Transcription
Yo, what's good everyone? Welcome to this new video.
If you don't know me yet, my name is Krypto and today we're going to cook a beat. Um, it's going to be a little bit of a different video because I'm not alone today. I'm with Andre from Prop by Theater. You might know him from the SDK tutorials. I think these are his biggest videos. And if you don't know him yet, you should be very excited to get to know him. In my opinion, he's one of the most talented melody makers in the underground YouTube scene right now.
So, what we're going to do today is I'm going to cook up a little starter in the style of the ADL album by Ye. I'm going to send it over to Andre. He's going to flip it, add some more layers, all the good stuff. He has got some very fire melody techniques, so he's going to put you on. Yeah. Then he's going to send it back to me. I'm going to pull it all together and then we have a full beat. So, yeah, stick around until the end and let's not waste any more time. Let's just make some very basic chords. Oh, that's fire. Let me get some basic drums in here. I mean that's something for the end of this video, but just something very basic so I get a rhythm. Heat. Heat. Oh, I think Portal could be fire on this. This is for my upcoming free Portal preset bank. Uh, so be sighted for that. Um, I've had some stuff going on and uh I wasn't able to work on it for a while, but it will release this April. So, uh, I'm going to keep you updated on that. So, follow me on Instagram if you want to.
Okay, let me get some [ __ ] synth run from splice. Another lesson for you. Don't be afraid to use some synth oneshots or stuff like that. You are still a good producer. If you get inspiration from a third party, I want like a Yeah, but I want I want to be like RP instrumental. Oh, textures. Textures is good. Why does it go kind of hard? Yeah, that's fire. Oh yeah, I think I kind of want to get one more layer in there. Just want to glue it a little bit more together. Yeah, something like that. That could be [ __ ] fire. I like that. I think I should stop now because otherwise it's going to get too [ __ ] full. Woo! The [ __ ] is so hard and love is so lush. Ah. Oh, let's go up to D. Maybe. Let's just play with the pitch. Oh yeah, that's nice. He's pushing up the D is so nice. First duck in a little bit of the bottom end because we know we're going to be building on top of this. This is our lush foundation. Sort of the mid-range of what we're going to be doing here. Maybe if we shape this just over two bars. We just work with the resonance here. We wrangle that pad in there so that it's nice and punctuating. It gives us a lot of room to work with still. It's like we're compressing all of what's good about this and just distilling it down. And this already imposed a little bit of rhythm to the thing. So, we're starting with like little juice. All right, we got that in a good place. Now, let's just throw in a little bass. Give us that grounding. Here, I'm jumping into our dark dream presets for Serum here. And oh, these bases are just so hard. It's good to start with. Switch out the sound. Got two [ __ ] down there on me. She be thinking that just cuz we [ __ ] this [ __ ] is when she find out that I going to be I won't give her time. Copy this here. Paste it on here or keep exploring. Oh. God, I like it. Sometimes using bases as higher register instruments is a little bit of a cheat code. Putting a little bit of black magic on it. The black magic. Let's tidy up some of this line. We know we're going to run into an issue with that eventually. Get back to our bases. If you want to shape these sounds, I've given you a lot of character in these presets already, but I always like to just drive up the fifth song that I'm working on. So, here I'm just working in the filter, just trying to give it some more life. That's a good foundation to work on. Now I just like to play with I don't know maybe a lead something that'll just here I'm just digging into the serum bank. Usually I just lay down like a long take and So something good down here. Let's put a second lead in. Heat. Heat. Heat. Heat. And in this long ass performance, I'm just picking out little parts that kind of work. Heat. Heat. Heat. Heat.
Okay, it's been a few days and Andreas came back with the with his part of the project. So, let's hear it. Okay, something can't be right. Okay, give me a second to organize this a little bit. Okay, so let me let me show you what I did. Okay, I just cut it up a little bit, you know, because that's more of my uh I know Andre likes to have like these long melodies in his project, but I like to have things cut to eight bars and so I can arrange it myself, you know. Here's a vocal. We don't need that right now. So, these three are basically Andre's elements. Yeah, the sounds are fire as well. I don't know. I just like Andre's um sound design stuff. I'm I'm pretty sure that these sounds are from some of his banks. I don't know. They sound very analog to me. It's kind of fire.
Okay, so I think I want to put everything to mixer tracks. And then I'm going to see um whether I want to put some effects on these melodies. I think this could be a little bit more spacey. So, I'm going to put some shimmer on this. I love VA shimmer. Just to glue the pitched up and the pitch down part together, I'm going to use a little bit of um EQ. Just a little bit, you know. And then I'm going to get the tape recorder on here because I love that plugin. Maybe just the default setting. I'm going to do the close close your eyes trick, you know. So, you click on this button a few times till you don't know if it's on or off. Okay. I actually like it more without it because it sounds a little bit too cheap for me. So, instead I'm going to use the LA2A compressor. Why is this light so [ __ ] bright? I can't see anything. But damn, I have to turn it down a little bit. Okay, that's better. I'm going to prepare the melody bus. Yeah, that sounds [ __ ] fire already. You know, there's a little bit of distortion on there. Sounds a little bit less muddy. Very energetic. I like it.
Okay, let's let's just go to the next layer. Go EQ this a little bit. Maybe pan it but like pretty fast. Get the reverb on there as well. You know, tuck it in there so it meshes with the rest. Let's hear the bass. I think I'm going to do nothing to that because I like the character of that. Let's try to put the same effect chain on that as we did with the last layer. I think I'm going to get the compressor on that as well. I don't [ __ ] know. Most of the time I'm doing random stuff when I add these effects. Putting a lot of effects on the melodies is just something that makes it feel more like me. Sometimes it might not even do too much, but I think actually it does. What I'm trying to say is you don't always have to have a logical explanation for what you do. Let's do a little before and after. I think it got louder as well, so don't be fooled by that. Oh, it actually didn't get louder. It's just the distortion on the melody bus. Yeah, but honestly, it's mostly reverb. I just like to put reverb on everything.
Okay, let's start putting down some drums. There were two hood trap songs on the on the album and I really enjoyed those. I don't know that this bounce I think this bounce is going to dictate a lot of next year. Okay, I think we could accent this with a little high hat. Oh, I think I want to put the the [ __ ] bed in there, you know. Uh, the whole melody is kind of crazy. You have to you have to manage your crazy in your beats. You know what I mean? If the melody is very not very rhythmic, but more spacey like this one is, you have to kind of tone it down when you put down the drums. Um, that's just something that I observed. For me, you have to have some crazy, but you also have to have some not crazy. Oh, by the way, I forgot to tell you that I sped it up a little bit when I arranged the whole sample. Originally, it was at 150 and now it's not anymore. Uh, maybe it's too much. I'm just going to delete it. Damn, that's fire.
So, the the key here is you have to kind of listen very closely what notes the bass is playing. And like the bass that Andre made is very simple. It's just one note every two bars. That just makes it very easy for your 808 pattern to just follow the bass pattern. If the bass pattern is more crazy, then it's harder to layer the 808 on top of that because then there's a lot of interference. So, you have to like find the right note. And sometimes that doesn't even work. You might have to play around with the reverse polarity function of the bass. But sometimes it just doesn't work at all. Sometimes you have to cut out the low end of the bass. That's also a way to get rid of the disturbance. But I generally don't like to do that. I'd rather leave the bass as it is. You just have to decide uh from situation to situation.
Okay, I think that's it. Thank you for staying until the end of this. Thank you, Andre, for coming on the video. Check him out for sure. He's got some fire content. I think you can tell by the little part of um Andre in this video. His production quality is insane, like video editing wise as well as music-wise. So yeah, check him out. If you enjoyed this video, consider to leave it a like and subscribe to the channel. Videos every Friday on this channel. Yeah, check out my Instagram. Link is in my bio. Have nothing more to say. See you next time. Bye. Heat. Heat.