KAIFU and zeroth show you the METHOD [TOO SOON Production Breakdown] #MoneyMoves #worldpeace
zeroth2024-06-08
691 views|3 months ago
💫 Short Summary
The video covers various music production techniques, including sound design, processing, and effects. It includes discussions on creating unique sounds, utilizing different plugins and samples, and manipulating vocals and instruments. The speaker emphasizes the importance of experimentation and innovation in music production, highlighting tools like filters, EQ, reverbs, and compression. Techniques such as frequency shifting, automation, and layering are explored to enhance sound quality and create immersive soundscapes. The video showcases the evolution of a song through collaboration, adjustments, and creative production methods, aiming to inspire producers to push the boundaries of their music production skills.
✨ Highlights
📊 Transcript
✦
The creation of a song through a 1-hour challenge with friends and the subsequent development of the track.
01:05Details on the vocals and drop, along with recording issues and plugin effects.
Collaborations and adjustments made to the song during the music production process.
Evolution of the song showcased through the development and changes made.
✦
Automation of effects in music production.
06:36Multiple samples and plugins are used to create unique sounds.
Combining patches and automating FM synthesis for distinct sound.
Compression, dispersion, and other effects are used to enhance composition.
Frequency shifting and delays are highlighted as creative techniques.
✦
Key elements in a music track, including drums, chord progression, and bass, are discussed.
09:58Effects like delay and reverb are highlighted for creating specific sounds.
Various filters and plugins are used to manipulate sound, such as a black hole plugin for reverberation.
Arrangement and modification of patches are mentioned to achieve desired effects, focusing on creating a mellow sound in the intro and verse.
The secret behind a unique sound involving comb filters and layering is revealed.
✦
Techniques for creating unique sounds in music production.
12:31Spectral side chain and distortion effects are key in creating unique sounds.
Using a base amp and hybrid reverb can enhance sound quality, with an emphasis on mid-range tones.
EQ and saturation can be used to manipulate sound further, showcasing high-level production strategies.
Technical difficulties with a keyboard are briefly addressed, leading to a conversation about computer hardware.
✦
Highlights of Music Production Techniques
17:15The segment covers drum patterns, vocal processing, and sound font usage in music production.
Shifting vocals and manipulating formants are techniques mentioned for creating unique sounds.
Physical modeling and String Studio are suggested as instruments to experiment with.
The use of risers is emphasized as an innovative technique for adding creativity to music production.
✦
Sound design techniques in music production using gun sound without effects.
21:30Components of the gun sound include sub, body, and transient.
Ambassador is used to enhance the volume and strength of the sound.
Textures mode in Bitwig sampler allows for voice stacking for variation.
Techniques like high-pass filtering, attack reduction, and reverb effects are applied to modify the sound.
✦
Summary of Audio Production Techniques
24:54Gatekeeper and MIDI gate are used in music production to control audio volume and apply envelopes.
Release and transients play a crucial role in creating realistic sounds.
Reverbs like Taichi are beneficial for blending gun layers and adding depth to the audio.
AP shaper and Clipper are used for stereo effects and gain adjustments, with emphasis on asymmetrical knee settings for Clippers.
✦
Techniques for improving sound quality.
29:24Adding asymmetry for harmonic balance and using high shelf boosts are recommended.
Soft limit and Arbiter are effective tools for audio processing.
Utilizing pitch shifting and reverb can enhance room tone.
Disabling compression on high and low bands with Ott can improve mix control.
Achieving passive income and embracing middle class dynamics are key for success.
✦
Techniques for audio processing using tools like API 2500, frequency shifter, and resonator Bank are discussed.
34:14The use of s4b is recommended for boosting transients and cutting sustain simultaneously.
Mega verb is praised for creating a gated reverb effect to enhance the sound of snares.
The importance of soft limit, saturator, effects grid, and flywheel in achieving saturated tones and adding texture to sound is emphasized.
✦
Overview of music production techniques using compression chorus, Turbo Reverb, AP equalizer, and Ring Mod.
37:30Creating unique sounds through blending input sources, modulation, and filters like Ripple.
Preferred Grid patch for synthesizing growls and the importance of modulation for desired tones.
Challenges and benefits of using Phas Plant in music production.
✦
Techniques for manipulating sound characteristics using filters and wave shapes are discussed.
43:16Adding width to mono sounds can be achieved with a chorus effect.
Utilizing a vocoder can be useful for modifying input signals.
Boosting mids and applying compression are highlighted for leveling.
EQ can enhance low and high-end frequencies in sound design, addressing issues like sub bass sound quality and trouble frequencies.
✦
Techniques for Adjusting Release Times and Maximizing Levels:
45:56Utilizing M Dynamics MB and saturators for adjusting release times and maximizing levels for consistent compression.
Enhancing High-End Tone and Boosting Frequencies:
Using a wave table to enhance high-end tone, tools like Spectre and EQ for boosting and cleaning high frequencies.
Adding Warmth to Sub Frequencies and Achieving Tonal Balance:
Using a Fairchild compressor to add warmth and context to sub frequencies, and utilizing pitching and Bitwig MPE for tonal balance.
✦
Using Bitwig to create glitches quickly with envelope shapes.
50:38The creator's experience listening to Country rhm for the first time and experimenting with sounds in Vital.
Explaining the use of FM synthesis and frequency shifting techniques with Transformer and Ott to shape the sound.
Mentioning the use of AP shaper and Arbiter for tonal balance and distortion control.
Creating different tones by adjusting frequency morph amounts and using C perk samples for layering in snares.
✦
Discussion on audio samples, plugins, and effects for enhancing sound quality.
54:40Utilizing EQ to enhance mid-range frequencies and effects like Ott Clipper and high-end boost.
Creating a noisy quality with Jitter and color copy effects.
Adding layers to enhance a drop section and using automated filters for transitions.
Emphasis on experimenting with different audio tools for desired sound effects.
✦
Recreating a unique guitar sound with effects.
01:00:33Reversing acoustic guitar notes and adding high-end boost creates a distinct effect.
Effects like high pass, low pass, and distortion are used to enhance the music.
Incorporating 808 samples and adjusting the sound for street culture resonance.
Emphasizing the importance of high-end frequencies for a cooler sound and experimenting with different dimensions in music production.
✦
Manipulating vocals and effects for a unique sound in music production.
01:03:56Chopping up chords and layering effects to create a grungy and distorted sound.
Using texture mode in Nailen and adjusting pitch and resonance with filters.
Highlighting the use of a patch called Beyond Super.
Drawing influence from previous remixes in current work.
✦
Techniques for Manipulating Sound
01:07:11The process includes adding noise, saturation, clipping, distortion, EQ, and automation to manipulate sound.
Delaying bass distortion and widening subs are important techniques discussed.
Plugins like Croy and Ott are used for widening and bandpass resonance.
Adding reverb, delay, and automation helps create a long reverb tail.
✦
Creating a new gun sample patch with frequency shifting and transformer effects.
01:11:36Modifications made to the original patch include adding noise and using a bandpass filter with high resonance.
Distortion is used to add grit to the signal without affecting peak levels.
EQ is utilized to achieve a metallic growl tone in the final output.
✦
Audio processing techniques for enhancing sound quality.
01:16:55Boosting high-end frequencies and using a limiter for compression.
Utilizing a Noise Gate and noise filter to enhance metallic tones.
Explaining the use of a delay effect for creating delays and adjusting stereo channels.
Experimenting with a dynamic EQ plugin and utilizing a MIDI gate for clean note releases.
✦
Adding transients and noise to waveforms using Subtractor and creating gun sound effects.
01:19:55Filter movement and cut-offs play a crucial role in shaping the sound effects.
Adding flams for realism in gun sounds and mimicking trigger noise before gunshots.
Outro of the song introduces elements of the next song with orchestral features.
Using a bar from a Rumbler sample and glitch effects in song composition.
00:00but yeah you should probably be the one
00:01who says hello we're going to make a
00:04whatever something we're going to make
00:05out that's what it sounded
00:07like we're going to make a yes that's
00:10what we're doing for my for my malignant
00:14[Music]
00:17release okay so before we get into the
00:19actual video there's a couple of things
00:21one this is really long it'll be divided
00:25by sections so if you just care like
00:27about the drop or something you can just
00:30go on it I don't care just put it on the
00:32background it's a podcast now you can
00:34meditate to it if you want I don't know
00:36do whatever you want the second thing is
00:38that we also had a bunch of recording
00:39issues like K's camera is like one frame
00:43per million hours and I'm also out of s
00:46in some places if you see that uh just
00:49ignore it okay it's it's all good uh
00:51please thank you anyways uh on to the
00:54thing might as well start with like how
00:57did this happen how did the truck
00:59actually start because you were the one
01:01who started the track like in the first
01:02place yeah no I started it because I was
01:05doing a 1hour challenge with some
01:08friends and um I think there was like a
01:12word theme there was a theme for like oh
01:15this is the word that you need to
01:16compose based on it was something like
01:19rushing or something like that um and
01:23basically I came up with an idea
01:25for a song that had like a super long
01:29buildup um and then it just became
01:32stupid the vocals are still the exact
01:36ones that I started with the intro like
01:39at the first it was just like a Reas
01:40base and that's it right it was just
01:42like a plain old re base with the vocals
01:44you sent me at that point and I was like
01:46okay int really like I have nothing that
01:49I can do to the drop because it's just
01:51done yeah I think the drop is literally
01:54the first version more or less it just
01:56has a couple tweaks but yeah this is the
01:58first version
02:01just had
02:05that and vocals are also slightly
02:08different yeah no vocals are literally
02:11the same take no but but I no but like
02:14there's one that is to differently in
02:16the
02:18beginning uh yeah that's true it was an
02:21accident though because
02:23waves waves two in real time just kind
02:25of randomly shifts stuff down on octave
02:30sometimes I cuz it's a good plugin it is
02:33it's a really good plugin shout out to
02:35waves they [Â __Â ]
02:39suck I totally forgot about
02:42[Music]
02:45that yeah all of this is
02:48like pretty much the
02:55same crazy then what I did is I I took
02:59took the the intro and I put like f
03:01whatever chords on it and it just went
03:04goes like this it already like is
03:06similar to to
03:07[Applause]
03:08[Music]
03:13this this was the intro then like you
03:16made like the you edited the Memphis
03:18like [Â __Â ] on the second half of the
03:20second drop and at some point I was like
03:24hey this is crazy um you should uh like
03:28send me the the main godun in the in the
03:30drop but like can you make it more clean
03:32or something and you were like yeah and
03:34then a year and a half
03:36passes
03:38yes so might as well start with well the
03:41intro which is the intro actually just a
03:44PSA this session as you may like seen is
03:47completely disorganized has nothing
03:49labeled like all the groups are like
03:52[Â __Â ] you're getting like live
03:54undirect raw unprocessed life tuer
03:57reaction of like what is going on uh
04:00you're going to see there's this how
04:01good music is made yes and you're going
04:03to see like a million things being
04:05automated none of them Mak sense uh
04:09you're going to see a million like
04:10chains of plugins of like 30 eqs in a
04:13row this is a Frankenstein of like three
04:16other projects of mine for
04:18example and you'll see in a second so
04:21but yeah let me start with like the
04:22actual intro which is this section
04:24right starts with the same deal but then
04:27it starts doing
04:30let's call it I don't want to call it
04:32Botanica es I I want I don't I don't
04:35want to be sent to jail they should send
04:37me to jail for saying that it's uh as
04:39Ezra cosplay literally like I'm not even
04:43kidding it was me literally going I want
04:46to be like Ezra I will copy her straight
04:49up the main bits that I will get into
04:51now are all these like you
04:53know
04:55is collages of different uh samples
04:59there's really like any instruments
05:01going on so for example you have this
05:05which I'm pretty sure it just yeah it
05:08just your
05:09vocal but like with a million beat
05:11repeats on it it's already bounced
05:13that's the deal there like a bunch of
05:14Bounce things and other things are just
05:16like simply like a sample for example
05:18this thing is just uh a
05:21Cho there's also like things like random
05:24sound
05:25effects whatever that is this is just
05:31a sample in Reverse from I don't know
05:34where I got this I actually do know but
05:35I'm not going to say it because I don't
05:37want to go to jail
05:41then this also repeats like pretty much
05:43throughout the entire song and it's
05:45actually funny because it's
05:48just I think it's just the
05:53beginning should be around there yeah so
05:55then like we have all the like
05:56collection of like million like sample
05:58effects and whatever
06:03[Applause]
06:03[Music]
06:05a lot of like takash mios like samples
06:07and like do all like sickon uh sample
06:11bag and like wow simotics why crazy beep
06:14this this is
06:16crazy crazy that's an awesome sample yes
06:20I've never heard anything like that me
06:23neither and the actual cool thing is
06:24this actually uh because if you play
06:26this
06:30it's this
06:34[Â __Â ] so it's a combination of two
06:36patches so uh if I take all of this
06:40effects [Â __Â ] uh it's just a basic FM
06:44syn so operator and I'm just automating
06:48it's like normal ratio 2 to one sign FM
06:51like nothing crazy going on there and it
06:53just automating they
06:57like and most of the actually like if I
07:00EnV all the
07:01effects it's still going to sound mostly
07:05normal like it's just the same thing but
07:07like you know there's like a lot of
07:09compression sign compression uh
07:11disperser comol like but it still sounds
07:14like the same thing I think the most
07:16interesting part of this sound is
07:18actually this like it's SP 2016 it's
07:20this
07:21thing that
07:24like with bit shifting down also this
07:27thing
07:31which is a really really like low roll
07:34like it's playing like B minus one also
07:37this song is like at B so yeah and that
07:41just goes on for a little bit
07:43[Music]
07:46more again more Takami
07:49[Music]
07:50samples and I think the other like cool
07:53effect here is I think it's this
08:00yes which is being sent to this um
08:03frequency shifter delay thingy yes it's
08:07in oh actually no it's just being I'm
08:09just automating the um just the timing
08:13so like because in repitch it'll start
08:16like uh depending on the frequency of
08:18the of the delay it'll start like
08:20pitching up or down so it just basically
08:23that let's continue on with the actual
08:27verse let's say
08:29[Applause]
08:32[Music]
08:38so the main things here are um there's
08:41drums which is just a high hot honestly
08:44uh there's the Bal there's the cord or
08:48bad or whatever you want to call it and
08:50it has a base obviously with it like a
08:52re type base and there's a you know like
08:56a pluy thing that's basically it there's
08:58nothing nothing El else on the on the
09:00verse so going step by step the first
09:02thing that drums which is just high hat
09:05which is actually two parts
09:07it's a Shaker
09:12with like a really like complex delay
09:16and just shitloads of Reverb like pretty
09:18much all like completely maxed almost
09:21and then is this High
09:23hard which again a bunch of Reverb not
09:26as much like dry wet it's a little bit
09:28more dry but still shasten I think I've
09:31ripped this high heart from him and well
09:33I don't think I have and I've used it in
09:35like a million songs sorry also thank
09:38you here we see the first like
09:40Frankenstein part part of the song which
09:43is that this group called intro Harmony
09:46which well it's
09:47the I guess Harmony of the intro that's
09:50not
09:52[Music]
09:54wrong so this has both the B and the
09:58Rees this actually direct stream this is
10:01the intro of the direct stream which was
10:04also the main sound on Guiding
10:08Light uh it's essentially the same
10:11patches but just rearranged and like
10:13modified a little bit and Y they
10:15obviously play from like the beginning
10:17like they do this like Rising thing and
10:20they like Reverb but like I'm cutting
10:22the Reverb too because it's fun what I'm
10:24going to do first is I'm going to
10:26disable all of the effects from
10:28everything
10:30[Music]
10:33so it's
10:35just normal but you know sell waves with
10:38unison a little bit of filter movement
10:40controlled by envelope too on an
10:43envelope No
10:46Effects and just I'm just automating the
10:49filter with an auto filter you know it's
10:51just more mellow in the intro and the
10:55verse because then in the it opens up a
10:58little bit more in it opens up
11:00completely in the buildup but it's still
11:03like you know it's still going here so
11:05it's still a pretty mellow sound the
11:07main other sound is this thing it's just
11:09a
11:10[Music]
11:11dune which if I take all of this
11:15again ages one later on the Swarm seven
11:19voices Str completely open shout out dun
11:22swarm Shadow Dune best Souls best soul
11:25waves in the business and then again
11:30Auto filter that I'm automating doing
11:32like rra Downs like at each beginning of
11:35the note so it's basically behaving like
11:37an
11:40envelope and this chain uh because I'm
11:43putting a black hole on like this black
11:46hole is just like a river plugin that is
11:48usually meant for like really big like
11:50Lush type of uh River but if you crank
11:53the gravity down and the size down it
11:54just sounds like a comb filter
11:57essentially and it's like a weird [Â __Â ]
11:59up up comb filter it sounds like a
12:01couple of them the secret to this sound
12:04actually is
12:05here and this like so
12:092 it's so Delta so basically I'm sending
12:13this
12:18thing awesome noise and I'm sending that
12:21to so to the side chain input so in
12:23theory Soo will dock frequencies from my
12:27b um relating to that [Â __Â ] up sound
12:31[Music]
12:32right sort of like some kind of like
12:34spectral side chain but then I'm putting
12:37the Delta so I'm only uh hearing to the
12:40difference between the dry sound the
12:43unprocessed sound and what Soo is
12:47changing and this is like spectrally
12:50weird vocal type of
12:53sound then it's the actual like re base
12:56which I think it's this one
13:00yeah so it's it opens and then it
13:04goes so there's a couple keys to the
13:07sound it just do a wave with like a
13:10filter that it's not even moving it's
13:11just fixed
13:14here and it just being OT inside of
13:16serum and then you know like it's low bu
13:21the actual cool thing about the Reese
13:23comes here so if I enable all of this
13:27processing essentially sounds is
13:29basically the same like there's like
13:31some par Reverb only in the sides if you
13:34have headphones you're hearing this if
13:36you're not
13:37well T tough [Â __Â ] um the actual cool
13:41thing is
13:43this this is the actual sound of the
13:45Reese which comes from a base amp I'm
13:48using SVT suit and it has like this
13:51[Â __Â ]
13:52up like base battle Distortion that I'm
13:56then sending it to hybrid Reverb because
13:58if I take it out
13:59it sounds like oh I'm also like boosting
14:03the mids so it's like possible mids sh
14:06mids
14:08um so point being is that it's being
14:11distorted with like cool amp and has
14:13this cool cab but then I'm putting a IR
14:15of a reer on top of it so it makes it
14:19like all diffus it's really cool C is
14:21cool uh base amp on the freeze it makes
14:24it sound half swag and swag is always
14:27cool so yeah you get it yeah yeah
14:30anyways you need that that's the the
14:31fundamental thing for a good song like
14:33look at this group dog like look at this
14:36[Â __Â ] [Â __Â ] it's like EQ wow crazy move
14:39wow crazy move EQ and then another EQ
14:43and then another
14:44EQ this one does have saturation though
14:47I think it does but like again wow One
14:50DB move holy [Â __Â ] then Prime B wow crazy
14:56then another prq wow crazy then another
15:00it just it just um it just yeah I like
15:03how you're just countering like those
15:05two right there those two we Q8 Lally
15:09and you would be like oh it's actually
15:11it's actually like super high level
15:13production I'm doing like emphasis of
15:15like putting Distortion and then no I'm
15:17not doing [Â __Â ] I'm just aing fellas this
15:20is cinema this is how this is how get
15:22how it works yes yeah for
15:25real probably a million people by this
15:28point are like I want to know the basis
15:30I really want to know the basis I want
15:32this guy to [Â __Â ] shut up and and
15:33let's go to the basis well you got to
15:35build up that's fair there is a
15:40buildup okay
15:42uh technical difficulties my keyboard
15:46died your keyboard died yes straight
15:51up why how how how's that how's your
15:54computer like that did you like skimp on
15:57your motherboard or something
15:59I'm using a gigabyte motherboard so
16:04yeah essentally yes I am a skin I'm on a
16:07gigabyte laptop too and it does weird
16:09[Â __Â ] so I wouldn't be surprised it is
16:10what it is shout outs gigabyte they
16:12[Â __Â ] suck shout outs gigabyte [Â __Â ]
16:14you so the main thing about the buildup
16:17uh it's honestly the drums for
16:19[Music]
16:24me which if somebody's thinking hey this
16:27kind of feels like a jerk beat
16:29it literally is that it just you know
16:31it's clap on every quarter
16:35note and then like a snare every
16:39eth and then I'm putting you know some
16:42offset like precautions so
16:48like also shout out to taking like
16:51taking older older open high hats and
16:54gating them by like just in audio is
16:57awesome all the time I not I do that I
16:59do that a lot it's like such a good way
17:01to do with M accents and everything then
17:04the same high hot is going on still but
17:06just a lot of R still and then we have
17:08the
17:09Stomps it's combination of like a bunch
17:12of players but it's mostly I have this
17:15like mostly artificial like sample from
17:18I think this is
17:20lapix this is like a stom that I made
17:22myself from like a bunch of
17:24samples and this is from uh contact
17:27Library
17:29that go like bounced so it's like more
17:30easy to do do
17:32like multiple you
17:35know and it's funny because like
17:37technically on isolation this sounds
17:39better like it sounds more natural more
17:41full whatever but in context like if you
17:44don't have these like artificial kind of
17:46stumps it kind of gets lost in in
17:48Translation so then other than that we
17:52have the vocal that Kai did this just
17:54like already like
17:57that it's just repeating
18:01y if I remember correctly the only thing
18:03that's happening there is I I would even
18:07nowadays I do this all the time where I
18:08shift my vocals up an octave and then I
18:12bring the format down on Pitch monster
18:15and then I think throughout this drop
18:17I'm slowly increasing the formant it's
18:20like you're that's why it kind of starts
18:22to like pitch up yeah yeah the rer
18:24motion from that in this buildup
18:26harmonically there's nothing much uh
18:29because it's say this watch that is
18:32going
18:33on and then they like the lead thing
18:36which by the way I didn't talk about the
18:38Le the Le is a sound font I think it's
18:41from like an emulator two or it maybe
18:45from like a Nas Game it kind of has that
18:47live and I forgot and it's bounced so
18:49I'm sorry uh anyways the only thing that
18:52I'm adding on this build up really is
18:54this
18:55thing this cord hit which is made out of
18:59three Aon instruments two operators and
19:03one Boland and some gory and
19:07something which is this is tension this
19:10is like a physical modeling thing in
19:12ailon I've only used it once and it was
19:14for dispatch that's it if you if you
19:17want tension in other dos you need to
19:19use uh a string Studio yes it's
19:23literally the same and that's it really
19:26because everything else is just you know
19:27like basic like I know you've never he
19:30heard something like
19:32[Applause]
19:34this like dude there's like
19:37[Applause]
19:39risers I've I I never heard this in my
19:42life yeah you've never seen that ever
19:45first first producer to ever use risers
19:48on a song ever so boy I'm coming for you
19:51and Dave hop also first one ever really
19:55it's it's a really uncommon production
19:56technique actually I know I know people
19:59do not get it but like we're on we're
20:01already on like 2035 on this [Â __Â ] let me
20:03tell
20:04you this and adding phase we're changing
20:08music forever true adding phase there's
20:11also we didn't show it but like we
20:14actually like used plus but like in
20:17inverse to like make the rest of the
20:19song a little quieter without like
20:21changing yeah because if we didn't this
20:25would break all the records ever of the
20:28loudest song ever while also being the
20:29cleanest and while also receiving the
20:31most amount of like compliments and good
20:34comments from like moms everywhere on
20:36the world they're like wow I like every
20:40single mom in there like in the world if
20:43you're a mom watching you're also saying
20:46wow I really [Â __Â ] with the face that's
20:49what's happening you are saying it
20:52presumably allegedly if you're a mom if
20:54you're not then you're probably silent
20:56or something I don't know but yeah
20:58that's that's what's going
21:01on basically there's a vocal here that's
21:04going to say like too soon over and over
21:07and there is the gun which
21:13yay gun's actually like crazy simple
21:17compared to a lot of things that I do
21:20without
21:21any effects let's see how it sounds it's
21:24going to sound bad without any effects I
21:27think
21:30wow so so this is the this is the gun
21:33without effects um let's go through
21:35these one by one at a time basically
21:37every single gun that I offer do is made
21:39up of made up of three components a sub
21:43a body and a transient and then usually
21:46more bodies this one only has a
21:50subtransient out body but that's just
21:52because I'm using one of my previously
21:54made samples here which is actually
21:56really rare for me that sample probably
21:59has already a lot of bodies which I mean
22:02knowing you like I don't know how many
22:04victims you've taken but like I know you
22:07have your history yeah know it's
22:10controversial but true so on all my Subs
22:14basically I put uh ambas Ambassador
22:17Ambassador I still never know how to
22:19pronounce this Ambassador probably
22:22Ambassador yeah anyways it just um as
22:25Carnage once put it it just makes it
22:27very very way more louder and
22:30stronger um if I actually tried to
22:32explain what it does I would be confused
22:35if you don't have it already you should
22:37uh get it or buy it or Pro preferably
22:41buy it cuz meldam man is kind of cool I
22:44think yeah I mean I hope I hope I don't
22:47regret that I hope he doesn't turn out
22:48like uh FX single man anyways this is
22:52the other sound um so if I remember if I
22:56remember correctly this is not at how
22:59this [Â __Â ] sample
23:00sounds yeah so that's this sound um I'm
23:04using the textures mode in the bitwig
23:07sampler which is basically granular I'm
23:10doing a bunch of Fades or bunch of
23:13little grains and then I have three
23:16voices happening at once that's what
23:18this voice stacking means and so that
23:20means each time I
23:22play it's going to be a tiny bit
23:26different oh and like it
23:29yes exactly and that's basically because
23:32uh this mode is Textures in here as far
23:36as I know is actually very similar to
23:38like a texture stretch mode in Ableton
23:42yeah except you actually have live
23:45control over all the parameters so like
23:47what else is happening here I'm high
23:49passing in here and I'm also reducing
23:51the attack then I put a Reverb on
23:56it uh the Reverb is just M turbo Reverb
24:00Studio this is on like so much [Â __Â ] that
24:02I have it's just it's just a Widener
24:06essentially uh it does [Â __Â ] up things
24:08to your base if you have it on base but
24:11it's not like that here gatekeeper is
24:13what I'm using to make it sound not like
24:17that it's way
24:21shorter um and now it's sounding more
24:24like like kind of a
24:26tone it's it's it's like kind of
24:28sounding like it has the same sort of
24:31Envelope as that sub and then claro
24:35which is just an
24:38EQ uh the main reason I like it is just
24:40because of this like this easy view that
24:43it has um it's just a bunch of like very
24:46simple you move the cut the cut off
24:48frequency and then you change it and
24:50then if you want to add anything more
24:52you can but you don't need to then midi
24:54gate so this is something that I have
24:57set up in Grid
24:59um in bitwig all midi passes through all
25:02plugins by default so you can see this
25:05yellow thing appear yellow Square
25:07appearing across everything and so that
25:09means this which is just uh applying an
25:13envelope to the audio uh just passes
25:16right through or the the midi passes
25:18right through and triggers this envelope
25:20so then it just shapes the
25:23audio's uh volume so we're doing the
25:26same thing that we were doing back with
25:28the gatekeeper but we're just doing it
25:30more intensely the other reason other
25:32thing that's worth mentioning here is
25:34the little bit of release that's there
25:36if you just have this at
25:38zero it like yeah it doesn't sound real
25:43it sounds
25:44fake and lame this is the
25:48transient um basically what I do to
25:51almost every single transient that I use
25:54for a gun is I put M charm Reverb on it
25:58or some other Reverb that lets me do
26:00something like this I boost the [Â __Â ] out
26:02of the gain so we have plus 20 DV gain
26:06here um and this is mostly to add like
26:10some tone to it but also uh just so that
26:14we have shitloads of gain to deal with
26:16because then we use gatekeeper again to
26:19make it really really
26:23short there you go it's also being
26:26pitched around a bit so when you when I
26:28play higher
26:30notes we get
26:32different uh tones out of it um next
26:36thing taichi taichi is the best Reverb
26:39ever for
26:41guns um so now that we have everything
26:44already put in
26:47here um you can use reverbs to Like Glue
26:53the all the layers of the gun together
26:56this sounds like fairly I don't know it
26:57sounds separate still but as soon as you
27:00add a Reverb it like all the all the
27:02different parts of it start to like
27:04diffuse into each other um and as long
27:07as you don't do like 100% wet your
27:09transient shouldn't be ruined
27:13probably um so I'm basically doing that
27:17here just to add more room and then
27:21sonig just another Reverb shut out s
27:24sounds sick yeah I'm just I'm just using
27:27it to add
27:30more more stereo uh AP shaper and more
27:35phase there is actually more phase being
27:37added through that too
27:40um this is a just yeah this's just a
27:44Clipper there's not really actually much
27:46special going on with the Clipper it's
27:49just I'm I'm gaining it's one DV of gain
27:53uh the one thing to note about it is
27:54that I have an asymmetrical knee a lot
27:57of Clippers have this some of them do
28:00some of them don't um I think like a
28:02good example for one that people
28:05probably mostly have is new fangled if
28:08you change the Symmetry that's basically
28:10what I'm doing oh yeah it makes sense oh
28:12yeah it makes sense yeah it's just
28:14because when you have a like really base
28:16heavy sound um if you just strike clip
28:20it uh it sounds really obviously clipped
28:22but if you add like the tiniest amount
28:24of asymmetry to it it creates more even
28:27order harmonic and then I don't know it
28:30doesn't sound as clipped it sounds
28:32better then I just have claro this is
28:34just to clean up the low end
28:37mostly um none of these are like some of
28:41these are like subtle moves but there
28:43like minus down
28:46there Noble
28:50Q I'm actually not sure what am I doing
28:53here I'm doing the normal high High
28:58shelf thing where you do a pull tick
29:02High shelf to attenuate and then you
29:05boost around the high shelf as well and
29:08that just allows you to like remove some
29:09of the super Highs but then get a lot of
29:12your brightness back um I think we can
29:15actually see exactly what curve I'm
29:18doing here yeah so something like this
29:22and a little bit of a mid boost as well
29:24but this sounds really good um taking
29:27out a lot this information there uh and
29:29then kind of filling it in with a bit of
29:32saturation cuz that's what happens with
29:34these uh it sounds pretty good uh soft
29:38so then we have soft limit which is just
29:42more clipping it also has a bit of
29:45asymmetry um so it's cool I don't know
29:49if it's still free do you know if it's
29:51still free no idea it was it was free
29:54when I got it if it's still free then
29:57get it
29:58yeah if it's not free and it's like 10
30:01bucks also get it yeah then this is here
30:05to remove some of like the really harsh
30:07uh 10K plus area uh Arbiter is awesome
30:12it's kind of like the best dser on the
30:14market because it works on literally
30:17everything including
30:19Masters um yeah I don't know it's a good
30:24plug in but that's basically it that a
30:29gun also right this is the other thing
30:31that's important to mention I have this
30:34which is a trick I took from chi I
30:38think which is you take uh some sort of
30:42pitch shifter you shift things up 12 uh
30:4512 semmit ton and then you just put a
30:48Reverb and this ax is like
30:54a it just adds like a really really nice
30:57room tone on top of everything I do this
31:00a
31:01lot which
31:03is um I'll take
31:06like these are just two vocal takes I've
31:09bounced it out and then I've pitched it
31:12around um and then I put scream and Ott
31:15on um the scream is literally
31:18just a scream pedal plugin it's sounds
31:22good it's from homic and I think it's
31:26still oh
31:28[Music]
31:29I think it's still in beta after like I
31:32don't know how many years but it's cool
31:35uh and then there's
31:36Ott um the thing I do with Ott all the
31:39time is I disable the upwards
31:41compression on the high and low bands
31:42because if you keep it enabled It
31:45generally just [Â __Â ] up your mix super
31:47hard and it's really annoying to deal
31:49with Pro tip if you want to become a
31:52billionaire uh passive income and
31:55disabling the top and bottom bands
31:57Awards on
31:59the yes you you need to you need to
32:02embrace the middle class of Dynamics
32:05exactly oh yeah we should actually
32:07cover the drums so the the drums are
32:10funny um I I bought the Joe B pack
32:13forever ago and then I just I found that
32:16a lot of the drums are like too big for
32:18me uh just with how I write because the
32:21way I do like side chain and stuff is
32:23kind of silly sometimes it's literally
32:25just a job B kick
32:28just raw and then s4b you max out
32:32literally everything cuz that's the
32:34method um then I put fuse V PR
32:3931a it just adds
32:41like a bit of like a bit more weight to
32:44it and then lindel SVC this is a just an
32:49API 2500 that doesn't sound good um
32:54except it kind of does because it like
32:56just shits out if you put on the smash
32:58mode um where basically it just overdoes
33:02the compression way too hard and you get
33:06like this really loud
33:07click and it works uh for kicks and then
33:12just more soft limit cuz I was spamming
33:14that [Â __Â ] everywhere at the time
33:18snares the snare
33:20processing this is uh kind of common for
33:24me I usually don't actually use snares I
33:26mean all of these are as clap claps but
33:29they it is a snare um I almost always
33:33use impressor just to boost the [Â __Â ] out
33:35of stuff uh there's a frequency shifer
33:38here because uh just with how everything
33:41else is
33:44sitting it made more sense to push it
33:47higher um this is resonator Bank uh it's
33:50a bit like stock device that just adds a
33:52bunch of
33:56Peaks what giving it like that metallic
33:59tone um yeah and you'll hear over here
34:03that there's like I don't know to me
34:06there's like a very obvious amount
34:08of resonance in the in the low mids and
34:12lows and one thing that's important to
34:14know about s4b is that or stab is that
34:18it both boosts the transient and cuts
34:21the sustain at the same time which is
34:24part of why it works so well um and and
34:27so you can actually use it to remove a
34:32sustain um even though it doesn't
34:34necessarily have like separate sustain
34:37controls um and then I have soft limit
34:40again I was using it everywhere and then
34:43Mega verb this is the this is the goat
34:45here because it is literally just a
34:48gated Reverb that gets triggered by the
34:51transient and that's that's why the
34:54snare sounds huge instead of tiny
35:03the other thing that's important
35:06here okay yeah so now you just put
35:09s4b on it because good um if you do that
35:15and then saturator you can get saturated
35:18tone without
35:19um having horrible amounts of like
35:22sustained
35:26loud like that uh effects grid this is
35:30literally
35:31just I'm doing like bit crushing and
35:33then more saturation and then I'm using
35:37oh this is essentially works out to
35:39being like a weird rectifier uh getting
35:41all the low end
35:43out uh flywheel is just a tape Sim it
35:46sounds really
35:48good I use the hysterisis a lot because
35:51again it adds more like noisy crunchy
35:55high-end uh more soft limits some more
35:58Clipper and more claro just to just
36:01because this was my main EQ at the time
36:05hat is I actually do this to basically
36:08all my hats as
36:10well you'll notice this has like a lot
36:12more sustain uh without it without
36:15flywheel and if you crank the hysterisis
36:17a lot it basically acts as like a zero
36:20sample gate or like a one sample
36:23gate um and if you look at it it might
36:26literally
36:28shorter no it's kind of hard to tell
36:30from here but you can
36:33hear that it feels like all the room
36:36gets removed from it um okay what else
36:40is going on
36:42here the
36:46sound yeah so for a long time this was
36:49like a really shitty sound but in
36:51between me originally writing this song
36:54and um malignant asking for it
36:58I got a lot better at doing this uh this
37:01kind of sound so I was like huh maybe
37:02I'll redo it actually no I didn't say
37:05that Mel literally told I forced him to
37:07be like please [Â __Â ] R it
37:10so this is just it's a saw with some
37:14compression chorus um it's moving really
37:22fast that's what's making it sound like
37:24super messy uh and then just clip to
37:26whole [Â __Â ] um and then I add a chorus so
37:29it's even
37:30wider um M turbo Reverb on Chrome plate
37:34because I wanted someone like that sort
37:37of uh those High har or high inharmonic
37:44resonances uh and then I have AP
37:47equalizer to get rid of all of this
37:49there's like a lot of mid range and also
37:52a lot of mud that's there um I'm
37:54assuming mostly from the chorus
37:58this is Messy as [Â __Â ] to do um and then
38:01I have a ring mod so the ring mod in
38:04bitwig you can actually just put a
38:07synthesizer in the oscillator section of
38:09the Ring mod and so all this does is
38:13it's just a sine wave going out to a
38:15master
38:16adsr and that basically just allows you
38:19to have more control over the tone of I
38:24don't know whatever you want to do for
38:26your ring mod oh and the other thing I'm
38:28doing is uh flipping this so that it
38:32becomes super super Stereo by literally
38:35just I think if I look at
38:39this it's kind of hard to see here
38:44actually but you can kind of see that
38:47it's like literally opposite on each
38:50Channel
38:52um okay then polyr for
38:57this is the main [Â __Â ] is the main
39:03tone
39:05so this is just the this is my grid
39:08patch that I use basically all the time
39:10to do everything um to to do any kind of
39:14growls and anything like it um a lot of
39:19it comes down to like weird FM [Â __Â ] that
39:21I get to do in here that you can't
39:23really do all this routing nicely and
39:26other s except for phas plant phas plant
39:30is really good about this kind of stuff
39:32actually uh but phas plant has the
39:34problem of
39:36being phas plant and also being annoying
39:40yeah um but there's a couple important
39:43things that are happening here that are
39:45pretty unique to what you can do in Grid
39:48um one of the things is that I have a
39:51blend knob here so this basically Blends
39:54between two input sources and so I have
39:58have I input I'm getting FM or I'm doing
40:02FM from this oscillator as well as this
40:05and then I can just
40:08choose which one of these I actually
40:10want to take input from it's just a cool
40:13way to like get a unique like blend of
40:17sounds and also I'm not modulating it
40:19here but I generally do modulate it to
40:22get like some really cool
40:24tones um after that it's going into
40:26Ripple
40:28and ripple is a bitwig filter that has a
40:31super [Â __Â ] up
40:33resonance um it's probably being
40:36modulated by something yeah it's being
40:37modulated by this an envelope yeah
40:43yeah is it is oh no which one is it it's
40:46one of these but basically there is an
40:48envelope that's modulating this
40:52um and that just that's what gives it
40:54that sort of like sweeping tone of the
41:01start um and I'm actually doing both
41:06yeah right that's what I'm doing here oh
41:08this is going here okay and then this is
41:10going so this is map to both of them um
41:13this is actually the reason I did this
41:15was I don't
41:17know if you've seen that video that I
41:20posted on Twitter once that was
41:23like it was titled something like in the
41:26studio
41:28and it was just me playing with this
41:37filter anyways it's that filter nice
41:42nice um and so I took this uh it's going
41:46through some [Â __Â ] up wave shapes over
41:49here um you can hear all of them so it's
41:53like that without it then this is what's
41:56giving it a lot of its high-end
41:58characteristic this is uh you set the
42:01curve or the uh what is it the reduction
42:04ratio uh to negative and then it starts
42:07to do like kind of wave folding uh the
42:10reason you'd want to do this is so that
42:11you don't lose any high-end detail when
42:13you actually start to like push it or
42:16not necessarily highend detail but you
42:18do lose detail if you just push a normal
42:20Clipper that's just how Clippers work um
42:24but if you do a bit of this fold back
42:26then it doesn't disappear it's just
42:29different
42:30um then I have a chorus because I wanted
42:33some width a lot of my FM patches and
42:36like screeches in general are entirely
42:39mono for the majority of their time
42:41until I suddenly remember that the the
42:44reason the drop sounds quiet is because
42:46it's not wide
42:50um real problem that actually happens
42:53way too often um then I've just got yeah
42:57this is essentially just a soft Clipper
43:00again um and then after that I've got
43:04Ott again no low band no high band good
43:09uh
43:12vcoder yep yep I'm going to I'm going to
43:16make a 48p part course that is going to
43:21have a stepbystep process for how to
43:25disable I so have vocoder the cool thing
43:29that I'm doing in vocoder here is this
43:31this setup that I have here uh basically
43:35what I'm doing is I'm stealing the input
43:37signal from this tool and I'm feeding it
43:40into this which is basically allowing
43:43the subbase to pass through the
43:46vcoder untouched and replace the actual
43:50input uh
43:53sub cuz vood or sub base sounds like dog
43:58[Â __Â ] 100% of the time unless you want it
44:01that way sometimes it's good sometimes
44:04you actually want that but 90% of the
44:06time you're trying to fix it this uh
44:09this this is my way of solving that
44:11problem by U just getting rid of it and
44:14replacing it with the original sub um oh
44:17oh
44:19boy so I really wanted to
44:22accentuate these uh this like fory
44:25movement
44:27so I I boosted the [Â __Â ] out of it and
44:30then it hits Stark Stark is just an amp
44:34Sim it sounds like okay it's kind of
44:38like able to amp tier which means it
44:40like doesn't sound that good as an amp
44:41Sim but it sounds cool for sound design
44:44sometimes especially on the general two
44:46bamp mode because it doesn't change the
44:47frequency response too
44:51much um it's doing a lot here though um
44:55so I'm boosting the the mids
44:58more
44:59here and it gets super boosted and then
45:02I'm here pretty sure yeah so this fuse
45:05compressor again I'm disabling
45:08compression on most of these
45:10bands um or upwards compression on most
45:14of these bands I'm just using it mostly
45:15to level things out uh and also bring it
45:18up
45:19after especially this seems to cut a
45:22[Â __Â ] ton of
45:25trouble um um and then more EQ boy oh
45:31boy at one point this existed
45:36apparently uh this is just huge lowend
45:39boost because I wanted it to like start
45:41to crun Crunch and then I also really
45:43liked some of the high-end I was getting
45:46so I brought it back
45:49up uh M Dynamics MB this is more just
45:53leveling again I generally in order to
45:56level stuff and make it louder and fit
45:59into a mix I'll use M Dynamics MB with
46:01like three or four bands uh I'll tweak
46:03everything to have like super low
46:05release times as you can see like the
46:06ATT and release uh on base you usually
46:09want to bring release a little high so
46:10it doesn't just distort to [Â __Â ] unless
46:12you want it but generally you just use a
46:16saturator for that um so i' I've tweaked
46:20all my release times super low and then
46:22I use maximize to actually make sure
46:25that the levels are more consistent um
46:29and that I'm still getting like the
46:31amount of compression that I want
46:32without totally making it sound
46:36quiet um I should actually mention also
46:41the other thing that I'm doing here
46:42that's important is this wave table um
46:46is also being passed
46:48through this is actually what is
46:52causing the high
46:54end on this uh on this
46:59um and without it it just
47:03like oh
47:05okay you don't get like as prominent of
47:08a tone uh it's basically I wanted the
47:11thing that I was using to FM the signal
47:14to also be present in it I I usually do
47:17that if the the resonance is generated
47:20by the filter isn't loud enough or if I
47:22just want to accentuate it
47:25um so yeah this is
47:28probably I'm just using
47:31this just high-end high-end
47:34boost
47:37ambassador to fix to fix quote unquote
47:40the low end
47:43um Spectre uh this is just highend
47:47mostly you can is if you have like
47:49[Â __Â ] up sounding highend you can
47:51usually toss Spectre on it and it will
47:53sound a little more [Â __Â ] up but in a
47:54way that's like noisier so it's less
47:56Noti
47:57disciple it's a good
47:59trick this is just EQ to clean [Â __Â ] up
48:02again and then giss EQ probably also to
48:05clean [Â __Â ] up
48:09yep you can do high-end boost and gissy
48:12Q uh pretty reliably and it usually
48:15doesn't sound horrible just because of
48:18how gissy Q Works uh gissy Q basically
48:21like checks the entire balance of the
48:23signal and then it's like oh is this
48:25like a bad time to boost yes or no uh
48:30and it won't it will boost less if it's
48:32like already a really really bright
48:34signal um then after that I have a fair
48:38child
48:40compressor this is just to make it sound
48:43[Music]
48:44bad just
48:47up well it does it
48:50does like it does kind of sound bad but
48:53that's kind of the point it's but it's
48:55cool in like you're adding this wag on
48:58the fair
49:00childly like if I didn't have
49:04it like the the sub is too clear the sub
49:09is too clear for the rest of the song so
49:11it sounds
49:12bad it it sounds wrong it it sounds
49:15worse this way but it sounds more right
49:18in the context exactly exactly it sounds
49:21better sounds better therefore is not is
49:23not good exactly uh the other thing I'm
49:26doing here is obviously you can hear
49:28this I am just pitching [Â __Â ]
49:31around and I am using uh bitwig MPE so
49:36that I can actually get a lot of these
49:38tones to sit nicely so then there's this
49:42this thing
49:48um I don't know where this idea came
49:51from this happened to me came to me in a
49:55dream um
49:57this specific transition as in it came
49:59to me within the hour that I was writing
50:01it
50:04um and then this is literally just the
50:09sound or like this gun I bounced it and
50:12then I put it on cyclic cyclic mode um
50:17whatever you want to call it and uh in
50:20bitwig you can
50:22do like uh you can with any envelope
50:25that exists you can hold alt while using
50:28the pencil tool and just get like this
50:32shape and you can do this like really
50:34quickly to get like these kinds of
50:38glitches let's talk about the whole
50:41momentto yeah so I think around this
50:44time I had listened to Country rhm For
50:46the First Time like it was around when
50:48it came out I think um I thought it was
50:52it I thought it had some cool
50:54sounds um I and I didn't know how to do
50:58them so I basically just did some vital
51:02stuff uh which just amounted to
51:06FM from this is just a table with a
51:09bunch of signs and I'm using time
51:12skill if you do any like position on
51:16this it will'll get like a totally
51:17different
51:21patch it's cool this is also passing
51:24through I'm just dist ing
51:28it that's it um then I'm using M
51:32Transformer originally I didn't really
51:35like how this like smeared everything
51:38but I think it does actually work here
51:41I'm not really doing much else other
51:42than using this as a frequency shifter
51:44for the highs and it does a bunch of
51:46smearing as
51:48well um
51:50Ott to make it sound uh painful and then
51:55ambassador to make make sure that the
51:57base balances out the [Â __Â ] huge
52:00amount of highs that OT just
52:02added um claro to get rid of all the mud
52:08around or like boxiness I guess from
52:11distorting it uh Arbiter to make sure
52:14that this doesn't hurt
52:16anymore and then AP shaper to
52:20just boost the [Â __Â ] out of this y the
52:23one thing that I'm doing here that's
52:24kind of important
52:27is that I have this peak uh on the on AP
52:30shaper uh it's pre poost emphasis Peak
52:35if you know what that is that's cool uh
52:38but if you don't
52:39basically I am subtracting gain from the
52:43input running it through the saturator
52:45and then once I have that I am applying
52:50the opposite of whatever that gain was
52:52to the output and so you basically have
52:54like if you just want to your highs a
52:57good way to do that is to do like minus
53:0012 DB Peak around like your base area
53:04and then saturate and then do a plus 12
53:09DB Peak and then at the uh the same
53:13frequency and then you'll get like
53:16cleenish Basse but like really distorted
53:19highs a bunch of things like that that's
53:23basically what I'm trying to do here in
53:24order to get different tones too I'm
53:26literally just uh changing the frequency
53:29morph amount which is the time
53:33[Music]
53:34skew oh we can talk about C perk now
53:38yes yeah so there's another layer in
53:42here in the snare that shows up later
53:45it's called C perk there's this uh
53:47there's this entire set of of samples
53:50that I here have here called C perk and
53:52it's filled with [Â __Â ] perk and C perk um
53:57why there so
53:59many so basically I just made this patch
54:02it
54:04randomizes like the smallest
54:07amount on every single iteration and so
54:11I I I let it run for
54:13like 30 minutes and then I used Reaper
54:16to split it out and I didn't check any
54:18of them so some of these actually like
54:20suck but they're all here and that's
54:23what comfor 206 is it's it's one of
54:27432 samples that I
54:29exported my god um it's basically all it
54:34has is
54:35soar um don't buy this
54:38plugin I think in my
54:40opinion I like it it's a good plugin but
54:44you shouldn't buy it for
54:47um because the
54:49guy yeah um and then just EQ to make it
54:54add make it have a lot more uh
54:56mid-range so that it actually stands
55:00out with the other things here that have
55:03a [Â __Â ] ton of
55:05[Music]
55:07mid-range but yeah so it's basically
55:10just a bunch of these
55:16same the only tion is the like the
55:19Memphis vocals and the cowbell right yes
55:23the the
55:25cowbell is is just uh there's a bitwig
55:27stock thing that allows you to generate
55:29a
55:30CBO um it's pretty good at it
55:33too so I just have that Ott Clipper
55:37again again Ott no highs no
55:41lows uh EQ plus massive high-end
55:46boost M stereo generator this is
55:50essentially just a really short room
55:52Reverb if you have one of those you can
55:54use that instead
55:56once again so War cuz it's
55:59there um and then Memphis vocals
56:06have so Memphis
56:08vocal using bit8 um bit 8 with Jitter
56:13and gate these are like the important
56:15things here this is I don't know minus 4
56:18DB on a bit Crusher is kind of like you
56:21can hear it but it's not the most
56:23important part here this is the the
56:25Jitter here is the important part cuz
56:27it's what gives it that kind of noisy
56:29quality if I remove the
56:31Jitter it just sounds like a normal bit
56:34Crusher you get like that super high um
56:38ringy tone to
56:40it and this is just parallel like stereo
56:45stuff that I'm doing with a higher
56:48pitch making it way way
56:52louder uh color copy to make it um
56:57I was trying to go for like that kind of
56:59like you know that comb filtered roboty
57:01tone that a lot of people use it was
57:05that and then just cutting the low
57:11in what I then the drop that is not in
57:14the session that I added in poast is on
57:17here it's just one layer that I added of
57:21a resonant gun I think it's
57:23in there we go yeah
57:28this and I was just just the same gun I
57:31was like I should probably add something
57:33so I had
57:35this and that's basically all that all
57:38that I did in that drop like pretty much
57:40the only thing that I did in the
57:41entirity of drop one was just add this
57:44one layer because like if the drop is
57:47and the Stomps yeah the Stomps Stomps
57:49are important but like if the drop is
57:51not very good you don't have to do [Â __Â ]
57:53like if K was that good like is but
57:56couple things you lay on the couch Rick
57:58ruen style and that's it and you got
58:02[Music]
58:04it so now we finished with the drop and
58:09yes I as I said I just have this really
58:12simple Rock of like you know automated R
58:14filter so I let it
58:16[Music]
58:16[Applause]
58:19rip and for this
58:23whole Bri section
58:28honestly it's most basically all the
58:29same elements uh so here in this like
58:32transition stage it
58:33[Music]
58:36just and then the same kind of deal so
58:38like the takash Mia sample and this like
58:42I don't know what the trigger thing is I
58:44don't know where is it from either but
58:46like it sounds like burst shping so
58:48that's nice
58:51that's something there's also a layer
58:53that I missed talking about in the first
58:56one actually which I'll mention because
58:57it's a cool layer that I recreated
59:00myself which is this thing I think
59:06yeah that's a a guitar like an acoustic
59:09guitar just like a one note that it's in
59:11Reverse so like if I put it in like
59:13normal Tempo wait what the has like a
59:15[Â __Â ] ton of high-end boost right
59:18uh
59:21yes it actually sounds normal like it
59:23I'm just posting a little bit uh I stole
59:26it from I mean I did it myself but I
59:28stole the idea from somebody from
59:30somewhere else if you know you know too
59:32much monat series for the mind let me
59:34tell you uh anyways it's horrible for
59:37the brain it really
59:39[Music]
59:41is again so just like the resampled uh
59:44intro right yes um yeah like [Â __Â ]
59:48around and stuff we have the same batch
59:51so nothing interesting there so then
59:53when we have when we go to the bridge
59:56[Music]
59:58I'm just taking the vocals from the
01:00:00intro like they haven't been changed
01:00:02it's only different take the other thing
01:00:05that I'm doing is there's a lot of new
01:00:06effects
01:00:10yes which I have no idea where they are
01:00:15but the main thing is like for examp
01:00:16they turn on sometimes yeah I'm
01:00:17automating like you
01:00:19know like a basic like high pass low
01:00:22pass like radio type of effect with like
01:00:24Redux to [Â __Â ] up with high and then over
01:00:26drive to distorted really mono normal
01:00:29stuff to like add a little bit of like
01:00:31you know like different dimension I
01:00:33guess when it comes to the there's two
01:00:37main thing added uh one is the 808s
01:00:40which I like for this kind of style I
01:00:43just put all the samples and I sh them
01:00:51up so like I have a bunch of 808s I have
01:00:54the like Chas Mone 808 I have
01:00:56that I made in 2019 uh of like random
01:00:59from bux and like I'm auditing them and
01:01:02actually this time even though we were
01:01:04talking about like how disabling the
01:01:07upwards makes you a billionaire uh this
01:01:10is different though because I want to be
01:01:12like more in tune to the streets and not
01:01:15be on my gold Warden uh sorry in my gold
01:01:18Warden I want I don't want to be in my
01:01:20garden I switch the the I switch the the
01:01:23letters around because I'm a true Street
01:01:26poet and like I do crazy rhymes with my
01:01:28mind but uh point being that I actually
01:01:31want to really bring the high end
01:01:34because it sounds coool it's like sounds
01:01:36[Â __Â ] up and whatever uh sometimes you
01:01:38do sometimes you like the method is
01:01:41being a broke boy exactly like actually
01:01:44shout out to Le cardi so uh that's what
01:01:47I'm doing I'm just ping them around to
01:01:48follow the
01:01:50corporation but I'm doing all in AIO I'm
01:01:52not doing any mini and then what is
01:01:56going on in in the music side of the
01:01:58world is that it's I'm actually
01:02:01resembling the
01:02:03intro so like the pad that I'm
01:02:07doing I have you know like different
01:02:09channels which are mostly like you know
01:02:11like bit crushed and bit crushed
01:02:14[Music]
01:02:17here for example this layer is like a
01:02:19octave below uh I'm pretty sure sound
01:02:23like that at least and then I'm layering
01:02:25with like normal
01:02:27one not a lot of X it's just a little
01:02:30bit of EQ and yeah like taking some
01:02:33sides but it's mainly just chopping them
01:02:35up so they're like I'm really
01:02:37controlling the the case so it's like
01:02:39really choppy well I mean I'm chopping
01:02:42it up so it makes
01:02:44sense and doing like effects like that
01:02:47and that's pretty much it I'm going like
01:02:50super fast on this but uh it just taking
01:02:53resembling the intro or like the same
01:02:55elements like I'm pretty sure that if I
01:02:58take one of these like samples it's just
01:03:01well I discover something I actually
01:03:03wrote a different
01:03:07progression
01:03:09ooh did you you might have like had an
01:03:12idea for a different like bridge and
01:03:15then you're just like no no I think I
01:03:18think yeah what I did is I wrote the
01:03:19cords and then I was like I want to make
01:03:21them interesting so I chopped them up
01:03:23that's what happened but the patch is
01:03:24still the same same
01:03:28one and then we go to drop two so first
01:03:31thing that happens is that it does the
01:03:33fake out again from the drop
01:03:36one instead of being four bars of of uh
01:03:40this time is less and I'm doing a [Â __Â ]
01:03:46down what I'm doing is that I'm just
01:03:48taking
01:03:50um like the vocals
01:03:53[Applause]
01:03:53[Music]
01:03:56and like really stretching them down uh
01:03:58I'm using texture mode in nailen and I'm
01:04:02pretty sure if I go to clip and I go to
01:04:04Transportation yeah I'm doing like minus
01:04:0622 so it sounds little [Â __Â ] up and
01:04:08because I'm doing that like rise down
01:04:12[Applause]
01:04:16like with all the effects and all of the
01:04:18Distortion and like the the like radio
01:04:21effect that I added later it sounds like
01:04:24really [Â __Â ] up like really like grungy
01:04:27and vocally and that is being layered
01:04:32with this thing which
01:04:35is I think in the final version it
01:04:37sounds different I don't know why it
01:04:38sounds like that but it's basically a
01:04:40pretty low note C minus one and just
01:04:43completely [Â __Â ]
01:04:45up uh because even if I take the effects
01:04:50off yeah it's just a serum batch that I
01:04:53made in 2019
01:04:55[Music]
01:04:59like rising down in [Â __Â ] and so it's
01:05:02like really shitty like it sounds like a
01:05:04fart but then I add all FX back and we
01:05:08take it back on back on blood
01:05:12and it's just a ton ofion and yeah I
01:05:15think you're one octave High yeah oh
01:05:18yeah uh on the
01:05:21midi I'm adding Corpus for the like
01:05:26pipe resonance uh I'm doing the main
01:05:28thing is that I'm doing like an auto
01:05:32filter so right now it just sounds like
01:05:36some Weird rustly thingy but like with
01:05:38the auto
01:05:41filter now it sounds more like a like an
01:05:44actual growl because I'm adding this
01:05:45like really resonant Peak that makes it
01:05:48sound a little more like a
01:05:49vocal the actual Frankenstein part is
01:05:53[Music]
01:05:54this real heads will notice that this
01:05:57sounds early similar to
01:05:59the second drop let's say or first drop
01:06:03whatever you want to call it on the
01:06:04third win the remix that did and it's
01:06:06actually the same base so we have this
01:06:10patch which is actually called Beyond
01:06:12super because it's the it's also like a
01:06:14patch that did in Beyond it's just
01:06:18that it's a S Wave entually let me take
01:06:21all the effects from
01:06:24it wow
01:06:26crazy it's like 90% from that disperser
01:06:30yes so it's a sine
01:06:32wave with a pitch envelope crazy strats
01:06:36going on here and it has noise that's
01:06:39[Music]
01:06:40it I'm adding more noise on
01:06:45top and then I start to really hit it
01:06:48[Music]
01:06:50hard with saturation so it starts
01:06:54clipping and then basically the process
01:06:56involves doing a lot of notches
01:07:00and and more Distortion and more notches
01:07:02and more
01:07:03EQ and more and more notches and
01:07:09dispersion in this case I'm automating
01:07:11the the high
01:07:13[Music]
01:07:14end and more EQ and more
01:07:18[Music]
01:07:21EQ and more EQ
01:07:24automated and limiting and more AQ
01:07:27basically this is um the idea I got it
01:07:31from like like a barely alive type uh
01:07:34poopa or poop sign is what they call it
01:07:38which is just a bunch of saturations in
01:07:39a bunch of EQ in a
01:07:43[Music]
01:07:48row but the main thing is that if you
01:07:51I'm doing all the saturation after the
01:07:53serum I'm not doing it here and the
01:07:55reason why is that if you put dispersor
01:07:57previous to the
01:08:00saturation it basically like if you put
01:08:03it like this it will delay the the base
01:08:06so it starts first distorting the high
01:08:08end in time and then
01:08:11after comes low and so if you make it
01:08:14like a
01:08:16lot it's like it does like a thing which
01:08:20is really really cool it's it's a trick
01:08:21that I've abused for like
01:08:23years in comparison to not having it
01:08:26[Music]
01:08:30all it's a it's a really like basic part
01:08:34of like my sound design so I bounce that
01:08:36and I make it
01:08:39really really wide I'm using as width by
01:08:42Croy this is a Max for Life device that
01:08:44is free and it's really really cool it
01:08:46just basically allows you to make [Â __Â ]
01:08:48really wide so
01:08:50before and
01:08:52after you can see how it's going
01:08:54completely py wire on the on sub I'm
01:08:57boosting like I'm making the sub super
01:08:59wide because it's fun to do and the
01:09:02other interesting thing is that I'm
01:09:04adding this like resonance on
01:09:06top
01:09:09here I'm using this C fire uh I'm pretty
01:09:13sure what is happening here this is an
01:09:15artoria plugin I yeah so it's it's just
01:09:17a really crazy band pass residence it
01:09:19makes sense so like it's at like yeah
01:09:242K and OT in there too the Multi Band
01:09:28Ott thingy yes
01:09:31exactly and and it just oh let me put it
01:09:34back
01:09:35[Music]
01:09:36again like I'm [Â __Â ] with the
01:09:41resonance like doing like a [Â __Â ] down
01:09:44and
01:09:46things stuff like that and I'm putting
01:09:51also Reverb and like
01:09:53uh like delay but it's being automated
01:09:56now that I think about it oh this is for
01:09:59the to really like do a like a
01:10:02Washi like long Reverb tail in the end I
01:10:06think it's it's only for that but that's
01:10:08the gist of the sound because all of of
01:10:10the rest of it is like for example I'm
01:10:12doing the same like maximiz thing as Kai
01:10:14does uh with M Dynamics and be same type
01:10:18of dsing that Kai does with the
01:10:21Arbiter um those two those two save your
01:10:25mix is so hard it's insane a little
01:10:29Reverb like small Ambience on Shad out
01:10:31small Ambiance basic things like that so
01:10:35that's one element that I'm layering
01:10:39with the main gun ites that I'm taking
01:10:42the low end I'm just removing it with a
01:10:44high
01:10:49pass and it's coming
01:10:51back um and I'm also adding hold on
01:10:59yeah this patches Sky will have to
01:11:01explain them because he did them yeah
01:11:04but this one for example I added another
01:11:05gun which is this
01:11:08one which same concept as before using
01:11:11the like a joint sample in this
01:11:14case I'm just chopping it up and like
01:11:17adding M Transformer and frequency
01:11:18shifting to both frequency
01:11:21shifted up and this like G
01:11:26this just a gun sample that I actually
01:11:28made in the style of Kai I was trying to
01:11:30do like guns in his style and it just
01:11:31came to that and it's have that
01:11:34one and that's it and they're just
01:11:36layered and I'm doing again the I'm
01:11:38doing the thir child to [Â __Â ] it
01:11:41up yeah and the be to make it loud and
01:11:46hell yeah and inflator because I love
01:11:49inflator yeah there's basically nothing
01:11:51else that I can explain about this drop
01:11:53because the only other element are like
01:11:55that I made like this gun and like the
01:11:58the like stupid base that it's called
01:12:01here and then these other PES thank you
01:12:06yeah yeah you'll have to go to a couple
01:12:08others yeah so the couple others that
01:12:11exist here I don't know this is more
01:12:14stuff that I did with this I think this
01:12:16is an uh adapted yeah it is an adapted
01:12:19version
01:12:23of this Pat
01:12:25I took that and made it so well this
01:12:29patch over here was designed to play
01:12:31like fairly high notes and I was like
01:12:34okay I actually want to play I want to
01:12:36play the B minus one
01:12:38um so this is
01:12:41a uh excision Tyrannosaurus
01:12:47B no um it's just this like this is like
01:12:55basically the most basic ass like FM
01:12:58Base that you can do um because it's
01:13:01literally just like this is a
01:13:05triangle doing modulating a
01:13:09sign sign H thing um and then I I've got
01:13:13a bit of extra this is adding like
01:13:17noise basically cuz this is a Unison
01:13:21oscillator um after that there is just
01:13:26yeah this is just I've got a this is
01:13:29like essentially a band
01:13:32pass um that has some high
01:13:36resonance and then this
01:13:39Fizz uh filter which is also another
01:13:41stock bit wig filter it's got a bunch of
01:13:43weird [Â __Â ] going on uh if you read the
01:13:46the help entry it doesn't tell you [Â __Â ]
01:13:50it just
01:13:51says um yeah nested filter circuit that
01:13:54can spark Shimmer like a phaser or bump
01:13:57so I guess right here it's
01:14:01um it's sparkling I
01:14:05guess it really is um and then I guess
01:14:09the one interesting thing I'm doing with
01:14:10the Distortion is this little shape here
01:14:14um you can there's a separate threshold
01:14:17for just affecting the quiet part of the
01:14:20signal you can use this to add like grit
01:14:24to a signal
01:14:26Without Really affecting any of your
01:14:28Peak levels or
01:14:29anything uh it's a nice way to add just
01:14:33highend and stuff um that's essentially
01:14:35what I'm actually doing with like I
01:14:38mentioned this before with the high hat
01:14:40with hysterisis that's essentially what
01:14:42hysterisis ends up looking like or tape
01:14:44hysterisis ends up looking like if you
01:14:46like try and analyze it um it basically
01:14:50works it basically looks a little like
01:14:52that this it's not actually how it works
01:14:54but that's how it looks
01:14:57um and then we
01:15:00have this
01:15:02EQ um this is how I'm getting like this
01:15:06one
01:15:08especially is how I'm getting a lot of
01:15:10like that main sort
01:15:13of uh like loud metallic growl kind of
01:15:16tone and then obviously we got Stark
01:15:20again gets loud as [Â __Â ] um but basically
01:15:23what I'm doing here is just same general
01:15:25tube amp thing a bunch of boosting and
01:15:28then I'm boosting a bunch of high-end
01:15:30because by
01:15:32default very little high-end in that uh
01:15:36signal um here I'm doing the opposite of
01:15:38what I normally do so no boosting of the
01:15:42mid-range but boosting everything
01:15:45else just because I wanted the signal to
01:15:47be brighter and Fuller at the same
01:15:51time uh ambassador to make it sound
01:15:53worse um in this case but it's because
01:15:57the uh the base sounds super super muddy
01:16:01uh something worth noting here is that I
01:16:03didn't turn off the dry base uh if you
01:16:05don't do this it just acts as like a
01:16:07[Â __Â ] stupid base boost um and this is
01:16:11how I actually used it a lot of the time
01:16:13for a long time uh it also creates like
01:16:17a ptech
01:16:19style like low Peak that removes some of
01:16:22your low mids I'm I'm making shapes with
01:16:25my hand it's going to be in the video
01:16:27maybe I don't know
01:16:31hopefully but anyways you you get like
01:16:33that Peak and then you get like a low
01:16:35shelf that exists on top of it um if you
01:16:38look at the frequency response of a p it
01:16:40basically looks the same um this has oh
01:16:45this has a lot of stuff I forgot about
01:16:47this okay so in the low end I'm just
01:16:50compressing the [Â __Â ] out of it
01:16:55so that's what you're seeing here
01:16:57um yeah actually I'm not doing [Â __Â ] I
01:17:01think it's just getting limited yeah
01:17:03this is just a limiter okay um so just a
01:17:08limiter and then the
01:17:10highs I've got
01:17:12bitp this is uh using this to solo the
01:17:17noise um then I'm doing loud
01:17:20split this just to like accentuate
01:17:25I don't know like those metallic tones
01:17:26basically uh if you use it in relative
01:17:29loudness mode and reduce all your
01:17:30timings and everything it sounds kind of
01:17:33MP3 at certain points and also kind
01:17:37of just cleaner at some points too uh if
01:17:42you're using it as like a Noise Gate or
01:17:44a noise filter kind of thing that's kind
01:17:46of the mode that you want to use and
01:17:47that's what I'm using it as
01:17:49here and color copy is just a delay I
01:17:53use this all the time just to get
01:17:57delays uh the one thing that I do that's
01:17:59worth noting here is I offset one of the
01:18:01channels by a little
01:18:03bit nice to get like stereo yeah yeah
01:18:07exactly
01:18:09um the cut off that I chose here doesn't
01:18:11necessarily matter because I literally
01:18:13just left it default if I insert an FX2
01:18:16I'm pretty sure yeah it's
01:18:18647 okay uh AP shaper again D Edge
01:18:25[Applause]
01:18:27here I'm not actually entirely sure what
01:18:30dzer does it is a dynamic EQ I know that
01:18:34much I've never seen this plugin so it's
01:18:38by Tokyo Dawn it's by Tokyo Dawn you
01:18:41just select an area with this knob you
01:18:44select a Q and then you select a
01:18:47depth and then if you read what it does
01:18:51it makes the sound less edgy which it
01:18:55does it but it's kind of hard to explain
01:18:57what it's
01:18:58doing like you can kind of hear what
01:19:01it's doing right it's like it's really
01:19:03subtle but it was enough that it was
01:19:04bothering me um and then I have this
01:19:07midi gate
01:19:09again and this allows us to just have a
01:19:12clean cut after the mid note
01:19:15releases um this is just the gun
01:19:19reversed and stretched and pitched up
01:19:25this is a if I remember correctly
01:19:27there's yeah there's like a couple extra
01:19:29layers here so if you listen to the gun
01:19:31back
01:19:33[Music]
01:19:35here it's got like there's like one
01:19:38clear transient and over here there's an
01:19:40extra transient that I've added as well
01:19:44as just
01:19:46noise yeah Shout Out subtractor start up
01:19:50waveform 32 on subtractor by the way it
01:19:53sounds like it it it's just like a bunch
01:19:55of random
01:19:56[Music]
01:19:59harmonics that's that's oh it's a funny
01:20:03little sound but yeah so that's in there
01:20:05um it's kind of hard to
01:20:07hear just because of the sheer amount of
01:20:10[Â __Â ] even though this was different
01:20:11like a different gun I'm going to be
01:20:12real uh there's this which is like a
01:20:16radio filtered
01:20:19gun right uh I actually should have
01:20:22mentioned this back on the growl the
01:20:24growl has some filter movement uh this
01:20:26time it's not all coming from the pitch
01:20:29there is
01:20:32actually I'm just moving these uh these
01:20:34cut offs
01:20:40[Music]
01:20:45around um yeah that's basically it
01:20:48there's just
01:20:50like lot of flams when you add flams to
01:20:53a a gun sound it just sounds
01:20:57like I don't know real guns have a bit
01:21:01of a flam to them too sometimes because
01:21:04you have like the trigger noise and then
01:21:06you have the gunshot oh I about that
01:21:09generally games and stuff will do that
01:21:11well they'll actually have like a
01:21:12distinctive like trigger noise that
01:21:15plays like I don't know 10 milliseconds
01:21:17before the actual gun shot fires so that
01:21:20was my attempt to do something like that
01:21:26and then we go back to the out well we
01:21:27go back we finally go to the outro which
01:21:29is the same style as the intro MH and
01:21:32again the only things is that like we're
01:21:34introducing the stem of the next song
01:21:38which is this
01:21:40thing mhm that's the intro foral Bo from
01:21:43yeah that thing we keep that going on
01:21:46all the
01:21:50time and then basically it's just yeah
01:21:52like a collection of like different
01:21:53random and and orchestral elements and
01:21:57whatever so
01:22:04like so we have like
01:22:09[Music]
01:22:11this I know this is recording because
01:22:13you know it's from uh rolling sampler I
01:22:17have no clue what what is this
01:22:19literally uh it came to me in a dream I
01:22:22made it in a dream yeah classic random
01:22:25rolling sampler file that like just
01:22:27works and the Reese
01:22:32fromion from when they are in the in the
01:22:35avas it's funny actually this is
01:22:37completely unrelated but might as well
01:22:38show it um oh turn
01:22:42down this is
01:22:44[Music]
01:22:45actually it's just a
01:22:48bar from a
01:22:51rumler wow it's even got like it's G
01:22:54it's a major chord it's a major it's F
01:22:56major 9 so
01:22:59like is really
01:23:01low which is really funny cool that's a
01:23:04cool way to do it yes just resembling
01:23:07Rumblers shout outs 90s
01:23:12technology some sample that I don't know
01:23:14where it's from some fully
01:23:18thingy and yeah it's just the same like
01:23:21Doom thing but just glitching out and
01:23:23reming and that's it that's the song
01:23:29[Music]
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