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Channel: Resonance Music Academy

"Как создавать музыку быстро?" с Иваном Романовским. Онлайн мастер-класс

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Channel: Resonance Music Academy

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Channel: Resonance Music Academy

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Channel: Resonance Music Academy

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Channel: Resonance Music Academy

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00:00:02

squares, we see that the program is

00:00:04

oriented to this size, here the

00:00:06

bass lines are turned on again

00:00:08

and the kick drum appears again so that we have a

00:00:12

transition. This was epic.

00:00:20

Hello everyone. My name is Ivan Romanovsky,

00:00:22

we are in the studio of the Music

00:00:24

Academy, resonance in this video we will

00:00:26

talk about two types of pits without which

00:00:28

your tracks are impossible, namely what we are

00:00:31

talking about When you write electronic

00:00:33

dance music, it is always an

00:00:34

alternation between powerful parts and

00:00:37

weak parts between tension and

00:00:40

relaxation, why is this necessary, why are

00:00:43

moments when half of the sounds

00:00:46

are turned off and the listener rests?

00:00:49

it is necessary just so that on the dance floor

00:00:51

when he dances, he feels a moment of

00:00:54

relaxation, gathers his strength and at

00:00:57

the climax of the track splashes out this

00:01:00

energy, rejoicing and dancing at full

00:01:03

capacity and there is always

00:01:06

such an increase in tension and increase in the composition

00:01:08

so that the track always seems to be on the rise

00:01:11

better more beautiful and more danceable

00:01:15

for this we use pits and a pit is needed

00:01:18

in every track If you write

00:01:20

a composition that will sound for a

00:01:22

long time without a pit, constant powerful

00:01:25

Energy dance everyone will

00:01:27

like it, but after three minutes the

00:01:29

listener will already get tired of it and

00:01:32

he will not be able to continue to continue

00:01:34

dancing he will want to rest,

00:01:35

so he needs a pit, every track needs

00:01:38

a pit, otherwise it is doomed to

00:01:41

mediocrity and is doomed to

00:01:44

sound boring. Therefore, you need to learn how to

00:01:46

create a pit And we will look at two

00:01:48

ways to create this pit, the first method

00:01:51

is the simplest, the most often used

00:01:54

is to turn off all powerful elements such

00:01:57

elements as bass lines or operations

00:02:00

remove unnecessary frequencies turn off the kick drum And

00:02:04

gradually

00:02:06

add energy at the climax and then turn on

00:02:09

all the sounds again When you write

00:02:12

small sketches this is the

00:02:15

reason Why we don’t create a

00:02:17

full-fledged composition It’s because we do

00:02:19

n’t know How to develop our composition and

00:02:22

develop a composition this is exactly the

00:02:24

same percussion block of the melody that you

00:02:27

wrote to be able to turn it off and on and

00:02:30

create certain transition effects

00:02:32

between these blocks in our track. If

00:02:35

you look at someone else’s composition in the form of

00:02:37

an audio signal, you may notice that

00:02:41

it consists of different parts and for

00:02:44

example in in this track I see Three

00:02:45

small pits, one small, second

00:02:47

small And here is the third. You can say it is

00:02:49

also small in length, about a minute, but the

00:02:53

optimal size of the pit is about a

00:02:56

minute because it is not too

00:02:57

short and not too long, there are pits

00:03:00

for one and a half minutes, sometimes for two minutes and

00:03:05

these moments are very often displayed in the tracks. They are

00:03:08

just about increasing the energy, that is,

00:03:11

first the musician uses a smaller

00:03:13

number of elements, creates a

00:03:15

certain climax and

00:03:17

then develops it with a denser

00:03:19

signal, here the energy increases and

00:03:22

then again creates a moment for

00:03:24

relaxation and again the energy

00:03:27

increases maybe it sounds even bigger and more

00:03:29

powerful than the last time, what

00:03:32

happens when leaving the pit,

00:03:33

filtering reveals frequencies if

00:03:37

synthesizers synthesizers are used,

00:03:39

all envelopes are lengthened, releases

00:03:42

are lengthened, children times are given,

00:03:44

all parameters that can be

00:03:47

increased are expanded, revealed and made more

00:03:50

powerful so that the

00:03:52

climax seems epic this is exactly what

00:03:55

our pits look like, the classic

00:03:58

version of writing pits is the first one that we will

00:04:00

consider; this means turning off

00:04:02

powerful elements and turning them on after a

00:04:05

certain period of time after the climax builds up.

00:04:06

Let's take a closer look

00:04:09

in the project. Pay attention to this

00:04:12

composition and how the pits look here.

00:04:15

this means we have powerful main elements

00:04:16

turned off, we now see a stereo signal,

00:04:19

the left and right volume channels and we see

00:04:21

that there is very little sound in volume, then

00:04:24

the volume gradually begins to increase and we have

00:04:27

drops; this is the exit from the pit in the

00:04:30

second part of the pit. We see that the picture

00:04:33

has not changed much only more

00:04:36

volume, again the powerful

00:04:38

elements kick drum and bass are turned off and when leaving the pit

00:04:41

the power increases again let's

00:04:43

listen to How it sounds

00:04:44

[music]

00:04:52

effect

00:04:58

and classic output by turning on All

00:05:02

elements with the addition of some

00:05:04

transition effects here we

00:05:06

have a bass line

00:05:10

[music]

00:05:25

Almost the same exit in the second Pit we

00:05:29

see the classic version of the use of the

00:05:30

pit and the first type of pit with which we

00:05:32

will get acquainted. This is the classic version

00:05:34

that we just listened to,

00:05:36

I will show you using the example of this project,

00:05:38

this is an already written track and here we see

00:05:41

what turns off in the first Pit the kick

00:05:44

drum [music] is turned off, the

00:05:51

bass line part remains sounding but

00:05:55

in the pit. I used filtering on the master channel,

00:06:03

now we see processing on the

00:06:06

master channel, here I have

00:06:08

the autofilter turned on, so the automation of turning

00:06:11

it on is written on this line and it

00:06:15

turns out exactly in my pit

00:06:16

connects and turns off when leaving the

00:06:19

pit, the moment it is turned on, the low frequencies with the

00:06:22

frequency knob gradually begin to be

00:06:24

removed and destroyed, less and

00:06:28

less low frequencies reach 300 hertz

00:06:30

and then they return back

00:06:32

gradually in order to add

00:06:34

power when leaving the pit, let’s listen to how

00:06:36

it all sounds

00:06:38

[ music]

00:06:46

bass lines sound still happening

00:06:53

[music]

00:06:59

less and less frequencies remain in the entire

00:07:04

track

00:07:11

in the third minute you hear a very

00:07:13

subtle sound bass lines are

00:07:16

turned off here in the track

00:07:17

[music]

00:07:22

gradually opens up by filtering

00:07:25

percussion

00:07:30

Let's see how it closes on the contrary

00:07:33

by filtration it was possible to

00:07:36

reveal

00:07:40

[music]

00:07:43

and the drop by filtration,

00:07:46

here the bass lines are turned on again and the kick

00:07:50

drum appears again

00:07:54

[music]

00:07:58

some musicians

00:08:01

can also turn off the percussion while

00:08:04

the drop is playing, that is, we can delete it

00:08:06

and the exit from the pit will generally be like this on the kick

00:08:09

drum and on bass line is also one

00:08:11

of the options for developing the composition and

00:08:13

percussion enters later on the square

00:08:21

[music]

00:08:33

for example somewhere. Here the

00:08:35

percussion part

00:08:41

[music] is connected the

00:08:55

second type of pit that we will

00:08:57

consider and the fundamental difference in

00:09:00

these pits is that we have one pit

00:09:02

built according to the canons in squares, everything

00:09:05

sounds clear to us And basically the development

00:09:07

is gradual, it can be strengthened, it can be

00:09:10

weakened, a small development can be

00:09:12

increased, then some effect on the

00:09:15

increase goes through the stove, some effect

00:09:18

can go down, it doesn’t matter, the

00:09:20

classic version of writing the pits

00:09:21

look So it can be

00:09:23

longer by half a minute, it can be longer

00:09:26

even in some tracks and not look

00:09:29

like two minutes if it’s trance

00:09:31

music then there can be a gradual

00:09:32

fade out of the sound gradually appear

00:09:34

vocals gradually appear some

00:09:37

trance synth And after that

00:09:40

the climax if we consider

00:09:42

classical variants of writing pit,

00:09:45

they are always in a large square,

00:09:47

be guided by these dimensions, you

00:09:50

can consider another variant of

00:09:53

writing pit, this option can be called

00:09:56

with a guy or a delay or with a pause, that

00:10:01

is, after the main squares

00:10:03

you have heard the next one after the square in

00:10:06

which everything is included the elements do not immediately

00:10:07

enter, and we use some of the pause here

00:10:11

in order to tease

00:10:13

our listener and make him expect a way

00:10:16

out of the pit and make him prepare

00:10:19

even more, passions heat up,

00:10:23

intensification of emotions and the way out of the pit is then even

00:10:27

more effective How this is

00:10:29

done Now, if you If you use the

00:10:31

ableton Live program, you can easily

00:10:33

put a dot here with the right

00:10:35

mouse button or

00:10:36

click on the Create button create and

00:10:40

add an inserience section, put

00:10:42

silence, a window appears that

00:10:44

asks me how long the silence should be inserted

00:10:47

here You can write one, it means

00:10:51

this is one bar and click OK in front of us we

00:10:54

see now a small pause this pause

00:10:56

can be filled with other sounds

00:10:59

or it is a pause in the form of silence Why is silence needed

00:11:05

to give the opportunity to listen

00:11:08

or here to take a break from the sound and

00:11:10

prepare for a powerful import a powerful

00:11:14

explosion you can have a powerful explosion of emotions

00:11:16

transition and for this you can use

00:11:18

such a square of silence immediately I would like to tell you

00:11:22

something useful, see all the squares

00:11:25

have now moved, yes, that is, And if

00:11:27

you look further at the appearance of the

00:11:31

clips, you will see that all the clips

00:11:34

are also shifted in relation to the

00:11:36

grid, and so you have not moved everything

00:11:40

very conveniently If I want to

00:11:41

take some sample and move it to the right

00:11:44

side, then you see it doesn’t

00:11:46

correspond to the location. That is, it

00:11:48

should look like this for us. But here

00:11:50

it stands up unevenly in

00:11:52

relation to the main square and it’s always

00:11:54

awkward to drag it

00:11:57

use a special function

00:11:59

that takes into account non-standard sizes of

00:12:02

squares This is a non-standard size of a

00:12:04

square turn it into a part in such a

00:12:09

non-standard tact transition of the grid How to

00:12:11

do this with the right mouse button you

00:12:13

can insert insert timesignation

00:12:16

install a

00:12:18

special locator that shows the

00:12:21

change in time if we insert it

00:12:23

see what happens Here it is

00:12:26

appears We have here 137 bars

00:12:29

and 138 And 138 bars four

00:12:32

quarters of a small tick appears which

00:12:34

means that at this point we have

00:12:36

made a transition to a new stage of the grid

00:12:39

if we now look down the entire grid,

00:12:41

then the entire grid is now aligned along

00:12:43

this small triangle if it’s

00:12:46

not there,

00:12:48

then we see that the grid

00:12:50

remains in the classical way as before, we can

00:12:53

put this triangle on the 3,137th

00:12:56

cycle and, by reducing the size of the grid, show the

00:13:00

program how much the size of the

00:13:03

square is changing. For example, here’s a whole

00:13:06

clock cycle, this is like the new size of the square

00:13:08

that we show to the program. And now

00:13:10

if I turn on grid with large squares, we see

00:13:12

that the program has focused

00:13:15

on this size and now substitutes all the clips

00:13:17

in relation to this grid, this is

00:13:21

convenient. If you are just creating similar

00:13:24

mini-transitions or quarter changes in

00:13:27

your compositions, you can

00:13:28

thus build tracks on how

00:13:31

similar

00:13:33

delay delays sound I would call it a delay

00:13:36

because the drop is pulled back and there is

00:13:40

a certain moment of anticipation that has a

00:13:43

very good effect when

00:13:44

listening, listen to what we

00:13:47

have in the pit here

00:14:21

[music]

00:14:24

put a couple of FX at the exit from the pit in

00:14:27

order to give more

00:14:29

epicness to the transition and see what

00:14:32

option yes, that is, one of the options is that

00:14:34

we have an unfinished batch of melodies, we

00:14:37

can extend it for the moment, or

00:14:39

loop some new sound, or

00:14:41

create a transition effect, or leave

00:14:44

it in the form of silence similar to what we have,

00:14:46

yes, that is, gradually escalating

00:14:48

the situation To enhance the sound

00:14:51

I can send all the elements, for example, the

00:14:52

bass lines part that I have

00:14:55

here, a breakdown is called

00:14:56

sending to a send to the

00:14:59

reverb effect and perhaps to another

00:15:02

effect in order to enhance the transition

00:15:05

so that our transition was epic here

00:15:26

[music] the

00:15:30

gram section does not sound for us because

00:15:33

We are filtering the

00:15:35

drum section here, I’ll give a filter, I can turn it off

00:15:37

at this point in time, it wo

00:15:40

n’t be used for me anymore. In general, I can

00:15:42

turn it off already when moving from the previous

00:15:44

pit, let’s listen to How it sounds now

00:15:52

[music]

00:16:03

[music]

00:16:09

and to make it more interesting we let's add another

00:16:12

small FX that will

00:16:13

raise our part up

00:16:16

[music]

00:16:18

our note that will make noise to

00:16:22

increase to add variety to

00:16:24

us

00:16:29

[music]

00:16:31

In some cases, this may be your

00:16:33

looped SiNT that sounds on

00:16:36

some note, a

00:16:39

raised note of some kind on a

00:16:41

lower note, also experiment

00:16:43

somehow your compositions will sound more effective,

00:16:45

you can take one small

00:16:47

square that

00:16:48

you take and repeat several times,

00:16:52

you can consolidate one sound that reveals itself through the

00:16:55

filter

00:17:01

[applause]

00:17:03

consolidate, combine into one whole,

00:17:06

add

00:17:08

automation to the clip on the

00:17:11

transposition parameters and thus you have your

00:17:14

SynT that is looped will gradually begin to

00:17:16

go up even more

00:17:19

[music]

00:17:21

if you use synthesizers some

00:17:25

notes, then in synthesizers you can also

00:17:27

loop one part and make it

00:17:30

sound more bright and expressive If

00:17:33

you repeat several times and increase the

00:17:36

filtering on this part

00:17:42

in this case I’m not happy with the synthesizer part

00:17:45

because it

00:17:47

contains subtle elements. Yes, and

00:17:49

the rest of the parts are turned into an

00:17:51

audio sample, but this is also a very good

00:17:54

option to use an audio sample. For

00:17:56

example, I often do this by

00:17:58

getting audio samples from standard

00:18:00

Ableton Life samples, which is called

00:18:03

bass lines if you have

00:18:06

packs installed You can find many similar

00:18:09

bass

00:18:11

tails

00:18:13

[music]

00:18:21

for example this sample is long and

00:18:23

I’ll turn it in the opposite direction,

00:18:25

press R and you can also use the

00:18:29

clip section transpose this clip

00:18:32

transpose clip to create some kind of

00:18:34

epic transition to

00:18:37

raise him to drink a few octaves,

00:18:42

this part is too high on the

00:18:45

right side. I will remove it from this sample

00:18:47

because it is too bright and powerful in

00:18:50

frequency. But I can leave this part, it

00:18:52

will be a kind of acceleration

00:18:55

that we made from the bass part.

00:18:57

You can hold down Control Shift and hold

00:19:00

this throughout the entire pause that we

00:19:03

create

00:19:05

[music]

00:19:07

do not create such overclocking if your

00:19:10

overclocking starts to rattle or ring or

00:19:13

you feel that it sounds uncomfortable in the

00:19:16

upper frequencies, apply a filter, also

00:19:18

dampen the upper frequencies, you can

00:19:20

gradually open them up and thus

00:19:22

create an interesting

00:19:27

overclocking using effect

00:19:29

[music]

00:19:37

[music]

00:19:49

[music]

00:19:59

[music]

00:20:06

Notice how this pit reads

00:20:09

in relation to other sounds in

00:20:11

relation to the square

00:20:45

[music]

00:20:48

in this case it sounded like the

00:20:51

intro of the next square, you can

00:20:53

use the previous small

00:20:55

synth sample to make this sounded like the

00:20:58

end of a square on the previous note.

00:21:00

So I’ll take it and duplicate it several times,

00:21:03

it will be repeated. It turns out together instead of

00:21:05

concatenation

00:21:08

[music]

00:21:12

if you need to make it more epic, then

00:21:15

we can also use

00:21:16

consolidation to

00:21:18

combine into one and use the

00:21:20

clip section, the transposition parameter

00:21:23

can be transposed to one octave is

00:21:26

12 semitones and your sound flies up an octave, you

00:21:28

can leave one square on

00:21:31

one octave and see how it will

00:21:33

sound

00:21:37

[music]

00:21:42

[music]

00:21:52

this is such a quick and effective

00:21:55

excursion into the practice of creating a composition, of

00:21:58

course this is useful when completing a

00:22:00

composition in an arrangement and Use

00:22:03

this technique to develop your tracks

00:22:06

If you don’t know how to complete compositions,

00:22:08

many students in our

00:22:10

Resonance Music Academy course are

00:22:12

wondering how to develop their track. How to

00:22:14

get out of the looped part and create a

00:22:17

complete composition; this is just a

00:22:20

series of different powerful and weak parts

00:22:23

of the composition and just creating a hole and

00:22:25

drop, I hope this technique was useful for you

00:22:28

and write comments What do you

00:22:30

think about this and also Write

00:22:32

maybe your own

00:22:34

versions How do you see the way out of the drop or

00:22:37

creating a hole in your tracks and

00:22:39

Subscribe to our channel Do not forget

00:22:41

that the music academy is resonance not

00:22:43

only a Youtube channel but also courses

00:22:45

that you can attend and learn all

00:22:48

the skills more effectively and more deeply

00:22:50

in our academy. We are always waiting for you and

00:22:53

ready to share knowledge with you so

00:22:55

that you become a real musician,

00:22:57

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В этом видео преподаватель Иван Романовский не только рассказал, как ямы влияют на восприятие трека, но и подробно показал, где и как правильно формировать их в треках. Приятного просмотра! Все подробности онлайн курса "Production" и запись на сайте https://resonance-academy.pro/online или в нашей группе: https://vk.me/resonance_academy Подписывайся на наш Телеграм-канал https://t.me/resonance_music_academy

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