Making Remixes in FL Studio

Lesson 3 of 15

Constraining Scale: Kontakt and Massive Inside Patch

 

Making Remixes in FL Studio

Lesson 3 of 15

Constraining Scale: Kontakt and Massive Inside Patch

 

Lesson Info

Constraining Scale: Kontakt and Massive Inside Patch

Let's get started on the music making here so I'm going to start a new um and your project and for the time being we're going to put those stems aside and just get I like tio like try to work on my uh my piece really sort of based on what is feeling right for me but I work with in the with limits of this uh analyzed information that I've I've come up with off the original song so I know that I'm going to be doing when twenty beats per minute so I'll just like change the tempo to one twenty and I know that you know I'm going to have a kick drum right? So when you start up my my all of my projects a cz you can see my f l studio lay out is I have this template words like you know sort of blue sky and there's ah couple instances of battery already loaded up for me they are if I take a look at the mixer there like my drums are already having like this these colors right here are representing what um are representing the outputs in in battery and I can easily rout any of this sells two one o...

f one of these channels here now to actually do that in nfl studio it's not already set up for that like the routing for v s t is there's not already set up in nfl studio and to set it up you actually need to click on this gear icon right here and it goes into your channel settings and then you have to click on processing and this takes you to another window where you can see her connections by default everything this is sort of your it's your router for your v s t and by default it's everything is set to nil which would be everything in battery no matter what channel you put it to it just come out of batteries and master output or whatever channel you put it on but if you hit bottom out map out puts it will automatically assign each consecutive track on the list and you could even change it to you can choose whatever whatever channel nfl studio you want these different routing channel settings too to go to so for instance, if I wanted to, I could make you know nine and ten come out of you know channel eighteen in on the nfl studio mixer, so the first thing we'll do is just throw in a uh a kick drum e did not mean to click e we'll just take any kick here nine o nine um I love that about the, uh about battery too you can drag out of anybody, any browser and just right into battery and so now I might kick here um and I'm going to rename this pattern that I'm working on I'm just going to call it I guess kick and lay down your standard for four kick right here in um nfl studio or battery of this first cell here which in battery it's mapped as c one nfl studio it shows up on a c three why that is I have no clue and ah so like I mentioned earlier f l studio works in these sort of you know, objects I like to think of them a cz midian an automation objects rather than actual tracks so much so these patterns here can be anything from many data to automation you'd have a sampler in there but the song creation happens inside this playlist window that would be sort of similar to the timeline that you find in most other truck dpw's but the this information here isn't really tied to the track so like I don't put you don't put your v s tease on a track you put your vsd effects on a track and the data that is in here khun b on any track it will sound exactly the same it doesn't really matter where it goes but for organizational purposes I'd like to try to keep it linear because otherwise it can get really confusing um so I'm gonna lay down just a basic basic kick drum safer for bars and we're going to start out a little bit a little bit geeky here I'm going to start with something a little bit calm complex so basically we're goingto uh try to taken instrument and actually let me start out with uh with showing you constraining scales and in contact ok, so I'm going to open up an instance of contact right? And, uh we're gonna pick something out of the contact library let's say from theatre cast the orchestral um part of the contact library um um it's a string instrument right? What you staccato no, um, one thing I love about about contact is especially if some of these library instruments is that you can actually constrain your the odds the incoming notes to a particular scale like, um what did we say the c major was the outcome that we could choose for this particular song so I can say see major groups and now no matter what, no matter what I play it's in c major and that's kind of nice there's no tools nfl studio that actually allow you to do this but um but it would be really, really cool if you were able to do that. But the beauty of contact is that you're actually able to send the information out to other instruments and control other instruments with contact so um what I'm going to do is there's a way to do that by ah using the scripts inside contact to control various other sentence right so I'm gonna, uh actually delete this instance of contact and open up I mean it used contact to control massive all right, so, uh open up um this environment called patter and what patch er is is it's basically an environment that f l studio uses too uh just sort of you can route um you khun you can pair up vsd eyes and effects and everything and keep it all wrapped up into one little contained package um similar to like I guess enable tonight would be like the instrument rack you know? So we're going tio add an instance of contacts here um if you right click inside the environment window you can choose all of your different plug and see what she has added plug in you'll see you've got effects all of your generator plug ins right here so the blue line is the middie data coming from f l studio and then it goes to your v s t I the yellow line is thie audio data coming out of um the v s type t I and going back to f l studio right? So um what I'm going to do is I'm going to take the middie I'm going to run it into contact I'm going take more midi I'm gonna run out of contact and into massive and then the audio out of massive two f l studio you can do that just unhinged thea we don't change the audio data from contact because that's not where we want to go uh an instance of massive I'm gonna unhinged committee from going from f l studio a massive and then actually link contact to massive and as we see we've got a mini chain going from little studio to contact two massive backed and then audio going from massive tfl studio um now um each if you want to convey just like in you know using many devices in the real world the real world outside the v s t world the to control one device enough in nfl studio by another union test that the they need to be basically on the same port the outgoing port from the controller device needs to be on the same incoming port as the controlling the controlled device in contact the output port let's say needs to be on one and the input port on massive would also need to be on one and so now they're on the same port oh also in order for contacts to control another device you would need to go into the settings and enable uh enable contact to send me to the outside world so you click on the options in under engine you see that there's these options here send immediate toe outside world and you can turn them on or off by just clicking on h one now the gop keyboard is contacts little built in keyboard the script generated ccs continuous controller data coming out of the scripts in contact is what we're going to use to constrain the data um then you got the strip script generated notes which we also need to have incoming species and then incoming notes I'm not going to turn on the incoming notes because of the incoming notes in the script generated notes are on at the same time we're gonna get doubled data so um and so that's all set if you double click inside the contact track you're gonna get in instruments on and click on the instrument options and in without going into too much explanation about all the inner workings of contact which is a massive massive sampler instrument we're just going to click on this here script editor and inside contact there are like all these different functions that you khun choose and um you can constrain to scale you khun her harmonize um there are for instance, I could create in our pension later on dh there's you can do all sorts of contacts and kind of works like a sequence or in that way, so but what we're going to do is actually we're trying to constrain the scale in the same way that the flute or that the the violin patch that we had did that so basically I'm going to um if you were to choose the constrained scale for some reason it doesn't work as well I I think that if I were to choose this you will not actually hear anything um and it's kind of buggy so what we're going to do is we're gonna go into the editing of the scripts if you click on this edit button, you'll see the scripting windows a script inside the edit window would actually look kind of like a bunch of code we're not going to deal with the code, but what we're going to dio is if you choose apply from right over here you'll see that there are scripts that come from the contact factory library and you can choose any of these weird scripts that have come with the library I'm going to choose the ones that come with the work the orchestral um with orchestral library so we're scrolling down uh sorry about that or castrol I think I mean is the one and then you click apply and now we have this this you I hear on massive and I can choose whatever key I want see major and that could even of chords the's cords air constrained to the skills, right? So what? She was some some preset I can't remember what sound was used exactly for this particular project but all loaded up in a minute and then I'll create a new pattern for this this instrument, which I'm actually gonna call it mass, is bored or whatever and she's dropped on create anew your pattern right now and call it an assos we'll drop it right there and the playlists we have recorded and nfl still you can choose to other record directly in the pattern or you can choose to record in the song I need to actually click on song so and no, I have no idea oops if you had altered and q even kwan ties on the qantas, that two step that was pretty much terrible, but this is basically like I came up with a particular hook and in the song I'll open up what I did so you can have a look at the end results basically, I believe it's this piece right here for this particular, ok, I swear that's like the geekiest I'm going to get in this whole tutorial, but this is something that's like, you know, I haven't seen any tutorials on how teo, you know, route using contact control other instruments, I mean, you don't need to you can control any other instrument inside the inside the patch. Er, um, one thing to note also is that inside the inside the patch er in order to control the automation cz inside patrick and you'd actually set up knobs and slider knobs or x y controllers tio to do that and so what you would need to do is you know, like say I wanted to control some specific things like if I were to play this there's a macro controls here if I want tio automate that actually need to create by right clicking and the uh this environment window I'd have tio no, I do this I need to uh eh no okay, so you click on the surface it would have to add a knob, right? And I do this before I think it was in the map window here I need to add the input and I think I'm able to add a knob after that so if I were to choose so you would right click on mouse of choose and put for input perimeters um that was sink one, right? So it's got input here and how can I add anon? I didn't check the edit button here on dh are activated somehow I've got on my surface know that I have my knob activated I haven't outplayed here which I can link to massive there we go and now it's automated ble or can be linked to a controller in my uh my uh my controller so excited to play this right click on the knob choosing to controller it sounds a little bit convoluted but if I'm using contact to control massive and have all of these parameters that I'm trying to automate it, it makes it kind of makes sense after awhile, to keep it all paired up into this one instrument right here. So, um, especially once you start getting into adding more and more control and there's there's effects that you, khun, you can actually add effects to it. And it could be a very complex instrument, all with inside massive.

Class Description

The remix is a dancefloor staple; the anticipation is almost palpable when you hear your favorite non-dance track inch its way into a mix. Learn how to make that magic happen from soundscape artist and DJ, Dave Pezzner.

Pezzner will teach you how take something that isn't a dance track and turn it into one. In Making Remixes in FL Studio, you’ll learn how to isolate, chop up, and recombine elements from final mixes – no stems needed.

Using FL Studio as the "shell" DAW you’ll learn how to work with:

  • Native Instruments BATTERY and Kontakt for samples and drums
  • Mixed In Key for analyzing the source material
  • Native Instruments MASSIVE for basslines and leads

Pezzner will teach you how to figure out which key a song is in and show you how to come up with melodies and harmonies that are sonically consistent with the source material. You’ll also learn how to change the vibe of source material and come up with new drum and basslines that integrate seamlessly.

Whether you want to blend source material with your original material or just make remixes that keep the vibe flowing, you’ll learn how to do it right in FL Studio from veteran DJ, Pezzner.

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