Disclosure (FIRST STREAM EVER!!) Twitch Stream

how we doing twitch guy from disclosure here and uh yes i am thank you for subscribing um hey it's good to be here it's been a long time coming i've put a fair bit of effort into uh making this stream look good for you guys um make it a fun place to hang out um make it sound good let me know in the chat if we're sounding good i think the levels look alright on my side but yeah it's going to be a little bit of a learning curve for me and uh i guess occasionally the guests that we have on um but yeah it's gonna be really fun um i think tonight i just want to kind of get used to this and uh say hi to you guys you guys say it sounds good all right wicked i feel like you're broadcasting from the 70s well fair enough um but yeah this is my studio um so welcome everyone and uh one thing i've set up which is pretty dope is the ability to do this we got one camera we got two cameras we got three cameras and we got the helicam oh yes hi everyone so yeah i just want this to be like kind of inviting you guys in um to the studio and to kind of give you an idea of uh yeah how we do things in here um it's gonna be mostly me i think because this is my house and like kind of my studio um but howard will be jumping on kind of like as a special guest i guess um but more frequently than others i suppose and um yeah i think i'd like to do some collaborative stuff i definitely want to like make some beats with people somehow still figuring that out but um yeah i think tonight like i kind of want to just give you guys a little rundown of my template in logic um show you like kind of the basics of what i take into a session um you know if whoever we're working with like what that looks like um you know how the process kind of unfolds um talking through a bit my studio gear here i mean we've got like a ton of gear in here which you guys might want to see and hear it says there's a hype train starting i mean i don't even know what that is at this point so yeah sorry for that but yeah um it's a small room uh it's in my house been here for about five six years i think maybe last four or five years and um yeah it's really kind of taken on a new life over the last few months because uh i bought a load of hardware um and just wanted to kind of get a more hands-on feel like this whole kind of cockpit here i mean this is just everything i want to play is within reach you know i can just i can touch everything everything's plugged into this mixer that you can see here so it's a very like it's a very hands-on setup and it's not something i would usually be able to take like into you know a session with someone um usually that will just be a little bit more of a laptop buy but as you guys will see like we're pretty like in the box to be honest we we have a lot of outboard gear that goes in but we do all the mixing uh inside in the box we you know i mix it all and we produce it all together and we even master it together so yeah i want to show you guys that process um i also want to talk a bit about plug-ins and all that kind of thing but yeah i kind of i want to let the chat kind of dictate where things go um i chatted to my man kenny beatz shouts to kenny last week or the week before jumped into his stream and uh he said one thing he did was like he started out by thinking he was gonna be making tunes and uh showing people how to do stuff which he does but he described it as it's a good thing to have in your back pocket and then most of the time you'll just do what you guys say so i'm down for that like i miss shows badly at the moment man i'm just missing interacting with fans and you know getting up there is something that me and howard have done since we were little kids so you know to have that kind of uh cancelled for now or at least postponed is uh yeah a little bit a little bit sad so this is a great place that we can hang out and uh yeah hopefully connect um thank you for that whatever that noise means i have set this up but i'm still getting used to like what all the noises mean um but yeah i think i think we're working i think it looks good um but yeah cheers everyone to the first stream got a little beer here please feel free to join let me have a look through this chat what you guys saying cheers cheers everyone cheers the emojis love this show us some classics yeah i mean we definitely will we definitely will i think i've i put up a post like about four or five days ago which was like a request to all you guys to say you know which tunes do you want us to break down and it basically just became a list of every song i've ever made with howard so that didn't really work so yeah i think um what i'll do is maybe work backwards in time a little bit i mean my high is you know the newest tune so i think we we may start from there and and then go in reverse or something like that um but yeah i don't know i'm kind of open to whatever you guys think we get an abundance of i can see a lot of requests for blue world which is dope um yeah my high tondo yeah we'll get through them all i think uh the general vibe will be makes and beats for like an hour or so have another little chat kind of like they might break down an old song if that works for you guys but yeah be good to get a few of these under my belt before uh we really commit to a structure i think because uh i'm pretty new to me so anyway let's start with the old studio tour let me switch cameras it's too far away isn't it i mean that's kind of too far as well maybe this one's best all right yeah cool so well actually i guess yeah let's start with this okay so this is the general cockpit um over there in that corner you can see we got some synths which i'll get to later um but yeah everything here um i'm going to mute them yeah everything on the on the table um is quite new actually um this 808 here the tr 8s i think it is yeah that one is an absolutely essential part of like the disclosure setup i mean there's so many beats that have begun on there and even if any of the sounds that were like recorded on there didn't make it um still like a lot of the ideas that begin on that lead to something else and so i find it really important to have that really near me just to sort of get something going um i just like how you just you can hit it in any old way and twist any knob and it does something useful you know i don't like synths where you have to go to submenuy you know menu of the menu to find stuff so yeah that one's good for that i think everything is just easy to get around um and then below it here let me switch cameras here we got the uh 303 the tr 303 i think i can zoom in on this there we go yeah the tbo3 sorry so this is the new one um it's like the mini version that they made um and i've got a bunch of this stuff actually it's all the roland boutique stuff so you can see here as well this little stack um yeah this stack from the top to bottom that's the d05 that's the sh-101 and that's the seo 2 which is the only actual analog one um and i bought these because i just like i just need space um you know there's not a lot of room in here as you can see like the whole room is that's it it's pretty mini so for me like having all of those things right there on the table makes them usable i mean i've had the juno over there and a bunch of other synths that we'll get to for like so long and um they get used a lot but sometimes for an initial idea you know because it's like a bit of faffing around a bit of patching you just kind of forget so i really wanted like a bunch of synths right here that would just work straight away and the good thing about those boutique things is they're all just usb powered the audio goes down the usb the power's usb the midi's usb it's one cable so all you need is a little usb uh powered hub which i've got like back there somewhere and they all just turn on and they all just integrate into logic super easily um so you know i'm sure the purists will say they don't sound as good fair enough i think they sound banging they're very clean they never go wrong and it's very easy to set up so i'm into them um especially this se the seo two here that one on the bottom because that one is actually analog it's got a couple of analog oscillators in it that's very much um it's just based on a moog really the only negative thing about it i'd say is like it's so fiddly it's so small um so yeah that one's a little bit tricky to to get get right but the sliders on the sh101 like all that that stuff there it's so it's so easy like to just you can't really see it but yeah it's all sliders really easy the d50 is is like just presets you don't even need to mess with that too much so that's like the roland boutique stuff classics made new and uh reliable and usb which i'm into you know i'm guessing yeah probably get some hate for that but i don't care um and then yeah in front of me this bad boy here um the peak let me see if i can zoom in on that again there you go yeah you can't you can't really see it let me see if i can move the camera whoa there we go this camera might get it nah it's not gonna happen all right i'll just talk about it from here yeah uh novation peak it is awesome um i find it very similar to used to um to a juno really i mean it's very much like a juno in terms of like this the sliders for the amp envelope and the mod envelope and then the oscillator bank is very much like a moog so it's like two synths i already know very well like smash together um which which i'm really into it's got digital oscillators which is fun um i didn't really know much about digital oscillators before i always assumed digital oscillators equals bad like maybe it's not quite the way to go um but these ones sound absolutely amazing i think they run at like a super high rate so they've got amazing sound going through an analog filter analog distortion so it's like the best of both worlds which i really like um yeah am i getting too nerdy i don't know what's the chat saying yeah you're just asking other questions i thought that would happen what football team do you go for i don't really but if i had to i'd probably go crystal palace because they are closest to where i grew up so i go across the palace hello mexico good to see you tuned in play some music daddy all right getting there uh will you be doing anything in ableton or all in logic ah that's a good question so let me switch this up boom there we have it so this is my go-to template start of the session brand new from scratch let's go um for some people it might look a bit full already to be honest there's already 81 tracks live um and so yeah i mean i know people who start from absolutely nothing like they start from scratch you know a blank template and they build on that and we used to do that i think for the first like two albums we probably did that um but yeah we we kind of decided or i kind of decided that for the third album i just wanted to make like a space in logic that felt like a studio was already plugged in and ready to use like for example you know all of this section here top to bottom is all drums all of this section here top to bottom is all synths all this section here top to bottom is all bass so it's really organized and colored and all that stuff i'm kind of ocd in that way but the reason i like it is because you can just press any track and you can start playing any sounds straight away and i know what everything does like i know where everything is um and it just makes life really fast um so that's the logic side of things i'll go through it in detail if you want and explain it a bit more and then the other thing we do is you see here at the bottom ableton rewire so for those people asking ableton questions yes we do both um i don't know many people i haven't met many people who are using it in that way but i really like it um i learn logic at school i've been using it since like since i was a kid i guess i learned it at college it was like a crash course in logic basically my whole music tech course so i just stuck with it i also just like how it looks you know you're staring at it for hours it's a nice colorful place to look whereas ableton is a little bit windows 95. sorry ableton users but um but look i do like it and and for the the newest album it has actually been been getting used quite a bit um i really really like it for sampling for warping audio for stretching stuff like in a really crazy way um some of the songs that we've really used it on to a great degree i would say is like expressing what matters all of the choppy sampley stuff in that are like really down to ableton and its algorithms like you just couldn't achieve that stuff in logic or i haven't figured out how anyway so that's really cool but i do love how you know if you've got everything running into ableton um sorry from ableton into logic it just gives me the instinctive i know where everything is you know i know where everything is in logic i know where all my plugins are i know where all my effects are i don't have to relearn other software the keyboard shortcuts is like you know another massive for me you just need to know where everything is so yeah that's uh that's kind of how we use ableton i haven't actually got it open at the moment but yeah it's it's there and it and it feeds into logic i can show you guys how to do that if you want one day but that's super useful um what you guys saying do you feel like your template holds you back absolutely not i think like the opposite it really enables ideas to get going like especially when it's me and howard like when it's me i reckon i could start from scratch and and you know build something up but it would take me i'm so selective in what sounds should be used that you know it just takes ages for me to like build a song whereas with howard he's such a jammer like he jams everything's a jam he just comes in and he'll jump on the sims over there or he'll just want i want a warm sound or i want like a twinkly sound or i want something really hard and i'll be like okay cool well all i need to do is click any of these presets that i've like loaded up roughly um it's one click and you play you know and i love that about logic and how we have this template set up because he's one of those guys where the chords just fly out of him you know the chords are just coming and it's down to you to capture them in time you know if you're doing a session uh with a singer i find it like that too you know i have like a scratch bus you know down here ready to go with a few tracks ready with plugins on it you know i've got like we've got the tube tech we've got pro q3 with a bit of rumble taken out and a de-esser oh that's weird i've had this dslr for years why is it saying that all right no de-esser today i have to figure that out and yeah just a bit of h delay and some valhalla so you know that for me when we started doing that rolling up to sessions with a with a you know a template ready to go for the vocalist i was like why aren't we doing that anyway with our own template with our own music you know it just makes things flow out so much faster same idea of having all this hardware all plugged in ready to go you know no like messing around with hatching and stuff breaking down it's just it's ready and that's a key for me and howard um is to just get stuff go going on the fly as quick as possible cracked plug-in alert it's definitely not correct i just got a new laptop recently for this for twitch because my other one was i was really unhappy with my cpu we're looking good now though which is a relief that was the thing i was most worried about but uh yeah this new laptop is uh it's missing a few plugins i guess what else are you guys saying what were your first synths juno 106 without doubt the juno was um actually we we got it from my uncle's attic my uncle um and my dad and my godfather used to be in a band together well they actually still are they're actually still in a band together shout out dad um yeah he's uh i won't shout out the name yet because he's actually working on an ep slash album so maybe when uh when that's done we'll have a listening party but um but yeah they're still playing together all these years later and so that's fun um but yeah he he had a juno leftover from when they used to tour back in their 80s it would have been and um yeah we've taken that on tour we've taken it all around the world i don't know if you can see it it's like just over there i can spin this camera around you can see it are you mad yeah so that's like juno in the middle uh sub fatty on top and then the absolute beast down the bottom is the andromeda the alesis andromeda um which is an absolute pig of a sim i've got to say i bought it when i was like 21 and i've barely used it because it's so difficult it's so so difficult to use there are so many menus so many like different options and ways to tweak it um but i'm just not familiar with yet um so yeah i'm still kind of trying to work that one out but it is an amazing synth i mean i can't believe it exists to be honest it's like on the back you can have a different output for every single voice on the synth and it's like a i want to say a 12 or a 16 note poly synth so imagine having 16 outputs out the back of a keyboard and then you can pan them anywhere you want i mean it's just insane like whoever decided that is a legend um so yeah bought it because i was just like wow that's an amazing unique looking synth but hasn't actually gotten much use to be honest like i said earlier like i like the basic ones a little bit more i like moving something and you hear it straight away there's no menus there's no like messing around in there um monitors monitors monitors yeah good shot how do you like the kh 310s is that what they're called yeah i guess it is the neumanns the big ones yeah good man um yeah the bottom ones there if you can see them it's a bit dark in here isn't it that one the bottom one and there's a big old sub behind there as well um yeah it's it's fun it's like i got used to them a little bit after the second album so i didn't use them um i didn't use them much for the first album not even if we had them i can't remember that oh that's right yeah we got given them because sennheiser and neumann gelled together or something as a company and we did an interview for sennheiser and they were like oh we did a few interviews for the sennheiser and they were like do you want these monitors like hell yeah so that was such a touch shout out to neumann and sennheiser but yeah they're great i find them to be very um very true like across the whole spectrum um having the sub helps a lot the sub is is important i think um yeah if you don't have the sub there's you can't crank them up too loud they start to kind of fart a bit you know and you just push the speaker too much and it kind of does that so yeah having the sub gives them a lot more like level shout out rosa and um but yeah i think they're supposed to be maybe mastering monitors someone told me that once but they they seem like mastery monitors because they have such a wide spectrum they go all the way up to the top to the bottom so they're great for a big view of the sound um yeah on top of that you've got the the yamaha ns10s the white ones i mean you've all seen those in every studio going through a bryston amp back there for those who really want to know um yeah they sound like crap but in a good way i know that sounds strange but if you can make stuff sound good on ns10s it will sound good in most places i think that's the general rule um you know that's how they've been being used since the 70s i guess like they don't sound very nice to have very loud there's a lot of uh all the lows drop out and all the highs get cut off so it's very midi um not midi but like middly but that's fine like when you want to get the vocals in the right place and the guitars and the synths you know everything in that area if you do it on the ns10s quietly and then you switch to the big ones after it always is like it's like putting the bass back on when you're djing it all just comes to life and you've got stuff in the right place straight away so they're very useful for that and then here um these little cream ones these beauties are the aventones um they're the self-powered ones um i really like them again they're just like the next step beyond ns10s for for being like a tool rather than a pleasant listening experience they're they're extremely extremely middly like they sound like a box which you know if you if you want to focus in on that area of the spectrum you know you need um so it's good for that i don't know if i'll uh be using them much during twitch they're kind of they're only used towards the sort of end of mixing i i'll switch to them for like a day when i'm finishing a song and then just listen to everything and a bunch of other music on those only um and and just see see where everything's at you know in that realm camera focus are we going blurry hey there we go so yeah avantone versus ns10s i'd probably go ns10s they're just a little bit more broad and a little bit more useful well but they're not though they aren't more useful just it depends how you use them but if you if you can only afford to buy one definitely get a pair of ns10ms but importantly you need a good amp if you're powering them with a weak amp there's no point you need to overpower ns10s you need a big big amp like at least 300 watt i would say and just turn it up a little bit um and then they sound great if you have to turn your amp up a lot you're not going to get a good result out of them they need a lot of power um the oven tones are much easier they're just plug and play they've got amps in them already most people use those avantones as a mono check as well people have one in the middle and you know it's to sort of see how the mix sounds if it was just in mono like coming out of your iphone or something although even iphones are in stereo now so i don't know how useful that is but i like them as a pair of uh as a pair of stereo speakers as well do you ever do vocals or is it mainly howard um lead vocals never me i'm trying to think have i ever done that nah i mean there's i've done a lot of backing vocals i've done a lot of oohs and r's all through this mic like just in this room finishing stuff off you know what can i what can i reference moonlight all of the oohs and rs in moonlight is like me and howard mixed together um but then you know howard things lead lead on like for you um and confessed to me on the first album he's in the chorus second album he's on like echoes jaded uh molecules you know a few others like that so yeah i think he's a little he's more confident singer than me i can sing in tune but i just really don't love the sound of my own voice and because i'm the one who has to spend hours mixing it um i think hearing my own voice over and over again would be very difficult so yeah it's i think that's why i prefer howard's voice because it's just not mine and i don't mind listening to it for hours and i'd like his voice he's got a good time man he's got a soulful tone um but yeah we definitely we've definitely made a career for ourselves by working with other people um to do most of the singing i would say so uh shouts to everyone we've worked with um what we got here macbook specs must be cpu heavy it's just like the newest macbook um with the biggest ram four terabyte hard drive uh is there a way i can pull that out but you guys can see for the nerds there it is bam oh no you can't see it i'll figure it out 2.4 gigahertz eight core intel core nine uh 64 gigabyte ram so yeah loads of space loads of space so we got all these we got all these cores not even being tested but you are right you know that's why i've got some stuff down here you know turned off uh especially things like keyscape or omnisphere i mean on the sphere drain cpu so quick but yeah i did have to invest in a new macbook to uh to kind of make it all make that template functional because yeah it was a bit of a pig um and i have the sample rate very slow and i just use the uh latency button a lot yeah i hide the serial number yeah i'm glad that didn't come up not does that matter actually i don't know i'm very new to this guys who cares about macbook specs that's what yeah i don't know basically the best one what is your process in creating a bass line well it's mostly howard's ideas i would say melodically and musically um i don't know we'd have to get him on and ask him about that specifically but we usually make it in the box we'll usually start on uh let me see we got our base since here so these are like my go-to's um so this is the the trigger for my 303 which is down there so that is sending midi out to the synth itself and so you know i can get my hands on there and start tweaking stuff you know kind of like that um the seo two is yeah the other one i was telling you about this one down here sounds like a move basically yeah all that fun um and then this is uh the monarch i'm a huge fan of monarch man i use it on nearly everything at least to get stuff started um and then you know if we wanna if we wanna like send what we've recorded out to someone else um then or to something else sorry then then i'll i'll usually start with monarch as a base and then send it to a moog or send it to the juno or wherever we want it to go but as a as a good like starting point i really like it it's very just it's a it's a mooc it's just based on a mooc um the baseline of my high was made on that on that synth um and it sounds very acidy it sounds very like 303 to be honest but i made that song i made that bassline before i had that synth so that's why um yeah monarch's a beast i really like it um i also have a bass guitar always set up just in case we want to like just tap into that kind of sound you know quickly just as a as a guide or something and i really like this one this ample bass j they just updated it and it looks all different i'm not used to it yet but yeah it's got a nice it's got a really nice interaction between how you play the midi and how it sounds are you red so that's uh that's always live ready to go just in case we want to start like a bass idea and you know maybe replay it later but at least it gets you in the right realm of sound and then for like a straight sine wave sub i've loved this yuhi repro thing um huge sign base does what it says on the tin you know it's a massive sub and that's pretty much all you need to know about that running for a bit of saturation you know you can beef it up if you want [Music] let me turn this off a little bit [Music] so yeah those are our sort of go-to's um always ready to go armed disclosure sample pack yeah we should do one of those one day do you have a swing template or manually swing stuff i use the mpc swing settings i added to ableton yeah i will usually with the stuff up here a bit like the logic swings here and then i'll do a lot of like moving you know moving the midi just a little ahead of the beat or a little behind the beat you know it depends depends what it needs um but yeah there's a lot a lot of manual stuff um i would say like post the session though post writing you don't want to get bogged down too much in moving midi and getting the swing spot on if you especially if you're working with someone like i just like to get it in and then tweak that stuff later if it needs more of a swing or to be straightened out worry about that later man yeah do you have any issues mixing low end in your room no but that's because i've treated it a bit and i've moved my seat to where it sounds best so i think that's a good thing to know for anyone producing music in their bedroom like basically this um put some speakers in there before you decide where you're going to sit and move around the room a bit and find where the base is and where it isn't because there'll be dead spots and there'll be hot spots behind me here is like a really heavy spot so i like pull my chair forwards a bit to this desk and uh i find that to be like just the perfect sweet spot exactly here especially when i lean in like you know i lean forward a lot when i work and probably do my backing but that's where the sound is so i kind of i i adapted to the room because when you're short on space like this you know what what can you do uh what else you guys seeing do you ever get creative blocks if so how do you go through them yeah man all the time just keep writing that's all i can say make something really bad and but you still made it you know you made something even if you don't like it put it on paper press save move on to the next one don't stop just keep making stuff for our for our album coming out in what is it like a few weeks now geez yeah energy's coming out the end of august we made 200 songs for that 200 tunes so you know there's a lot of stuff on there that didn't make it for uh for that reason we didn't like it or it wasn't right or maybe a different project but yeah 200 tunes to get to 11 was a lot of work and but yeah you just got to keep going ungodly hour is so good thank you man or woman whoever you are any advice on how to develop your own sound well man that's a difficult one very difficult one um because everyone has to start by copying you have to and everyone is always copying you know everyone's always drawing inspiration i remember i learned this at school um and it really gave me a lot of confidence to not worry too much about being completely original all the time you know it's okay to have something in mind even if it's subconscious it's not super at the forefront i want to make that song but it's okay to draw inspiration heavily because i remember learning at school that um we got shown this piece of mozart music right just a little melody and then we got shown this piece of beethoven music and my teacher was like move that let me change the camera angle my teacher was like move that to here and flip it upside down it's the same melody looks exactly the same so you know mozart was sampling mozart was drawing inspiration and copying you know i think that everyone should begin by doing that and then you'll you'll find your way man you'll carve your own path and you'll gravitate to what connects with you on a deep level i think that's it really like i think people know disclosure as a kind of i don't know what it is there's a warmth there there's like everyone always talks about our chords or that the kind of synth sound that we use um and that's just what really connects with us i think it's it it's what we want to express the most so you've just got to find out what that is it's pretty uh pretty difficult not the best advice i guess um your biggest influence nowadays well i don't know to be honest i listen to a lot of old music it's mostly old to be honest i haven't been listening to much new music i do love how in the uk grime is having another amazing moment i think that's brilliant because i had a moment back when i was a teenager well i had a huge moment it was it began and it was amazing and now you tune onto like the most popular radio stations in the car and it's grime and that's dope man i really i really like that because it's just you know it's like us kids kids well not kids anymore but kids making making tunes in their bedrooms on their laptops and bang it's on radio one i mean that's just that's awesome that's what that's what gets me off in the morning why'd you have three side chains at the top oh yeah good point so these here i just have this ready to go so this side chain i just have that sending to bus one um and it's just a straight four four you know bang bang bang trigger i just like to use that um for pumping synths and for you know side chaining vocals or whatever i don't use any kind of plugins that do it for you i like to actually send a noise to a compressor and then um adjust the release time and the attack time on the compressor to get it to do what i want um yeah we can go into that in great detail if you want but i think for now we'll just uh leave it at that but there's another one underneath it which is i wish i didn't need but it has to be there the uad side chain this is a problem that i've come into a lot with using universal audio plugins so my interface is the apollo and i've got a couple of satellites too because i use a lot as you can see like a lot of uad universal audio stuff and so with that problem with that comes a problem which is say you've got like here a stack of plugins all running and doing you've got them set how you want them and it's sounding good and then you want to put a chain post all of those to get them all pumping well with uad i think because all the plugins run outboard from the computer there's a latency so you have to get your sidechain copy it down and then literally manually drag until it all pumps how you want it to it's annoying i'm sure i'm hoping one of you guys got a solution for that but i've talked to people at universal audio and no one's no one figured it out yet i think it's kind of difficult when the plugins are running outside the computer so yeah um yeah you can't use them if you have your interface plugged in yeah that's the other thing you have to have the interface plugged in to use the plugins but then that's good you know because it frees up cpu that's the that's the point of the uad stuff is unlike waves or whatever you're using you know they're pretty cpu heavy but they run off the computer so you don't have any spikes or anything you just have a set amount of how many you can have going at one time and that's it you just they are expensive though that's one thing i'd say but they are banging i would actually say i can probably walk into an analog studio now and i know what stuff does way more than i did before like getting the universal audio stuff it's like you can you can learn how to use an analog studio in reverse up to a point you know i can at least like this mixer i've got here you know the uad sorry the ssl mixer on the top here that's got the gbus compressor on it you know it's got it's got this one you know i learned this compressor on my computer and then i bought that mixer and i already knew how to set it up so that's you know it's a good little bonus how do you get those washed out effects on breakdowns they're always so weird and spacey yet don't mud everything up well effect um let me think my go-to effects would be h delay this is my go-to like default setting um if i was putting it on a bus or on a direct sound so yeah feedback at 80 taking taking a bit of the lows out leaving the highs in keep all those synths swishing and squashing i would usually mess with the modulation probably put it on like a four and then match this to whatever you're feeling like that's the speed of the dip and the up and down um but yeah i'd use a lot of h delay which is just you know a tape emulation i think it's tape yeah um trust h delay implicitly i just know how it's going to react to like everything um i do love that new valhalla delay as well i think it's really good for doing a little bit more like crazy stuff thanks for the donation thanks for everyone donating by the way this is crazy um i'm loving this um yeah if you want to do some way more crazy pitchy stuff this one's the way to go um much more experimental it can be subtle but for me if i need a subtle like just go to age delay like no doubt um i just love how it can just you set your ping pong up so easily it's done this one for me i'm still learning a little bit but yeah so like this stuff here like reverse pitch if you mess with that and you can get some really insane effects going on so that's good fun um and then yeah valhalla reverb is is definitely a go-to that's my default setting uh i like the bright hall um as i kind of go to i'm a little bit more of an 80s reverb guy than a 70s guy so you know the 70s one is a little bit deader on the top and it's a it's a little bit more of like a background you know have it behind something uh behind a vocal reverb that would be good for for a vocal no doubt but i'm just like a huge fan of george michael and growing up listening to like jesus to a child where it's just the most insane reverb you've ever heard on a vocal you know something that something i don't think any engineer would would think to do it would only be the artist who would think i want to put the most amount of reverb on the s sound of my voice ever i mean yeah i wish we could uh play that song i don't really understand the laws around playing tunes on twitch so i'm not going to do it right now but yeah you guys go and listen to george michael jesus to a child if you want to hear about reverb that's that's a good place to start and i think that um that what he was using there actually i don't know it could be it could be the lexicon if i had to guess i'd say the lexicon reverb it's definitely a digi reverb because it's just so and i love all that i love all that top end reverb stuff at a low level um so yeah those like three plugins post a synth would be a pretty standard disclosure sound straight away i mean i could probably just make one up right now um so this is just the juno basic juno plug [Music] don't know if that was in time oh yeah mate look we nailed it we absolutely nailed it uh yeah let me just force legato that stuff oh what's my shortcut whatever i'll do it here yeah so i think you can all uh understand where i'm going with this where is that force to go oh it's on trim in it sorry new laptop new shortcuts i need to i need to rearrange it all there we go oh god so on bus three here i've got uh just the basic logic chorus um i love this thing i mean it's on so many disclosure tunes um i think people probably think it's some fancy crazy chorus but it really isn't if it isn't this one like on the juno if it's not the actual juno chorus or coming off the 106 itself i like using the logic one man i i really like having the dry signal down the middle which is why i you know i turn this one off so you've got the super dry sound here so that's just it on its own and then like if i bust it to the chorus it's immediately going to sound kind of disclosurey yeah you get it and now add some extra so you can hear that kind of modulating up and down get a full wet so you can reverb nice and then yeah on bus four here um i've got the roto cab set up just the logic roto cab and i really like that as well um with a juno um just gives it a little bit of a touch of like an organ so let me just show you how that sounds just gives it loads of nice like mids around that one to 5k type thing [Music] yeah there's a little rough rough idea for you [Music] i'm feeling like we're about to make something here so i think i might just go into it [Music] i've got some better chords in mind [Music] actually i wait what are you guys saying are you down for me to make a beat i can't believe i'm watching this i've been a fan of us for years the disclosure sound yeah i think after doing this for 10 years there's no point having any secrets at this point share the knowledge spread the vibes and also reveal that there isn't really much to it like in terms of that was just a juno and some reverb and delay and i would i would class that as a pretty standard go-to disclosure sound so you know it's not uh to get that bit done that bit i can do like you know like breathing but to do the rest of the songwriting and stuff need howard for that um so yeah i mean me making tunes of my own is going to be much more beat driven and just kind of like messing with crazy sounds when we do stuff with howard that will be a lot more uh lyrical i guess and there'll be content in terms of the lyrics and the melodies so bear with me on my on my chords guys they're not they're not 10 out of 10. 738 crew shout out yeah all right new question um so can you send audio track to multiple buses in logic yeah absolutely um you just do it here you can send as many as you like like here's all your buses i've got a bunch set up here already drum bus bass bus ableton bus synth bus and i've got some go-to delays and reverbs down here oh yeah my go-to reverb to have on a bus like in case i just need to like emergency send something um is the uad emt i just really like it it's very subtle good to send a vocal too good to send a bunch of vocals too even snare and like whatever you want to send it's just a good go-to reverb but for to be honest for the whole like first two albums we were just using space designer which is all all the logic stock reverb um my young ears at the time couldn't really hear the digitalness of it but now i listen to it and it doesn't quite do it for me it just doesn't quite give me that like amazing george michael you know that i'm looking for i can hear the artifacts in it a little bit sometimes that's fine you know if you want a bit of a bit crush weird reverb then it's it's fun um i really like it for it's um like its little spring reverbs like these ones here those are really fun if you're just doing like a plucky guitar like a blank blank it does a pretty good spring reverb emulation but yeah it's uh it's not that fancy all right what else what you guys saying love you too love you guys i don't know how many people are watching this do you guys know how many people are watching this it's like 800 or something yeah cool nice 800. how do you avoid falling into certain patterns i kind of answered that earlier but yeah just keep oh and keep making the same type of stuff well that's that's definitely don't do that don't keep making the same thing make a variety of genres of stuff i mean as you guys know yeah i make everything from disclosure stuff with howard to like a more of a hip-hop type thing with like matt miller or going way back look like bishop naru you guys know that one you stressing it's called yeah there's a bunch of genres that i think you want to dip a toe in as many as you can because then when you come to do what you do best you'll have a fresh mindset you won't have been doing it and it won't you won't have been doing it all day and it won't feel like a chore you know it'll feel fun and yeah anyway i'm gonna stop looking at the chat so much now guys and i'm gonna make something um i don't know what i was messing around with some chords earlier which i'll try and remember but yeah i've got a mute on this mic on my foot like so yeah if i'm moving around the room you probably won't hear me but yeah let's uh let's cook something up also thank you guys for all tuning in this is awesome the round of applause for you guys yes it's uh this is a lot of fun [Music] my metronome [Music] [Music] [Music] [Music] so [Music] [Music] cool so we've got a nice little pad there on the roads which i bounce the audio because that keyscape uses so much cpu and now i'm going to do a kick i've been using this thing a lot recently i love this thing for making a kick it is like a kick synth um it's got two layers up here for an actual sample and then down here is like the actual shaper of the kick uh logic brought out their own one basically the same uh a bit less detailed a bit less opportunity to make it unique but it's still a good go-to i leave it up open it's good for 808 just tuning in 808 really quickly but yeah this one i really like i thought that wasn't making much difference i was on the wrong track [Music] my [Music] so [Music] so [Music] i'm a drummer i promise [Music] so [Music] so yeah i think this is all just like joe dilla samples pretty much for those asking uh i don't think it was a pack i think it's just stuff that i've gathered over the years from many packs uh yeah you know all that good stuff [Music] so what vst am i using for my hats yeah everything's battery if i'm playing it in like nine times out of ten um it's battery yeah so all the dealer stuff it's all there i think the hats are yeah still hats as well so i'd start with something easy that i know we can get into more like synthesized original stuff another time but yeah my first dream i thought i'd stick to some legendary dinner sounds [Music] are you mad [Music] so [Music] so [Music] so [Music] [Music] do [Music] cool so we've got a little vibe going there needs a little 707 clap [Music] yeah just using stock battery stuff for this which is i think i need to turn that down are you mad thanks everyone for subscribing keep them coming [Music] yeah base next you're right [Music] are you imagined [Music] so we're rocking the 303 for this one [Music] yeah i'll probably just jam it out for a bit move the beer what's wrong with the beer oh because it was in the way yeah done keyboard camera coming up not gonna zoom in hey yeah this little keyboard here is absolutely dope um it's called is by is it cme uh oh it's called the x-key air i love it it's so good for traveling with um it's tiny i mean and it's you can see how thin it is it's like all the keys are totally flat as well um it's so good to throw into a backpack but it's ended up and it's ended up on my table now because it's just so good um i love how it feels and uh yeah space being a thing you know i mean i've got the real the keyboard over here like the akai one which has got the full range which yeah also controls everything all the synths and you know you can send that anywhere you want but yeah for sitting here this one's kind of all i need to get an idea going what was i doing [Music] so i'll probably just get like a basic pattern in and then um yeah change it once it's in everyone say move the beer it's safe guys it's all fine don't worry about it i will put it on the phone or just finish it yeah i don't know if i'm going to stick with this 303 sound but we'll write it on here anyway [Music] [Music] [Music] that sounds banging on its own innit [Music] [Applause] [Music] okay i wasn't trying to applaud myself um i pressed that when i drunk my beer technicals [Music] yeah that's a cool little idea so now that's rolling we record it in through the 303. are you mad [Music] so that's like the basic go-to [Music] let me just line that up yeah now i'll probably just record a bunch where i'm messing with the synth so bear with me [Music] oh [Music] oh squelchy i think that's what you call that squelchy [Music] are you mad [Music] so i'll probably save that for another time but um yeah that's a vibe [Music] do i like the 303 timber music yes i do that did just what i wanted it to do just then bouncy bit of acid vibes yeah i'll probably try out a few more going forwards but let's keep going with the vibe [Music] do [Music] do [Music] do [Music] so [Music] all right so now we're going to draw for some sh101 over here let me change the change the angle this one might have to move the mic are you mad [Music] do i really need to remember my keyboard shortcuts [Music] wow [Music] [Laughter] me my [Applause] i need to figure out why that is happening [Applause] okay i think i got it [Music] yeah now we're rolling let's get a few takes of that [Music] [Music] [Music] do [Music] [Music] me [Applause] [Music] all right i think we've got some good stuff there you guys oh yeah you guys are feeling that sick this is quite good it's like having it's like having a hundred howard's in the room all saying what they think love it [Music] so yeah what i'd usually do is like record um like a bunch of those and then um like i'd arrange it after you know that would just kind of go in now i'd pick the best like two and just leave that looping and keep building on that but you know like within there there's definitely structure you know sometimes we quite like to sort of let the synths lead the way a little bit so you know you kind of and i'm just put the ac on yeah if you let the synths lead the way sometimes the vocalist or whoever will write accordingly um so sometimes we'll do that for like 45 minutes non-stop just me messing around and the vocal will emerge from this like either a little lull in the synth or like a big moment in the synth so yeah that was fun i like that sh101 on there let me just pick a good one [Music] so [Music] so [Music] one [Music] so you can see that's like recorded all the effects onto it too which i didn't actually mean to do but sometimes those things are fine you know i kind of like that um those accidents sometimes you know you gotta commit it all sounded good when i did it don't mess with it oh yeah i really should switch screen sorry guys [Music] yeah i'm just messing with the sound putting some tremolo on there getting it panning around nicely [Music] [Music] do [Music] [Music] three [Music] yeah i'm not going to mess with it too much you know i think it sounds good oh actually nah a bit crusher would be cool i love doing a little a little noise on top could be fun [Music] hey [Music] food [Music] bye [Music] cool so we got some structure there i'm just gonna move uh i don't know you gotta move you've gotta move just get a little a b thing going on here just to jam over [Music] shouts to the person saying is this garageband come on man we've moved beyond garageband guys we're logic we're logic lads here we're logic lads here oxford inflator yeah i tried that uh on there but it wasn't really doing much but i love it it's amazing i put it on my master out i put it on drums oh drums we could do a bit of processing on the drums actually um yeah it's amazing it's one of those plugins that doesn't do much on its own but when you like if you have it on loads of stuff at once like on on individual vocals on the group vocal on the bass on the drums and you bypass them all at the same time and then put them back in it's like a night and day difference it's really it's an amazing plugin my sound man actually showed me he was doing our live shows he was putting it on everything in the live show for a long time and i was like what's that like magical little thing and he just literally was doing a b a b and it was like well that definitely sounds better with it on we should just leave that on all the time yeah i like that plugin it's a banger so yeah i'm happy with this uh i want to hear the drums together and get them sounding a bit squelchier [Music] it needs a little shaker [Music] i would usually record some shaker but for now we will just use a shaker from logic it doesn't matter [Music] that'll do uh grab one from splice as well do you guys use splice of course you do splice is great for percussion man i use it a lot just for tambourines shakers just stuff that you know if the tune makes the car and it's good you can come back and re-record that stuff later with a nice mic and you know make it sound the way you want but for right now you know don't mess around don't get lost in that stuff too much that one's cool we drag a few in yeah let's try those ones out so i dragged that into my drum bus they usually come in really loud no that one's not bad oh yes it is uh it's not quantizing weirdly wait there we go [Music] so something i love on shakers is this thing um this thing is the best at removing reverb i know that oxford do one as well i mean there's a few but this native instruments one is either free or like really cheap and for taking out the space and all the crap in the shaky you just don't need tambourines too i use it all the time it's so good hear this difference this is it bringing up all the in-betweens and here's the other extreme clean super clean so maybe somewhere in between i'd probably set that yep moving on see if this one fits i don't know if this one will fit oh my god sorry guys my ears are dead now that's the end good night so yeah same thing drag that over and if you need you can always have two there you go see double transient master even more control you can add as many as you want here's without just a just a mess it's not free okay my bad well i'd recommend it it's probably in my top maybe not top five top ten plugins though i use it a lot all right let's have some context it's never good to listen to shakers for that long [Music] so so little classic house tambourine [Music] do sweet all right now we're gonna do a little bit of um actually i'm gonna get another beer that's what we're gonna do i'll be right back are you mad okay we're back we're back how's everybody doing cheers it's not midday here no it's uh what time is it it's 8 50 p.m so yeah but i did just have a little weekend away with my girlfriend so yeah i have been drinking in the day um for a few days in a row so but you know it's the opening stream you know got a drink of beer in it i'll test these widgets out look at this this is jokes nice behind the chat we're gonna move it this is when we were on snl can you believe we did that and uh oh yeah this one's cool this is all the artists that are on uh on the album can you guess them all i don't know if that's all of them but it's a lot actually i think it might be a lot of marley marley shout outs i'll give you a quick blast at the end i'm not allowed to play at all but i'll give you give you a quick bus once it's out i should probably move that watch it yeah once it's out we'll break it down but yeah actually yeah what do you guys want to do because i'm i'm pretty getting happy with this pete i was thinking about putting a vocal on it like a little chop of some kind just a ooh r type thing um but then we could like break down my high i was going to open the project to that and show you guys a bit of channel bit of amino's vocal um yeah vocal down moonlight breakdown yeah that'd be another day everyone's saying yes break down my height yes yes yes okay cool let me do i'll spend 10 minutes on a little vocal thing and then we'll we'll get into my high oh god where are we also for anyone wondering why i'm starting um at bar nine here it's another weird thing to do with the ableton rewire um yeah if you're rewiring ableton into logic and you start it on zero it goes it's a horrible noise so i start all my tunes on on nine now [Music] oh yeah i'm surprised about these things too so i got i always have these on my project it's just tapiss and vinyl crackle um some plugins generate tape pierce and you got you know some really good ones that do vinyl now as well but i like to just have them to begin with rolling in the background because i don't know about you guys but all my favorite songs all my favorite songs have hiss tapiss and vinyl noise and they just don't feel finished tracks don't feel finished unless they have that bit of grit on there bit of noise so i like to start as as i mean to go on and so yeah there's rarely a disclosure tune or any tune i've produced that won't have a bit of hiss going on not always crackle but hiss has to be there my ears just aren't happy otherwise so i just have this thing rolling all the [Music] time [Music] to so [Music] yeah a nice little loop there okay let me have a look see what vocals i want to mess with today i'm not gonna name who this is i'll rename the file bonus points for who guesses i think i'm gonna throw this one in serato sampler um oh no i'm not a new laptop yeah no we won't be using it for it today guys next time it's not cracked okay for anyone who's saying it's not cracked i promise um what can we use instead good old logic sampler i guess um oh yeah that's one of the really good new things about logic you can where's my sample gone yeah you can just drag any sample down there and then up pops this little menu and uh you just get a little quick sampler on the go straight away i'm saying that wheel of death there hey there we go yeah and it gives you this uh option to select transients which is a bit crazy uh yeah i'm gonna stick with it's very quiet isn't it okay i haven't used this much this quick sampler thing so yeah give me a minute is it slices [Music] oh the key's pretty good [Music] foreign [Music] shout out to royal oaks on the wound yeah you got it [Music] grab some todd edward vibes right here shout outs to todd edwards [Music] that could be like a little initial backgroundy thing [Music] um [Music] [Music] um [Music] uh [Music] all right that's the first one defense salon we got let's give it another five minutes [Music] uh [Music] what's on bus three and four three is chorus and four is roto wrote a cab logic chorus there's the settings [Music] were you guys feeling about this i don't know about those lyrics but i can keep searching the vibes there though the vibe is the texture is right [Music] that you wanted [Music] yesterday [Music] all right [Music] save [Music] savings [Music] so [Music] say [Music] know [Music] you don't know [Music] yeah i haven't watched this yet um there is a way of doing it this is all oh here you go to be honest i just like to kind of record it into audio and then warp it after so i'm just gonna do that you don't know why you walk who if you don't know why you walk into [Music] [Music] hey [Music] uh good night get it done [Music] is yeah i'm just messing around now but i like the vibe i think uh yeah i think jamie's vocal sounds cool with the way that you get from the world that's a cool little thing i'd probably mess with it a lot more than i have there this quick sampler thing i'm just not i don't use it much um i like the serato sampler a lot for vocals but the old logic sampler was good but they just literally updated it the other day so new shortcuts all right five past nine my time fancy bit of my hi everyone have a look in there my high my height what's the beer it is a it's an ipa i can't remember what it is now ah many ipas i got it from sainsbury's let me save this i'm worried where where you guys will see this being saved i'll do it on the desktop i don't know here we go i can do it down here oh no momento anyway yeah um i hope that guys i hope that gave you guys a little bit of a run through of the order of the way that i like to do things that was pretty much yeah although i don't think it's the best thing i've ever made um in terms of like what i did in the order and what i used that's pretty much spot on that's like how it goes most of the time except the chords will be crazier because howard is here and the vocals will be someone like an actual jamie woon rather than chopped up jamie win um but yeah sounding cool all right let me open up my hi um there may be a couple plugins missing i'm hoping not because of the update but yeah let's see what you guys saying show us the alesis oh that's another day's work i can't deal with that synth it gives me anxiety what happened to jamie woon hey i was literally listening to both his albums on my drive back today from uh um wherever i was holiday and um man both those albums if you guys haven't listened definitely check them out uh mirror writing i think is the first one and then i think his second one making time or about time i think it's making time i think that's one of the most underrated albums ever made like it's it's so good um i don't know what happened with the release or if it got changed and moved around like quite a lot or something but yeah i don't know that that whole record to me is like 10 out of 10 amazing the recording the writing oh yeah it's wicked especially um sharpness movement message all the first three tracks are insane yeah jamie woo man shouts to him but i think he's doing well he is a friend of mine and uh yeah we try and get him on here one day that'll be really fun get him doing some actual vocals all right there's my height i'm just gonna load up ableton [Music] i can't wait till i'm a bit better at this and it's all just instinctive and flowing i will get some good emotes for you guys as well i think you've all seen the little blue one that i made but i've got some guys working on some wicked graphic design for the whole page and for the channel and for subscribers to enjoy so yeah that's all it's on the way this man i haven't opened this in a little minute uh where is it hey here we go so this will be cool because you guys will get to see the ableton rewire thing because this tune is based a lot off of a loop of drums that we threw in at the start of the session um yeah let's switch this up share screen boom here is my hi um oh it's kind of just cropped out there there we go and there's the mixer so yeah and here's ableton so my height began with this loop it's an old garage loop by um one of the most insanely sick garage producers of all time in our humble opinion um his name's jeremy sylvester he's got some wicked drum loops out there i think i used two of his loops um on the album maybe three actually but anyway they're a great starting point if you want to get some something rolling quickly and when we did this tune with amino um that guy writes so fast man he writes so quick um so it was yeah it was just like can you get a mic in front of him fast enough he started singing the hook straight away all we had was these drums looping and then bang howard came with this fire bass line so yeah let's get into that um so you can see here where it says ableton bus uh is that where it's coming in okay so i've dragged it up here ableton rewire one and two these two tracks here although it looks like there's nothing on them what is coming in from here is what you're hearing so you see up here it says um yeah rewire out left and right mix and then you can just make as many channels as you want i've got like three and four five six seven eight so that's all like ready to go when i get to the session if i want to drag in a loop or whatever no messing about um and it just feeds straight into logic here you just set it up here ableton live and they're all coming down so here's the loop [Music] so that rolls and rolls throughout the whole tune that's pretty loud in it i think i've got the limiter on no i don't cool let me know if the volume's all right so that's like the initial absolutely disgusting dirty loot uh i think we're backing that up with a rim here yeah so just layering it um and then a clap giving it some stereo width there got some nice like spread on that yeah that is from the delicate again just a little rim and then massive kick drum for the punch then a big sub kick under that [Music] so two kicks there big sub one and then one for punch one for collapse but yeah really i mean that loop is so fire and i just love old school garage so much i didn't really want a mess of it too hard to be honest so [Music] but yeah well there is a lot going on um why not just bounce the loop as an audio file and drag it into logic well you could do that right at the end but like my cpu was so low it didn't matter and i've done quite a lot of like you see these little bits here like reverses and i was kind of doing that as i went like and so i never really got to the point where i was like oh yeah i need to bounce this out now because i'm done i was literally tweaking stuff like that right up until the day we sent it off for master so just never did it but yeah you totally could and probably should if you want to save some cpu but i like to be super flexible like all the way up to the point of mastering you know i don't like to commit unless it's like a an effects sound or something like a reverb that you like on the sound yeah i like to kind of just keep everything super flexible does it introduce latency yeah the latency is bad with um with ableton running in but hey if you can get it sounding like this i'm happy so something we should show you is here's the drum bus here uh in the corner um i'll just bypass everything and there's a lot on the master out as well i'll bypass everything here's what it sounds like raw here's what it sounds like with everything so yeah massive change there um i could get into that so number one this is my go-to bus drum bus compressor i should say um yeah the api 2500 uh i nearly bought one actually in real life because i loved it so much um but yeah it just gives such a brutal attack on uh on the top of the drums um like the entry point of all the transients is so insane like let me let me pump it up for you and i'll you can hear it so that's obviously insane like way too much but you hear what it's doing it lets through a ton at the start and it really slams it hard and it's just got a really easy mix knob there and that's what i like on compressors i love working a compressor really hard to get the best flavor out of it and then just bringing down or bringing up the uh bringing up and down the mix uh the waves one yeah sure the waves one is fine probably sounds a bit different i haven't tried it much to be honest um yeah i'm just the ua guy but i'm sure it's sick i'm sure the real thing is sick as well then we're going into some tape uh the studer a800 which i love on big 4-4 drums like this i just really really like what it does for the hi-hats when a kick drum is happening it squashes it in this lovely way uh i usually go for this gp9 tape um and there's the settings underneath i think all i've done there is just take a bit of lows out to be honest that's it but yeah that's not actually going into the red as much as i would normally do um yeah let me just pump it up for you guys so you can hear what it's actually doing [Music] yeah so i probably had it around where i've got it now for a long time and then decided probably listening in the car or some other system that it was too too squelchy um but i'm so into squelch at the moment i'm really into saturation especially on drums all my favorite tunes have all got very saturated drums um squelchy hi hats so yeah i'm surprised that it's so low to be honest on this tune cause it's pretty bang in tune but i guess i just wanted the transients to cut through a little more yeah it does sound a little bit too like it loses its dynamic range when you take it up too much so that's why i left it like that uh the next one is the inflator back to the inflator this is probably in the red as well yeah just touching the red there it does some really nice stuff if you take off this clip button just a bit more saturation different kind of saturation but yeah i'll do a little on and off of it just gives it life i don't know what it's doing but i love plugins like that where it's just a slider you know it's cool i just love simple plugins like that you turn it on it makes it better you don't have to think about it too much uh moving on more saturation bit of saturn um just yeah 14 is that i'm taking out a bit of highs there i probably liked taking out the highs using this rather than the eq got it on the tube setting yeah just adding some sparkle you need some pretty good speakers to even hear the difference that's making to be honest it's minor and then a tiny bit of master eq at the end which is just taking out some harshness so yeah just taking out some frequencies i didn't like and then i really like the oxford limiter as well on drums i think it just does a really good job but keeping it sounding natural adds a little bit of overdrive and distortion yeah not taking off much a couple of db here and there leaving some uh headroom for uh the master out moving on for the base like i told you guys earlier monarch for this one [Music] that makes me happy so we're going through a distressor with that um this plugin actually well this piece of hardware was essential to this tune um we recorded all of amino's vocals straight through just an sm58 mic straight into a distressor on like full red and that's why it sounds so insanely distorted and yeah pumped up uh if you're asking for miley miley it's not actually out yet so i can't play it but when it's out i will definitely do this with marley marley um but you can go to the boiler room set i didn't hear the whole thing there almost like i dropped it there so search disclosure boiler room it's all there [Music] yeah so that's doing that got some eq on there as well and some echo boys that bit of delay yeah so you want to hear the drums with the bass

Channel: Musical Streams

Views: 192,189

Rating: 4.9514785 out of 5

Keywords: tennyson, Brasstracks, lophille, volant, laxcity, lenno, oliver, duumu, moeshop, Ian Kirkpatrick, Louis Futon, Wave Racer, Cyclops, Kenny Beats, medasin, Mr. Cormack, mrcormack, Dwilly, Notaker, MXXWLL, quicklyquickly, sanholo, ILLENIUM, Carter, chrislake, Baauer, nickmira, nick, mira, quickly, modestep, Trivecta, Ramzoid, Fox Stevenson, Kill the Noise, disclosure

Id: cgy734O21_c

Length: 140min 55sec (8455 seconds)

Published: Thu Jul 23 2020

Reddit Comments

[u/ColebyArnett]

Oh man, I wanted to watch this. These guys are geniuses.

[u/MinorSpider]

SO nice! Especially since there arent that many resources for Logic online compared to FL and Ableton.

[u/TricKTricK21]

I watched this whole thing. Learned a lot

[u/capitolsound]

It’s so good. A free masterclass!

[u/JunbugSpark]

Nice. Do you know his username?

[u/evenios]

flight sim 2020 is looking good

/s