Setting up the Bassline
We're going to get into the baseline for this so I mean, you know when you're writing a piece of music it's sort of like where do I start and you know, I find that it it can get so all too easy to get wrapped up into this one into one little you know, a bar loop or something so which what I find myself doing is immediately start hashing out something that was way longer than eight bars and and so you'll you'll see me starting to the kind of throw things in various places but as I keep working the the an arrangement will start hashing out so the creation and the arrangements sort of happened all at the same time for me um so we're going to get into this uh this baseline so I'm actually going to start this part vice from scratch on uh go uh, open mexican state wouldn't choose default on dh start right here from the beginning on this track um so I've been really into using this semi new synthesizer that comes with uh comes with um native instruments complete it's called monarch and it's b...
asically it's a reactor in psalm bull on what reactor is um is its native instruments sort of open source um synths sampler effects design audio sound design uh environment and it allows the user you and me to create our own synthesizers creator on effects or if you don't want to go that deep, you can also you have access to native instruments reactor user library and you can download ones that other people have made there's like infinite numbers of ensembles that you can get out there monarch is one that comes with complete you can also get it just on it by on its own from native instruments but so you basically you get all these ensembles that come with reactor and if you take your and some will file from the from the factory and you just drag it into your the window here it'll it'll load up the sense for you um some monarch I think it's the emulator of myth of ah mini moog um and I don't I don't totally know every every little nuance of the synthesizer but you know, I can tell you it's got like three v ceos um each one's got its own switchable wave form I believe one of them I can work as a model and modulator for other parameters you've got filters you got your filter envelope here and you've got your volume envelopes here um and very, very classic move sound that people have used all the time um I like for I've been using this for baselines quite a bit for this song this song I'm choosed a reset what was it? It was like cloud number seven um but I you know, this particular song I didn't want to just use this this sound I wanted to kind of, like, pipe it through something that was like a guitar come the guitar amp kind of sounds that it really felt reminiscent of, like, an actual electric guitar running through some some saturation or distortions so it's gonna run this, uh, monarch base, which I mean they changed at the end of this track team on their monarch, you can change the name of anything nfl studio by holding, shifting, clicking on anything in your automatic but changing the name umm I like to keep keep things named because projects could get really, really, really convoluted really quickly, so, uh, click on the track and you'll get this channel settings window every time you click on am on any channel and I'm just going to route this to say channel seventeen, just any open channel and, um now when I don't play the instrument, we'll see it's coming in on channel six seventeen call this track move look for her, okay? Um, thea, you the first thing I'm going to do is, um, put a parametric you on new year's for the sake of keeping things really clean, especially lower frequency is sorry for the lower frequencies of bass sounds, you'll notice that uh it's really really hot down in the low of super super low region so what I'm going to do is kind of role that off because I know it's just going to be it's going to be too much in the mix you can't really hear frequencies below thirty three hurts I mean, you can feel you might be able to feel them, but anything below thirty three hertz is kind of like, I mean, the range between one hundred hertz and thirty three hertz is really pretty pretty sub sub, so I'm going so the way the parametric works nfl studio is you got ah ah seven bands that right? Yes, you get seven bands and each one you can change the type of banded that it is using this this top so you've got what is this a shelf yourselves? If I were to change it, you khun have a, uh, sort of an inverted bell? Um this is, uh yeah was like peeking you've got high shelf, which would be raising everything past this point. What we're going to do is we're going to choose a high pass and basically hi pass rolls off everything below that frequency um he's got your frequency control right here and then right here is your band with control and it chooses how sharp that slope is um so I'm going to get pretty flat and I'm gonna roll just rolled down until we see that it's a around one hundred hertz um s o the next thing that we're going to add to shape the sound a little bit more is I'm going to give it a little bit of reverb I'm looking for something that's more guitar oriented so I'm gonna load up uh native instruments guitar rig and guitar rig is a sort of a multi effect seeinit sort of intended for guitars but it could be used for anything on dh by default it comes in the sounds the input is that tamano and I'm going to set that to stereo just because so because the signal coming in is a two channel signal anyway so and so you've got three different tabs here you got presets and these air sort of ones that come with guitar rig and you can choose them here and then you've got the components and these are the individual effects that come with guitar rig and you can choose from a whole array of real world guitar amplifier modelers these I mean uh this citrus is sort of modeled after order the orange amps that you khun actually by there's ones that it looked like that work like marshals the one I'm going to choose this the effect that I'm actually gonna choose right here is a type of reverse you got delays and echoes distortions they work just like distortion pedals and so on I'm going to go down here to reverb and images active herb um and now we got a little bit of dimension here um and then to get it to sound uh pretty boxy I'm going you know, when I did this project I initially loaded up different instances of guitar rig for each effect on dh I think there's because over the course of time the sound started evolving into what it was and I kept on adding new effects but you can actually load in multiple racks just by dragging them and so like if I were to bring in a um say a guitar amp I'm going to use thie um see her high white um and then um and then they also uh when I did this project I also threw on a key on the very end just sort of tame down the sharpness of the distortion so even see, you know, you see right in the right around this frequency right here that it was actually pretty harsh so I'm gonna trim that down a little bit, make it a little easier on the years and reduce the band with it's just not knowing where she made not really notice it on your end on the computers but um this is what I did in the studio and you're a little bit of a boost and if it's saturated, and this is the sound, basically, that I used so.
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.