You can just pick a
9:09few and just put them in your track to
9:11give a bit of diversity to to the tone
9:15the tonal texture. Yeah. Because if
9:18everything's coming from a synthesizer,
9:21it will all end up sounding quite
9:22synthy.
9:24But as soon as you put like a, you know,
9:26like a a big uh African drum, Yeah. it
9:30gives you the contrast. Yeah. So it will
9:33make the synth sound even more synth,
9:36even more digital if you put like a a
9:39big, you know, real sounding drum next
9:41to it because it's the contrast. So
9:44yeah. So, I think you could uh you could
9:46just get a few more samples. Again, easy
9:49thing to do and it's fun. Go on splice,
9:52click on F, and just press the down
9:54arrow and just just uh just preview
9:57sounds and then when you hear something
9:59you like, just drag it into your
10:00sequencer. Um it's really really fun,
10:03really easy. And um they built Splice
10:06really well for Are you familiar with
10:07with Spllyce Lampros?
10:10>> Yes, I know, but I'm not a subscriber to
10:13splice.
10:13>> Okay. I would highly recommend that that
10:16everyone get a basic subscription
10:18because you open you can open it in your
10:20door and then that little instrument
10:23connects with the splice app and then
10:25you can just everything's in key,
10:27everything's in time. You just drag and
10:28drop. It really speeds things up. You
10:31I'm going to suggest it for your high
10:33hats and stuff like this as well just to
10:34get extra layers, extra loops. So
10:37definitely when you want to invest, I
10:39don't know if it's, you know, €10 a
10:41month or something, €15 a month, maybe
10:4320. I I can't remember cuz I've seem to
10:45have a unlimited amount of credits that
10:47keep appearing from nowhere. I I am a
10:50good Splice user, but I don't know how
10:52that I just don't know how it happened,
10:54but I'm very grateful. Um, it would be
10:57worth doing. Um, so another thing as a
11:01general a general point before I get
11:04[clears throat] stuck into the details
11:05and then go chronologically through your
11:07track. Another general point is that the
11:10up and the down of the track. Yeah. The
11:13drama like the crescendo. Do you know
11:15what I mean when I say crescendo?
11:17>> Yes.
11:17>> Yeah. the crescendo moments and and the
11:22the the rising moments and then the
11:24coming down moments, they need to be
11:26more uh accentuated.
11:29So that they need to be, you know,
11:32amplified to be more intense. Yeah,
11:37that's what I'm feeling. That's what I
11:39want to hear. I want to be more Yeah.
11:41grabbed even stronger when there's a
11:43buildup. I want it to just go right to
11:45the top and I want to have my hands in
11:47the air. You know, I don't take drugs,
11:49but you know, I want to be on ecstasy
11:51and
11:53um I can say that because it's my
11:55community. No one who's going to cancel
11:57me. [clears throat] Um so um how good is
12:01that? Um yeah. So, so when when it's
12:05going to go up, like really really make
12:07it go up like and I'm g I'm going to go
12:09through this in the timeline, but I'm
12:11just talking more risers, more drum
12:13builds, like more filtering of the kick
12:15and bass with the highp pass filter just
12:17amplify those moments because those all
12:20of those points in the track, they're
12:22they're the points that like grab people
12:24at the end of a section, they take
12:26people they they they make them go, "Oh
12:28god, yeah, right. where we're we're
12:30bringing this section to an end and then
12:32we've got this great feel and we're and
12:33we're trans teleported into the next
12:35section in a powerful intentional way.
12:39And that's something that I say to
12:40pretty much everyone over the weeks is
12:43it's this idea of like the intentional
12:46punctuation
12:48when you finishing a section. Um, you
12:51know, like deliberately do it, you know,
12:54filter the kick base hard so you can
12:57hear it. put a little riser and then and
13:00stop and then a drum fil, you know, not
13:02something hanging over accidentally into
13:05the next part and you know um
13:07[clears throat] this is important part
13:08of making a track sound really really
13:11well engineered. Don't get me wrong, if
13:14you want something to hang over like the
13:16Morgan Freeman vocal, then obviously
13:18that's a creative choice. I'm not saying
13:20that's in that situation with that
13:22vocal. I like what you did there. I'm
13:24talking about more when there's an
13:26accidental pad, for example, in the
13:29intro when the pad is kind of going over
13:32the the gap and then it's kind of
13:34hanging around when the kick and bass is
13:35playing. So, is everything making sense
13:38so far that pros?
13:39>> Yes. Yes. Perfectly. Yes.
13:40>> Great. Okay. Um
13:44Okay, next point. Um yeah, just just
13:47just a little bit more more sounds
13:49needed. We've got about 70% of the
13:52sounds that are needed for this to be
13:54populated with the correct amount of
13:56sounds, diversity of sounds that you
13:58need for a finished track. And I'm
14:01talking about things in the break,
14:03things in the intro, a few cinematic
14:05drums here, maybe a a simple transition
14:08there, [clears throat] um maybe a little
14:11bongo here. And
14:14>> I think it's about 80% complete the
14:17track.
14:18>> Okay. Exactly. Okay. So, so exactly. And
14:21so,
14:21>> for example, needs of course an impact
14:24sound when the plaque is coming in the
14:27middle. It needs this details.
14:30>> Oh, well, now you're now you're taking
14:32over my uh now you're getting into my
14:35feedback. No, that's that's that's fine.
14:37And and as you said, you're that last
14:4020% you're probably going to hear things
14:42that you've already thought of. So just
14:45apologies if I'm repeating things that
14:48you already know. Um but but just that
14:51last 20 30% when you're finishing the
14:54track just those little extra sounds and
14:57I kind of said that before with splice
14:58with it but just when I'm listening to
15:01it and okay it's not finished so fair
15:03enough. But let's just say it was
15:06finished. I'd be listening to it going
15:08this is great. All the main sounds are
15:09there, but I just need those little
15:12things, ear candy, like it doesn't even,
15:14you know, in a way it doesn't matter too
15:16much what it is as long as it's kind of
15:19in the right place and it gives this,
15:22you know, you've got to think people
15:24people need, that's the thing about
15:25psychedelic music. It somehow needs to
15:27be engaging them um in a subtle way that
15:32allows their brain to actually like, you
15:35know, kind of make it up with them as
15:37they go along. That's this is why I'm
15:39big on on sound versus silence and
15:42minimalism and then taking things to a
15:45place of intensity because if it's just
15:47straight all the time then and then
15:50there's no space for people's brains to
15:52make up the difference if you some give
15:54a bit of space sometimes it can engage
15:56the brain so they're you know the
15:59brain's almost filling the gaps and then
16:01it becomes a process where the listeners
16:03involved in their brains kind of you
16:05know I like that it's like I keep using
16:08that [clears throat] that analogy of the
16:10of the food. You know, if you're in a
16:12nice restaurant, they're not going to
16:13give you all the food at the same time.
16:14They're going to talk you this is this
16:16is the the goose from, you know, blah
16:18blah blah. And then that you're going to
16:19wait until the next course. Um
16:22otherwise, you've got no space to
16:23interpret it. It's all about the bra.
16:25It's all about them enjoying it and
16:27their brain being on fire with it. So, I
16:30think I went a little bit off piece
16:31there, but that was to say a few few
16:33more sounds which you're going to do
16:34because you haven't finished it yet.
16:36Intro and break. Yeah. Okay. So, the
16:38intro and the break and the places with
16:40no kick and bass just need a bit more in
16:43few more sounds, right? They're a little
16:45bit empty, but again, you haven't
16:47finished it, so we'll let you off.
16:51Um, [clears throat]
16:54yeah, just little little details here
16:56and there. As I said, this kind of goes
16:58hand inhand with all of those points.
17:00Just little details. A glitchy thing
17:02here. Um, you know, like a chop of the
17:05synth. One thing you could do which
17:07would be really nice is to, you know,
17:10because you've got good melodies, you
17:12got good lead, you got two or three good
17:14leads, you got the grids, you know what
17:16would be nice is if you could actually
17:18also like make some extra content from
17:21the sounds that you've got. Yeah.
17:23Because they're good sounds. So if you
17:26were to for example like you know take
17:28that end lead put it through Glitch 2,
17:30put it through infiltrator, put it
17:33through effectrics, put it through
17:35freezer or you know isotope stutter edit
17:38or whatever you know glitch things you
17:40want to try uh just to make some bounces
17:43of like some random versions of it. You
17:46know, take a chop that you like, put it
17:49in in in section one with a one four
17:52delay ping pong or something.
17:57Just filling the gaps, you know, with
18:00with sounds that are going to come later
18:03that you can use a little bit earlier,
18:05you know? So, details like that, that's
18:07when it's going to start getting to that
18:10really high quality, high-grade finished
18:12track. we're hearing like little sounds
18:15from later in the track playing earlier
18:17and it's subconsciously making us feel
18:20like we're understanding the track and
18:22then when the sound actually comes later
18:24they're already going to be
18:25neurologically ready to receive that
18:28sound in their consciousness. Um so
18:31that's something um
18:34and then punctuation as I say to
18:36everyone you're not unique on this and
18:39neither am I. I had to retrain myself
18:42about this recently. Punctuation, how
18:46you finish a section, how you start a
18:48section, the rises, the gaps, the length
18:50of the gaps, the drum fills is the big
18:53one for punctuation. You know,
18:56kick and bass play, you know, if you've
18:58got 32 bars of kick and bass, it it
19:00needs to stop a little bit. you know,
19:02whether it's just a beat or whether it's
19:03a bar every now and then, punctuation is
19:07key because that's what's going to make
19:09someone be able to listen to a section
19:11of your, you know, a long part of your
19:13track without getting bored. They need
19:14the punctuation in whatever way it is.
19:17And often the easiest way to do that is
19:20filtering a kick and bass, maybe
19:22stopping the kick and bass for one beat,
19:24maybe in a big moment of punctuation,
19:26stopping the kick and bass for one bar,
19:28having a drum fill. all of the range of
19:31of of that is is what I refer to as
19:34punctuation. And you could do a little
19:36little bit more when you do get round to
19:38finishing this track. Um, a little bit
19:40more punctuation would be good. But
19:42again, I'm going to tell you all of the
19:43different places where I think those
19:46punctuation marks should be throughout
19:48the track. Um, and you don't need to
19:50make notes because we're beaming this
19:53directly into everyone's consciousness
19:55through a new device that's built into
19:58Zoom. No. uh because you can watch it
20:00back. Um [clears throat]
20:03so, okay, kick bass. To be honest, I I I
20:06didn't make lots of notes on the kick
20:08and bass because, you know, I don't need
20:10to because it sounds sounds good. Uh
20:13just a few things really. Um how loud is
20:17your kick compared to your bass?
20:22>> They have like
20:25two degrees of difference.
20:28And is it and you've measured that?
20:30>> I usually start with two divisions and
20:32try to push it up as much as
20:35possible in order to become like a
20:38straight line both of them.
20:41>> Right.
20:43>> Okay.
20:44>> But usually I end up minus two or minus
20:482.5.
20:49>> Right. And it's the same for me as well.
20:51And that's what I've been recommending
20:52to everyone in this community. But um I
20:55just want to Are you measuring that with
20:57RMS or are you
20:58>> Yes. Yes. Yes.
20:59>> You are measuring that with R. Okay. So
21:01you're in the
21:02>> Right. Fine. I was I just wanted to
21:04check cuz I was hearing it going. Could
21:05the kick be a bit louder? Maybe, maybe
21:08not. Kind of didn't I I didn't have a
21:11problem with it, but I wanted to ask you
21:12to check. So Lampros is doing what I've
21:15been recommending everyone do, which is
21:17just for the group. Lamp Pro, could you
21:19tell us what um what metering software
21:23you're using to check the RMS of the the
21:25bass and the kick?
21:27>> Look, because my the place that I
21:31work produce music, it's like a bedroom.
21:35>> I don't have monitors. I don't have
21:38>> acoustic treatments or software. He
21:41means what software have you used?
21:43>> Yes. And because I'm using only
21:45headphones.
21:46>> Yes. I rely I usually go on with
21:51gain staging everything.
21:53>> Mhm.
21:54>> So I have like a reference and the
21:56software I use for metering is that the
21:58one you suggested in one of the first
22:00>> Oh, BX meter.
22:02>> Correct. Yes.
22:03>> So you've been hovering around soaking
22:06up these tips.
22:08>> Yeah, of course.
22:08>> And [laughter] this is Is this your
22:10first is this your first live call?
22:14>> Yes. [snorts]
22:14>> Amazing. Amazing.
22:16>> I've seen all I've seen all the rest.
22:17Don't worry.
22:18>> Amazing. Well, great. We're great to
22:20have you here with us for the first
22:22time, mate. That's amazing. So, you're
22:24using the BX Meter. It's fantastic.
22:26Isn't this great community vibes? BX
22:29Meter for the win. I love that plugin
22:32and it's cheap. I think it's €50. As I
22:35said last week, I'm not getting
22:36commission from Brain Works.
22:39>> Um,
22:41so so that's it. So, so, [laughter]
22:43>> so they're kicking it. So, you're doing
22:45Yeah. And it sounds good, man. It sounds
22:47balanced. So, that's good. And how how
22:49is your phase looking?
22:51>> I'm using the Oscillos Mega Scope.
22:54Something like that.
22:55>> Right. And it's kind of
22:56>> to check the phase. Yes.
22:58>> Yeah. Okay.
22:59>> And
23:01Yes. One of the first thing I check is
23:03the phase, the the RMS between kick and
23:06bass, and then move to the rest of the
23:10the track.
23:11>> Yeah. Okay. Well, look, it's sounding
23:13good and it's sounding bounc. So well
23:14done. Um the layer is nice. It gives
23:17power. Um now the layer are you are you
23:22uh side chain? Are you ducking the layer
23:25the same with the same kind of curve
23:27that you're ducking the bass?
23:29>> I also find the layer very nice. I the
23:32first time I use a bass with such layer
23:35with the stereo layer
23:37>> but it is a sample. It is a you know
23:41sample. It's not for two octaves. So
23:45>> I usually have like a sketchbook of
23:49serum doing the baseline that I would
23:52like to have and then replace the
23:54different notes with samples.
23:57>> Yeah. Is is the is the the side chain
23:59happening on the on the layer as well or
24:02not? Is there
24:03>> Yes. Yes, it is.
24:04>> Is it the same as the base?
24:05>> Very very subtle.
24:07>> Okay. Is it what I was going to suggest
24:09is if you if you could have like because
24:11it sounds like the side chaining on the
24:13layer is a little bit different to the
24:16side chaining on the bass.
24:19Just a little bit.
24:20>> What do you mean? Ah,
24:23>> you see what I mean? Like the way the
24:25bass is pumping. Is it the you've used
24:27the same?
24:29>> It's the the same sample. Yes. It's in
24:32one sample. The base handle layer.
24:34>> Oh, it's in one sample.
24:36>> Yes. Yes. Yes. Oh, right. Okay. Sorry.
24:38Right. Okay. So, anyway, so there's
24:39nothing you can do about that. So,
24:41great. Um, now I I think the only thing
24:43I would potentially add to that is a is
24:45a stereo layer, which you could even do
24:49if you duplicated that bass, took the
24:51bass out, and then put something like
24:53the PH979 on and made it. You could have
24:57a or you could take another bass.
24:58There's a great one I use called NIA
25:02Bitcrushed Bass, and that's that's that
25:05would be good. You could take that.
25:07You've [clears throat] probably seen me
25:08talking about the stereo bass layer
25:09technique.
25:10>> Yeah,
25:11>> that's something I'm going to make a
25:12video for for the May content drop. Um,
25:17you could have a stereo layer. That's
25:18the only thing I really would add to
25:20this kick and bass, but I like it. It's
25:21It's great. You've you've embodied the
25:24what we're talking about here and it's
25:25it sounded really good. So, percussion.
25:28Uh, just got a few points on percussion.
25:30Then we can start the actual walk
25:32through of the track. 16's hat. uh when
25:34that starts after eight bars um it's
25:38missing a couple of notes which is fine
25:39that's part of the groove but and then
25:41you bring like a 16 shaker on top which
25:44kind of fills in the gaps. Now I still
25:46think that a h another hat small hat
25:50that is doing the full 16 would be good
25:53um and you could just drop that on top
25:55of your hat or you could fill in the
25:57gaps. But still, I think when
25:59everything's up, you just need like one
26:02hat that's doing
26:06and there's there's there's just just
26:08one and you could just drop it on what
26:10you've got and I think it it would sound
26:12really good. I've got some in the Sonic
26:14starter pack. You've got some in the
26:16Antinomi pack. I go in there all the
26:18time to just take a little hat if I if I
26:20want to just add something to my hats
26:22for the 16s. Um, splice. I mean, god,
26:25there's thousands of hat loops in there.
26:27Um the likum hats uh future phonic has
26:32got some great ones. But it would be an
26:34easy thing to just elevate give that m
26:37give that extra momentum um when it's
26:40needed like when you have the open hats
26:42together that extra 16s is is going to
26:44be really like a nice little touch. Just
26:48the the shaker doing it is good but just
26:50one more hat loop or fill in the gaps of
26:53the existing hat. That's that's what I
26:56would recommend there. Um the 16
26:59elements like whether it's a shaker or
27:02another hat, you know, potentially you
27:04could find a loop that has a bit of
27:05width because as much as it's nice to
27:08have the percussion in the middle,
27:10having one loop that's a bit on the
27:12sides is also quite nice because it kind
27:14of just it gives you a spacious feeling.
27:17And you know, you could you could take a
27:20you know, you could take your shaker,
27:22you could take another hat and you could
27:24use that technique I talked about, or
27:27you could just go do something quick and
27:29just take the PH979.
27:31What? What? Sorry, what door are you
27:33using?
27:34>> Uh, Qbase.
27:35>> Okay. So, you could take Have you got
27:38Waves?
27:40>> Uh, no. No,
27:42>> no, no. Well, you have you got the PH979
27:44or something like that?
27:45>> This one I have yet?
27:46>> Yeah. So you can just take that and just
27:48turn one of the dials on the left so it
27:50it offsets one of the sides and then it
27:54be immediately becomes stereo. So you
27:56could take one hat loop and you could do
27:58that and it would just be more you could
28:00turn it up and down and it will make it
28:02wider and and thinner just you know just
28:05just an idea or or a little loop
28:07something stereo would just bring the
28:10percussion into this. It's tickling here
28:12as well as well as in the middle because
28:14at the moment it's all tight. Sounds
28:16great, but it's very much here in the
28:18mix. And it wouldn't be bad to have a
28:20little bit of it here. Just an extra
28:23little bit. Yeah, extra little bit. Um,
28:26it could be a loop, could be a hat,
28:27could be a shaker. Um,
28:30closed offbeat hat. I I do think that
28:34you could you could make this more
28:36powerful, right? It starts after eight
28:38bars. Offbeat hat t. Um, is that hat
28:43separate? Have you got that on its own
28:45channel?
28:46>> Yes.
28:47>> Okay, great. Right. What what what I
28:49could recommend you do with this um is
28:53to play around with excuse me, putting a
28:56limiter on on it and
29:00turning the putting the the signal up,
29:04bringing the limiter threshold down and
29:06really squeezing it a bit so you kind of
29:09condense the the power of the attack of
29:12it. You'll see the signal if you look on
29:14the LFO tool or or your your
29:17frequency, not your frequency, your wave
29:20reader that you've got. What one do you
29:22use?
29:24>> Or a wave reader.
29:25>> Yeah.
29:27You know, if when you're doing the kick
29:29and bass phase,
29:31>> the using a I'm using a scope.
29:33>> Scope. Yeah. So, when you're looking at
29:35Yeah. When you're looking at
29:36>> scope, it your high hat will become a
29:38little bit more flat. Yeah. You can put
29:41it into a limiter, bring the threshold
29:43down. Um, you can also use a distortion,
29:46but just just like squeezing it a little
29:49bit. It's going to make it a bit more
29:51powerful. Um, but it will also make the
29:55shape more flat. So then what you
29:57[clears throat] can do also decapitate
30:00is a good one. Have you got decapitator
30:01sound toys?
30:03>> No. No. I'm usually using
30:06saturation.
30:07>> Yeah, that's also good. So, you know,
30:10put a put a limiter and then put a
30:12saturator before and then turn it up
30:15into the limiter and that the limiter
30:16kind of like squash it a bit and you'll
30:19find that the power of the the first
30:22part the it start it goes from T to
30:25more.
30:26Yeah. Which so you could play with the
30:28amount, but a lot of the professional
30:30tracks they squeezed the the things a
30:34little bit. Yeah. So you you kind of get
30:37you can have something that sounds
30:38really loud, but it's not very loud, but
30:40it also has this more juicy more it
30:43delivers like the the the good stuff
30:47quicker at the beginning of the sound,
30:49right? Um so then if you do that and you
30:53end up with a hat that's a little bit
30:54more flat, you can then shape that
30:57yourself afterwards, right? So you can
30:59make the tail go down. You can then
31:01imagine you're you're kind of reshaping
31:03it then to taste afterwards. I do that a
31:06lot. I'll take a hat or two hats and
31:09I'll and I'll put it in the limiter.
31:11I'll some distortion. I'll I'll do all
31:13sorts of stuff like that. And then at
31:15the end of that, I'll then make a new
31:17shape to make it the shape I want.
31:20That's a very regular thing I do because
31:22the end the second half of the hat is
31:24something you want to control. So, all
31:27of that to say, I think that that
31:28offbeat hat you could just make a little
31:30bit more juicy and that would that would
31:32be great. Um,
31:35closed hat, closed hats, shake hat
31:38technique. Also, if you wanted to then
31:41take that one step further, you could
31:43introduce a shaker layer to your closed
31:45hat. And that's quite fun and that can
31:48be quite nice. Uh, and then when your
31:51open hat comes on the back of that, it's
31:53it's like a shaker and an open hat gets
31:56mixed together. It's quite a nice
31:58contemporary sound. I hear in this track
32:01your open hat is, you know, it's it's
32:04there, but it's it's not like
32:06dominating. It's like, you know, you got
32:07the closed hat and the open hat. It's
32:09kind of powerful, but subtle. So in this
32:12case, you know, a shaker mixed with your
32:14closed hat
32:17will kind of go nicely into that whole
32:19mix of when you've got the open hat
32:21playing. So that's just another idea and
32:23I did talk about that and that's a video
32:25that I will do is the shake hat and I'm
32:29going to do that soon for the May
32:31content drop. Um,
32:35[clears throat]
32:36yeah, the percussion in general,
32:39which I like, is a little bit
32:43back in the mix. Um, now this is it's
32:46not a bad thing because it needs to be
32:50um no louder than it needs to be, right?
32:53So you're right in the, you know, you
32:55can tell that you've gainstaged it and
32:57you've paid some attention to that
32:58because it's right, you know, but it
33:01could still be just that little little
33:03bit more in my face. Yeah. But but
33:06little bit little, just a little bit. So
33:09because the kind of the volumes are kind
33:10of right. I wouldn't in a way I wouldn't
33:13want you to turn it up, but I want to
33:15feel like it's just that little bit more
33:18aggressive or louder. How do you do
33:22that? you don't want to increase the
33:23volume, but you want to make something
33:26more powerful. What do what do you do in
33:28that situation? Well, this is where
33:31things like parallel processing
33:34uh start to become an option for you.
33:37So, for example, and a lot of, by the
33:39way, a lot of the things I'm talking
33:41about when I'm telling you to juice up a
33:43hat, put it in a limiter, bring the
33:46bring the the the the quieter part of
33:48the sound up, make it flat. In a way
33:51that's par that's kind of what you would
33:53do with parallel but parallel is a
33:56little bit different in the sense that
33:58you know the one classic way they they
34:00were doing it and you you can do it as
34:02well is you can have you know you can
34:04either send your percussion to another
34:07effects channel and then have a
34:08compressor on that or a limiter on that
34:11which squashes uh squashes it down to a
34:15really flat signal. And then you you
34:17just put a little bit of that signal in
34:21uh mix it back in with your percussion.
34:24Right? So imagine what that does. Like
34:26I'll try and explain it visually. You
34:28know, you've got your percussion going
34:30normally. You know, the peaks and the
34:32hats and the snares and everything. And
34:34then you've got this flat percussion.
34:36Everything's flat. So you introduce that
34:39and it brings up the the quieter s the
34:42quieter parts of your percussion. And
34:44that will make everything sound louder.
34:46But because it's bringing up the quieter
34:48parts, it won't bring up the peaks.
34:50That's the secret trick. So you will get
34:53more perceived volume with all of your
34:56percussion, but your peak volume will
34:58not increase. Right? That's the most one
35:01of the most straightforward ways of
35:02doing parallel compression laps. If you
35:05want to try that, easiest, quickest way
35:07to do it actually is just to take eight
35:09bars of your percussion, do a quick
35:11bounce, make a new channel, and then put
35:14a compressor on it, dial it up to the
35:17maximum, and really flatten it. Uh, you
35:19could do it with a limiter. There's
35:21million different um tutorials on
35:23parallel compression, so have a just
35:25have a quick look. The idea is that you
35:26make it flat and then you just introduce
35:30that just mix that back in. Like turn
35:32the volume of that up a little bit and
35:34you'll hear what it does to your mix
35:35when you mute it and you unmute it. So
35:37that'll give you that'll give your
35:38percussion that extra volume without
35:41giving it more volume. That that's one
35:43thing you can do. And that might be
35:46quite nice here actually. I think it
35:48might be quite nice. Secret trick. Don't
35:50tell anyone I told you that.
35:56>> [clears throat]
35:59>> For sure I I will give it a try because
36:01I usually never work with uh scent
36:05effects. I only use insert effects. You
36:08know, each channel its own uh
36:12>> yes
36:12>> effect. So
36:15>> yeah. Well, send effects would would be
36:18good for this. Or if you're
36:19[clears throat] not a send effects man,
36:22then as I said, you can just bounce it
36:24to a new channel and treat that channel
36:26like a send effects channel. It's the
36:28same thing essentially. And I do that a
36:31lot with I've said you've probably seen
36:33me talk about this a few times on the
36:35calls with the reverbs. When I want to
36:37make a reverb for my open high hat, I I
36:39don't use an insert. I duplicate the
36:42open high hat. I put a reverb on it. I
36:44turn that reverb to 100% reverb. And
36:48then I create a customized open hat
36:52reverb channel beneath my open hat.
36:55>> Okay. Then
36:56>> yeah, I just do it custom customized.
36:59But what I will use the send effects for
37:02is when I'm quickly writing and I want
37:04some delay and I want some reverb and I
37:05don't want to have to, you know, go into
37:08detail. But when it gets into the real
37:10detail of stuff, I I generally do a
37:12customized job and then some things will
37:15get left with the send effects and and
37:18uh and that will be that. But that's
37:19worth trying. I'd be curious to hear
37:21what that does to your percussion. A
37:22little bit of parallel processing. Um
37:25could be nice. Um
37:28D
37:30and
37:31>> can I ask you something? Yes, as you
37:33said, it's going to give the perception
37:35of louder.
37:38The percussion will become louder. But
37:41isn't this going to affect the balance
37:43with the the rest of the elements of the
37:46>> Not really. No, because as I said, the
37:49the part of the percussion that will be
37:51getting louder is the quieter parts.
37:55So your peak, all of the transients are
37:58still going to be the same. I'm talking
38:00about these parts.
38:02>> Okay. Okay.
38:03>> Yeah. That's the bits that get louder.
38:05That's the beauty of the parallel
38:06compression. If you look at your meter,
38:09look at the brain works meter. When you
38:10do it, your peak volume will not change.
38:13Yeah. Your RMS will change
38:16>> a little bit. Your RMS will change. But
38:18now we're talking uh subtle subtle
38:22stuff. So, it's not going to be uh
38:24messing with your mix. And in any case,
38:27when you do finish the track, you're
38:29going to want to go and dial in every
38:32single snare, high hat from the
38:34beginning anyway.
38:36>> That's going to be, you know, unless
38:37it's
38:38>> Yeah, you're going to want to do that.
38:39So, you [clears throat] can try all of
38:40that at that point. Yeah, I wouldn't
38:42worry too much. And for people that
38:44think, "Oh, I don't want to have to
38:45start the mix again." Honestly, it
38:48really does not take a long time. Like
38:50literally you just kick and bass, open
38:53the frequency analyzer, put the snare,
38:55put the hats, you know, once you start
38:56doing it, I mean it can be done in, you
38:58know, not not that long. I know when
39:00you've got 100 channels, it's a bit
39:01different. Okay, so fair enough in in
39:04that, but I [clears throat] think for
39:05this track, you know, yeah, definitely
39:06100%. And it's going to sound amazing.
39:09Um,
39:11work on HR. Yeah. So that's the final
39:14thing I will say about the percussion
39:15lampross just to just to give you
39:17another layer of um
39:20certainty when you're doing your
39:22gainstaging. Um just make sure you've
39:25got an a stereo a frequency analyzer on
39:27your master channel and that you've
39:30studied a little bit of the tracks that
39:32you love. Um, and you've seen when when
39:35the kick is there, the high hats here,
39:37the snare's there, you know, get an idea
39:40of where these things fall in the
39:45analyzer. I'm talking volumes.
39:47Yeah. And then when you're when you're
39:49dialing back in your mix, you just look,
39:51okay, well, the the the snare on that
39:54track was here. Well, I'm going to put
39:56my snare around there. Yeah. Then, you
39:59know, this is very revealing because if
40:03you put your snare
40:05there and it doesn't sound loud enough,
40:08well, then you know there's then you've
40:10got an issue. Then it's like, okay,
40:12what's going on here? Then you realize
40:14that they find ways to make their things
40:17sound loud enough, right? That's the
40:20parallel. That's the squashing, the
40:21limiting, the putting a tail on stuff.
40:25So you use it can it can it can show a
40:28lot when you compare, you know, it's the
40:31difference between putting a high hat
40:32that's had no processing. It will still
40:34look like it's the same volume as
40:36someone else's, but it won't sound the
40:38same. Yeah. And that's where the
40:40juicing, the limiting, all of those dark
40:43arts, the parallel, the layering, all of
40:47that stuff comes into its own when we're
40:50talking about maximizing the volume of
40:52something. Maximizing the perceived
40:54volume of something. Yeah. Versus
40:57actually how loud it is in terms of peak
41:00volume. So without further ado, the main
41:03event we're going to go through
41:06chronologically and um yeah get talk
41:09about all these points in the context of
41:11the track. So have you got any questions
41:12before I start that Vampross?
41:15>> No no no everything's clear.
41:16>> Fantastic. Um
41:19so yeah anyway intro very relaxed. Um,
41:24and as a general comment on the intro
41:27before I go into the details, um, I just
41:31would just say I think it needs a bit
41:32more intensity for me. [clears throat]
41:35Needs to just really grab me. Just as I
41:38said before, like the the up needs to be
41:40more up. Uh, just more intense. That's
41:42all the a little buildup like let's
41:45let's give them a little bit more
41:47intense excitement because as someone
41:51and I'm sorry if I sound like a broken
41:53record but you know the the the way I
41:57perceive it and the way I make music is
41:59it's it's not going to radically change
42:01from week to week. So yeah, there'll be
42:04some advice that keeps coming around.
42:06One of the things that someone also the
42:09way they described it was good was that
42:11the intro is kind of like a trailer for
42:13your track. Um, which is cool to hear
42:17the different you've heard that from
42:18watching the videos and and also you
42:20know I would and so the idea of having
42:23sounds that are going to come later also
42:25nice you know it's an overview of what
42:27you're going to get with this track.
42:29It's the advert for the track. It's the
42:31elevator pitch for the track. Especially
42:34if you think someone from a record label
42:36or asterisk is going to sit there and
42:38listen to it. You know, in my case, all
42:40my tracks have to I have to wait weeks
42:42sometimes for him to listen to it and
42:45then to come back to me. So, when I'm
42:47thinking of Aster sitting there
42:49listening to my track, cuz he'll say no.
42:51They'll say no to one of my tracks. They
42:53said no to a track last year. Couldn't
42:55release it on on my record label because
42:57it wasn't, you know, whatever. It wasn't
43:00something that they [clears throat] felt
43:01was was suitable. So, you know, I pay
43:04attention to that intro, right? That's
43:07Yeah, I don't want Asterisk sitting
43:09there. I want him to be like fully
43:11engaged from the get-go, but he'll
43:13listen to the rest of the track for me
43:15because I'm a artist on his label. But,
43:18um, for someone else, if they if they're
43:21not excited enough by the intro, the
43:23track's probably going to get switched
43:24off and they'll be listening to the next
43:25track. So, it's important for me to feel
43:29fully engaged in the intro. And by
43:32[clears throat] about 30 seconds of your
43:33intro, I feel like we need just a little
43:36bit more intensity. We need maybe a
43:39couple of more sounds. This is where the
43:40samples will come in. You can start some
43:43drum building. Um,
43:46yeah, I think the kick and bass, um, the
43:49kick and bass can start filtering,
43:51highpass filter more. You start with the
43:53low pass filter, which is great. Um,
43:56[clears throat]
43:57but I feel like it needs to start
44:01filtering on a highp pass filter a
44:03little bit quicker. Um, in order to get
44:06the momentum that we need. Um,
44:10uh, 030 that that kick and bass, that
44:13level of energy there, that's that's
44:15cool, but it's like that should have
44:17kind of happened maybe in 15 seconds,
44:20like that sort of filter. And then by
44:23the time we get to 30 35 seconds, I
44:26think it would be cool if it was like
44:27starting to lose the bass frequencies
44:30because when you cut the ba, you start
44:31cutting the bass, it's it it gives
44:33people this tension and it's going
44:35somewhere. So that's what I'd recommend
44:37here, like use the highpass filter to
44:40take the bass frequencies out a bit
44:43earlier and a bit more intensely so that
44:45we're getting the tension, we're getting
44:47the momentum. Where's this going?
44:48Where's this going? I'm excited for the
44:50future of this track. 043 seconds. By
44:54this point, we still don't have any
44:55risers or a drum build or anything like
44:58that. So, for me, I would I would say I
45:00want it to be at least doing a bit of a
45:02crescendo there just to give us that
45:05mini drop moment. We're seconds away
45:08from the drop. I want to be excited. I
45:10want to be anticipating the kick and
45:12bass. So, just again, a little bit more
45:14intensity uh there would work uh
45:17brilliantly, I think. Give them an
45:18because if you want to play this track
45:20in the beginning of your set or if you
45:22want someone else to play it at the
45:24beginning of their set, well then give
45:26them a give them an exciting moment, why
45:28not just start uh start the track with
45:31something even as exciting as the as as
45:34the rest of it. I often I often take the
45:38the buildup from the middle of my track
45:39and I bring it back to the intro and
45:41then I change it a bit. So, you know,
45:44they they get that and you you you can
45:46play around with that in your own time.
45:47Hello, Dan.
45:50>> Hey, good evening.
45:51>> Good evening. Good evening. Welcome to
45:53the call.
45:54>> Good to be here.
45:55>> Where are you calling in from?
45:57>> I'm from Tel Aviv.
45:58>> Tel Aviv. Nice one. Good to see you,
46:02man. Good to see you. Welcome. Um,
46:07>> so, uh, yeah, 43. We can be building by
46:09that point. 43.
46:12Um, high pass kick and bass, as I've
46:14said. I think you get what I'm saying
46:16there. just just more of a crescendo
46:18there would for me would be would be
46:20brilliant. Um,
46:22you got remind me you have a melody in
46:24the intro, don't you?
46:25>> I have the plaque melody. Yes,
46:27>> pluck melody. Exactly. So,
46:28>> although it's like a sketch,
46:32it's like a sketch melody. It's not the
46:35final melody.
46:36>> Okay. Okay.
46:37>> I put it there in order to come back to
46:39it later.
46:40>> Okay. So, so let's just say that that
46:43was, you know, whatever would be the
46:45final melody was there and it was
46:47finished. Then what I would be
46:50suggesting is that [clears throat] as
46:52the fil as the highp pass filter, kick
46:54and bass happens, as the rises happen,
46:56as the little drum builds, the crescendo
46:58happens, I would say, excuse me, do
47:02something with the the the pluck melody
47:05to make it also maybe modulate. Maybe
47:07you put a a a pitch plugin on
47:11just something to make it tweak uh for
47:14the end of the buildup. Maybe maybe you
47:17bounce it to audio and you chop it.
47:21Um maybe you put a reverb that turns up.
47:24Um maybe you duplicate the melody and
47:28you put another synth like an acid synth
47:30and then you fade that in as the
47:33crescendo is happening so it becomes
47:35more acidic as the the you know so
47:38something to create that that excitement
47:40and that change as the the crescendo
47:43happens. That would be the the the last
47:45thing I would do. Then I think you're
47:47all you're laughing. Um
47:50so uh rises drum builds. Yeah, as I
47:53said, rises drum builds from about 40
47:55seconds, obviously finishing at 51
47:58seconds. Um, which is where you stop.
48:01Um, I want it to grab me. Yeah. So,
48:04again, you know, if you can bring in any
48:07other sounds from the rest of the track,
48:08and believe me, I mean, I'm sure
48:10everyone would agree you've got some
48:12great sounds in this track. So to to
48:14bring a couple of them, as I said, maybe
48:17a chop from the lead, put it in the
48:18intro with delay
48:21or, you know, some of those grid sounds,
48:24you know, would be great to hear some of
48:26that melodic stuff, some of those lead
48:28stuff, the flange lead, you know, in the
48:30intro. Why not? You know, let's let's
48:32give them like the overview of the
48:34track. Um, I think that would be nice,
48:37you know, just just don't be uh, you
48:40know, when I work on the intro or the
48:42break, sometimes I just can't be
48:45bothered with the intro, but I I come
48:46back to it later.
48:49>> Um, but when I do work on it, I really
48:52work on it. And this is something I've
48:54retrained myself to do. And I put the
48:57loop and I and I'm like I'm I'm like I'm
49:00writing a symphony or something. It's
49:02like I forget I'm in a trance track and
49:04I'm just like I'm writing a piece of
49:07music
49:09and that's what I'm doing. And with with
49:11that approach and I'll be playing a pad
49:13and I'll be playing melodies and I'll be
49:15getting samples and I'm not going to
49:17worry if it's got no connection with the
49:19track at all really. I obviously I've
49:20got the track in my consciousness. I'm
49:23aware of what I'm doing, but I try to
49:25take a step out of the trance mindset
49:28for that moment and I'm just working on
49:31what is the most killer like ambient
49:34epic piece of music I can create here.
49:37And I also sometimes do the main drop
49:39like that as well. And and I find that
49:42that works because it my my brain can
49:44focus then on that. And often what
49:47happens, almost every time, what happens
49:50is I'll end up with some cool sounds
49:52that I'll be able to use later in the
49:54track. So, it's never a waste of time.
49:56And it does make these these intros,
49:58these breaks, all the bits with no kick
50:01and bass, it can really make them feel
50:04like musically complete. And and that's
50:06something I really want to hear when you
50:08finish this track. Um,
50:12so
50:14vocal,
50:16let's maybe let's have Morgan in the
50:18intro. That would be nice. Um, you know,
50:22just to tie it together. Maybe there's a
50:24maybe you use the same phrase. Maybe you
50:27use it a different phrase. Or maybe you
50:29use the same phrase with some stretch
50:32it, you know, stretch it. Re evolution.
50:36Reolution.
50:39Uh
50:42um you know you could do that with
50:44vengeance time freeze. You have you are
50:47you familiar with that plugin?
50:50>> No. With vengeance yes with this
50:52banging? No.
50:53>> That that's worth getting a demo of
50:54trying that out. You just press one
50:56button it go.
50:59It's quite cool. Um
51:00>> okay.
51:01>> So I I vocal in the intro could be cool.
51:06Could be cool and it would it would
51:07bring the track together. Is there any
51:09way we can like bring the track together
51:11as one thing? So when they hear the
51:13intro, oh yeah, that's that track.
51:15That's the Morgan Freeman evolution into
51:17revolution track, then they hear it in
51:19the break. You got to also remember like
51:22they're never playing the intro and the
51:23break in at the same time. And it's only
51:25a home listener who listens to the whole
51:27thing will hear both. But the DJ is
51:29never going to play it twice anyway. So
51:30never going to play the whole thing
51:32usually. Vocal in the in the intro could
51:34be good. glitchy synths in the intro,
51:37bouncing the grid, anything from the
51:39rest of the track. I'm going to stop
51:40talking about the intro now. Um, now the
51:44gap at 051 seconds. Um, for me,
51:48[clears throat] I would do just a little
51:49bit longer pause. Yeah, we've had a
51:51build. Imagine you've had that buildup
51:53and then we've got a gap. I would add a
51:56is it what is it? A bar gap at the
51:58moment?
51:59>> I think it's two.
52:00>> It's two. Okay. Well, I would probably
52:02do four. And then I would put a drum
52:04fill. If it was me, I'd probably go
52:08build up, build up, build up, evolution,
52:14kick and bass.
52:16>> Okay.
52:16>> So that would be a four bar gap. And it
52:19would be build up, build up, build up,
52:21build up, let the reverb hang. No reverb
52:25kick this time. Let the reverb hang to
52:28to
52:31No, no, no. Hang on.
52:36Evolution. The revolution.
52:42Yeah. Four bars.
52:44I would be just try an extra two bars.
52:48Um, just try it. If it doesn't work, it
52:50doesn't work. But it it it could work.
52:52And And I think it needs a drum fill
52:54here. And it needs a good drum fill
52:56here. And you've some of your drum fills
52:58are very good. Um, this this needs to be
53:00a really good one. And if you've seen me
53:03talking about taking the time to really
53:06spend the time to make a really killer
53:08drum, have you seen that, right? I've
53:09talked about it a few times.
53:11>> Yeah. Yes.
53:11>> Yeah. So, apply that methodology here
53:15and get one that is so good you're going
53:18to want to use it in the main break.
53:20You, you know, you can change it a bit,
53:22but spend an hour when you've got the
53:24time and just do it. Don't be afraid to
53:27even integrate a synth glitch synth into
53:29the drum. But this needs it. You also
53:32need it later in the track. So, it's
53:34going to be a good investment of your
53:36time to to do that. Um,
53:40bit of flanges. Yeah. So, yeah, you
53:42could bring any of that intro intro
53:44intro longer pause. [clears throat]
53:46Yeah. So, for me personally, I wouldn't
53:48have the pad hanging over in the gap.
53:52Um, or certainly not when the kick and
53:54bass is playing. That's just unless it's
53:56a real creative choice, but it sounds to
53:58me like it's just hanging there. That
54:00would be something that I would stop
54:02just so that people are like, "Stop.
54:05We're here. We're moving forward. We
54:07don't have something, you know, it's
54:09like it's like your ex-girlfriend, you
54:11know, constantly popping up on on on on
54:14Instagram. It's just like, you know, I
54:16don't need to see that. Fortunately, I
54:18don't have that problem, but you know, I
54:20can imagine it would be irritating." Um,
54:23[clears throat]
54:25so yeah, had a bit longer. Yeah. And
54:28again, just bit more energy in the
54:29intro. Great. One minute you've got a
54:32sound, synth sound, the raw sound. It's
54:34kind of like an electric sort of pad
54:36thing. Um, great. I love that
54:38personally. Just a little bit more side
54:40chain for me. A little bit more pump.
54:42>> Oh, okay.
54:43>> Yeah. And you could also then
54:45potentially do the just the the
54:48multiband side chain as well. You could
54:50Do you use the volume shaper LFO tool or
54:53something for that?
54:55>> Most of the times LFO tool.
54:56>> Yeah. So, you know the multiband
54:58function on bottom right hand corner?
55:02>> No, I don't think I've ever used it. The
55:04multiband,
55:05>> there's a multiband in the bottom right
55:07hand. It depends on the version of LFO
55:09tool, but the one that most people have
55:11is the more slightly newer one and it's
55:13got uh uh on the bottom right hand
55:16corner, you click a button and it's got
55:17a frequency meter. So you put that down
55:20to 500 htz or 300 htz. It's going to
55:23side chain only below
55:28the frequency of your choice. Have a
55:30look at that because that's a great way
55:32to clean up just the low frequencies of
55:34many many sounds, right? Which is
55:36immediately going to give you the space
55:38for your kick and bass. Imagine every
55:41sound in the track has a side chain of
55:44only 300 htz and down. Imagine how clean
55:47things are going to be and it and you're
55:49not going to hear it very much, but it
55:51will be subtly pumping. Secret tip there
55:54and it's really good and you can try it
55:56with this sound. 1 minute six. Uh you
55:59bring the hats in for the first time.
56:00Brilliant. But needs to be a little bit
56:02of a kick and bass something. Stop for
56:04one beat. Maybe a little stop.
56:08Just something. Yeah, this is this is
56:10going to be like the the keeping the
56:12interest. You've done eight bars of kick
56:14and bass. You're bringing in a hat. Do
56:16some little detail to bring in that hat.
56:19Maybe you just stop literally for one
56:21beat.
56:24Yeah. Or stop high hat trill
56:27>> or just just something. Yeah. Just
56:29>> you mean you mean before before the
56:31first closed hat comes in.
56:33>> Yeah. Okay. Even that even after only
56:36eight bars of kick and bass, I'd still
56:38like to hear just a little detail there
56:40just to keep my my attention going.
56:44Yeah. just stop. Boom. You know th those
56:47literally little details like that
56:50throughout the track that's going to
56:52take it to to to that really like you
56:55know that little things like that is
56:57what keeps people really engaged and
57:00excited. You know, you'd be surprised.
57:01You can still have long sections and
57:03everything, but little tiny things like
57:05that people will just never get bored.
57:09Yeah. Um
57:12anyway, um [clears throat]
57:141 minute 20. Yeah, as I was just just on
57:17that note, you know, every little moment
57:20needs to be um just needs to feel
57:25intentional. So if you're bringing in a
57:27hat, don't just bring in the hat. Like
57:30have a little stop, have a little
57:31something. Maybe just a reverse symbol
57:33to bring in the hat, you know, but but
57:36just something. And these little things
57:37don't cost you much time, but when they
57:40stack up over a whole track, it's going
57:42to make your track sound like next
57:44level. And they're not difficult things
57:47to do is just to just think to do them
57:49and then to just sit there for five
57:51minutes and and do it. One thing with
57:53the hats I would do is just just take a
57:56take one of the hats on a new channel
57:58with delay and just go
58:02as it comes in, you know, for example,
58:04you know, simple things like that. Just
58:06just just be creative. Like there's no
58:08rules. There's no rules other than all
58:10the rules that I'm talking about in this
58:12community.
58:14[laughter] I'm joking. Um
58:17yeah. So 1 minute 20 the crash. Um it's
58:20great. One thing you could try is like
58:22having the crash just stop after one
58:24beat and then carry on. Quite
58:26contemporary. I think having a a fuller
58:29crash at this point in the track is
58:31quite a lot. I don't know if it
58:33necessarily needs that, but having a
58:36crash for a beat gives you that we've
58:39just had a crash, but it stops. Sounds
58:41very modern and it doesn't sound like
58:43it's overdoing it. Yeah. Early in the
58:46track, big crash. Yeah, you don't need
58:48it, but nice to have a little bit. So,
58:50try cutting that to one beat. It's going
58:52to sound really like modern and cool. Um
58:55>> Okay.
58:56>> Um 1 minute 30 melody up. Okay. So look
59:01the feedback on this okay you haven't
59:03finished it so fair enough but just for
59:06your my feedback is that just need a
59:09little bit more complexity a little bit
59:11more filter movement. Yeah. So so like
59:14the ability to go higher in the filter
59:17maybe do more hard filter changes over
59:19time just so it's got more up and down
59:23um would be really nice. And you could
59:26possibly even think about duplicating
59:28that channel and having a flick on some
59:30different uh presets and finding another
59:33another synth that plays the same thing
59:37that gives it I mean that is just
59:39honestly it's such an easy way to make
59:41something sound more complex and
59:44psychedelic and you just take a
59:46relatively simple uh melody like your
59:49pluck melody and then you you duplicate
59:51it and you flick through some more
59:53different presets and all of a sudden
59:55you've just got he's just got it. And
59:57then imagine you're filtering you're
59:59tweaking the two of them.
1:00:02>> You you've got all the complexity you
1:00:04could ever want and it hasn't been a
1:00:06complicated difficult thing to to do. So
1:00:09I think yeah, a little bit more depth
1:00:11and everything on on on that melody is
1:00:13going to be great. 1 minute 45 is a
1:00:16great fill, best fill in the track for
1:00:18me, drum fill. Um
1:00:21and that's that's brilliant. Um, what I
1:00:24would say, again, this is the
1:00:25punctuation that I'm talking about. Um,
1:00:28the intentionality is that's a big
1:00:31moment, that drum fill, but it needs to
1:00:34end the section before. So, it flows
1:00:36into that in just as much of a powerful
1:00:39way as the drum fill. So, what how can
1:00:42you do that? Filter the kick and the
1:00:44bass. Highpass filter earlier. Filter it
1:00:47out. There's [clears throat] there's
1:00:49there's a few times when the kick and
1:00:50bass is doing a bit of a funny kind of
1:00:52filtering. So, just for for what I would
1:00:54do is just bounce the kick and bass new
1:00:57channel highp pass filter. There you go.
1:01:00Um, if you if you want to keep it the
1:01:03same phase and everything, then you
1:01:05would want to use a fab filter with or
1:01:07or any linear phase EQ. You familiar
1:01:10with the linear phase?
1:01:12>> Yeah. Yeah.
1:01:12>> Yeah. Exactly. So, I would just do that.
1:01:15But, you know, to lead into that drum
1:01:17fill at 1 minute 45 to just to, you
1:01:19know, have that end the section before
1:01:22ending a bit more, you know, intensely,
1:01:24a bit more obviously, right? Oh, we're
1:01:26here, drum fill, you know. So, again,
1:01:30maybe maybe some white noise into the
1:01:32stop.
1:01:34Um, I feel like I'm going to end up
1:01:36running a dance school at some point.
1:01:38See myself doing that. Um,
1:01:42so, so yeah, that would be good. flow
1:01:44perfectly. Yeah. And just um
1:01:48ah that fill. Yeah, that fill. Just
1:01:51while we're on that fill, the last beat,
1:01:54the last one beat of that fill just
1:01:56needs another little layer to do
1:01:58something 16sy. So I think you can even
1:02:02just like flick through, just chuck a
1:02:04couple of different fills underneath and
1:02:06see if you can find one little bit for
1:02:08that last beat just to make it flow a
1:02:11little bit better.
1:02:12>> Okay. Yeah, it's it's great. And that
1:02:14last the last I'm just talking the last
1:02:16one beat. If you could find something
1:02:18that maybe goes like it's it's going to
1:02:21be it's going to take it to that that
1:02:24real top level. Um
1:02:261 minute 40 rises. Yeah. 1 minute 40.
1:02:30That was what I said before. The risers
1:02:32the the kick bass filter to go into the
1:02:34fill. That's very good. Um 1 minute 46.
1:02:38Yeah. Noise impact. Don't know you
1:02:39haven't finished it, but a scanner, a
1:02:41noise impact to accompany your crash to
1:02:44to kind of land us in that section at 1
1:02:46minute 46. I mean, I I often use just
1:02:49they I think they call them downlifters.
1:02:52Again,
1:02:53>> okay,
1:02:53>> this is where splice is very handy
1:02:55because you can just click downlifter
1:02:56and then have a flick through. Excuse
1:02:59me. Um, downlifters.
1:03:08Um, and then you would side chain that a
1:03:11little bit and obviously take the
1:03:12frequency, cut the frequencies up to,
1:03:14you know, anywhere from 350 to 500,
1:03:18maybe more depending on the sound. Um,
1:03:21just to have a soft landing and then
1:03:23we're cruising feeling. Yeah. And that
1:03:26would be nice. Um, 1 minute 46. And 1
1:03:30minute 46 is the grid is great. This is
1:03:33one of my favorite bits. We've got the
1:03:34grid. Amazing. Great placement. Great
1:03:37everything. Um, how would I improve
1:03:39this? Take this to the next level. Well,
1:03:42one thing I would say is you've got the
1:03:43main stab. Yeah. It happens like well,
1:03:46one of the main stabs, it happens in the
1:03:47first bar, right? And then it's like one
1:03:49bar and then it stops. It's two bars it
1:03:52happens and then it stops for two bars.
1:03:54Am I right?
1:03:55>> And then it's happens. Yeah. So, the
1:03:58only issue I have with that is that
1:04:00we're losing that two bars when it's not
1:04:03happening. We're just losing so much
1:04:05momentum when it sounds so good when
1:04:07it's happening. For me, I would also
1:04:09like to hear maybe that stab something
1:04:12happening every bar. Yeah. Just just to
1:04:15hear. You might think it sounds
1:04:17repetitive in the beginning, but
1:04:19actually it can be done really in a way.
1:04:22It can really give like proper momentum
1:04:25to that bit. So I think if you could
1:04:27make that hap some something like that
1:04:29happen in the off bars, it would be it
1:04:32would be good. even if you duplicated it
1:04:34and you just had it doing one stab that
1:04:36went all the way through. But something
1:04:38like that to just give um just the
1:04:41momentum on those two bars off. Yeah. Um
1:04:45because it's great, but it just I think
1:04:47it just needs that and that would be
1:04:49next level if you could do that. Um now,
1:04:52as much as I love the grid stabs, how
1:04:54can we elevate them and take them into
1:04:57the next level? Um, first thing we can
1:05:00do is we can give them more all their
1:05:02own 3D space a little bit more, right?
1:05:05And this is done by things like
1:05:07distortion. You know, things like I know
1:05:09you've got a bit crusher on one of on
1:05:11one of them, but your main stabs, you
1:05:13know, little bit of bit crusher, a
1:05:15little bit of distortion. Um, a little
1:05:17bit of one maybe panned right 25 and one
1:05:22panned left 25. Don't be afraid to pan
1:05:25just like pan the whole channel and just
1:05:27leave it there because like I said
1:05:29before with a pad in the background of
1:05:31the grid, it's going to create that
1:05:33stereo width. If you don't pan anything,
1:05:35you're not going to feel the width. So
1:05:37if you have things, if you have like
1:05:38whole channels panned right and panned
1:05:41left, you're going to really feel it.
1:05:43like the in in rock music and
1:05:45[clears throat] like engineering live
1:05:48bands and albums, they've got what's
1:05:50called LCR mixing, which is left,
1:05:52center, left, center, right. And that
1:05:56was basically the the lead, one of the
1:05:58guitars is 100% right, one of the the
1:06:02other guitar is 100% left, and the drums
1:06:05are all in the middle and and the bass
1:06:07is in the middle. Right? You can listen
1:06:08to most of the big rock albums. It's all
1:06:11done like that. And it's it's wild to
1:06:14think, isn't it? 100%. But don't be
1:06:17afraid to pan things cuz it's going to
1:06:19open up your mix. Uh then beyond that,
1:06:23you can look into, as I said, yeah,
1:06:25distortion, overdrive, um putting a
1:06:28reverb layer, like duplicating. This is
1:06:30one thing I like to do with stabs. Take
1:06:32whatever's your main stab, duplicate the
1:06:35channel, put a a reverb, like I said
1:06:38before, 100% wet.
1:06:41Then before the reverb, stick a
1:06:44distortion.
1:06:46And then after the reverb, cut it, cut
1:06:49it to 500.
1:06:51And then after that, stick a PH979
1:06:55and make the whole distorted reverb
1:06:58layer suddenly pop on the sides. So then
1:07:01you've got a mono stab with a reverb
1:07:03that's just,
1:07:06you know, and that that that's
1:07:07immediately going to have like that's
1:07:10then that that stab is then gone into
1:07:12its own completely its own unique
1:07:15character, it own Seb, you're muted.
1:07:17>> Um
1:07:19>> space that is crazy with its own space.
1:07:23>> Exactly. Um, and and you know, anything
1:07:26like that to give each of the sounds
1:07:29their own characteristics, um, their own
1:07:32space in the mix, you know, like you've
1:07:34got all of the potential now because all
1:07:36these stabs and and the grid is great.
1:07:38So now you can like start doing these
1:07:41advanced techniques
1:07:43uh, which are going to then really like
1:07:45take it up to the top level. So, you
1:07:48know, just just have a play with that.
1:07:50Try some different effects as well. I
1:07:52mean, some of these plugins have just
1:07:54got great presets. Some of the channel
1:07:55strips, I mean, you know, some of these
1:07:58ch I've got the SSL suite and you can
1:08:00put a channel strip and you can flick
1:08:02through. Some of them sound not so good,
1:08:04but some of them sound great and they
1:08:06they give things their own space. So,
1:08:08you could just just play around with it,
1:08:10but you want them to be dynamic and and
1:08:13and filling up the whole 3D uh spectrum.
1:08:16So, that's the grid. Um, 2 minutes nine,
1:08:20the kick bass filter. Something's going
1:08:22on weird. Are you filtering the bass
1:08:23separately from the kick or something?
1:08:26>> Uh,
1:08:27yes.
1:08:28>> Okay.
1:08:29>> So, maybe something is happening there.
1:08:31>> Yeah, I would just do I would keep it
1:08:32simple. Just bounce your kick and bass,
1:08:34put it on a new channel and filter it
1:08:36like that with an EQ or a filter. But I
1:08:39would never filter the kick and the bass
1:08:40separately. And in that in that use
1:08:43case, I would filter them together. It's
1:08:46going to sound better. Um 2 minutes and
1:08:4911 stop. Um 2 minutes and 11. It just
1:08:53needs a little pause and a little drum
1:08:56fill because that's a that's a what I
1:08:58call a turnaround moment. It's it needs
1:09:02something to just kickstart people again
1:09:05to go back into the cycle. It's another
1:09:08one of those punctuation moments that I
1:09:10keep talking about.
1:09:12>> [clears throat]
1:09:12>> Um 2 minutes 13 again one of these
1:09:15downlifters or a scanner
1:09:19that goes down white noise downlifter
1:09:23with the melody coming in. It's going to
1:09:25sound really cruising. It's going to
1:09:27suit that that section of the track
1:09:29where the melody starts to have that
1:09:31because it makes people go like that.
1:09:35um
1:09:37scanner 2 minutes 13 the pluck melody.
1:09:42Um this needs to at some point go a bit
1:09:44higher up in the filter. Um, and just
1:09:48have have the ability to just become
1:09:51more intense because it stays quite and
1:09:53I know it's not finished. Uh, but when
1:09:55when you do finish it, just just just be
1:09:59remembering that if you're going to have
1:10:01it playing for that length of time, it
1:10:04needs to modulate a little bit more
1:10:06obviously.
1:10:07>> Okay?
1:10:08>> Just just to keep people interested.
1:10:10Also just it's going to be nice with
1:10:12that section of the track to be able to
1:10:14make it go open more and then close more
1:10:17because again the more we go up and down
1:10:20the more contrast the more dynamic like
1:10:24the more interesting if everything stays
1:10:26more or less straight it's people are
1:10:29going to get bored quicker. So, anything
1:10:31we can do to just, you know, open that
1:10:33filter up a little bit more, um, to give
1:10:36a bit more range of of intensity is
1:10:39going to be worth doing there. Um,
1:10:42so that's the pluck synth. Uh, 2 minutes
1:10:4536. You got that funny kickbass
1:10:47filtering. Again, I would say again,
1:10:50just bounce, just have your bounce
1:10:51channel kickbass filter. Job done. Um, 2
1:10:56minutes 38. Another moment where I think
1:10:58you need a drum fill would be great.
1:11:00Again, that momentum, that turnaround,
1:11:03energy, energy, like that's going to be
1:11:06really good there. Three minutes, two um
1:11:10great moment for the pluck to go up
1:11:12again in the filter. So, that's one
1:11:14that's an example of the moments where I
1:11:16would personally think you could turn up
1:11:18the cutff there. Uh and that would
1:11:20really just crescendo the track and just
1:11:22give one of those little energy bumps
1:11:24that we need. It's always you've always
1:11:26got to think, you know, is is it got
1:11:29something in there? There always needs
1:11:30to be something doing something,
1:11:33something changing, something going up,
1:11:35something coming down um to keep people
1:11:38engaged. And it can be really subtle
1:11:40things a lot of the time, but if you
1:11:42just keep it subtly changing, no one's
1:11:44going to get uh no one's going to get
1:11:46bored. Everyone's going to be engaged.
1:11:48And believe me, they need to be engaged
1:11:50these days after they've had Instagram
1:11:53and the rest of it. I mean, the
1:11:54attention span is at an all-time low.
1:11:58And I'm not talking about kids at home
1:12:01um with their phones. I'm talking about
1:12:03on the dance floors of psychedelic
1:12:04trance parties. The attention span is
1:12:07globally is at a low point. And I'm not
1:12:10saying that I like that at all. I'm just
1:12:12being realistic when I say we need to
1:12:15have punctuation in the tracks and we
1:12:18need things to be changing a bit more
1:12:21rapidly than they did 10 years ago. I
1:12:23I'm saying it because I want you to have
1:12:25tracks that stand up in the contemporary
1:12:28modern world of psychedelic trance, not
1:12:3115 years ago. Um, and that's and you
1:12:34know, if I was just making the music I
1:12:36loved, it would be probably more
1:12:37continuous but
1:12:39modern, you know, contemporary capturing
1:12:42the imagination of the global sitrance
1:12:46listenership as best we can. Yeah.
1:12:49Without going too far obviously. Um,
1:12:52that's the that's what I'm trying to
1:12:53teach you guys [clears throat] and
1:12:55that's what I'm trying to do for myself.
1:12:57Um,
1:12:593 minutes to pluck pluck pluck. 3
1:13:01minutes four. Another drum fill needed.
1:13:04Um, yeah, you just need just need to
1:13:06break up those moments. 3 minutes four.
1:13:08We've had a nice bit of fullon. This
1:13:11section is quite, you know, it's it's a
1:13:12long by modern standards. It's quite a
1:13:15long section of full power stuff. So, a
1:13:17little a little drum fill there just in
1:13:19the middle of that would be would be
1:13:20really nice. Then people can just
1:13:22reload. Also, it just gives more power
1:13:24for them to to be dancing. Stop it and
1:13:27it comes back. It's only a little stop.
1:13:29Um 3 minutes 31. Um could be a fill into
1:13:33cave.
1:13:36Ah, yes. 3 minutes 31. You've got the
1:13:39last 16 bars of section one. Yeah. Of
1:13:43the uptime of section one. So great. You
1:13:46could do a drum fill and come in and
1:13:48continue like that into the break. Or
1:13:50one thing I thought which might be
1:13:52interesting to try to give the the just
1:13:55the overall track a bit more dynamic
1:13:57like range and a bit more contrast is
1:13:59you could do that drum fill um but 3
1:14:03minutes too and then or sorry 3 minutes
1:14:06uh no sorry you could do the drum roll
1:14:08at 3 minutes 30 and then instead of
1:14:11going into another 16 bars of of full
1:14:14power because you bring the melody in
1:14:16there. Everyone, this is the end of
1:14:18section one where there's 16 bars of
1:14:21melody happening before the break
1:14:23starts, right? And how about this? How
1:14:27about doing a a mini build up a drum
1:14:30fill and then going just to kick and
1:14:31bass with the melody?
1:14:34Just melody, kick and bass. It's going
1:14:37to be a dramatic shift of uh power and
1:14:43you're not stopping the beat. Yeah. So,
1:14:44it's not you're not going to stop people
1:14:46dancing. You're but you're going to give
1:14:48a complete contrast there. And we've had
1:14:5132 bars of full high hats. I mean,
1:14:53that's, you know, by today's standards,
1:14:55that's there's enough. Like, that's
1:14:56that's really good. That's going to be
1:14:59an amazing dance session. If you were to
1:15:02do a drum fill and bring it to kick and
1:15:03bass with a melody, trust me, they're
1:15:06going to love they're going to lap that
1:15:08up because you're still giving them the
1:15:10beat. They're going to want that. But
1:15:12you'd be surprised. Even the underground
1:15:14people when you do that, they love it.
1:15:17They love it as well. And you've just
1:15:19And then you you're allowing your melody
1:15:21to be happening in in all of its glory.
1:15:24Yeah. And again, it's a it's a
1:15:26simplicity, the minimalism,
1:15:29and you're introducing that melody. Why
1:15:31don't we introduce it in a clean way
1:15:34where you can have it super loud and
1:15:36people can really enjoy it? Because at
1:15:38the moment, it's getting mixed with all
1:15:39of the other sins. Yeah. Um, and you can
1:15:42mix it with the synths later. But for
1:15:44me, I think that that would be an
1:15:45interesting thing for at least to try.
1:15:48Um, and if you did try that, then of
1:15:51course you could filter out the kick and
1:15:53bass slowly into the drop or you could
1:15:55stop into the drop suddenly or you could
1:15:58do that how you want. In my case, maybe
1:16:00I would do a a long filter, highpass
1:16:03filter, low pass filter slowly out into
1:16:06the drop and then that may be something
1:16:10like that. really really would be up to
1:16:12you, but I think that could be cool. Um,
1:16:15kick bass melody.
1:16:19Yes, the restaurant. The restaurant.
1:16:22Again, the restaurant. Yeah. I mean,
1:16:24look, if you're in Gordon Ramsay's top
1:16:26restaurant and you've got a mouthful of
1:16:28lobster, Yeah. they're not going to come
1:16:30and and try and shove dessert in your
1:16:32mouth at the same time, are they?
1:16:35So, you know, there's something to be
1:16:37said for giving uh certainly the big
1:16:40things like a big melody like that,
1:16:43giving it a bit of space to breathe and
1:16:45a bit of space to also be appreciated
1:16:49um when you introduce it because you
1:16:52know it's it's nice. You'd be surprised.
1:16:55All of you will be surprised as I was
1:16:59when you start playing around with how
1:17:02what the impact of actually just coming
1:17:04with a kick and bass and one melody and
1:17:07nothing else on a dance floor is so
1:17:10powerful and and and in today's world
1:17:14it's more powerful than coming in with
1:17:16all the all the all the elements
1:17:18together. They both work good depending
1:17:20on where you're performing. But that
1:17:23kick and bass with a with one melody, if
1:17:25you execute that right, man, that is
1:17:28something that works everywhere. Brazil,
1:17:30Goa, the most opposite places you could
1:17:33imagine. That thing works everywhere.
1:17:37Um, and it's so simple to do. You know,
1:17:40it's a case of, and this is the thing
1:17:42people don't tell you, take it away.
1:17:44take away take away the FM, take away
1:17:46everything and just go kick bass melody.
1:17:50It's the most simple thing that that no
1:17:52one will ever talk about, but it it it's
1:17:55worth trying. At least it is.
1:17:58Um
1:18:04yeah, look, I mean, just as a final note
1:18:06on that long section at the end of
1:18:08section one, um you know, whether you
1:18:11change go down to kick and bass or keep
1:18:13it full on, um the important thing is
1:18:16that when you're going to have these
1:18:17long sections of of dance time is that
1:18:21things need to just subtly change like I
1:18:23said before. So, um, subtle things to
1:18:27make people not get bored. So, a little
1:18:30bit what we've got is like we're
1:18:31layering on top of the same grid, then
1:18:33we've got a melody, then we're layering
1:18:34on top of that. So, what I need you to
1:18:37do when you finish the track is to just
1:18:39change those things a little bit as the
1:18:41sections evolve. Just whether it's
1:18:44shifting even just like after 16 bars,
1:18:47change the rhythm of some of the grid
1:18:48sounds, mute mute some of the grid
1:18:50sounds. It will change this the way the
1:18:52Yeah. you know, just have that um ch
1:18:55just a little bit of change when you
1:18:56bring in one new lead. Maybe do mute one
1:19:00of the stabs or, you know, like that's
1:19:02something for that section whether or
1:19:03not you do the kick and bass thing or
1:19:05not. Um 4 minutes. Uh this is the
1:19:09beginning of the break. I would just say
1:19:11just bring the melody in just a little
1:19:12bit slower. Just filter it in slower or
1:19:16just fade it in with the volume just to
1:19:18have that moment of bliss. Um, and just
1:19:22have that melody. I don't I wouldn't
1:19:24want to hear it immediately. I just
1:19:26talking like 2 seconds, 3 seconds and
1:19:28then you you hear it. But that is enough
1:19:31for people to just go, [sighs]
1:19:35you know, too long and they'll go to out
1:19:38for a cigarette. So, you know, you got
1:19:40to get that that right. Um, unless of
1:19:43course you're getting commission on the
1:19:45cigarettes from the bar and then that's
1:19:48that's a different story. Um,
1:19:52[clears throat] so four minutes, don't
1:19:54you don't have that anymore, man.
1:19:55>> You don't Oh, you don't.
1:19:58[clears throat]
1:20:00>> Um, yeah. 4 minutes. Four by 4 minutes
1:20:0412. We need more stuff happening. Yeah.
1:20:06like just just just to get us it's again
1:20:08it's like the intro lampross like just
1:20:10you know and you haven't finished it yet
1:20:12but just to keep it engaging you know
1:20:14like what I would do there maybe a
1:20:16little cinematic drum you know maybe a
1:20:20r's coming in
1:20:25I mean you could do anything
1:20:28there you could do put the loop hello
1:20:30how you doing
1:20:32hello guys where you calling in from Ral
1:20:36Brazil.
1:20:37>> Brazil.
1:20:39Brazil in the house.
1:20:41>> Nice one, dude. Welcome.
1:20:44>> Welcome. Well, we've recorded
1:20:45everything. We've recorded everything,
1:20:47so you can watch the rest of it back.
1:20:49Um, so,
1:20:50>> okay.
1:20:51>> Nice to have you here. Nice to have you
1:20:52here, mate. Um, so what was I talking
1:20:56about? Um,
1:20:58yeah, exactly. You could you could like
1:21:00put a loop and just make a piece of
1:21:02music like I said before, Lampros. So
1:21:05this bit needs to be treated like its
1:21:06own mini symphony, you know, like go and
1:21:09get the cinematic the horns
1:21:12like I mean you could go literally just
1:21:14go to town. Yeah. Just you know just
1:21:17just go for it and splice splice is
1:21:18going to be great fun for that.
1:21:20>> Like a blockbuster. Yes.
1:21:22>> Yeah. A blockbuster. [laughter]
1:21:24Exactly. Exactly. The trailer of your
1:21:28sigh life. Yeah. Exactly. It's like
1:21:31what? like uh gladiators happening in
1:21:33the space of one minute. No, but
1:21:35seriously, I mean, why not? Like, let's
1:21:37we're we're we're making music,
1:21:39entertaining music, music to take people
1:21:42on a journey, you know? Let's give them
1:21:44like as many visuals, cinematic, the
1:21:47sounds. And this is where moments like
1:21:50this is where having those extra
1:21:52textures of different sounds, samples,
1:21:55the real drums, some bongos, the
1:21:57cinematic uh percussion, all of that's
1:22:00going to work brilliantly. Then it's
1:22:02going to just take people into a
1:22:03slightly different space, you know, in
1:22:06terms of the sound, which will be nice
1:22:08for the break. Um, bring melody in
1:22:10slower. Something needs to happen. Yeah.
1:22:12By 4 minutes 25 is where you want you
1:22:14want to hear the snare rolls, the drum
1:22:16builds. Um, when I keep talking about
1:22:19drum builds, check out the Cashmere
1:22:21samples, KHSMR.
1:22:24He's got amazing.
1:22:26He's just brought out a new sample pack,
1:22:28but he's got a few sample packs. And
1:22:30there's drum builds where you've got
1:22:32like snares and things all together in
1:22:35one sample of 16 bars. And, you know,
1:22:37you could layer that with your snare
1:22:39rolls. And you know it's like little h
1:22:41little hacks to get how do you get like
1:22:43a really well produced sounding buildup.
1:22:46You know there people have made like
1:22:48half a buildup in one sample. You know
1:22:50you can take them and you can put them
1:22:52with your rises and you know it's all
1:22:54out there but I I really cannot
1:22:57recommend more that you get a
1:22:59subscription to splice because it's all
1:23:01easily accessible there. Um
1:23:04snare rolls. Yeah. So by 4 minutes 25,
1:23:07we want to be really starting to go up
1:23:09up up up.
1:23:11And um 4 minutes 25, you've got crashes
1:23:15there, right? You've got
1:23:19Yeah. Which is great, but we haven't
1:23:21crescendoed everything else to match the
1:23:24moment. So you you've got the crashes,
1:23:26you know, you want that moment to be
1:23:27big, but the other sounds haven't
1:23:31achieved that yet. So the crash is
1:23:32sounding a little bit lonely at the
1:23:34moment.
1:23:35Yeah,
1:23:36>> but it's doing the right thing. So, just
1:23:39the the the rest of the drum bills, the
1:23:40rises, the white noise. And when you
1:23:43think something is like 100% energy,
1:23:48like a buildup, you're probably only at
1:23:5050%. And I'm saying this week in week
1:23:53out to people, like your perception, my
1:23:56perception, it's like we got to like
1:23:58double it. If you think it's intense,
1:24:01then you normally need to double it
1:24:02again. I certainly had to double it
1:24:04myself or triple it to really get those
1:24:08things. But you can listen to people's
1:24:10tracks and and I really recommend that.
1:24:12Just like listen to listen to the
1:24:14tracks, listen to the buildups, listen
1:24:16to the intros, what are the energy
1:24:18levels they're using. I've picked up so
1:24:20many great techniques
1:24:23um just by listening to people's music.
1:24:26just like hearing, oh hang on, the kick
1:24:28and bass isn't just filtering out, it's
1:24:31actually fading out in the volume. And
1:24:34when I started to do that in like a
1:24:36buildup, like like the end of a section
1:24:39buildup, it sounds like asterisk or
1:24:41something. It's like the fade out of the
1:24:43kick. But I got that just from listening
1:24:45to someone's track and like just crit
1:24:46just having a critical listen and going,
1:24:49"What do they do for the middle? How do
1:24:52they do it?" And you will hear it. you
1:24:55you know what you're listening for.
1:24:56You've got good ears. I can hear it in
1:24:58the track. You will pick up so much when
1:25:01you when you listen like not like you're
1:25:03enjoying the track. When you listen to
1:25:04it like a producer who's looking for
1:25:07what sound do they put there? How do
1:25:09they end that section? Why does that
1:25:12sound so smooth, right? How long? I have
1:25:14to do this all the time when I'm trying
1:25:16to make the gap. Put the vocal. Put a
1:25:18drum fill. Man, I'm sitting there for
1:25:20ages sometimes listening to tracks
1:25:22going. How long does is this the right,
1:25:25you know? But that's when I'm trying to
1:25:27make a new style of music. You know, I
1:25:29could do the same music I've done for 20
1:25:31years. I know uh all the how to do that,
1:25:33but I'm trying to push into, you know,
1:25:35just developing a bit more of a larger
1:25:37repertoire. And so, I'm listening to
1:25:39tracks, listening to how long the
1:25:41sections are and where the drum fill is
1:25:43and where, oh, that's a kick and bass
1:25:45filtering in. Yeah. But like that's the
1:25:47way to do it. Learn learn from music you
1:25:50like for sure. Um, 4 minutes 39. Awesome
1:25:54moment. Um, awesome moment. This is the
1:25:57bit where it's going to stop. Yeah,
1:25:59we've got Morgan Freeman on the horizon.
1:26:02Netflix are already shooting at another
1:26:04nature documentary in the background and
1:26:08you've reached the you've reached the
1:26:10apex of your buildup, right? Um, so
1:26:14imagine we've done that and then we
1:26:17stop. The only problem I've got with it
1:26:19at the moment is it doesn't stop. Yeah.
1:26:21So, I want that kick and bass to stop
1:26:23there. First of all, this is brilliant,
1:26:26everyone. Just to fill you in, no pun
1:26:28intended. This is the uh this is the bit
1:26:32where we do the buildup and then it
1:26:35stops and then there's eight bars of the
1:26:37end lead that happens in a sort of
1:26:40second phase of the end of the buildup
1:26:43of the drop. Right?
1:26:44So the the lead plays and then it's
1:26:47going to come in with the kick and bass.
1:26:48And this is excuse my French.
1:26:51This is a really killer thing to do. And
1:26:52they they do it in that they do it in
1:26:55that track that I mentioned by Ace
1:26:56Ventur and Volcano called Simulation
1:26:59Build up and then and this is more what
1:27:02I want you to do here. Stop that kick
1:27:04and bass. Yeah. at 4 minute 39 and just
1:27:10and then you're going to have you're not
1:27:12going to change the structure, but
1:27:13you're going to have then the lead
1:27:14filtering in a little bit slower highp
1:27:17pass and a low pass like that.
1:27:20So you've done the big build up then and
1:27:23then the lead's coming and and no kick
1:27:26and bass. There's silence with the lead
1:27:28coming. The reverb is hanging a little
1:27:30bit from the the crescendo and then the
1:27:33kick and bass is filtering in from a
1:27:36highpass and a low pass with a little
1:27:39bit of distortion or something to give
1:27:41it a bit of griting [clears throat]
1:27:44with the lead. And then it's going Yeah.
1:27:47And it's coming in more and more and
1:27:49more as the eight bars goes on. And uh
1:27:52and that's going to be that's that's
1:27:54what you want. Trust me, that is what
1:27:56you want for that bit. and go when we
1:27:58whenever you get a chance,
1:28:00>> go straight to that track simulation and
1:28:03have a listen to how have a listen to
1:28:05how they do it there because it's it's
1:28:06it's cool and it's it's would suit your
1:28:08track something like that.
1:28:10>> Um the only thing I think you're going
1:28:12to need to do is extend the gap a little
1:28:14bit. Yeah. So it's probably going to be
1:28:17you got a two bar gap there, have you?
1:28:20>> You mean with the Morgan Freeman? That's
1:28:22right. Yeah. Break. It's four bar. Four
1:28:24bars, right? It's four bars. Okay.
1:28:31bars is the speeds and
1:28:34>> two bars.
1:28:36>> Two bars is the
1:28:39>> No, not
1:28:40>> what? What? What? I think
1:28:42>> I think it's a bit less.
1:28:44>> I think it I think it's two. That's why
1:28:45I'm That's why I've got it on my notes
1:28:47that
1:28:48>> maybe because the last word and then uh
1:28:51>> I think it's two bars.
1:28:52>> Yes.
1:28:53>> Yeah. And then you have the delaying
1:28:54vocal. Um, and I'm going to say I think
1:28:58if it was four bars would be killer
1:29:00because you have the lead and then you
1:29:02stop. You got the vocal and the then the
1:29:05vocal rings with a delay and then you
1:29:07have a drum fill and then you come in
1:29:09with the kick and bass. That would be
1:29:11for me the way to do it, right?
1:29:14[clears throat]
1:29:15>> Okay.
1:29:15>> Evolution, revolution
1:29:19and then come in. That that would be the
1:29:21order of events if it was my track. Um,
1:29:26and and and anyway, but just play around
1:29:28with it. But I think after that, all of
1:29:30that, I think four bars would be would
1:29:32be better because you're trying to fit
1:29:34in Morgan Freeman, but you do need a
1:29:35drum fill and it's not possible to do
1:29:38both of those things in two bars without
1:29:40it sounding rushed. So, I think it's
1:29:42going to be a four bars for you there.
1:29:44Um,
1:29:46>> what about the the delayed speech into
1:29:49the kick bass?
1:29:51Yeah,
1:29:51>> you find it.
1:29:52>> I look, it's fine for me if it was like
1:29:55this. Yeah. With the vocal happening
1:29:57just before the kick and bass, but when
1:30:00you've extended that to four bars and
1:30:03then you got the vocal, what I would do
1:30:05is I would let that vocal delay into the
1:30:08drum fill and then I would cut it and
1:30:11I'd have the drum fill and I would start
1:30:12the kick and bass with no delay from the
1:30:14vocal.
1:30:15>> Okay.
1:30:16>> Yeah. That's going to be really fresh.
1:30:17It's going to be really tight. You've
1:30:19let the vocal delay and then the fill is
1:30:22the the state separator, the pallet
1:30:24cleanser, the ginger in the sushi
1:30:28restaurant, and then you're coming in
1:30:30with the uh with the kick and bass
1:30:32clean. We're ready to go. Let's go. That
1:30:35would be how I would do it. Um, but play
1:30:38around with it. I mean, you know, it's
1:30:39there are no rules. So, whatever sounds
1:30:42good. I'm just giving you the I have to
1:30:44give you like the best possible advice I
1:30:48can. And if and that's what I would do.
1:30:50That's what I would do. Uh something
1:30:52like that. I probably wouldn't have that
1:30:55that delaying just because
1:31:00it's more for me it's more of a it would
1:31:02work better in a if it was a fullon
1:31:05moment with the delaying vocal that that
1:31:08particular bit with the end of the
1:31:09track. I just there's something about it
1:31:11coming in a bit more clean. I would if I
1:31:14wanted a sound there, I would make a
1:31:16sound like my new track has got a sound
1:31:18on the drop when it comes in, but it's
1:31:21not the delaying from before, but I have
1:31:23got delaying vocals in in the previous
1:31:26track, and it does delay over a fill,
1:31:29but it's more earlier in the track. So,
1:31:31I I've done the same. I do like it. I
1:31:34just think for this moment, probably I
1:31:36would let it go to the fill, do the
1:31:37fill, and come in maybe have have
1:31:40another sound instead. But as I said,
1:31:42play around with it and I'm really
1:31:44really looking forward to hearing the
1:31:45the the finished article for this track
1:31:49uh whenever that happens. Um right,
1:31:52where are we? Awesome moment. Awesome
1:31:53moment. That's going to be great, man.
1:31:55When you get that with that lead and
1:31:57that dude, that that's that's big stuff.
1:32:00That's that's going to sound absolutely
1:32:02phenomenal. Um
1:32:04um extend the gap. Yes, we've done that.
1:32:07Yeah. And and then you know that fill
1:32:10before the kick and bass comes in. This
1:32:11is where you need to lock in and go, I'm
1:32:13going to make the best fill of my life
1:32:14and I'm not going to stop until I've
1:32:16done it. And then you're going to use
1:32:18that fill in a few other parts of the
1:32:19track. But it needs it. Trust me. It's
1:32:22going to elevate the track. It's going
1:32:24to be an hour max. Absolute max. And I'm
1:32:29talking just again splice is a bit easy
1:32:32because you can get the drum fills. But
1:32:33just just drag in drum fill, drum fill,
1:32:35drum fill. Try them different layered on
1:32:37top of each other. Cut one in half. The
1:32:40second half of this with the first half
1:32:42of that all of this with all of that. Go
1:32:44to Alex Future phonic uh get the glitch
1:32:48fills sample pack. They're really
1:32:50brilliant. They just give these glitchy
1:32:52textures to drum fills and you can mix
1:32:54that with a normal drum fill and it's an
1:32:57easy way of getting an impressive
1:32:58sounding drum fill. Um and I'm not
1:33:01getting commission for any future sample
1:33:04packs. So,
1:33:09I'm not. I should, Alex.
1:33:12>> Yeah, you should. You definitely should.
1:33:14[laughter]
1:33:16>> We talked about um I'd like Alex to come
1:33:19on the on one of these calls at some
1:33:21point. And I'm starting to get a few
1:33:25people lined up to come and do these
1:33:27calls with us uh as we move forward. So,
1:33:30uh yeah, it's going to be fun. It's
1:33:33going to be really fun. Um, it's funny
1:33:36because when we were producing music
1:33:39together, he was he was really good at
1:33:42making the sounds and he would be really
1:33:44like, you know, he was just better at me
1:33:46at actually the synthesis part of it,
1:33:48making all these really interesting
1:33:49>> on the sound design,
1:33:51>> sound design, he was better, but then I
1:33:53would I would hear what what he was
1:33:55doing and I would know exactly where to
1:33:57put them. So, I'd be like, "Stop, stop,
1:33:58stop, stop, stop." and I would take it
1:34:00and I'd put it in the right place and
1:34:02and um I'd know musically what exactly
1:34:05what I wanted to do with it. And the
1:34:06funny thing is is that he's gone on to
1:34:08create future phonic which is giving
1:34:10people those incredible sounds like
1:34:14which he was incredible at making them
1:34:16and then now I'm created this which is
1:34:19telling you what kind of essentially
1:34:21telling you what to do with the sounds.
1:34:23So it's like an extension of it is a bit
1:34:25of an extension of even that dynamic
1:34:28that we had in the studio. So, I I
1:34:30really would love him to come on on here
1:34:31and we'll certainly get that happening
1:34:33at some point. Um 5 minutes 25.
1:34:38Oh, [snorts] yeah. Phil, Phil, Phil.
1:34:41Yeah. Yeah. 5 minutes 25. The lead,
1:34:43we're coming to the end now, so don't
1:34:45worry, it's not going to go on much
1:34:46longer. The lead is just great. And
1:34:48again, I said this in the beginning, you
1:34:50could chop this and you could glitch it
1:34:52and you could have it earlier in the
1:34:53track and it's going to be amazing. It's
1:34:54like the strongest sound in the track.
1:34:57So to have a little bit of this earlier
1:34:59would be phenomenal. Even if you just
1:35:00cut it, put some delay. Um it would be
1:35:03really really nice and I'd like to hear
1:35:05that. Um 5 minutes 25 scanner like
1:35:09downlift again
1:35:11to for the lead. It's the lead. It's
1:35:14going to make it go.
1:35:16So that's good. And then 5 minutes 45
1:35:19again like ending that section really
1:35:22intentionally. highp pass filter, take
1:35:24the low frequencies out of the kick and
1:35:26bass, little white noise, white noise,
1:35:29stop into the drum fill, and then put a
1:35:31drum fill there. And then, you know,
1:35:33again, how you end the sections. I'm
1:35:36saying this every week, but I I'll keep
1:35:37saying it because it's important. How
1:35:39you end this, it's like if you're
1:35:41writing a, you know, well, if you're
1:35:43writing a book, how you going to end the
1:35:44chapter? Just think about it like that.
1:35:46You know, there's no difference in a
1:35:48piece of music or a piece of uh
1:35:50literature. Yeah. all the structure, how
1:35:52it flows, the building up, the
1:35:54characters. I mean, actually, it's quite
1:35:56a nice analogy, the characters, the
1:35:59plot, you know, introducing the
1:36:02characters, different points, and then
1:36:03they all come together at the end, you
1:36:05know. So, just just have that in mind.
1:36:08All these little moments matter. It all
1:36:10matters. There's no opportunity to be
1:36:13just going, "Oh, yeah, it's it's all
1:36:15right. That's that will do." Because
1:36:17that I'm not saying you have that
1:36:19attitude. I'm just saying that a lot of
1:36:21people will stop before something is
1:36:25truly as good as it can be. And I'm
1:36:28trying to encourage you guys to take
1:36:30that extra effort to take it to that
1:36:33point because actually, it's not really
1:36:35about how much skill you have and secret
1:36:38knowledge you have. It's more about
1:36:40whether you're willing to sit there for
1:36:42another day or another week or another
1:36:44hour on a drum fill on a lead. Yeah.
1:36:47It's that's the difference a lot of the
1:36:49time between someone who is making uh
1:36:52excellent music and someone that's
1:36:54making okay music or they've got the
1:36:56potential for their tracks to be top
1:36:58level, but they're kind of, you know,
1:37:00medium level and it's those details.
1:37:02Yeah. I hear so much music that's like
1:37:05got just as good ideas, the music, the
1:37:06melodies as all the best tracks out
1:37:09there, all the top artists. What they're
1:37:11lacking is the details. Yeah. the
1:37:14execution, the presentation, the the
1:37:16wrapping on the gift. Yeah. All of that
1:37:19is what we're talking about here. And
1:37:20and it is important is very important.
1:37:23Um 5 minutes 50. Yeah. That flange lead
1:37:26coming in. Killer. Love that. Um needs a
1:37:30drum fill before. Right. We've had the
1:37:32lead. It's going on and on and on. It's
1:37:34intense. It's amazing. We need a
1:37:36separator state. Little drum fill and
1:37:38back in with the flange lead. Yeah.
1:37:40Otherwise, it's just going to get, you
1:37:42know, well, they need to appreciate what
1:37:43we're giving them by little moments with
1:37:45little drum fills. They go, "Oh my god,
1:37:47I'm having a drum. Oh, there's a flange
1:37:49leap." Yeah. Amazing. Um, so punctuated
1:37:53little crescendo. Yeah, I've said that
1:37:55pretty much. Yeah, just just a little
1:37:57intentional power moment to introduce
1:37:59that that flange lead. It's a really
1:38:02great sound. You could even bring that
1:38:04into the drum fill and have a glitchy
1:38:06part of the flange lead happening in the
1:38:08field before. Yeah, just thinking
1:38:10outside the box. Um,
1:38:12>> and uh, it's a massive moment of the
1:38:15track. I think one of the biggest
1:38:16moments of the track for me. I
1:38:18personally think that's one of my
1:38:19favorite moments, that and the lead. Um,
1:38:23huge. Um, just for just for everyone,
1:38:26when that flange lead comes in, what
1:38:28have you done with the the lead that was
1:38:30playing before? Is it still playing but
1:38:32you've turned the volume down or you've
1:38:34you've you've kind of made it a more
1:38:36simple pattern or you
1:38:37>> Yeah, actually it is there are another
1:38:41FM lead playing a bit lower.
1:38:44>> Got it. So it's a different lead. So you
1:38:45stopped the main one but you've got
1:38:47another one.
1:38:47>> It's mainly rhythm lead. Yes.
1:38:50>> Okay. Because that that's really nice.
1:38:52It's kind of it doesn't lose the energy
1:38:55that you have that main lead. It kind of
1:38:58it does stop but it kind of somehow that
1:39:00vibe is continuing underneath the flange
1:39:03lead and I thought that was a really
1:39:06nice
1:39:07>> it was an accident between copy and
1:39:09pasting I forgot it on top and then but
1:39:12when I listen to it it
1:39:14>> it flows really well. Yeah. So well it's
1:39:17an accident that's now potentially a
1:39:20repeatable technique for you.
1:39:22>> Yeah. Yes.
1:39:23>> You know um every single track for the
1:39:25rest of your life. No, I'm joking.
1:39:29Not um [clears throat] massive moment of
1:39:32the track. Scanners. Yeah, I mean again
1:39:33with the when the flange lead comes in,
1:39:35you can have scanners uh downlifter
1:39:37again. 6 minutes, three base stops, but
1:39:41uh 6 minutes three bass stop. Yeah, 6
1:39:44minutes three. Just a little stop of the
1:39:46kick and bass. Some kick and bass play
1:39:48needed to just break that up a little
1:39:50bit. Even if it just stops for one beat
1:39:52or even if it's just one bar of filter
1:39:54kick and bass, it just needs something.
1:39:56And that's punctuation. Yeah, just a
1:39:58little bit more. 6 minutes 10. We need
1:40:00risers. We need drum rolls. And we need
1:40:03filter kick bass to intentionally bring
1:40:06that section to a little crescendo as we
1:40:09end that section. Okay. So, it's just
1:40:10another another bit of punctuation. 6
1:40:13minutes 16 drum fill um to end that. So,
1:40:17just ending. And then 6 minutes 20. And
1:40:20now this is where you can really hear
1:40:22that you're still finishing the track
1:40:24because 6 minutes 20 you go into the
1:40:26percussion, okay? And you're going to
1:40:27bring it down after that. If I could
1:40:29give one last piece of uh idea for you
1:40:33for the end of this track, it would be
1:40:35this. Um
1:40:38when when that happens, the last sort of
1:40:4016 bars um 6 minutes 20 onwards, which
1:40:44is currently got no sounds, but it's got
1:40:47all the percussion and everything. If
1:40:49what I would do is I would make that the
1:40:53best of the best section. So I would
1:40:55take all of the sounds that I love, all
1:40:57the best sounds from the track, and I
1:40:59would find a way to put them all
1:41:01together in a kind of like um you know
1:41:04mega grid if you like. I'd have that
1:41:07lead, the first the main lead. I would
1:41:10chop that and have little bits of that
1:41:12mixed with little hits from the first
1:41:14from the grid at section one with a bit
1:41:17of the flange lead as well. And I would
1:41:19just, you know, maybe even Chuck Morgan
1:41:21Freeman in there with a glitchy time
1:41:23free, you know, but I I would I would
1:41:27definitely just It's an easy win when
1:41:30you get to the end of the track to have
1:41:3216 bars where you take all the best
1:41:34sounds. is often the most fun thing to
1:41:36do because you've done all of the hard
1:41:38work on the track. Then you could just
1:41:40drag all of these killer sounds and make
1:41:42the best grid ever.
1:41:44Yeah. And what sometimes happens is you
1:41:47end up with a grid that sounds so good
1:41:48you're like, "Oh now now now the
1:41:51rest of the track doesn't sound as
1:41:53good." And that's that's okay because
1:41:55what you can do then is you go literally
1:41:57you just take the the the you highlight
1:42:00the thing and you just take that whole
1:42:02bit back to section one and then you
1:42:05then then literally your track is
1:42:06>> you start all over again.
1:42:08>> Well, you just take that take that
1:42:10amazing grid and just do that as section
1:42:12one and replace your grid with that.
1:42:15Then you're like then your track starts
1:42:17to really just we are we're
1:42:20we're not hanging around. It's like then
1:42:22then when you start doing like that
1:42:24then it's like hell this track
1:42:27is is is extreme. So, you know, you can
1:42:31do that but but play around with like a
1:42:33it would be like in oh in the theater
1:42:35you know when there's a play and at the
1:42:37end of the play all of the people come
1:42:38out holding hands and they will give
1:42:40about you know like it's kind of like
1:42:42the this is your life of the track.
1:42:44There was the stab that, you know,
1:42:46your wife from 2 minutes 13. He's
1:42:50come back, you know, or whatever. Maybe
1:42:52not that. Um, so that brings us to the
1:42:56end, and I must say I had a great time
1:42:59listening to this, doing this deep dive,
1:43:01and thank you for being so forthcoming
1:43:03with the track Lampros. Uh, it's a
1:43:06really great one, and I can't wait to
1:43:08hear what you do with it. Was that um
1:43:10was that useful for you? Have you got
1:43:11any questions or
1:43:13>> Yes, very very interesting stuff and
1:43:16everything is in the details as I
1:43:18understand which it should be.
1:43:23>> Yes.
1:43:23>> Yes. A lot of uh maybe I will as I said
1:43:26in the beginning that I'm 80% complete
1:43:30lower it a bit go to 60%. So [laughter]
1:43:35>> look at the end of the day you've got a
1:43:38really good track on your hands. So
1:43:40that's the good news and and the thing
1:43:42is it's just a case of sitting in the
1:43:44seat and doing all these little things
1:43:47and and it's going to come out good. So
1:43:49mate, amazing. And I wish you all the
1:43:51best for the the the rest of this
1:43:53finishing of this track. And uh I'm sure
1:43:56everyone's looking forward to hearing
1:43:57it. And when you do do when you do get
1:43:59it, put it in the community. Let's have
1:44:01a listen to it. You know, we'd all be
1:44:03interested to see how that sounds. So
1:44:06was great. Thanks for joining us,
1:44:08everyone. Thank you. And
1:44:11>> um [clears throat] I managed to use the
1:44:13calendar for the first time on school. I
1:44:15can't believe I wasn't doing that
1:44:16before. So hell. Um so yeah,
1:44:20we're getting there. We're getting
1:44:21there. And as I said, I'm about to start
1:44:23shooting uh content for the May content
1:44:26drop where I do some videos and some
1:44:28bits and bobs. I'm going to also go
1:44:29through some old projects and find, you
1:44:32know, things that might be useful and
1:44:33like put it into a project and stuff.
1:44:35Yeah, think just just thinking of stuff
1:44:38like that. So, if anyone has any
1:44:39suggestions or specific things you'd
1:44:41like to see, but I'd be more than happy
1:44:42to receive a message uh with any
1:44:46suggestions or feel free to do it to
1:44:48post or
1:44:48>> breakdown of your FM leads, mate. Come
1:44:50on. You know, you want
1:44:51>> breakdown of the FM leads. Yeah. I mean,
1:44:54I can tell you now it's basically get
1:44:56one,
1:44:56>> make that make that killer, and then get
1:44:59another one. Put it [laughter]
1:45:02simple as that. Come on. No, there's a
1:45:05bit there's a bit [laughter] more to it,
1:45:07but I mean that's the last one I did was
1:45:10it was a couple of them together and
1:45:11then you Yeah. And it just sort of
1:45:13happens after a while and then you
1:45:16bounce it. But okay, go I could go in
1:45:18and look at that. Um so yeah, thanks for
1:45:21joining and um just like next week um I
1:45:25need to offer a time that's going to
1:45:27work for the people that are not in
1:45:30Europe as well. So when I set up the
1:45:33vote, I'm going to try and do like a,
1:45:35you know, one for the English lot and
1:45:37the European lot and one for the more of
1:45:39the South American, the Brazilians and
1:45:42the Americans just so that we have and
1:45:44we're going to have to start trying to
1:45:46kind of have a bit of a compromise. So
1:45:48just a forewarning for that and I'll try
1:45:51and make something that works for every
1:45:52everyone and um either that or I'll have
1:45:55to just fly around the world to each
1:45:57time zone every
1:46:00>> [laughter]
1:46:02>> So, uh, no. Anyway, thank you for
1:46:04joining everyone and I'll see you inside
1:46:06the community. Any suggestions,
1:46:08anything, just get in touch with me. I'd
1:46:10be happy to hear from you.
1:46:12>> Yeah, legend.
1:46:13>> Thank you. Thank you.
1:46:14>> All right. See you guys.
1:46:15>> See you guys. Take care.
1:46:17>> See you. Bye. Ciao.
1:46:18>> See you. See you. See you. See you.

About this transcript

This page contains the full transcript of Group Call #9 - May 01, 2026 by Sonic Mentorship, generated from the public captions YouTube serves with the video. The transcript has 18,989 words across 2,670 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

What you can do with it

Use the transcript to take notes, quote the speaker, build a study guide, generate a summary with ChatGPT or Claude via the YouTube Summary tool, or export it as a timed subtitle file with YouTube to SRT. You can also re-open it in the transcriber to choose a caption track available on the video.

Free YouTube transcript tool

YouTube2Text is a free YouTube transcript generator — no signup, no daily limit. Paste any YouTube link and get the full transcript instantly, with timestamps, click-to-jump, caption language selection, AI prompts for ChatGPT, Claude, and Gemini, and exports to TXT, SRT, VTT, or Markdown.