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.

01:05

Details 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.

06:36

Multiple 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.

09:58

Effects 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.

12:31

Spectral 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

17:15

The 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.

21:30

Components 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

24:54

Gatekeeper 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.

29:24

Adding 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.

34:14

The 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.

37:30

Creating 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.

43:16

Adding 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:

45:56

Utilizing 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.

50:38

The 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.

54:40

Utilizing 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.

01:00:33

Reversing 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.

01:03:56

Chopping 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

01:07:11

The 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.

01:11:36

Modifications 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.

01:16:55

Boosting 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.

01:19:55

Filter 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 [ __ ]

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 [ __ ] 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[ __ ] 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[ __ ] so it's a combination of two

06:36patches so uh if I take all of this

06:40effects [ __ ] 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 [ __ ]

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 [ __ ] 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 [ __ ] 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[ __ ]

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[ __ ] [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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[ __ ] so I wouldn't be surprised it is

16:10what it is shout outs gigabyte they

16:12[ __ ] suck shout outs gigabyte [ __ ]

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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] that

24:02I have it's just it's just a Widener

24:06essentially uh it does [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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[ __ ] 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 [ __ ] 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[ __ ] 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 [ __ ] 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[ __ ] up sounding highend you can

47:51usually toss Spectre on it and it will

47:53sound a little more [ __ ] 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 [ __ ] up

48:02again and then giss EQ probably also to

48:05clean [ __ ] 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 [ __ ]

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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ] 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 [ __ ]

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[ __ ] 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 [ __ ]

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 [ __ ] 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[ __ ] 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 [ __ ]

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 [ __ ] 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 [ __ ] 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 [ __ ]

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 [ __ ] 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 [ __ ]

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 [ __ ] with the

01:09:41resonance like doing like a [ __ ] 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 [ __ ] 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 [ __ ] going on uh if you read the

01:13:46the help entry it doesn't tell you [ __ ]

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 [ __ ] 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[ __ ] 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 [ __ ] out of it

01:16:55so that's what you're seeing here

01:16:57um yeah actually I'm not doing [ __ ] 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[ __ ] 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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