That is phat. Like...that is PHAT!
Hey guys! It's Will from EDM Tips...
So today I'm gonna show you how to make Future Bass, and we will be creating the track that
you can hear in the background – from
scratch – using ONLY the free plugins that
come with Ableton Live, but you can
follow along in any DAW.
Download the project and all the files
for free (so you can grab that below) and
if you dig this video, subscribe to my
channel....without further ado,
let's hope into the DAW and get it done...
So let's
get started! First thing to do is select
a future bass tempo... could be a hundred
and forty could be one hundred and fifty
I've gone for one hundred and fifty and
I'm using splice to find my samples
today
as I usually do these guys should give
me a freaking commission or something
but whatever cool so all I've done is I
search for drums searched in the genre
of future bass if you haven't looked at
splice calm yet it's pretty cool I'm
gonna drag in a future bass drum loop it
says it's 140 BPM so just make sure that
the warp is on 140 if you're using
Ableton so then you can have it in sync
with the track cool so I'm going to just
take that down by 6 to make sure that
we've got plenty of space on the master
channel as we work and the next thing
we're going to do is create dudu future
bass synth chords I think that's on my
magic thing so before we worry too much
about sound design we're actually going
to get the chords we want them to be
really emotive like deep like 7th chords
and stuff like that so let's go a few -
you know let's just call it chords and
you can choose which you can choose
which key that you want to work in if
you want or you can just jam depending
on how you good how good you are at
music so I'm gonna go to a synth and I'm
just gonna show I'm gonna show you how
to create a really fat super sore stack
just by using I think operators like the
simplest of all since in Ableton so oh
yeah that's my fat super sore man
awesome welles
oh by the way this tune is called Dame
future Dench absolutely no reason
whatsoever so I'm going to write this in
the key of E
major so the first thing I'm gonna do
and if you're using FL Studio they've
got a scale thing and you can just use
that as a template but I'm gonna draw in
every every note in the key of E major
and then in Ableton if I grab all of
those put them to one side and press
fold then all these notes are just
within the key of E major so I can start
to build my chords and it's gonna sound
cool because I'm just using these notes
cool okay that is the rhythm I want
don't worry we will be changing this
sound very shortly okay so I'm doing the
progression and I'm doing the base notes
first I'm gonna have that an octave down
I held shift and press down and by the
way okay cool so let's now start
building the chords I'm gonna unfold
actually I will grab my template notes
and I'm just going to duplicate them an
octave up so we've got two octaves for
the price of one absolutely bargain I
dragged them down as well so then we got
three octaves for the price of one let's
do that probably just I'm holding alt
dragging them down so now if I press
fold we've got three octaves of the key
of E major so you can see I'm just
missing a note each time to build this
chord so now we've got a 7th chord e AE
a major 7th don't worry about the sound
yet
just get the chords in first
so this isn't a seventh this is just a
major with the octave above it and you
can hear this is now a minor this chord
as opposed to dude that's singing
act and this is the same chord but just
an octave down and the last chord so now
I'm going to unfold and I'm gonna do a
few notes in between to make it a bit
more interesting keep the groove going
so just to lead back into the loop of
the progression cool okay so now let's
create the actual source ound that we
want to in fact before that I'm going to
use chord inversions to bring these
notes a bit closer together let's just
get a bit more space on the go so if we
then grab some of these notes and hold
shift and press down an octave they're
all going to be in a closer space in
fact know before I do that I'm gonna
just copy duplicate this and make a bass
line out of it because otherwise we're
gonna start messing where our boast base
notes are so if we just in this
duplicated track I'm just keeping there
the
is note of each chord and that's how we
get our baseline I'm deleting all these
rest you can see here just keeping the
lowest note of each chord
I'll take those down too so this is
going to be our baseline but obviously
we're going to grab it and take it down
a couple of octaves
you
so that's going to be our sub base but
we'll get to that in a few minutes so
let's go back into that operator there
and we're gonna call this super saw or
sub saw for short so the first thing to
do to create a super saw in Ableton if
you don't have silence or serum or any
nice big symptom like that is first
obviously choose a saw wave so we'll go
for the saw 64 okay I'm gonna take these
down an octave as well and we can use
that inversion that I mentioned which is
basically dropping some of the notes an
octave and then they'll be in a closer
range on the keyboard which makes them
sound a bit more cohesive and nice so if
we do this we push those up an octave so
now you can see everything's within this
and a short space here
but I'm gonna leave them as they were
for the time being so I actually
preferred and now let's make the super
sort or sup saw so now I've created this
I'm just gonna notch the volume down
because when they're all stacks together
we're going to be creating four
operators and I'm gonna group it open
the group and I'm just gonna duplicate
this a couple of times let's try it with
three so the first one is going to be
the main one and that is right down the
center perfectly in tune but with the
second one what we're gonna do is we're
going to detune it slightly the season
that's fine control here and we're going
to detune this other one as well by a
slightly different amount so this one's
detuned by five we're going to detune
this one by like ten right and now we
can pan one left and one right and then
we've got our central one which is
perfectly in tune subsoil and then
obviously you could you could do another
one if you wanted to make that even kind
of bigger but we'll stick for this for
now I'd also turn off the re-trigger so
it doesn't go do you pursue what's this
is this oscillator I don't know how to
turn off we trigger some it would be
somewhere here you know but I'm trying
to do this quickly for you so we will
just like whatever and now we want to
make this sizzle more so we're going to
add some processing to it but again
we'll do that soon so okay next thing is
the bass which we've already done we've
kind of made this sub bass so let's call
it sub bass and change the name here
because organization is super useful
said the most boring people in the world
but it's true unfortunate
sup saw I'm just gonna call that channel
cords actually because that's going to
be easier so let's call that cords and
I've got my massive list of stuff to do
here
ironically it's actually on a very small
piece of paper so now we are going to
make this base fat and the way we are
gonna do that is one of my students
actually gave me this pretty cool
Ableton Rack is simple let's see where
would it be audio effects audio if a
filter app is called a freak he's called
at the frequency splitter and it just
using the multiband compressor all three
of them all it does is just splits the
frequency range of the bass but it's all
sub-base at the moment so we might want
to add some harmonics by using a bit of
saturation and again I'm just using the
Ableton plugins in this but you can
follow along in whichever door you want
using the equivalent plugins of course
so I'm just gonna look at some of the
presets to do direct
you
you
so we're adding some more harmonics to
that sub base and now if
if we go into the mid frequency range we
can use this free tool from ozone called
ozone imager if you just just put it on
the middle and and then we can widen
that out so let's have a listen to this
we press stereo wise
so this is off super mono
and now we've got some width in our base
which is cool okay on to the next thing
that would be getting this stuff to kind
of gel with the gel with the beets so
what we're going to do is create a
sidechain compressor I'm actually I am
actually going to add another operator
because I do want it a bit fatter and
I'm going to keep this one in the center
but detune it slightly three so now
let's listen to our source in what out
what you can also do is you can also
kind of change some of the waveforms
which will give it a different sound as
well so if we had a square in there
obviously that's changing the sound
slightly but we're gonna go stick to all
saws you can change the type of saw as
well okay onto this next thing the
sidechain so what I'm going to do for
this I'm going to create a dedicated
sidechain Channel SC and then we are
going to basically program in what is
going to be used to trigger our
sidechain compressor and we are going to
copy that
kick pattern and we're not used
we're not side-chaining from the drums
themselves because they're all you know
the kick and the snare is all in the
same drum pattern we don't want
everything ducking when any of the drums
play so let's grab a simpler we'll do
and then just to like a short sharp tick
so we're closed hat like that will do
you're not going to be able to hear this
just going to make it so it hits on a
transient now all we're going to do is
program in the same pattern as the kick
in our drums and we're going to use that
to trigger our other stuff for the
sidechain duck
it doesn't matter if it's not on every
kick just the main ones if it's on every
kick it might actually be too much is
that right
probably that'll do okay so now we've
copied that what you need to do is look
it's very quiet isn't it so I'm just
gonna boost up the volume of that but it
doesn't matter too much because you
won't be able to hear it I've changed
it's a sends only so weird that you
can't hear it
see but it's still playing and now when
we go to our chords we can whack on a
compressor and now we can press that
little button the sidechain sidechain
input SC I'm gonna call this pump pump
or mum pump and now it's gonna duck when
our kick hits if we pull the threshold
down put the ratio up and then you can
tweak the attack and the release to your
taste attack would usually be quite fast
because you wanted to hit a hit in as
soon as that kicks playing but then we
can make the released in time with the
rest of the track
okay there isn't a second kick in that
bit so I'll take that one out whoops
that one out I mean cool and now we can
just copy that pumpkin and put it on the
base as well so now the kick and the
bass are going to I'll just minimize
that that now the chords and the base
are are you going to dark I'm going to
take out these little bits from the
chords because I actually just like them
in the bassline rather than in the
courts so they're kept in the baseline
see now let's make it sound really big
so we're going to add some auxilary
reverb we can just use one for this
actually for this example I'm just gonna
load on a reverb make sure it's 100% wet
and now let's add some to our cause
and what we can also do is make sure
that we are EQ out on that side chain
sorry on that walks channel getting rid
of some of those frequencies in the
reverb
and you might want to pull down the
effects of the pamphlet
I am actually going to use a bit of
tomfoolery on there cause that's a bit
too epic that's better more emotional
so I've just made that last note a
seventh which makes it a bit nicer a bit
more epic I'm gonna take this up back
and onto as I preferred it there and
what we're going to do to make the base
more interesting is add a couple of
pitch bends so we're just going to make
sure that our pitch Bend value is set to
I would just use one notes because it's
a base line you don't want more than one
note playing and I'm going to change
this pitch value here to twelve so when
we drop it a whole octave it actually
does change a whole lot tip okay so
let's do that
I'm gonna press this little envelope
button here choose MIDI control pitch
Bend
and then we're gonna do a bit of pitch
Bend on here so let's listen to the
beats and the bass on their own where's
that gone I changed it mix it here we go
that kind of effect just to make it at
just to add some interest but make sure
that it goes back to you know no pitch
Bend for the main basis
I'm holding halts to make it occur and
just make you a little bit of interest
here whoops nice at 31 should be zero
okay I'm just gonna copy this bit of
zero to make sure that that it is on
zero it's 31 - okay well it's copy that
because I know that zero okay it's
making sure the pitch Bend does resort
back to zero and you can just copy and
paste
you know duplicate that if you want
don't want it there though that's know
you have to kind of that's cool dope
right on to the next thing
wider frequency done vocals nice alright
cool so this is our main tune we've kind
of got it rocking on let's add some
vocals and then we're gonna do vocal
chops as well but first I'm gonna find
the vocals and I'm going to use splice
for this again where we're working in
the key of E major
so all on splice you can just kind of
look in you know female vocals or
whatever the vocals you want but we we
want female vocals for future bass
really and then you go calls and then
you can choose you know which key it's
in in our case it's E major it's quite
hard to find full acapellas on splice so
then you might use something like sound
better calm to find a vocalist to work
with and you know say beautiful it's
usually just little clips and stuff like
this let's turn the volume banks it
might be a bit loud we get out so if you
were to just
you attract you can preview them as you
go but I actually found some recently in
this key so we're just going to go to
the ones that I downloaded before but
this is exactly how I found them so
let's go to them recently added
we got loads as I said they're all kind
of little snippets but that's fun okay
yeah yeah I'm still in love tell me
that's cool
ideally you want them wet sorry dry so
you can put your own effect on them but
I'll just show you how it automatically
just sounds good with the track so we
know what key were working you can hear
it's in key so let's get the vocals that
we're gonna use it yeah that's cool okay
all the wet ones I'm gonna put on a
different track actually just to keep
them in check so we can process them
differently
nice nice Bridget Kelly the same
harsány is that that's gonna need some
EQ okay guys I'm not gonna spend too
much time on this because I know you
want to see all of the stages in this so
that's crap a lack on just gonna use
these ones for the time being and the
way I'm going to do that is by
duplicating that getting rid of the
beats and the site a sidechain just so
we can work see how it sounds with the
chords on their own I'm actually going
to bring the bass notes of the bass line
back into the chords because I think it
sounds nice
whoops I copied the this template thing
I drawn as well so I can just get rid of
that if needs be all the octaves and
then grab those notes paste them back
into our chords
and I'm gonna make sure that the lower
frequencies are taken out so they don't
clash without
that base cool so let's have a look at
these vocals we can see there are 140
bpm because it tells us make sure it's
warped to 140 like that yeah that's nice
so let's just bring some of these in
really nice that just take the volume
down a bit let's just get a little
little kind of idea
cool okay I would work on this I would
work on this a load more but you know
time is of the essence I want to give
you maximum value I use you I'll
definitely use you okay so that's kind
of how we get some vocals let's call
those backing and we'll color those both
purple and then make sure that our clip
to that color to just keep things simple
now we're going to move on to the vocal
chop riff let's see auxilary inside
channel already done that mate on to
this vocal chop so what I'm doing is I'm
creating a MIDI channel and I'm going to
use a simpler and I'm gonna chop some of
these vocals that Bridget Kelly sang and
I'm gonna use that as my vocal chop
instrument so let's find a nice little
bit in her voice that we like just a
tiny little God doesn't matter what note
it is this main bit is he's got a nice
transient attack on that so what you can
do is you can just make that into a
little clip just cut it my press command
+ e to do that and drag it in to a
simpler and now when I hit the simpler
it's gonna make a noise I'm tweaking it
to get me make sure it's got a nice
staccato start now we need to tune this
to the track that's very very important
so what you can do is you can hit your
chords thing press middle C or some
other note but whatever it is you have
to press the same note on the vocals and
tune it by ear to it so this is middle C
walks no sound and now when we hit the
you can hear that so different notes so
we have to go into controls and tune it
with transpose okay they are now in tune
and we might do a bit of detuning to
absolutely tweak it but now we can
basically use this vocal chop as an
instrument so let's do that let's just
kind of get a feel you can use a
template technique as well if you want
if you're not that strong in the piano
or the keyboard let's call it a local
truck but I'm just gonna do it by ear
just get into the groove play what feel
I think it's slightly slightly out of
tune so we'll use a teaching let's make
sure it's really a let's do it I'm just
gonna do it really simple
cool let's get that in you can either
program it in or players here because
it's simple I just we can program it in
is it won't take long just a bit of a
change at the end just to spice things
up
now let's get some of that waltz reverb
on it
with that Orcs reverb we can actually
put a pump pump on that as well a
sidechain compressor to make it pump
even more and if we increase the volume
of that's auxilary reverb you can really
hear the effect it has its pumping
effect
so you can hear it's really kind of
starting to take shape now so let's put
our little vocal hick hook here and turn
those off just for that last bit we need
a bit of a crash okay so let's get that
in we've done that we're going to do a
synth riff soon and a plug for it a
pluck layer to that but let's have some
really cool trick with the gate let's
put a crash in just a simple crash
because I feel it needs more impact on
that drop so drum hits just make sure
it's kind of hitting the right
frequencies again it's something that
you can do yeah that sounds pretty good
I just put an EQ on make sure I take out
the bass for you there you can add
reverb to that and it'll give it that
nice pumping feel to
I might even compress that to make it
stay louder for longer
so that you can hear the difference on
that drop
cool okay let's spice things up and add
this extra riff that I was talking about
I just rearranged the order of that put
the chords I like to have the chords
below that and just call that crash
color green because it's a drum boom
boom
lovely jubbly and again you could do
some cool effects with the vocal chops
as well you could do like a bit of a
Glide
he said is it does absolutely nothing
whatsoever
that's a bit rubbish I don't know why
that's not working but it would work if
you were to kind of overlap them like
this then you can hear the difference it
makes
you can hear it kind of sweeps between
the two notes then but yeah that doesn't
seem particularly intuitive you would
think it would do it even if you didn't
overlap them so you get the idea of what
you could do that
anyway onto this riff so we want
something that kind of makes it more
interesting than just these chord stabs
so we're going to add a riff that is a
sustained riff still but we want it to
sound a bit more grungy add some add
some freakin character to this bad boy
so let's go
synth riff and I'm just going to use a
sample I'm going to find some random old
sample again you've got to make sure
that it's tuned to the rest of the track
so let's just look at some old samples
something with a bit of
that sounds pretty cool like let's see
if we can make that work so let's play
this in C and see if it's in tune with
the chords the chords okay now we're in
tune so the first thing I'm going to do
is work out actually I'm going to change
that to a sampler so I can actually loop
it nicely
and then I'm going to work out some riff
that works with the chords
and again you can use the template
technique to do this but I'm just doing
it by ear it's not amazing but it's just
to add some more character
cool so we're just going to program this
in and then for the second part of the
drop I'm going to change it up a bit and
these are all using notes from within
the key of E major so you know this
isn't rocket science
okay this might be a bit cheesy but you
know we're locked in our houses so what
are you gonna do to me a cool and it's
already got this kind of grungy grungy
sound imparted into it but we're gonna
layer that with the plaque so I'm just
going to call it cluck just to just have
it cut through the mix a bit um and I'm
gonna use a buh-buh-buh-buh-buh buhbuh
wave table which again comes with
Ableton Ableton ten sweet so let's
choose a pluck sound see how that sounds
we just put these together on their own
and I'll make sure that the base is
taken out of this one as well and you
could add some more grunge to it if you
really wanted you know you can Chuck on
a amp which is pretty cool play with one
of those a bit let's try heavy
and we're just gonna layer those
together and I'll show you why soon and
let's just call that simp riff and big
letters so we can see it's a bus color
that bus colored color those synth
colors
lovely jubbly assign tracks of colors
vocal chop-chop let's just color that
there we go
and then and now we can add our global
reverb
and we can shape the EQ on the group a
bit and what we could do which is sound
quite cool in here is we're just gonna
add another aux channel and get to put a
delay on there just a simple delay and
turn that to 100% wet and then let's put
a bit of that on our our group actually
just on the plot whoops I forgot to put
ping pong
cool so there's how epic almost kind of
oriental sounding in terms of
instruments so let's have a listen
let's get these chords sounding even
bigger we're gonna add a bit of
saturation to get those popping through
the mix what was they doing saturator
here we go so let's just listen to some
of these presets
obviously you know things are getting a
little bit messy there so we'll have to
turn stuff down and then we can mix it
up from scratch but before we do that I
want to kind of show you the break and
the build I know I said this was
in-depth guys
there's a lot to get through so we're
almost there I hope you've been being
enjoying it so far if so let me know
give me an arm and brother in those
comments below because I need to know if
you're digging these so I can keep
making them let's get some EQ on that
vocal just get some of that low-end down
lovely rich voice and I'm gonna stick on
some of that global River
and I love me like a say bill do you
know do you Bridget because I wonder
okay let's make this break we've already
kind of got a break going on so I'm just
gonna stick another bit of time there
technical term and I'm going to show you
how to introduce the drop so first thing
we're going to do is we're going to
filter the oh gods are these out of
these cords so let's take it down cords
there's a bit of clipping going on
somewhere let's turn the output of the
thingy down there we go I was looking at
these these meters here there's a bit of
clipping here it's because everything's
you know you've got four operators for
the price of one so I'm just going to
turn all of those 2-3 this is called
gain staging guys it's very important if
you want a nice clean non clipping mix
you can always turn the volume up on the
channel fader now we've got a nice clean
signal so let's filter these we're gonna
filter it up to the drop and then on the
drop it's gonna be full power full steam
ahead
but what we're gonna use for the break
is a guitar type arpeggio and we're
going to create this from scratch and
it's going to complement the vocals that
we've got and it's going to give us a
different vibe to the song so let's just
copy and paste those again I'd spend a
lot more time getting the right vocals
for this but I just want to show you how
you can craft a future bass track in
this way so let's call it guitar plucks
or some weird word that I just made up
alright let's go to sounds and then go
to guitars again I'm just going to be
using the Ableton ones nice
yes guitar palm legacy I accept might be
a bit much but we'll see you soon I'm
just going to turn it down a bit and we
are going to do an arpeggio of these
same chords that we've already been
using for the courts so if we go it's
just call it guitar pluck
first I'm going to draw in the normal
courts and I'm going to show you a super
cool trick to make them more emotional
so I'll do them exactly the same notes
as our cords here so my cords will do it
a C sharp E and we're just gonna kind of
do a little pattern that like this we're
doing knocks it down I'm just gonna do
it in threes and then it's syncopated
and sounds cool and then on to the next
chord okay so what's the next chord the
second chord is B d sharp F sharp again
we're just going to copy and paste
gang copy and paste this is gonna sound
a bit basic but I'm going to show you
how to make it sound advanced okay so
the way that we do that is even though
we're just using three notes we can make
that we can change that bass notes to
the seventh
so in our chord here you remember we've
got that's the first that's the third
that's the fifth and that's the seventh
so I'm just going to play with some of
these notes I'm going to take that from
the first down to the seventh which
automatically makes it sound you know
more more of a heart melter so it kind
of plucks at the heartstrings let's try
it with the chords up a bit
and I'm gonna do the same with some of
these chords I'm just gonna bring some
of these notes closer together in the
scale
that works let's see if we can bring
this one down to the seventh
so instantly you've got something that
sounds like lush and you can even switch
up the last two notes there cool so
that's what I would do in the break and
we've got the chords underneath so it
sounds like this
the reverb on
and obviously we want a kind of bigger
vocal on the build-up they're going into
the drop which is then going to be the
vocal chops but we are going to quickly
introduce this synth riff earlier on and
the way we're going to do that is we'll
introduce it on the build by copying and
pasting it and then we're going to take
the energy out of it by using another
filter and we're just going to copy and
paste the one that we put on the main
chords actually so let's check this out
so actually now we're going to do it on
each separate track not the group
because you can hear the non filtered
signal is being fed through to the
auxiliary Channel so we want the
filtering to happen before that that's
better
so you can hear that kind of filter
build works
that's just editors a bit so that's how
you can take out the energy and you know
you could even do a bit of volume
automation there because you just really
want to be hinting at that so let's have
a listen
I don't love me like a save
cool okay so we are really really
getting there not long now so I'll just
do a couple more things like get a build
in there
I just those vocals need to be bigger on
the drop so what I'm gonna do is I'm
gonna go back to my vocals quickly from
Bridgette that's just that's cool we'll
use that before the job
I'm gonna add some more reverb to that
drum loops snare quickly as well and
I'll show you how but first let's get a
build in I'm just going to use a build
up that I found again on splice just
look for future bass drum build so let's
see how that sounds okay we want to take
some of that high end energy out at
first so let's put an auto filter in and
then we'll open it up as we go towards
that break
let's get some more size on those vocal
charts
make sure they're all taken out and then
for the vocal chops again we're gonna
have Bridget's singing the hook at the
end I know and then we'd have a bit of
delay on that as well which we'd put on
on the auxiliary channel but for the
sake of brevity I'm just gonna do that
now because we're running out of time
again guys let me know if you've enjoyed
this I really hope you've learnt some
stuff from it
let's just put ping pong on there
that's cool
almost there guys
we're just gonna add a little kind of
drum intro dude did you do
classic future bass and then we are
pretty much done for this lesson
like we've covered a lot so let's just
get this last bit in I'm just gonna go
for some that I've perhaps already got
so let's look in my thingy that's the
technical term as well
doo doo doo doo it just fills drums
drums fills check them out
oh yeah classic classic future bass yeah
that's what we're gonna do
well 1 2 3 4 don't know what tempo it is
it says 1 for 8 but I don't trust it
1 for 8 now maybe yeah so there we go
and if you really wanted to spice things
up with the mix you could add some
low-end to that kick and bass I'm just
gonna add a bit of dog
drum loop I'm just good this is another
thing that's not with Ableton but again
it's free so that counts we are just
gonna add bark of dog to beef up that
bass line
that is fat like that is fat this is the
one thing I said that I would show you
how to do a cool trick with age a what's
it called gate so let's do that so say
you want that more like did I did it I
did it on your cords
that's another technical term I'll turn
off the pump comp for the time being I
will stick on a gate let's go to gate
again this comes with Ableton Live this
is something I don't usually do but you
totes can do it and then let's create a
MIDI track call it trigger and it
doesn't matter what sound to use so I'm
just gonna use an operator to write in a
rhythm and it doesn't matter what note
it is either but um for the sake of not
confusing things I shall just have it on
ie because that's the base note of those
chords or the first chord so then you
write a a little riff that you like a
little rhythm and it just has to be on
one though so let's do that then and I'm
gonna give it to this little gap in
between each one
so let's just do that I'm gonna
duplicate it whips didn't you because it
correctly need to make sure it's kind of
duplicating the exact in the right place
make it I failed to do it correctly
again so we're just going to duplicate
that clip if you can't run Ableton 10
without turning off the automation there
we go
and now what we're going to do is you're
going to use that to trigger the rhythm
of the chords so I'm going to click this
little thing here
choose sidechain input trigger now check
this out first I'm going to change this
to sends only so we can't actually hear
the trigger is like the sidechain
compression it's just going to be
triggering this okay that's not doing
anything ah because you need to have the
chords playing obviously
so you can hear it starts when you get
the threshold in the right place and
this is what trance producers used to do
a lot as well same thing but now you can
hear you got that cool effect
you know it confuses it a bit because
I've got delay on that sound already so
there you go that was my SuperDuper
trigger trick okay there you have it
guys
alright I'm gonna do my outro thing but
stick around because if with some great
news at the end of it there you have it
guys I really really hope you enjoyed
this tutorial please give it a thumbs up
and share it with your friends if you
liked it and if you haven't already
subscribed to my channel download all
the project files for free below I may
have already just said that but stay
safe and until next time Cheers and
happy producing
