🙌 EPIIIIIIC!! 🙌
In this tutorial I'm going to show you how to make Progressive House in the style of
Tinlicker and other and Anjunadeep
artists.
I've had so many requests for Tinlicker that
that is what I'm gonna
do today.
Check out all my other "in-the-style-of" videos
that have been getting insane
results from you guy. and as I said
we're gonna be focusing on that Tinlicker style progressive house kind of
Anjunadeep style. So we will be
covering the kick and the bass... we will
be covering the percussion we will be
covering the synths and the bass lines
(if I've already said that) and basically
everything including some mixing and
arrangement, too. You can download all the
files below this video so don't forget
to do that give this video a big fat
thumbs up if you dig it subscribe to my
channel and without further ado let's
hop into the DAW and get it done!...
Right...first thing I'm going to do is select
the tempo 124 again you can find the
tempo by listening to other music in the
similar genre on that label I'm gonna
call it zinc kisser
today think about that right first thing
I'm going to do after that is create
some chord progressions because this is
my magic list and Timna cos stuff has
got simple chord progressions but it's
really really solid beat and groove lots
of lair drums that are just really
carefully selected because the sound
selection is everything syncopation in
the synths to add groove and I'm going
to be showing you all of this today and
then very delicate kind of breaks and
really gentle piano and stuff like that
so let's get that chord progression done
so I'm just going to load in the grand
piano that comes with Ableton and I'll
be referring to this magic list often
and I'm gonna jam out I'm gonna just jam
out the chord progression and then I'm
going to show you how you can program it
in if you can't play the piano okay
let's just have a jam and play
nice
EPIK right that's the chord progression
we're going to use I'm going to show you
how to make that heart melter
progression so the first is to work out
where you're starting and that's a G and
I can tell you now this is in the key of
G minor natural so I'm going to do my
template technique as usual but you can
use the scale feature to help as well
but this one's a bit special because
we're actually going to use one note
from outside of the key of G minor
natural but I'm just gonna draw it in
quickly in fact what I'm going to do is
draw in all the notes of G minor natural
first and all minor keys have the same
the same intervals between them
so you could actually just draw all the
notes of a minor natural because that's
easy it's just the white notes so just
drawing all the white notes like so from
a up till a grab them all then just
notch them down to G and now you've got
G minor natural so I'm going to just
duplicate that one octave up and then
one octave down as well and then when I
press the fold button we've got three
octaves off the key of G minor natural
what size have I've got this zoomed in
at yeah 130 that's okay so you should be
able to see what I'm doing and now any
note that I press here is in the G minor
scale so let's put the bass notes in
first for that progression oh yeah I
forgot
we want to move select them all press
left jog them out the way of the clip so
then you don't actually hear them play
which is just a horrible noise
so if I select any of these notes here
they're in the key of G minor net
so they're the bass notes are the cause
that I jammed in those harp melters and
now we just need to skip a note each
time and we can draw in the chords using
this template technique
you could just you know drag them around
it'd be quicker so now let's have a
quick listen
and I'll show you how to fancy these up
in a second as well
now the difference is the chords that I
played in the third chord was actually a
major so if you do want to use an
accidental that is a note that's from
outside that scale it's absolutely fine
as long as most of the notes are within
that scale and you'll hear if it sounds
weird but to change your chord from a
minor to a major or a major to a minor
you just have to get the middle note and
change it to a major from a minor you
move it up one semitone
so it's gone from this to this but
you'll see I had to unfold to do that
because this note here isn't within the
scale of G minor natural so I'll do it
for the last chord as well but my chords
just sounded nicer and that's a fact and
the reason that is the case is because I
used inversions and all that means is
that I change the base note of some of
the chords so here I'm just going to
select it hold shift and press up so now
the base note of that chord is e I can
press fold again and you can see here E
is the accidental that the one that
that's not in the scale of G minor
natural and if you want more music
theory stuff to take my music theory for
EDM producer course because it's awesome
I'm just gonna notch that up as well so
now all of these are closer together
you
and I'm gonna change that note halfway
through to this one just add some
movement
and on this one - cool and that is how
you get that luscious chord progression
right under and we will be working with
that a bit more soon so the next thing
to do is the kick so I'm gonna just turn
this piano down a bit because it's a bit
loud and brash color it blue little
piano Oh sign color piano there
right onto the kick simple simple simple
you just choose a nice big kick you can
do that using splice or any kind of
sample packs really but we wanted
something really deep and solid because
remember Tim Nick has got that solid
groove and this just isn't progressive
house just in Tim Mecca style it's just
you know a good artist to give an
example of so I'm just copying and
pasting that beat on every that kick on
every beat I might tune that kick it
needs be
let's have a listen
that sounds more in tune and it still
got the power so I'm going to leave it
on that okay next I'm going to just
delve into my auxilary channel show you
what I've got going on here
room reverb with the utility to just
boost up the gain a bit and then an EQ
to take out the low-end
or reverb same thing except I've got a
longer decay time and then a base reverb
is basically the same as the room reverb
but I'm only gonna use that for the bass
just to split things up a bit so I'm
going to add some of that whole reverb
to the piano get it sounding
just a bit more atmospheric
cool okay on to the next thing kick bass
bass baby I'm going to create two basses
I'm gonna create a mid bass and I'm
going to create a sub bass let's create
this first and tilaka sounds are you the
synth sounds are actually usually quite
basic like lots of sore waves and then
just tweet to you know to taste
so as I'm only using their Ableton
plugins I am going to use the analog so
let's have a little listen
so because how tuned is in the key of G
minor I'm just going to do the bass note
on G to begin with and I'll choose a
good rhythm for that I don't want it
fighting with my bass line with my kick
sorry so it's on a G I'm gonna hold
shift and lost you down
couple of octaves I'm just gonna copy
and paste that all the way along so you
can see where every kick hits I'm taking
out the bass note and we will use the
sidechain compressor too but let's just
kind of get this sounding a bit better
with these
tweak a release
I have to go down an octave
I know what I will do I will actually I
leave it out from down an octave because
that's what the baselines gonna do sorry
the sub-base is gonna do so I'm gonna
just do two voices on this usually I
would have a bass in mono but I want to
do this little effect to give it some
more movement every other beat I'm gonna
I'm just gonna put an octave above on
the G as well
cool now let's just duplicate that I
should have duplicated it before doing
that top one I'll just delete the top
one oops as on the sub base we just want
the the one note play and for sub base I
could I won't use an analogue I'll use
an operator because it's even simpler
and we just want a sub base a sine-wave
sub base for that so that's just cool
and I'll tweak the adsr controls and
make sure I've only got one voice
playing because we don't want the sub
base overlapping otherwise it gets very
messy melt very quickly and you can hear
that kind of clicking sound so I'm just
going to put an EQ and take out not the
low end I'm going to take out some of
the high end
so we just got that kind of power and I
might roll off some of the low end of
our other base so it's in clash with the
sub base
cool I'm gonna group those bases
together because we're going to process
them together and if you're not using
live then you might use a bus instead of
a group I'm actually going to do
something a bit more interesting with
this base as well just add some
resonance and I'm gonna group it by
holding command + G then I'm going to
duplicate that analog to another one and
I'm going to tune this one up a few
semitones I'll turn off the second
oscillator on the second one I'm tuning
up seven on semitones just to add some
more harmonics to it
and then what I'm going to do is assign
these macro macro I'll assign the
frequency on each of these two scents
that I've created so that one and then
this one the same and that is so when I
control the frequency cut off with this
macro it does it on both of these two
synths
cool now we have separated out the bases
so we can add some reverb to this top
base whilst leaving the sub base
completely dry like so next thing I'm
gonna do is add a little bit of
saturation to that mid bass I will leave
the top base oh sorry the sub base nice
and dry I'm just gonna listen to some of
these presets
that's nice Isis thickened up the sound
a bit
too much resonance
cool and one more thing I'm going to do
with these bases I'm going to pan the
the one that's tuned up assem seven
semitones slightly to the right and the
UH the original mid bass to the left a
bit just to spread it out a bit
nice nice wide basis there now you might
want to check for phase issues by
checking in mono that's sounding pretty
good to me and you might want to use
something like the ozone imager the
multiband version that isn't free to
make sure that everything under 130
Hertz is in mono boom next thing loads
to get through still sidechain that's
just at a sidechain compressor there so
you know how it goes guys and gals you
know the score sidechain compression
boom remember give me a hell yeah or an
arm and brother in those comments below
because I love to hear from you and let
me know what you want me to cover next
cool
this was actually a request from one of
my master class students cuz you know
they get special attention y'all
so that's just to allow
the cake
- pops ooh even more and we can just
copy and paste that pump compressor
where as and when we need on different
elements okay on to the next thing
oh this is cool our arpeggio I could do
the drums next actually now let's do the
arpeggio I always do the drums next so
this is kind of indicative of the
progressive house and junuh beat sound
especially tin liquor so we're going to
create an arpeggio except we're going to
program it in manually and I'm going to
use the same notes as the piano chords
of course because they're the same
chords so I'll do it over here because
the bass notes just staying in one place
there so that's not gonna help so I'll
copy and paste those I'm just gonna find
a basic sound for the arpeggio before I
do too much whoops don't need to copy
those although you could copy the
template if you wanted this is gonna be
easier to do this so let's get a lease
in--this and to get started I'm going to
use the wave table this time - got some
lovely rich sounds in there and again
I'm just gonna start from presets
because it takes a long time to program
sounds from scratch and why do all that
hard work when you don't need to
that sounds pretty cool
oops but I want to program in my own
arpeggio so what you can do is you can
grab everything for each chord I
actually do once at 16s I could turn off
the arpeggiator here let's see that
would be in here you rhythmic I haven't
actually used the arpeggiator on this
synth before so I'm not sure exactly
where it's located okay looks like I can
just delete the arpeggiator cool I could
add the seventh chord as well actually
just by skipping one more note that's
that's cool let's do that and then you
just follow the same idea for the next
chord thanks so just making sure one
notes playing each time it sounds better
when you've got the same amount of notes
playing in each kind of iteration so
that's one two three four five
let's see how that sounds with the piano
chords
cool okay so let's just continue that
it's quite hot in here
I'm uh in fact I'm going to fast forward
this but you can see what I'm doing cuz
otherwise it's gonna take too long I
might fast forward it will see I might
add another accidental them
that's nice
and this one I'm just gonna carry it on
over both of those bars because it's a
long it's just a long cord and one of
the notes changes in that cord and it
goes from a C to a sharp so I find the C
in the second part of that yeah change
it's a shot
cool
and then you program it in again for the
rest of the cords using the same
technique
nice oh this thing is almost there guys
almost there and then same thing on this
as we did for the other long cord just
say notes there okay and then we change
change whoops and delete those remember
we need to change the C's to the a minor
on this last last bit of the chord I
realize this might be a bit advanced for
some people but you know tough luck son
nice cool I actually might choose a
different sound so let's just have a
quick listen through some of them and
see what we come up with
in fact I think we just need to actually
to zoom it up
let's take out some of the low end with
an EQ
nice cool okay so now we need to loop a
bit of that for the for the bit where
the base isn't changing except I'd
actually like to let's see to kind of
keep that syncopated this is what I mean
about syncopated rhythm so the beat the
first note doesn't happen on every beat
so it kind of confuses your mind but
then this one I bring the kick drum into
this so it's like all where's the
beginning of the bar
oh hello cake what's your name my name
is Dhruv
nice to meet you
oh yes here we go now we're cooking with
gas
right next thing is that phrase next
thing is the beat so let's get some
beats on the go we got a few beats here
I'm going to try and be quick because I
know time is precious you guys have got
weekends to enjoy or whichever day
you're watching this on so I'm going to
go to the current project let's just
bring in a hi-hat on the sixteenths a
closed hat standard
cool I just bring that out the whole way
copying and pasting on rather
duplicating I'll be juggling just
duplicate that okay now we'll get a
shaker on every half beat or every
offbeat rather so we go into my current
project that's shaker this is a bit of a
long sample actually I might tweet that
you know the score guys in between every
kick and a tweet this sample make it a
bit shorter
okay on to the next sound II bit that's
what I like to call them sound II bits
extra perk this is just to kind of add
some groove add some extra groove so
let's get a couple of these what sounds
we use this one so we're just gonna get
a loop feeding on the go
I'll do this on every just before every
bar so this isn't where the open hat
would usually hit and we will have a
another open hat in a little while
I just want to give you a taste of this
that I'll increase the attack of that so
it's a bit smoother
we don't want such a like a sharp hi-hat
sound it's just an add some audio
texture and then we've got this other
percussion sound and we're just gonna
put it in exactly the same place and
again that might be a little bit harsh
in terms of attack so we can pan one
right turn this down
and the reason that I've got these
Center things showing here is if you
click this IO button in the drum rack in
Ableton and then our you can create
returned trade and then assign it here
to your main reverbs and this is great
because then you can dial in by using
that making sure that s is clicked here
you can dial in a little bit of reverb
for each separate drum so you can hear
this dry listen reverb
right where were we more drums yes
please so the next run we are going to
add is the do the clap are the
all-important clap how could I have
forgotten the all-important clap
sound selection is really important here
so just preview a bunch of claps until
you've got something that sits well with
the rest of your drums add a little bit
of room reverb to that clap very very
stylish order cool now we are on to the
next thing which would be the open hat
now this is only coming in later when
we're adding to the tension adding to
the yeah we're really building because
we are going into arrangement today as
well so we've got that classic 909 drum
machine sound I'm just gonna filter out
some of the low-end within the the
simpler in Ableton you can use an EQ if
you're not using Ableton bit too much
just to keep it nice and clean and now
we can program it in I might I might
actually tweak the transpose on this to
bring it in key with the rest of the
track
maybe a little bit of room reverb nice
okay that's pretty much the percussion
done already already done the auxiliary
channel shown you that so we're going to
add a bit of a stab at the beginning to
just give it a bit more atmosphere till
that stab color it blue because it's an
instrument and then like this is
something I found earlier this sound but
it's just stays you know it's just like
a dodgy it sounds like Mario Kart on the
snez I think it reminds me of that man
pop culture and I'm just gonna tune it
by pressing Pro complex Pro on the warp
and then choose the right note so I
could have it there or I could have it
one octave down which would be 8 - 12 I
should that would be minus 4 I think
I'll have it minus 4 that's a bit more
epic so this is a sound so now it's in
tune with our track because I just did
it by ear so let's get rid of some of
the low end so it doesn't mess with our
bass then let's put a bit of a
I go on there like so you could even put
ping pom on that and have it go I'm
gonna save the I'll save the externals
for my sins okay cool now on to
atmosphere this is really important when
it comes to progressive house and again
this is a trick that Tim liquor uses a
lot but if you get some kind of tonal
atmosphere that is in the same key as
the rest of your track it can really add
some extra depth so let's have a listen
I selected this one early because it's G
minor and I was just going through my
samples but again you can look through
splice or loop cloud and just find
something that's in the same key that
you're working as so this is all it is
just a little loop you could even double
it out by holding shift and extending it
and you can you could add reverb but
it's kind of already got reverb on it so
I think I'm just gonna leave it as is
and touch cool right at the end of the
drum thing we're just gonna have a
little drum intro and I'm gonna use
another clap for that
just just to keep things a bit
interesting and let you know that
something's coming that's it that's what
I'm gonna do in fact I'm gonna add a
little bit of echo on that as well and I
will have this pan because I want that
effect on it so if we just put or delay
all there's something else I want to do
with the hi-hats actually I want to
delay that so I'm going to ping-pong
that and now listen to the claps at the
end I might tweak this slightly so
they're not perfectly on time just make
it a bit more organic and turn that down
it's just a subtle effect right onto
this oh closed hat I wanted to add some
delay to that too just to make it a bit
more interesting so I'm going to just go
delay ping pong and feedback right down
and then I'm gonna tweak these offset
things and it's going to be like it's a
bit like half the house effect so you
have to be careful you don't run into
phasing issues but it just gives it a
tiny bit extra stereo width so this is
without and this is with okay right now
we are getting into the epicness now
we've got the main groove and we are
gonna tweak the mix don't worry about
that but now I want to add some vocals
because you've got to have vocals man
I'm going to tweak these notes a bit and
you can do that using by pressing fold
with your template technique you can
just choose any of the notes and it
should sound pretty good
but if know if cords share a note with
the cord before it it often gels them
together and makes them sound more like
they're you know the cohesive
composition so you can see that nodes is
shared I might even go share that note
that's epic epic as a word same then
so all I've done is just move some of
them are and it's turned them into
suspended chords and seventh chords
don't worry too much about it cause if
you're using the template technique is
easy to experiment but that's just
beautiful
so now all you need to do go on loop
cloud go on splice and search for in
this instance it would be vocals in the
key of G minor which is what I've done
I'm not going to give you the vocal with
the download because it's not
royalty-free it's not my vocal so I
can't do that but well you know just
find find another vocal in the key of G
minor right so let's let's find the
vocal that our gods do do it oh I've got
one more thing to do with the the drums
I'll do that in a sec though so let's
get that vocal in where would it be
we've got here we go and this is this is
just gonna be nice because it's already
know it's in the key of G minor so know
it's gonna sound good
and I'll show you how to process it too
in fact before before I give you the
treat of hearing this amazing vocal
processed I need you to leave me a
comment in the comment section below
this video a hell yeah
mmm brother it's all good I love it all
makes my day and let me know what you
want me to cover next now I'm gonna add
some effects to this and I'm gonna show
you how so without further ado let's get
that EQ on just make sure that we've got
low ends taken out and I'm gonna add a
little bit of compression just to rein
in some of the you can see it's quite a
dynamic performance
lots of Peaks lots of troughs so I'm
just gonna even it off and I'm gonna add
a little bit more air after that as well
changing my direction instead my heart
right now before we hear the whole vocal
line I want you to - you know it's gonna
sound much better with some vocals
effects on it so I'm gonna just call
this fox FX gonna color it pink if you
want more like way more in-depth stuff
than this you should definitely check
out my courses because I've had
thousands of students get really amazing
results from them like hit number two in
the Beatport charts and get their first
releases and even become full-time music
producer so it's it's all good guys
right next we are gonna get a delay on
here and these these one take things are
quite stressful sometimes I have to get
it right I have to get it right
my heart my head
my reasoning is complicated sounding
pretty good
let's just get some
my heart my head
I'm gonna add a little bit of reverb to
that I know there's already some on
there but just to soften that delay a
bit
my heart I'm gonna add a compressor at
the end of it and I'm gonna sidechain
the compressor from the main vocals so
here we go I'm going to call that vocals
and just box because it's a weird name
at the moment color it correctly every
little son
every little symbol
symbol symbol let's see if that sounds
better direction instead and I'm just
gonna add a tiny bit of room reverb to
gel it with the rest of the track
let's add some bass notes to those
chords oh yeah let's get some really
nice like incidentals
almost too nice
complicated change my direction instead
my
Oh oh that is a beauty that is a heart
melter right okay we are going to do the
drop next and we will be doing a bit of
mixing too so let me just check my magic
list of magical goodness Wow
okay backing vocals okay backing vocals
I quickly slap those on and there just
to give extra depth to the second part
of the of the vocal bit in the break
whoops
so it's not going to be complex again
it's just a sample I found that's in the
right key
just add some extra texture okay on to
the drop so we're going to right roll
into this dry
that's pretty much how we'll be rolling
so turn off the open hats for the time
being turn off the open hats there
what's going on yeah well I'm recording
mum's visiting today bye mum I'm
recording a video okay right gonna love
that live tape right
okay we are gonna get this sounding big
next we are going to add a bit of white
noise to hit on that drop I've got my
own white noise creator which you can
have for free when you download this
project where be you white noise creator
special-effects wheels white noise here
we go it's just got some macros
controlled in so you can control the
level and the frequency take off the
make it a bit smoother cool and we're
going to add some hall reverb to that
make it bigger and we're also going to
add some sidechain compressor as well so
we'll stick that there and we're going
to have that on the drop like so too
much bump there
nice you can see there's a mixing to do
that it's still sounding pretty dope
okay I'm just gonna call this BV for
backing vocal color at pink
get that out of the way and then we are
going to do some automation we got to
automate the apps and use filter
frequency cutoff things like that
because that is essential for genres
like progressive house and pretty much
all genres nowadays anyway so yeah let's
let's do a bit of automation and then we
will do some arrangement to so to make
this draw bigger I'm gonna automate this
arpeggiator filter frequency so it's
going to be building in the kind of pre
drop as you'd expect
and on this on the break okay we need we
need to bring some rhythm in there so
we're gonna use a filter on the drums
frequency filter over the whole drums
and we are gonna do this to just
introduced introduce them a bit I'm just
gonna take this open hat back a bit just
for this section cuz confusing the
rhythm of it until the beat main beats
are in in turn the resonance up
and then automate it just getting up
like this and we can just turn this
filter off we're not using
cool okay almost there now we are going
to take out some of the frequencies in
this arpeggio as well we can minimize
all the axes we've done what I'm gonna
do is add a reverb and they're going to
automate that on I've got a transition
effects thing I could use that I suppose
yeah okay I'll use that
let's see wills transition effect and
it's just like a macro with some stuff
in there
use this okay well that's easy
so it's adding delay and Reavers
and the frequency now the other thing I
wanted to add to the drums was this
little kind of and a glitch effect
almost which is just one of my vinyl
crackle samples to close all that down
so there's get over I'm just going to
use it like as an incidental choose a
nice part a bit and choose just just so
there's sustain no attack no release
just so it stops playing whenever I stop
it being programmed in like this okay
that it's not a great place in the
sample it's a bit too poppy like crackly
so I'll just loop this bit and solo the
drums go throughout the low frequencies
it's just like a little glitch and I'm
gonna have that every now and again so
just about some more texture
my reasoning is complicated every little
symbol
I'll take out the line okay
so you could have that completely cut
off just on the drop like so like so
yeah and I'm gonna add a little reverse
sound just to introduce that drop so
something like this although it should
really be a bit longer but you know
whatevs
so I'm gonna make sure that that hits
well it stops just before the actual
drop like that or on the drop but not
after it and then I'm gonna hold shift
and just no I'm not I'm gonna have to
press walk first complex pro and then
I'm gonna hold shift and drag it back to
make it a little bit longer like so but
let's make it quieter
okay so now let's get the arrangement
done so we're gonna build out from where
we got to now cool okay I know exactly
what we're gonna do we'll do this much
arrangement I'll get my full drums there
and I'm gonna take some of them out so
this kicks we're gonna take out for a
little intro and we're gonna take this
bass and make it follow the chords after
this cut out the sub bass for that
little intro not gonna add the open hats
yet leave that for in a minute
so now we need this baseline to follow
the chords so we already know what the
chords were earlier and if not you can
go and check in your piano but
that's not my reasoning is complicated
so anyway we need to follow those notes
and we can do it by going to the piano
and copy them or I can just do it from
here because I already know what they
are so first we'll do the bass then
we'll do the sub bass because remember
those two are separate tracks there we
go so now we just need to do the same of
the sub bass I'm just going to copy this
and paste it because the sub bass
follows the same pattern make sure it's
in the right ox of those so that the sub
bass is in G one so okay good it's in
the same mode is that the right note
let's see with the piano I might have
got the wrong note
it is
I'm gonna take out those high plinky
plinky bits in fact I might take out the
piano because we don't want the piano so
why are they even got it there so in
terms of the arpeggio let's go back to
the you know the filter cutoff that we
want so we can just copy and paste that
okay so this is frankly an awesome track
and I might need to actually finish that
finish this and get it released um
that that drop will be bigger I mix it a
bit more before I give it to you anyway
out what we want to do to capture that
tin liquor vibe I'm gonna create one
more instrument and it's just going to
be a synth it's gonna be simple and it's
just going to be to add an extra line
synth line so let's go did it to do and
then I'm gonna choose the analog and I'm
just gonna make a brassy kind of sound
and all I'm gonna do for that is go to
the filter envelope increase the attack
whoops I have to turn the cutoff down so
it's like a electronic brass sound add
some room reverb and I'm just gonna jam
I'll take out the low-end and I'll just
jam a couple of thing
just something like that you know I
could program that in but I'm not gonna
bother because I've showed you what it
would be like so I am just gonna add a
bit more of this vocal when when all the
drums are in it's going to be just
little like incidentals
the filter opens up yes okay I'm going
to add one more I'm gonna program that
bats in thin just so it's in positive
chew
so what I'm gonna do is just going to
loop one part of that consolidate it
quantize it make sure they're all
hitting right make them a bit longer so
you can hear the filter open up so I'm
just going to copy and paste that and
have the filter whoops then consolidate
it exactly on the loop and now I'm just
gonna open up the filter over time like
so I think the velocity is varying on
that from when I played it so I'm just
yeah I can see here I'm just gonna
select them all and up the velocity so
it's the same for every note
and then I might add a ride cymbal just
to add even more drums on the top of
that but I think I've taken up enough of
your time I hope you've enjoyed this
this was a pretty epic one even by my
standards
so don't forget subscribe to my channel
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thumbs up have a great weekend and until
next time Cheers and happy producing 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
