FL STUDIO FRUITY 🥭 DRUM KITS | SAMPLE PACKS | VST PLUGINS

6. Triads - Thirds & Fifths, Minor vs Major, Being in Key

5. What is a Scale C Major Scale

4. Intervals

3. Example Chords vs. Melodies - Its about the Instruments!

2. Overview and Definition of a Chord

1. Introduction to the Course

Live Music Production - Chord Progression and Harmony. 👇👇👇👇👇👇👇👇👇👇

#How_To_Master_Ozone_9_Imager_(Luca_Pretolesi_Tut

#How_To_EQ_Vocals_with_Luca_Pretolesi(1080p)

#Mastering_EQ_Ozone_9_(Luca_Pretolesi_Tutorial)(108

#Luca_Pretolesi_Mixing_808s_FabFilter_Pro-Q3(4K)

#Vocal_Mix_Levels

88 MUSIC PRODUCTION TIPS (Part 1) 51. check that your kick is in the same key as the bassline, else it will clash a lot 52. to fill up your drops even more, add crowd noise to fill it up even more. volume really low, else it sounds really bad 53. change chords in the second part of the drop which can help to make it sound more like a 'journey' 54. synplant is a nice synth for weird sounds 55. for a clearer and better mix, use the same delays and reverbs. have two or three that you use on everything. use a bus or use the same settings, else it will sound cluttered and sound like a mess 56. when you're mixing vocals, make sure you record a lot of takes and comp it very accurately to make it perfect 57. have one lead with one left dub and one right dub to make it wider, plus one or two harmonies. 58. it can be better to just do the delays manually, chop the sample and then automate it like you want it 59. when recording vocals, pitch it one or two semitones up or down from the original if the singer sounds better then. don't go down more than two semitones else it will sound bad. 60. always automate your reverbs and delays on your vocals, else it will sound really cluttered. give the dry signal as much breathing space as possible. even though a vocal rider or compressor does a lot.  61. automate vocal volume manually with the volume control with a vocal chain / bus 62. try use real instruments as much as possible, for example a bass guitar 63. try always having some sort of rhythm in the beginning of the track, else people won't have the ability to move on the dance floor 64. try use super-short cowbell for extra attack in the bass sound. adds a slight sparkle 65. try use a vocoder on a bass sound to make it pop more 66. automate this vocoder which helps with tension 67. RC-20 is a must-have distortion and noise unit to add colour to the sound 68. try use different toms and drums to introduce and switch up the bass sound 69. piano stabs can be really cool when done correctly and can introduce the chords for the break which is a good thing for remixes 70. bounce out the lead and use an effect either panned and it will sound wider 71. don't be afraid to use weird ideas, like an hyena laughing 72. side chain does not have to be the same amount, but use the same curve to make it sound more smooth 73. when layering stuff, make sure the ADSR is exactly the same, also applies tow hite noise 74. be a bit crazy with it as well to add more groove 75. use kicks in between notes and on the bassline to accentuate the groove 76. add vocals sounds on your claps to create more hype and energy 77. don't be afraid to sample random stuff 78. try to stand out as much as you possible can (#1 tip for getting in the business). how do you seperate yourself from the pack? 79. when you make your higher loops, don't use the same hi-hat samples but use different ones to make it sound less stale 80. reverses in hi-hats can really help add groove 81. try record your own licks in a remix to add a unique flavour 82. one of the most underrated production techniques is to use volume with automation 83. a tip to make fills: use one sample and figure out the rhythm and make them all unique 84. pretty normal to use an off-beat hi-hat, and adding a little vox on top of the hi-hat can add hype and energy into the track 85. don't use reverb on the sub-bass, but you can on the bass. use it as a sound design tool especially when you're using it in a compressing or distortion unit 86. when you're mastering use one or more limiter and compressor. first add limiter to take away worst peaks, then compressor, and a final brickwall limiter. if it's just one, it will sound very squashed. you can push it a lot more this way 87. when time-stretching vocals, try not to use a built-in DAW because it can sound bad. You can use RX-7 which has a more sophisticated algorithm 88. always adjust the cutoff and small automations on anything you can. it will make your track much more in

88 MUSIC PRODUCTION TIPS (Part 1) 1. save every sample you make 2. save every preset that you make (if you like it) 3. use reference tracks that have the quality that you wish to achieve 4. collaborate with others 5. pan your risers to get more attention 6. play with white noise, for example with tremolo 7. for the drop idea go for the foundation of the track before putting a lead on top. way easier to put something on top of something that's already working 8. distort your top basses way more than you expect 9. tape saturation on your kicks (Magnetic II) 10. fab filter's reverb pro R 11. try to have some kind of vocal to let the track stream a bit better for club tracks (vocal chop) 12. super short white noise into the kick to add some drive to it 13. SPL twin tube for saturation can work really well to make things more fat 14. short plate reverb to snare 15. referencing to other tracks can give you ideas 16. don't be afraid to layer your kicks to help it punch through the mix 17. mix on very very low volumes. if it's sounds good on a low volume, it will sound great when the volume's up. 18. if your break feels empty, try adding that goes in the background constantly (like snares). drives the track forward. 19. SSL 400 EBus is amazing, the eq's sound amazing. 20. synths that stay at one note can  be really powerful, especially over a chord progression. 21. gated reverbs can make things pop a lot more 22. don't be afraid to use kicks in build ups. 23. introduce some part of the melody before the drop so it doesn't come out of nowhere 24. try use white noise over your lead for it to pop more 25. if you have a melody and it's in a and then b, try use separate layers and sounds 26. if you have the same melody going on all the time, switch it with some chords towards the end 27. can be useful to have another ambience in the b part of the drop 28. when you try to make an interesting drop, don't change the melody too much. rather change the sounds to make it more interesting. 29. put little things like perks and toms just a little bit off to make it more human have a bit more groove 30. try to cut out all the unnecessary frequencies you don't need 31. make the bass not just move with the chords but also with itself 32. lots of impacts, always. stack it and it will just work. use reverses into that as well 33. bounce out your pad or lead and put each to either side with some slight delay to make them work complementarily 34. try using weird ambient sounds (like a flute) to give the track some more character 35. use lots of reverses, always 36. download my free sample packs, they're just for free 37. pan your reverses 38. be very wary of where you use your chords and why, use them to your advantage 39. using a clock sound in the background, it adds some tension 40. use your voice for funny effects 41. experiment with rhythms but be wary why you have them 42. in the end of each part have something that's slightly pitching up, even though you can't really hear it. it can add some tension and urgence to the track 43. if your song sounds empty in the chords, add a tonal noise that hits the root note that fills it a bit more 44. to glue the track together arrangement wise, bounce out the drop lead and have it go in your breaks, it will glue the arrangement together 45. distorting things slightly always helps, it makes it more heavy 46. try adding slight counter melodies in the background of your tracks. adds some more harmonic elements, makes it more interesting 47. try use string stabs (pizzicato's) 48. don't be afraid to use large claps and layer them a lot 49. it's a good idea to start with one note in the build up 50. Have a synth suitable for your taste...... Jonas aden

#CamelCrusher (Effect)

#Massive (instrument)

#iZotope_RX5