How I ACTUALLY Make Music // MPC 3000 workflow

fine I'm coming home now so I know about you but lately I've been hearing from a lot of my artist friends that you know oh I'm feeling uninspired or unmotivated or the vibes not right and you know that happens to me too and sometimes if we just need rest we need rest I know I feel like I make music in waves and then they go not making music for a while then I start making a lot of music again but what I'm trying to get at is basically over the course of years of making music one thing I've definitely learned towards any kind of project is if I don't sit down and just turn on my machines and start working on something even if it's tinkering around in a project I've already been working on I will probably never make music if I just sit around and wait for inspiration to strike I'll probably sitting around for a while and for me at least I find that inspiration comes from the process of making music so I'm rambling basically what I want to say is hey how are you I want to make a song with you so yeah I figured I you know it's feeling a little unmotivated and turned on my machine so let's make a track okay so yeah this is the setup I got all my tracks in Ableton I don't direct monitor anything I monitor everything they're able t'en hence the the last video as to why I really like the ERM multi clock it allows me to just kind of keep track of everything and I got some default eq's on stuff that I know is already gonna happen and yeah usually just start off with a kick of course let's see what we can find go to my sampler [Music] that one's kind of nice there so what I end up doing is just sampling straight into the MPC from a bunch of sample packs already have so by default you can see it goes to this channel here but if I keep this let's just rename this BD 1 and I assign it to the first pad you can see it automatically goes here it's got my cutoff of about 50 I find in a club my kick the cut at 50 has like no effect on bass and still has the same amount of punch so I like that and I can usually clip it in my mixer a little bit that sounds kind of nice cool we'll go and do a little counting and let me edit these bars from 3 to 4 so I want to do a two bar sequence just to speed things up full level dang full level camera way harder than expected cool that'll work stop and then I'll go and find some short high hats I think that one pitched down might sound kind of cool record done keep hh1 enter done and sign that here I don't really put my high hats on track 3 let's pinch that down it sounds cool so then I go to track 3 and I like to kind of keep everything in their own tracks they're already pre named this is on my floppy it's just like an autosave i deleted the power set and just saved it as the default template that i want i just went in formatted that so if i like this i'll say play from beginning easy let's find a long life sounds cool let me get a little shorter though record keep I'll name that open hat oh1 done put that here you know what's funny is I'm realizing I'm saying all this stuff out loud like do this do that and it's honestly just like a stream of consciousness because this is exactly what I say when I'm making the song in my head I'm just talking to myself and it makes it makes sense to me which is cool but yeah I guess you can hear it out loud now that's on track literally say that it just made me laugh at it again count in we'll just do full level for this one cool awesome should we get a clap in now sometimes I like to save the clap for after the sample yeah we'll save it for after the sample so I normally use splice to get a lot of my samples because a number of things there they sound really good they're already royalty-free there's so many samples and they're almost like stemmed out so you can get some that are like in the middle of a song sounding and what I usually do is just go for the the jazz p.m. man I'm giving away all my secrets jazz piano sounds [Music] this one's kind of cool I think this has another part yeah it does so I'm gonna say let's try this it might work you might not all sample for three seconds record and these I already used my credits on so I clipped away too hard yeah I don't want that discard tool so then I'm going to name this CR D four chord you know whatever you want doesn't matter than me so since this one I'm gonna chop I'm gonna end up chopping up the sample I normally put my samples on seven but since I'm chopping it up I'm gonna put it on nine ten eleven and twelve so here I don't want to make sure that that is set to Mono cool and then I want to get the the next half of this - I think there's another part to it so see if I can do it right timing well there's another one in there too so keep this will be C Rd - and then if we get that last [Music] dang there's another one in there too I need to get that last one you know what I'm gonna do just to make this easier on myself is I'm going to just drag this into a new audio track whoa wrong one splice oh cool so that way I can just see where it's at pun warp it and just get the last little section yeah awesome so I'm gonna keep this one this will be CR d3 done enter and then let's get this last one record cool so you can chop on the 3000 it takes a while it's honestly pretty fun and very meditative but for the sake of this video I don't want to put you through all that so awesome so now I'm going to go back into these and chop them up a little bit just to cut the end off the beginning [Music] [Music] cool so then the most important thing and this is like a gripe I have with the MPC 3000 because and the 60 and the 60 mark - I'm not sure how the two thousands work but you can only have a cut-off of two things so pad 43 I want to get cut off by 44 so put 43 in here same thing here with this took about 45 44 45 and at 45 and then I want this to get cut off by pad 1 so we need 46 gears up CMS that it's a 43 this seems to kind of work [Music] what that says [Music] so this is kind of why I have I guess I can go ahead and delete this this is kind of why I have this channel the MPC 3000 left and right for this exact scenario because these samples all live on separate paths and if I were to go in and edit the filter cutoff for one of them these three don't get affected only this one so what I can do is in here just use Auto filter or I've been using this that Tejada showed me the wave tracing has aliasing sound but I can just [Music] okay so now that we kind of got the main idea down let's record some shaker I got that on this channel here this went into this microphone you probably can't see it but not even hearing double what's good so let's go into program record so this automatically just get like the master of my studio goes into the MPC 3000 so I don't want it that's when you try to add a little bit of a finesse you just drop stuff all right let's try this oh and I don't hear it cuz we got the filter on so that's the next thing you got to make sure you eventually turn your filter off if you want to hear it cool that'll work done I'm gonna assign that to here oh I forgot to give it a name oops that's there that's on five applying a little eq and yeah [Music] you know watch so this is kind of working kind of not so what I'm gonna do is go to our sequence at it I'm gonna copy this over the two and this is another thing I constantly forget see I've just been recording everything in track or so my samples are all on track for but I'm going to delete that all right now and then I also recorded the shaker and that to you so I'll raise that but I want to go to this go to track seven which is our sample track I like this one [Music] I want to do that at sixteen levels Wow Wow Wow so now I want that to be four bars sequence copy from do you want coffee okay we have four we're gonna have to raise this track so check this this is something that's kind of fun to do you hear how it just kind of ends I want that too weird lead loop not really so what I'm gonna end up doing is go to our sound editor which is this sound here and I'm gonna just find the zone of it of the tail-end so we can see it ends at three seconds I want to say what about two seconds and then [Music] cool so what I'm gonna do now is I'm gonna copy that to a sound and that copies it to a sound called zone XY or Z so I'm gonna put that outfit over here so it's this zone that sound is from this was the original pitch here so it goes down 1 2 3 4 5 6 7 8 9 10 semi-tones so this needs to be tuned down by minus 100 oh yes okay so let's see where this ends so again back to that choking thing I want to have that freaky choking thing I want this to now cut off a 50 so 49 music about 44 no 45 this one needs to fall so bad off [Music] so now what I can do to which is kind of fun is if I go back into supplies that was F minor cool so that would make sense track nine is my pro three so it doesn't mess anything up and honestly the pro 3 is so fun to program I do the same program basically every single time which is this [Music] so f minor [Music] cool that kind of works so if I'm gonna get weird on the pro three one thing that's fun to do is that you have the wave table and I do this man I've given away a hall my man you're gonna be like dude you don't know how to make music you make music way too easy there's another one that's cool all right so then what I'm gonna do is say I'm going to change lfo1 to sample-and-hold send that to our shape mod by a little bit and then I'm also gonna say wave reset so every time I hit it let me try the frequency down [Music] it changes its value over that a little bit and that's just to give it a little little extra [Music] [Music] [Music] [Music] [Music] [Music] yeah so send lmo2 to the residence [Music] okay cool so if I stop this we're at 124 I'm going to say Ableton to exactly that and what I can do now is I can flip this over and go into this our arrangement view and just set a loop point and I know that D at the Ableton and VCR pretty much logged in right so I can do a couple things but one of my favorite things is to turn on the microphone [Music] [Music] [Music] I'll pause that open this up and what I end up doing is I'll just duplicate this select track the delete and turn this to auto and then I'll just find a little loopy section like this into space okay so I can go in now and edit this a little bit so I like [Music] and I wanted to also happen here so I like those for being my loop and just to be safe I'll do this and consolidate that and then I'll just chop this off dude dude dude it and i'll say loop that way if i drag this over here I can then come back a little bit cool remember how I recorded that shaker earlier I think what I want to do instead is just record at the shaker [Music] [Music] [Music] duplicate select our content there shortcut for select track contents that there is please little it and know that there let's see if that lines up correctly Auto cool that should be fine yeah that'll work and then [Music] [Music] [Music] [Music] alright so next up this is kind of something I've been toying with that makes me a little nervous but I mean it's it's kind of fun at the same time but basically what I would end up doing is just tracking this pro 3 in and committing it to audio and then erasing the patch since I made it from scratch and then use it as like a little lead line or something on top so yeah let's let's do it you know gotta walk the walk not talk the talk so all the sequence all the MIDI data is coming from the MPC 3000 and all the audio is coming from the program so wanna die right so now if I do this I can then put this on auto play this stop the NBC 3000 and this is what we have committed to audio so far [Music] and again that pro 3 look at that right on the money thank you so much erm you are the best so now that that's done I will go ahead and grab this whole thing and just create a new audio track call it throw three bass move that down back to here and set it to end oh now I need to go to this term that track off [Music] [Music] [Laughter] [Music] [Laughter] we're fighting hordes work on this [Music] do those VCO sound so good I'll just stick with that term para para [Music] oh that's that I'm still learning good what is it I honestly this is again giving away all my secrets [Music] [Laughter] [Music] cool so check this record so cool there's possibly something in there I'll go and just check this out and sometimes what I'll end up doing is I'll just kind of mess around and I'll say Auto turn this off and I'll make sure that this is set to some sort of a loop point and all I'll do is I'll just take like a half a bar just put that there and then basically say loop that half a bar so I'll say like this and I'll just say take that loop that [Music] like that's kind of cool that's kind of close a little cheesy though that might sound better with some a little bit of sidechaining on there again like the the wonderful world of making music in addy aw you get so many options to do whatever you want and since I have everything already split up in their own tracks my compressor automatically just pops up this kick drum so I know it's the kick from the MPC 2000 and it just needs to be turned way that down that I've been using this the chaol reverb [Music] oops wrong one brought one wrong one oh my gosh [Music] just to put it way in the background [Music] let's and with this approach the base I just do an auto filter so at this point I'll pretty much just go and like commit everything to audio so I'll just go like this select all these record arm and just let it run and sometimes I'll go in here and just kind of do some real time stuff on top of the MPC 3000 [Music] sweet so with any kind of MIDI clocking device the first one is always going to be a little off if it zoom way the F and the first ones off and the second one is not let's do this so see the first ones off by like a hair but the second one is right on the money so half the time I'll just go in and do that and this usually only applies for like whatever is very the very first hit of you know X Y or Z so it might happen to the sample but I don't mind it if the sample kind of has this weird almost subconscious reset when it happens so yeah so that's that one let's see if it happens here yeah a little bit but again since I let it track over itself I can just go in line move this one here let me do this there's only four cents so since I let it track over itself I can just go into here and just let this kind of fall and maybe there and then add a little fade to kind of mask it and then if you really want you can just go into here select all and consolidate that that way everything is isn't like a perfect four bar loop paste this forever practically and I'll save this pro 3 stuff for later cool and then this is well boom boom boom boom boom oh that got so jacked up I didn't do something right there oh whoops see this is what I'm talking about again in that video sometimes I forget to consolidate things perfectly and then I just make a mess of everything so boom boom boom boom boom boom I usually aim for my tracks to be about 5 minutes 20 seconds to 4 minutes so we'll do that for now and sweet so I just recently learned the zero button to deactivate clips I used to just delete my clips which is still fine I mean it's technically kind of the same but for whatever reason I can kind of visually see a bit better here let's do this awesome so what I end up doing is being able to visually see what doing instead so if I kind of go back I'll go here we didn't use pink today we didn't use this second my channel we did not use a dick colored or a Deckard we can turn off the ERM because we can always bring that back later so now we just have kind of the essentials but also we didn't use the clap track which I guess I can I'll select the track contest and just delete it and same with the perk yeah we didn't do a lot of stuff this is a very bare-bones track I mean I guess I kind of just wanted to get the idea out so let's see what we [Music] [Music] [Music] [Music] [Music] [Music] fooled by this point do this do a little line there zero and then we'll keep this out and we'll take the clothes hats out and we'll bring the pro three base in [Music] now we can even joy [Music] so I got this this mixing method from hind back where he basically puts his three main elements at minus-6 everything next main metal elements under that at minus twelve and then minus eighteen and so on I kind of mix my stuff at around minus twelve but if you do the minus six it's a little easier to see so like to see how the samples hitting almost minus six right now lower that's minus twelve these bongos I know I want to be like minus eighteen but you see how they had that huge peak I'm gonna just slam the crap out of it with a glue compressor so sharp attack height ratio thank you see it's a lot more tame let's also do a delay actually let's do the echo just a little movement so our kick is just slamming right now so another minus six closed head is that minus eight I kind of like are the open head I should say minus eighteen that's fine but our base is definitely like my main a little louder and that's also just kind of like rough idea sounds you know our sample a little our that's a little cheeseball now my dealer one that feels that way yeah that'll work cool I mean honestly like from here you just kind of go in and arrange this track and have at it I mean there's not much else I do from here I do on the master Channel kind of just add a little bit of ozone that's also in that whole splice thing honestly if you want to check out splice check the link in the description I get a little kickback if you're interested in it I've been using it forever yeah it's really dope it's cheap and you get a ton ton ton of samples and like it gets to a point where I don't even need any sense I just need a sampler and I can just take samples from that but yeah that's how I usually make a track arrange it organize it kind of clean up some of the EQ stuff but again like a lot of my default stuff has has like for example the MPC 3000 track already has my little compressor on there going to my kick all my percussion stuff has a cut at 84 which I usually end up pushing towards 100 and if not higher for hats and stuff kicks cut at 50 because I usually rely on my bass to be the most bottom-heavy when it comes to a club so I'll usually just leave it as is or throw a cut on there at 24 cuz no system really goes lower than that so why even hog Headroom from that point of view and then all sometimes reef lip the sample and just try to add some more percussion stuff or clap around my room and hit record and see what it sounds like and chop it up and either throw it into 3000 or you know just track it out into Ableton but uh but yeah that's really it anyway I appreciate you hanging out I hope you had some fun hope you maybe learn something along the way and if you did you already know the drill share the love share the knowledge knowledge is power peace actually ah man I always mess up on these outros [Music] [Music] [Music] [Music] [Applause] [Music]

Channel: Ricky Tinez

Views: 197,492

Keywords: ricky tinez, enrique martinez, ricky tines, pro 3 sequential, pro 3, mpc 3000 beat making, mpc 3000 tutorial, mpc 3000 review, mpc, 3000, mpc 3000, sampling, ableton with hardware, hybrid studio setup, incorporate hardware with DAW, recording synthesizers, recording synths, recording synth into ableton, ableton tutorial, track from scratch, track from scratch ableton, against the clock, how to, splice, splice samples, music studio

Id: DJWFwQr6jHM

Length: 40min 4sec (2404 seconds)

Published: Sat May 23 2020