YES 🙌
In this tutorial I'm going to show you
how to make trance music in the style of
Genix, Ilan Bluestone and Above &
Beyond.
Now, out of all my in the style of videos that I've been publishing over the past few weeks and months...
...this is one of the ones that's had the most requests from you guys.
We will be covering sound selection and sound design...
We will create this HUGE chord progression...
We'll also be going into percussion,
arpeggio, pads, vocals...
and even mixing, a bit of arrangement and a huge buildup.
I'm going to be using Ableton Live 10, but as usual you can follow along in any DAW...
So FL Studio, Logic X...
And if you use Ableton Live 10 you can download all the project files below this
including the samples and the presets!
As always, if you dig this video, give it a big fat thumbs-up, subscribe to my channel...
Share it with your friends, and without further ado
Let's hop into the DAW, and get it done...
Ok, I've got my head switched on... let's do this! The first thing I'm gonna do is
select a tempo I'm going to select 130
bpm because that's the kind of tempo
that Anjunabeats trance is then
I'm going to name it and because it's
trance I'm gonna call it "Trance Sexual"
right that's the name let's do this
first thing we need is a big fat kick
drum because you always need a big fat
kick drum so I'm going to do this in
audio but you can do it in MIDI as well
but I'm just going to do as an audio
because then you've got a bit more
control over the shape of the wave so
let's go into some of my samples there
I'm going to go to something nice and
punchy because this style is like really
big really loud so we're gonna push this
quite hard as well so I'm just going to
trim it so it's only playing for half a
beat quickly duplicate that there's a
kick drum I'm gonna turn it down 10 DB
just to make sure that we don't have any
clipping on the master channel okay next
thing we're gonna do work out the chords
because that's gonna inform what the
baseline is gonna be so I'm gonna just
kind of jam some in with a simple synth
I'll use the analog saw wave that did
the dirt and I'll show you how you can
program it in if you don't know any
music theory skills as well and I'm
gonna do this in a minor because it's
just easiest key to writing and so let's
just jam some oh yeah baby
yeah that's that's the one so lovely
lush seventh chords that's kind of in
the style of this big lovely heart
melting trance so let's put chords in
Brighton so if we are going to be doing
I'm just gonna open that so I can stick
my face in there (WTF!?) if we are going to be
writing chords in a minor if we write in
all the notes first of a minor like so
so just all the white notes from a up
till a that is the key of a minor nice
and simple and if we hold alt and
duplicate it down an octave and also up
an octave in Ableton then you can press
fold and you've got three octaves of the
lovely the beautiful a minor so I'm just
gonna use this template basically and
first I draw in the bass notes
oops okay select them all
push them one step to the left so that
outside of the clip and we can't hear
them play
so I'm just you can see I'm just using
these notes that are in a mine and it's
all white note so can't really go wrong
it's easy peasy lemon squeezy
cool now let's build the cords on top of
that and all we need to do is duplicate
and skip a note each time
and seventh chords is when you add the
seventh note in the scale and that's
going to give you that lovely heart melt
or e sound except I'm gonna just hold
shift stick them all up an octave as
well which means I'm gonna have to make
another operative template make it easy
nice noise so now we've got four octaves
of a minor natural
cool so let's just do that and you can
see my template technique makes it super
easy and I'm just gonna continue to use
that technique but add some extra notes
in as well just to make it even bigger
here we go then so we're making these
really big super source stack of chords
so it's going to be like a wall of sound
when it drops
and I'm just gonna copy and duplicate
that and then we're going to make a
slight change at the end of the second
time through just to make it a bit more
interesting
you
cool so I'm just gonna take this down
and now let's quickly make this into a
bigger sound so I'm just gonna route the
oscillators like this
so each one's got their own filter each
one's got their own amplitude and and
more importantly each one's got its own
pan so I'm just gonna make sure that
it's fully sustained no release so it's
really a stab on and stab off and then
I'm gonna I have to make sure that's the
same for the second oscillator like this
and you can detune them slightly now and
then pan them left and right but what
I'm going to do is I'm going to press
group I open this duplicate that with
command and D so I'm gonna have one
that's detuned and one that's not
but the detuned one I'm going to change
the wave
just to give it some more texture
so you can see how big it sounding
already I'm gonna add a noise oscillator
to give it some here and I only want the
detuned one panned just gonna turn them
both down a bit
and now we're going to add some extra
sizzle to it with this amplifier
now let's add some reverb make it really
big and we're going to make this pump as
well so it's got that and junuh beats
kind of vibe already here it's getting
huge right so for the pump you can see
I've got a reverb I've just boosted up
the gain a bit and I've got an EQ
now let's make this pump by using a
compressor and I'm gonna take the side
chain from my site the input sorry from
my side chain channel which is just here
it's a little tick drum that you can't
hear because if you open up the routing
I've got it sent to sends only instead
of master so you never actually hear
that it just triggers the sidechain
compressor and now we can make how
reverb pump
we can just copy this I'll just call it
pump compressor so we know what it is
and then I can copy that to pretty much
any elements I want to pump and duck
which is pretty much every element in
this kind of music so I could put it to
my cords itself
cool so that's going to be our big kind
of drop thing next we want the bass and
I'm gonna do the bass I'm gonna start
the bass with a saw wave as well so
there's lots of synth work in this
lesson but that's good cuz everyone
loves since it's good for you
in fact I'm gonna start doing a synth
rhythm on the root note of the triangle
which is a just with the kick because
there'll be different sections in the
track they'll be like the main chord
section and then they'll be just keeping
on one note it should be like at the
beginning of the track and the end of
the track
cool so we can program that in or sorry
play it in and now I'm just gonna go in
select it all quantize it up nice and
tight
make sure they're all that whoops same
length and now let's make this into a
goddamn bass bass so the way I'm gonna
do that again I'm gonna go to the
amplitude and I'm gonna make sure
in fact I'll split I'm yeah I'll do what
I did before so I'll root them both to
their own frequency and amplitude zero
release for sustain zero release for
sustain and now let's make that actually
a bass so I'm just gonna grab it drop it
an octave and drop one of the
oscillators an octave and I'll just copy
that baseline and then consolidate it
and we're going to make a sub bass as
well so I'm just gonna duplicate that
whole track command and D and then for
the sub bass I'm gonna load in a lovely
simple wimple little operator and then
use the sine wave maybe drop an octave
yeah there we go and that's going to
bring the low-end energy to this bass so
for this top bass I might actually
equalize out some of the sub frequencies
so it doesn't clash of the sub bass
now that sounds really weak but we are
going to make that a lovely big thick
fat and junuh beats bass baby so let's
again we're going to group it duplicate
that and we're going to use much the
same technique that we used for the pull
the chords so first let's just sort out
this first oscillator kind of hat
alright have already so for the second
one we're going to detune a couple of
them and we might actually put some
semitones so it plays a harmony which is
quite cool but I'm going to choose a
different oscillator square and I'll pan
them left and right and then I'm going
to detune them slightly as well and we
want to make that lovely and fast again
so remember this is just the sub bass is
staying clean but this top base or the
mid bass I'm going to add some
distortion to it I might use the erosion
or the overdrive and I'm going to group
those bases together ctrl + G call that
base and just color it like a dark dark
color so we can see what's what and I'm
gonna stick the pump compressor on that
as well
now to make that base more interesting
we are going to add a base reverb and
it's just on the auxiliary Channel same
chain as before but I've just got
control over it as a separate reverb
because it's just for the base so let's
dial some of that in just to the top
base not the sub base that one sub base
reverb no way
okay so it's clipping there so what I'm
going to do is just bring down both of
these channels within the group these
more sub base
coold and we can also add another one of
those pump compressors to the base
reverb it'll give it that lovely sucking
in fact
okay that will do for the base right
next what we have got is the
all-important drums really like driving
drums so we're going to just create a
drum Channel and I'm going to use the
drum rack for this just because I like
using the drum rack and then I am going
to first I'm going to add a little bit
of extra knock on a couple of those bass
things so I'll be augmenting the base if
you will with a bit of a Tom drum I'll
just call this drums and now let's find
a nice Tom drum so where are we going to
go for that we'll go into my sample
packs drum hits here we go make that a
bit smaller and where might that be
Kongos bongos Tom's here we go that's
quite cool so I'm just gonna make that
so it's got a zero sustain
and I'm just going to put this exactly
on the same notes as these at the same
place of these bass thingies so it just
gives the bass things a bit more power
cool okay now the all-important big fat
snare about Batum proper and you know
beats douche snare now where am I gonna
get a snare from that's quite nasty
let's use that nasties good we like
nasty has to be really like high nd and
loud it might not be the right snare
well we might want to layer another one
over the top cuz they're quite big
sounding snare and clap in these tracks
so let's just layer another one and then
we're going to scroll through some and
audition them as we go to find one that
just kind of fits well with the
frequency range so that gives it some
low-end so if we turn this off without
this on let's turn off the top and with
this new snare as well I'm just gonna
take off some of the tail by just
shortening the sample same on this one
so then we can add some reverb by doing
this pressing our and then create right
click create return chain root it to our
room reverb and now we can dial in some
of that room reverb just here within the
drum rack this is why I love drum rack
and then I'll go to the room reverb make
it a bit shorter cool okay now we need
an open how to go in between
this base I think needs a bit more
shaping actually I'm going to add an amp
to it
just a bit bigger right let's get a an
open hat in there righty righty righty
drum hits and I'm just gonna program one
in and then scroll through some of those
drums look at the lovely way I've got my
samples organized let's see just program
them in and I'm going to make sure
they're programmed in with zero release
so the sound stops as soon as the MIDI
note finishes that sounds pretty good
actually
I just take out some of the low-end
voices one though it doesn't really
matter I'm gonna use a filter to take
out the low-end high-pass filter
cool that will do for now we'll have a
big kind of beat at the end in fact I'll
stick that in now I'm gonna find a big
snare let's see Bubber I'm gonna go I'm
gonna use the hype of its sample pack
for this it's completely free you can
check it out over on his website hyper
bits it's a wicked little sample pack I
think he's got two actually so let's
find the big room snares that's pretty
cool so we're just gonna put that in and
that's going to play it on the last
snare of each beat like so
too loud though obviously
you might even want to add some kind of
shuffle in there you know when when the
high hats are all coming in you could
choose a beat actually I'm going to
program it in because it's good for you
to learn how to do these things right
those hats I can't wait to get to the
bloomin big breakdown so I'm just gonna
lose my shit
alright that's will do let's just
programming some sixteenth hats but when
the rhythm really gets going whoops out
on eighths we need them on the sixteenth
let's duplicate I'll choose a different
sound like this hot button
just wait until I find one that kind of
sits on the right frequency
that sounds pretty cool so I'm just
gonna actually alternate the velocity a
bit on those just to make them bit more
human and then I'm going to duplicate
that instead I'll take out the low end
and these as well just using the filter
in the sampler or the simpler don't
forget you can download this project
completely free if you dig it so far
give me a hell yeah brother or an Armin
and I will absolutely love you forever
right I'm gonna actually transpose this
up to give it this frequency
use a filter take out the low end add
some room reverb all gels together
cool okay now we are going to add a bit
of arpeggio should we add the arpeggio
yes we will right so for the arpeggio we
want something in the key of a minor as
well so I'll just put art in and or arm
as you are well aware that is definitely
a word so if we go and check this out
I'm gonna put up and color it
cyan and I'm just going to use a simple
synth to write it so I don't get
confused with all the sound design and
then I'm going to choose a different
preset so it sounds nicer and yeah so if
we use that template that we drew before
if you want to if you want to you can do
that so just draw in all the white notes
for a minor and and do that but I'm just
going to quickly do it in
quite like that I'll just draw that in
and you'll notice that all the notes I'm
using are in the key of a minor natural
it needs to be twice as fast as that so
we'll just do that maybe and then just
duplicate it and now I'm going to choose
a better sound so I'm gonna go into
synth leads maybe probably not the best
thing
maybe scent the keys that sounds like
could be quite a nice plucky clucky
sound oh yeah I'll turn the reverb and
the echo off though and the reason I'm
doing that is because I want to have the
global reverb and delays on there so
I've got more control over it
I might take that up in octaves Oh
shift it up take out that clicky clicky
low-end there's no EQ so this is our
arpeggio add some hall reverb
and then have a Auto filter on there so
we can take it down I might duplicate
that actually I'm gonna layer the UPS so
I'll group them together come on up ARP
yeah you can you can have two ways cuz
your you've been good today you deserve
two ways right and I'm just gonna have
the Auto filter on the group not the
whole thing and then let's choose a
second sound for this arpeggio the layer
I'll just turn off the EQ we're talking
right and turn off those effects as well
so let's go back to our since I'm gonna
go back to percussive let's see what
they got here now because it's not what
we need since R is name oh yeah
so I'll load that in and it's another
chain let's see what this what's going
on there there we go
it's got an arpeggiator in the chain oh
I like that that's awesome
should I just pick that up first so
layered what's it sound like
really nice let's have a quick listen to
that I'm gonna add a pump compressor as
well so chain compressor
right now we're going to add a pad for a
bit of extra kind of layers and a bit
more atmosphere and the way I'm going to
do that is by I'm actually going to do
this with a sampler just to show you a
different technique
so I'll just load up the simpler into
there I have to change it to sampler
anyway in a minute and I'm just going to
go to my pad sounds like these are
really old samples some of these like
pads so they're not the best quality but
it doesn't really matter because you can
just you know fiddle around with them
but we don't want a chord we just want
one note like so so if we change that to
a sampler we can then press loop mode
ping-pong and then we can cyst it can be
sustained for as long as we hold it and
then crossfade so it's a nice smooth
so that's how bad that we're gonna start
with and I'm just gonna hold one cord
because this is like when the base is on
one note anyway this one might actually
clash with the arpeggio a bit so we
might change the sound but that's the
chord that we're going to hit just a
normal seventh chord I have to make sure
that we can play more than one at once
where is that filter Global Voices 8
we're going to play that and they're all
notes within the key of a-minor as well
all white notes it's a bit harsh though
let's see if there's enough that's
probably going to be better so let's
change it to that sound where is it the
soft pads now where was it soft pad 2
that's it there's a kind of chord in
that one but it gives it a kind of mad
discordant sound which are quite like
lots of textures so this is a cool trick
I'm going to show you with the EQ eight
if you go into the what's it called
presets you can choose vocal a because
we know it's in the key of a so if we
choose this check out what happens it
makes a pretty cool like formant filter
and then I'm just gonna put a normally
key right after that to take out any
unwanted frequencies let's just water in
the way good play it right up here
and this is going to be quite a subtle
pad and then we're going to add a
flanger to it I think or actually I
think of Bayes it might be better so you
get special effects phaser I'll do this
before the vocals
I might have to compress this a bit
because it's hitting some resonant peaks
so this is just going to smooth it out a
bit you can see it's kind of wobbling
around a bit so this compresses just the
evening out the sound so let's play it
underneath
will Riva
that's a really nice sound actually kind
of like aliens singing to me in
beautiful harmony thanks aliens aliens
okay
let's name that alien let's call it
salience
to thank the aliens and then we're gonna
just draw those notes in and that
pumping is coming from the hall reverb
so with no reverb it's like that with
reverb and we'll probably add some pump
reverb on the dry pad itself like so you
can dial in different amounts if you
want the dry/wet
I actually want one extra bass sound
coming in this is gonna be crazy and now
I went to placate it in fact I'll just
create a new bass sound I'm gonna do an
audio and it's just gonna be one base
hit at the beginning of every bar just
to really like nail at home so I'm just
gonna listen some samples it's all about
layering this genre it's not all about
known but it's largely about layering
let's see
that's quite cool so I'm just gonna play
this on the first note and I'm going to
pitch it down because this is in C and I
need it to be on a because that's the
first note so I need to pitch this down
so let's just knock down the tempo warp
it I probably don't have to warp it and
this should give some extra depth to the
bass just on that first hit and I could
actually use a let's see one of these
free little bad boys it would be there's
ozone imager to to spread it out a bit
and we might run into phase issues so
we'll have to check that seems okay but
we don't really need that the sub
frequencies anyway because the sub bass
is handling that so it's just really the
extra texture
I quite like that sub-base in there as
well actually just give it a big hit on
that first
yeah
ah absolute Beauty Saurus Rex right
let's get that down and just do a bit of
shaping on these cause because they're a
bit like you know
we could even use one of these ozone
images on the whole cool thing and kind
of spread them out a bit
making sure they work in mono so I've
got this mono switch on my master
channel just to check in mono yeah I
accept
so this is going to be part of that big
wall of sound so what's going to happen
on the drop which is what we're going to
do now that where are we going to get
some vocals as well shortly but on the
drop obviously the bass notes are going
to have to change because the chords are
changing so the tune starts off like
there but let's take it over to the main
drop which could be here and the way I'm
going to do this I'm just going to turn
off both bases apart from the main one
and then I'll follow these exact notes
here but these are our bass note
and we just need to make sure our base
notes aliasing those two to the same
pattern whoops
is this base isn't it
yes right let's just duplicate that and
now we can just drag that down to the
sub base as well it's going to hit the
same note is that an octave too low
no it's an octave too right that's heavy
man
best noise on the cords they're a bit
still
cool now we just need to make sure these
first base notes are also changing where
we need them to this is going to be a
bit harder because we just we don't have
MIDI because it's an audio sample so
we're just gonna have to do it by ear
you could work it out with the
transposing and that's too long should
be stopping there dude that means it's
gonna be doing it don't know how strange
oh I know it's because I didn't put warp
on this is difficult like this
now see I'm gonna warp this
let's put it up in fact I'm gonna do
this an octave up to make sure that I'm
actually hitting the right note first
I'm gonna warp it complex prey that just
sounds like some hideous nightmare okay
but it's in the right key nightmare key
if we press 29 in fact we can just hold
transpose click it hold shift and then
press down and it's going to take us
down octave by octave beat sounding
better and let's test this one make sure
it's on the white right no yeah it is
okay so nightmare mode let's do it
in fact the what the raises to placate
I'm going to save that and then we're
going to throw the kick and the
sidechain
track on there so it's all pumping
in fact I think on this drop the base
would actually be a more repetitive
rhythm just to give it more Drive so
what I'm gonna do is this though I this
won't take me long
we're just gonna go repeat repeat repeat
repeat II to the same making sure that
they stop where the gaps in the cord
stop right like there
that did
let's turn off the sidechain compressor
just delete it
yeah let's make them half as long
actually might sound better give it give
it more rhythm
so you can see where there's a gap in
the cords I don't have a bass note play
let's just have them the length they
wear before like so
so that's what we're doing
and that's how they match the chords
so we just copy that paste it and then
duplicate that to our sub base boom boom
boom I want you in my room I know sorry
I did a beggar boys
here the difference is I can make
right now we need some big cymbal
crashes cymbal and this is because you
want that big wall of sound effect so
let's go to samples let's choose the
cymbals the drum hits and simple
splashes that sounds pretty cool I'm
gonna just draw these in so again I've
got more control over them like so so
this is on the main drop I'm just going
to take out some of the low end we just
want the sizzle really like that and
we're going to have this on every single
kick
and we might even add a bit of sidechain
compression to them just so it's just
the tail that you hear
I don't like the second base for the
drop so we'll leave that for the normal
bit
okay now we need a melody so let's do
that
and then we're going to get a vocal
which is going to sound amazing so the
melody I'm gonna just have something
that you could kind of sing along to in
that style so let's get a wave table
again Wow
let's use Boulder blaster again this is
gonna be in just a minor lots of low-end
buzz there
it's like a horrible sound but we're
gonna we're going to layer it so the
first thing is to get the melody in
I'm just kind of jamming and wasting
till I find something I like I like that
bit so let's just kind of record that
nice playing will well done mate
right that's let's just draw it in a I'm
gonna make sure they overlap so you hear
the glide in between them and I'm making
sure this works in and you know it works
with the stab and the base in terms of
the rhythm could be a bit cheesy but you
can see there's a space there where
there's a space in the chords
and it's good to start off with the
second part of the melody by repeating
the first that's the bit I was playing
earlier that's I liked that's it so
we're just gonna repeat that and then
we're changed the second half of that at
the end just to kind of make it like a
full melody phrase like so
and I'll leave their first note of the
second bit
it does run the risk of getting a bit
cheesy here I did it
it went cheesy right let's quickly
duplicate this and then we're gonna
choose another layer and again it's all
about layering and making a really big
wall of sound so let's go to my sentence
again and you know I could do this with
samples as well layering up samples but
time is of the essence just in a group
though right okay now let's color those
probably want some lower frequencies in
there so I might choose one of the
oscillators in the wave table and drop
it down
and then I'm gonna process them together
with a pump compressor like so put some
nice Hall reverb Oh
some saturation or some overdrive
distortion on the group
okay now we need a vocal so what I'm
going to do is go to trusty old splice
and I'm gonna just search for a vocal in
the key of a minor natural and I want a
male vocal for this for that and you
know beats kind of sound so let's go to
vocals I turn off the melody for the
time being and where's my splice splice
both splice here we go
so here we can go here we go vocal funny
that Mayo a minor and now let's have a
listen see what there is that works for
this oops
let's just get that out of the way so we
can Serge
Wow
far from
yes envelop easy mate oh I'm gonna
change that last night
right so let's get that vocal in there
that is a proper like a heart melter
right let's see recently added we're
gonna do this proper 140 so I turn off
walk turn it on again make sure it's of
140 because it tells us here in the clip
that that's the tempo that these were
recorded at complex Pro because it's the
nicest for vocals
that last note is dodgy it's an
accidental but we don't want an
accidental it's no accident so what I'm
going to do is just split it there and
then just tweak it down with the
transpose till it's the right note and
then just blend them together yes yes
ideally I'd find another vocal for the
second part of that phrase because
otherwise it's going to get a bit
repetitive but time is of the essence so
let's just kind of do it like this
let's just change the note to the log of
the last bit we're gonna change these
manually that's cool it's a bit kind of
EDM vocal choppy but at least we're kind
of making it do what we want go I sound
like a bloody totalitarian dictator
vocals that is I'm just gonna stretch
this last one out like so and fade it
like so that's pretty cool right so
that's our vocal hook now let's quickly
do a bit of arrangement so we are going
to have this as a build up and the build
up would be something along the lines of
fail Ian's coming back to play and now
we're going to have some arpeggio
automation with the auto filter like
this this is going to be a big build
like so
it's probably be twice this length
actually with this genre of music so
let's just copy and paste all that
business like so and whoops automate
check out my video from the other day if
you want to learn about automation so
this would be the big and Jouni beats
build up and it would go something along
the lines of this it's not perfect but
you get
and then the beats come in
and the melody could be filtering in
there as well like so
so this is where your big kind of build
up snares have come in I'll do a bit
more work on this for I give it to you
because I'm kind of running out of time
here but hopefully you've got an idea
about how to make this kind of music and
then it's you know more time doing this
basically careful with layering you know
so something along the lines of this
let's take it down a bit
and then taking stuff like the base out
and take the volume down before the big
drop maybe a big snare just before the
drop like here let's get that back in
and then after you've loop to that's a
couple of times you've bring in all the
drums as well like this and then onwards
you go and you probably turn off the
cymbals and now maybe not actually make
sure the bass is still the same and then
you could bring in those sweet sweet
vocals like so and then you might do a
bit of bust processing group that
kicking the bass together add a little
bit of saturation to boost their
frequencies up a bit
you can hear it now the drums need to
come up a bit as well but that's fine
you can do that you know it could be
that everything is getting a bit loud
now so let's look at the master Channel
yeah it's all distorted so what we do in
that case is turn everything off get rid
of it all don't like any of it and then
we'd start mixing again you can leave
the the stuff within each group at the
levels they are that's fine and then
just take down the groups so we're going
to start with the kick and the bass
make sure we got plenty of headroom
then bring the chords in you can hear
how loud they were
arpeggio yes please
and then the vocals because they are
super important
you could even add some let's see a bit
of compression to the vocals just the
gel and together a bit more
and so this is what the trackpad starts
out bike
and with the lovely pad so it's
definitely worth going back to the
beginning if your levels and up creeping
up too high they've got lots of headroom
too much reverb
but you know these chords could be fed
in slowly at the beginning of the track
so you could I mean I could keep going
really so I'm not going to but you get
the idea so if we were to bring in the
change of base here stick it there like
so now let's listen what happens if you
were to bring those chords in but filter
them in slowly you what you'll find is
that your heart probably will melt
that's a risk I'm willing to take today
so let's do that let's just feed those
vocals in the cords
come on
right
obviously the freight could be more
extended than this with all about good
stuff
and then the bill that I'll do more work
on this then you can take a pic band on
the snare
you get the idea thank you for watching
please please share subscribe download
this if you want to it's hopefully gonna
help you so you can pick apart leave all
of the good stuff and now I'm going to
leave you for the weekend a dear so
there you have it guys I really hope
you've enjoyed this tutorial don't
forget to download the project file and
all the samples for free give it a big
fat thumbs up and subscribe to my
channel if you haven't already thanks
for watching and until next time Cheers
and happy producing
