How to Make FUTURE RAVE (Like DAVID GUETTA & MORTEN) – FREE Ableton Download & Samples! 🔥

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👍︎︎ 1 👤︎︎ u/AutoModerator 📅︎︎ May 17 2021 🗫︎ replies

Hey, everyone. I just finished this new tutorial using (pretty much) only the stock plugins in Ableton Live 11, but you can use the techniques in any DAW.
You can also download the Ableton project file, presets and samples for free here: https://drive.google.com/file/d/1HhxyDAp4uRwMCvv-MBdzA21Fd5ZNLKER/view
In this tutorial we go in-depth into:
1. Synth Design
2. Beat Making
3. EPIC CHORDS!!!
4. Mixing
5. Reverb
6. Arrangement
7. Vocals
8. Changing the key of your track
9. Much, much more!
Hope you enjoy, and if you have any technical questions, just drop them below and I’ll see if I can help :)
https://youtu.be/4JK9eJTEP\_I

👍︎︎ 1 👤︎︎ u/willdarling 📅︎︎ May 17 2021 🗫︎ replies
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Okay, guys, today we are going to make future rave  in the style of David Guetta and Morton. Why are we   doing it? It's so we can learn different techniques  by picking apart big artists tunes, so we can apply   those techniques into our own tune. As usual, you  can download the project file, all the samples   completely free below this and without further  ado, let's hop into the DAW and get it done! So,   I'm using this magic Arturia Keylab 61 that the  guys at Arturia sent me, so thanks for that fellas.   First thing we're gonna do on this track is 126  bpm for that future rave sound and then we want to   create that really aggressive sounding kind of  riff synth. Now, i know that the original track   of "Kill Me Slow", I think it's called, is in F Sharp Minor but I'm going to do this   in A minor. As you know, it's really easy to work in  because it's just the white note, so you don't need   to worry about any of the black notes. It's very  easy to kind of know where you are. I'm going to   show you how you can do that and then transpose  it to a different key at the end. So, if you're   using Ableton 11 like I am, you could just press  this scale button over here, choose whichever scale   you want (so we could choose, you know, F Sharp Minor),  press fold and boom - it just shows those notes but   I'm assuming that you don't have this version  or even if you do you can do you can do this   as well, anyway. So, you can just draw in all the  notes from a up to a all the white notes, sorry,,   just like that, if you don't have Ableton 11  because these techniques can be applied at any DAW.  You can just drag them down an octave and then  you can drag them up from A to A an octave as well,   and then when you press fold boom - you've got three  octaves of A Minor Natural. So, let's just select   all those, press it across once and then they are  in... When we press fold, all those notes showing are   just in the key of A Minor. Right, let's get this  synth going. I'm just using the stop plugins in   Ableton so you can follow along. I'm going to  use the analog for this and the original track   would have had yeah a riff like this   Something like that but we're going to do it in  A Minor but it is just based on a simple source   saw wave. All we need to do is just make it  a bit pluckier by taking down the sustain, and we're going to write our own riff because  we don't want to copy the tune completely.   I'm going to take the tempo back  down so it's easier to write in,  put the metronome on and I'm just gonna record  and play in a riff just using the right notes. Okay, let's try that again. I  like to do these no no edits. Okay, so we've got like a rough  idea of the notes we want to hit,   and they're going to really work well when  the bass notes change as well. So, when it goes   and that's what... that's the  beauty of doing everything in the   in the scale. It's just it's going  to work. So, let's just quantize these. I'm going to double up those low notes. Cool,  so that is our riff. We're just going to pretty   much repeat that, so let's consolidate it, and then  let's get this tuned sounding really aggressive in   the same way that Guetta and Morton tune  does. So, I've just sped it back up to 126 bpm...   Let's name this bad boy! Yes, I forgot. How could  I forget to name it?! Let's call this David Morton.   Let's call it Ricky and Morton. I don't  know why... I've got a beer with my name   on it. I haven't had it yet, so my creativity  ain't at the top. Don't drink and drive, kids. Okay, what I'm gonna do is make sure  they're all hitting the same velocity   because at the moment the velocity is  assigned to the volume, so it's kind of   dipping slightly if I hit the note slightly  less hard, .and now it's all the same   So, now let's get this aggressive sound. We go to  saturation, we'll add some overdrive distortion, just to add a little bit of bars.  And now this is the trick: we are  ... Usually, I like to put reverb on the auxiliary  channels and if you watch this channel, you know   know that, but I'm actually going to add it to  the channel itself and that's because we want   to compress that sound and get that really pumpy  compressed sound, that's in this particular genre. And now we want to add a compressor and just  get that all glued together. So, let's just   see what's going on here. We want  pretty fast attack, so we get that bite.   Cool, so, that sounds pretty good. I'm just  going to add an eq at the end of that,   take out the low end, booster high end. Cool! So, that's that kind of Morton lead sound. Now  we're gonna work on ... Let's see what I've got on my   magic thing. Oh, the reverse synth that leads  into that. Now, I know this isn't the exact same   riff as in that morton track but, you know, deal  with it, brah! So, let's create that reverse like   one to lead into that synth. Now, the way we're  going to do this is just duplicate that synth,   delete, well.... Just quieten that  first one up, quite up, lad,   and then let's just have the first  note play. So it's this, basically. Fail! Okay ,what we're going to do is we'll drop  that down an octave. I'm just going to hold shift ,  press down, so it's like that. I might take... allow  a bit of the low end back in, actually, on this one. Yeah, that sounds cool! I might increase  the decay time a little bit on the reverb. Cool! Now, I want to record that and then reverse  it, so don't worry if that sounds a bit complex.  I've just created an audio track, and, again,  it doesn't matter which DAW you're using,   you can still do this reverse reverb technique. Choose the input from that synth, this second one,   record into that channel... Let's just record it. Stop, boom! Okay, let's reverse that, delete that one  there, and now, when we kind of lead into this synth,  we can use this reverse reverb, which is  going to give it a really cool effect.   So, probably sounding something a bit like this... And we can... You know, if it's a bit quiet, just  boost it up in the gain, tweaking the fade. Boom! Epic! Now, before we do all the chords and the  beats and stuff, I just want to work   out these background chords that are  going to work really well with this,   and i'm going to do that with some strings. So, i'll  just call this reverse synth, and we're going to   color color those the natural color of the synth, which is, of course, as you know, cyan, and then we   are going to create some strings to work out those  chords. And I'm going to remember at the end to   transpose this to a different track because I've  never shown you actually how to do that. So, let's   get some synth strings. Let's go strings. I'm just  going to go into packs, orchestral strings, sounds. That sounds quite nice, we're going to use  that. Now, if you use Ableton 10, you can use   the template technique that I just showed you  or, if you're using 11, you can just... it's already   got scale A minor chosen, so you can see these  blue notes are the ones that are in that scale.   If you press scale, it's now going to do  exactly what I did on the synth but you   don't have to draw the notes in. That's  a bit... one of the beauties of Ableton 11.   And now, if we start off on  the root note, which is A, we can start off by drawing in  the base notes of this tune .  So, this is going to be quite a long progression. I think that's the case in this in the actual   original tune. So, let's just now.... We can tweak these  notes where we want and it's going to sound good.  Yes! I'm gonna have to tweak the  levels because it's clipping. Look.   Bad boy! Bad boy, naughty boy! So, what  we're gonna do is just simply take   the volume down. Let's just see if this  is clipping anywhere in the signal path.  Yeah, it's a bit hot here and here, so i'm just  going to take it down there to stop it clipping, and now we can just take down  the volume of the strings.   And if it's too quiet, just turn up your monitoring. Now, we can work out some chords for  these. So, if we copy all these bass notes,   put them up an octave. Now, we can just skip a note  each time and we can create these lovely chords. I'll just sustain it on that one, actually.  It's gonna sound epic! And, again. Whoops, taxi! So, they are our chords. Now let's get...  Before we do the big building up and stuff,   let's get some vocals on this straight away  because, you know, we want that vibe, we want to   be getting that epic feeling, and the vocals are  an integral part to attract like this because ...  Yes, it's future rave and really it kind of sounds  like old-school trance but slowed down a bit but   the vocals are a key part to this track. We've got  the synth, which is the hook, and we need the vocals.   So, what I'm going to do... I'm going to use Loop  Cloud. They've got Loop Cloud 6 this has just come   out, so I'm actually going to sync it to Ableton,  which works really well, actually, because then   everything's in the right tempo, as well. So...  Let me know if you're enjoying this, by the   way, guys, as usual, hit me up with a "hell yeah" or  an "amen brother" if you're feeling holy because I   love it! I love to hear from you, fact! So, let's get  cracking. We need to choose the Loop Cloud as   the the plugin, that's going to make sure it's  synced up to Ableton. Now I can launch that bad boy.   Then I'm going to loop this chord progression  and this is something really cool that i just   found, playing with this. I want a female vocal  so, obviously, I'll just go into instruments,   go along to female vocal, and you can download... I  think you can get a free trial of this, so you can   click my link below. If you do decide to sign up,  I will get an affiliate payment, you know. It's a   little bit but it helps me keep the channel going,  or if you're not comfortable with that, obviously,   you can just google it. So, this is the thing that  I found. First, obviously... Well, not obviously, you   haven't used it. You can choose A minor as your  scale but this is the thing i really like: I can   choose the length of the sample. So, I only want  pretty full acapellas, so, if i put it say like   seven or, you know, four and a half seconds as my  minimum, I'm only going to get vocals that are   that long, and I can key lock them to the track  as well. Although they're... I'm selecting A Minor vocals Okay, this is a bit loud in my headphones, so I'm  just gonna turn it down on the channel in Ableton.   And now let's listen to some of them, whilst we  loop this, and wait till we get the feels, y'all. Instant feels! It's all like.... You have to get the right vocal. That's not the right vocal. I might  clip this, I might, like, cut this bit,   whilst I just find a vocal, so i'm not like boring you.   Oh, I like that! Yeah, okay. We're having that. So, it  took me a while to find it so i'm glad I kind of   edited that bit out. So, we'll just drag that  in. Again, I can buy it just using the credits,   drag it in. Come on, come on! Okay,  let's just drag the original in there   that looks about right. So,  now let's press warp 123. Warp mode: complex progress because it's  best for vocals. Now, let's listen.  I 've just added some room reverb on  the auxiliary channel so I can take it ... So we can have more control. And now what I'm going to do is I'm  going to compress that reverb by the dry   vocal, just to duck it slightly, and allow that  vocal to breathe through a bit. So, here we go. This is epic! I should just finish this track. Right, we're going to get the rest of this on the going, on the go. Build Wow, that just works. Okay, so with this synth  to lead up into the drop, we are going to   do some automation, and what we're going  to do is we're going to automate the   release on the amplitude, and this is something  that Morton and Guetta do in their track, so let's   just make sure that we know where it's going to  go back on the drop, and then increase the release. Let's check out what happens. You know, it just kind  of washes it out like that,  and we can also do that with the reverb.  Increase the dry, sorry, increase the wet, and then back to that kind of tight release. Cool, and what we want to do is make this drop  really huge. So, first let's get the kick on there.   I'm going to use a kick from the EDM Tips  Creative Toolkit, which you can grab below as well, if you want something quite toppy that sounds  quite cool. So, let's just drop that on there,  and now let's work on this future  rave drop, baby! So, let's get this going...  I was supposed to do a Prodigy one this week.  I actually did do it, so we're having the   prodigy next week but it's currently being  edited. I am trying out a new video editor to   try and save myself some time because it takes  a long time to make these. Might choose it   Might choose two, I think,  will work a little bit better. Cool, let's get that bass line on the go.  Now, we have got... Wow, I spent ages over   those vocals but it's worth spending  the time finding the right vocals. For the bass I'm going to do this  again in an analog and I'm going to make a really kind of   analog sounding bass. And the way I'm going to do  that is have a square wave, I think, and a sine wave, add some Unison, and what I'm going to do is  I'm going to send each oscillator to its own   amp amplifier, so i can pan one left and one right, and then take the frequency filter down. Maybe take the sustain down  to make them a bit pluckier, and a bit tighter like that. Now, let's program this baseline  in. We're just going to have it   hitting that root note on  the drop, so that's just an A, and just those three simple notes repeated, which will give it that old-school feel. Maybe I can drop that... I know what i'm going  to do. Because this is stereo, and you want to   watch out for stereo bass because you  could get phase issues, I'm going to ... I'm going to keep that bass to the mids and  the highs, I'll duplicate it, then I will keep   this other base the opposite of that, so just  the lows, and I'm going to take off Unison, just take off the second oscillator and  make sure that first one is in mono,   then choose a sine wave, so this is just  the sub bass now. Let's call that sub bass. And now the upper bass will  give it that stereo width.   Now, we need to add some side chain  compression to get that pumping.   And the way we're going to do that is... I've got a  side chain channel here. If i open it up... Oops,   nothing in it at the moment. Let's grab it and  let's just duplicate that. So, I've got a little   tick sample in there, and I use a tick rather than  the kick, so the all the control for the release   is controlled by the compressor  rather than the length of the kick.   So, i'll just group those together, so  they can be processed together as a base, and then put a normal compressor, in whichever  DAW you're using, boom, and then open up this   and choose your sidechain input, which in this  instance is a click, which is set to sends only,   so you're never going to hear it, you're just  going to use it. I can... I don't like that view. So, this is off, and it just squashes it together  because that future rave sound is really   quite squashed. I might even drop this sub bass  an octave. That's a bit lower actually. Yeah, okay I won't. Cool, okay, right. Now, what  do we need to do? We need a   bass for the break, which we are also going  to use in the drop as well to make it even   bigger and more epic, and also we are going to add  a pumping synth on the side chain channel for this,   just to make it even bigger. So, let's create an  auxiliary channel. Let's call that synth reverb,   and i'm just going to copy  the settings here in terms of... Yeah, I'll copy the settings there and it's  already got a sidechain compressor but this   time we're going to run the sidechain compression  from the bouncing side chain signal like this.   So, you can hear... So, you can hear that that  reverb is now ducking as well. Cool! Okay, let's get this other base that I was  talking about. So, this is going to be our break   base. Really simple. Again, I'm going to throw on  an analog. i'm doing everything with analog today.   Let's make it Unison again. So, it's got  that kind of 80s feel, take the filter down.   I don't like that filter envelope, so we'll  just put the sustain right up for that.  And, in fact, we might use two oscillators  and pan then left and right to make this   wide and, again, you could do the  same thing to avoid stereo phasing. Detune and then it's really wide. So, in the  break it would be something along these lines, but we don't want this reverb playing  in the break. That's just for on the drop,   so we can just stick it in here on  the drop, strings come in, and base,   and we don't want this bouncing happening in the  break, so we'll take the side chain sugar out there. Breakbass. Oh, no, we don't want those gubbings coming in. What have I done? I did it wrong. That blimming build is supposed  to be there. Okay, I know why I did it   wrong because I moved the chords back to come in   slightly after. All right. Come on, boy, sort your  head out! We're going to build a riser, actually, and I don't know if the original track's  going to build up here but I imagine it. So, that... Let's turn that  reverb down on the synth a bit.   Let's put that second bass in on the drop.  I'm just kind of going off on one, guys,  this is pretty ad-lib here but I hope you're  enjoying it. Let me know in the comments if you are.   And we've got the Prodigy coming next week, one  of my favourite producers of all time Liam Howlett. Okay, I think that's pretty much there. Let's now  see what else is going on. Yeah, we got the drums,   of course, we've got the drums. So, you've  got a couple of big drop bits like that, have a pumping white noise there like by all means,  fill your boots, lad, get that white noise in there. I'm gonna use Will's white noise. Will's white  noise, here we go. This is just one I made earlier   and I'm just gonna stick that on there.   It doesn't matter which note you  hit because white noise is atonal, and then we should be able to make that pump  as well, and we will do that just by grabbing   that another side chain  compressor that's already been set up. So, we're just adding that to the drop. So, if we got the beats coming in here... Let's  get some beats on the go. Again, I'm going to   use the drums from the EDM Tips midi pack... Sorry,  EDM Tips Creative Toolkit, so let's just get some... and they're very simple beats in this. You  know, these tracks are really pumped quite loud,   so the less stuff you got going  on, the louder you can get the mix. So, let's get the hi-hat in there, just  every other kick... Sorry, in between each kick,   like that. Boom, boom, boom, house  music. Lovely, take it down a bit. It's all about choosing the right sound though. i think those two layered up will give it enough  aggression. Again, I need to listen to the track   again, really, to work out the tonality but you  know layering claps is always a good thing to see.   So, see it, but we need to make sure  they're kind of quite low in the mix.   So, the way I've done that is I've opened  up.... If you open up this little button here,   and these two here s&r, you can create return  chain and you can assign a chain to your    auxiliary channels. Now, if that is a bit kind of  beyond where you are now, don't worry about it,   you can check out my Ultimate EDM Mixing Course  (nice little plug there), and you'll learn all about   this kind of stuff but i know a lot of you  guys that watch this regularly see me do this,   so i'm just going to add a little bit of reverb  to that clap and then feed in the other one. Okay, and, again, you can play with  that synth on the automation,   as it comes up to a, you know, part of the track, adding the release to increase tension,   and then we're gonna go into the full groove here.  So, all I'm gonna do to carry on with this track   right now before we head off for  the day is copy that, duplicate it.   I'm going to do copy it with the automation,  so i'll turn off the automation lock there,   and let's just get a groove going really  quickly. This is going to bring the shuffle.   So, what I'm going to do is get another... And  don't worry, guys, I'm going to actually do   a bit more of this before I give it to you to  download, just so it sounds a bit better. That   closed hat from the EDM Tips Creative Toolkit is  fine. Let's just put that on every 16th, like so, and to make this kind of move a bit more,  we're going to add a side chain compressor  just to that hat. Whoa, I know your mind  has been blown. I know it, I understand it,   and i'm not going to apologise for it.  So, at the moment this is how it goes. It's too, you know, too robotic, so  what we're going to do is throw the   sidechain compressor on that pump...  sorry, on that closed hat so now it goes. Off. Straight. We might even  take the top end off that. So this is very subtle. So, right, if you've got the vocal, as we have, this  is how you do the intro to a track like this and   I know these guys do it. You know, any good producer  will do this anyway. So, to introduce the the tune,   you want to kind of introduce  little elements of it earlier on, so it  gets people primed to know that there's stuff  going to be coming in later. For instance, we   might take this first chord of the strings  and just repeat it but it's going to be quiet   for this part of the track. In fact, we  could wash it out with reverb even like this,, add the side chain compressor on there,  like so, and we can take this reverb off. We can take this reverb off when it gets to the break but let's just kind of start off  the track a little bit anyway. Let's bring   in these drums but just the open hats, and  we're going to introduce the vocals as well.   Now, we could do this by having this awesome  one that I just randomly found, which I love. So, you know, and have that really quiet in the  mix that's quite a nice way to start a tune   because there's a lot of interest going on but quite subtle, quite low down, and that's  one of the big differences between a pro   sounding track and a amateur sounding track.  Just because it sounds like there's not much   going on, listen a bit more carefully  and you'll hear that there usually is. And we're going to take the other vocal as well. Just one part of it. Yeah, okay, we're just  going to take this bit here. Just one tiny   tiny vocal chop of it. And I should really  take off the big reverb as well for this bit,   you know, I'm just gonna have a little bit. Yeah, that's all we're gonna have for the beginning, and through automation and clever...  Yeah, automation mainly, then you would   bring that in slowly and then when the vocals  come in, it's not like a massive surprise   because people have already been primed to  expect something in that frequency range   but, obviously, it's going to be much  quieter at the beginning. Something like this, Something as simple as that. Really,  really low volume, and then we could do a   reverse reverb for the way that we did  on the synth as well to introduce this   vocal in the drop... sorry, in the break  but this will do for now. We'll also   automate this low frequency. So, imagine this going on  for like 16 bars, adding new elements, then we get to the   And then this would be the first break but  then the second break the vocals will be on here. Okay, right, this is so almost done  but i I'm just... This is epic! Okay,   i'm gonna get these bass notes  done just to follow the chords. Ah, yes! And then, there we go. These just  follow the bass notes of those piano cores to bring everything up Let's just find a build, like  whatever. That's taking too long I'll just sing it Okay, like that's why having some kind of  self-control is important but it's also why   having a lot of tension control in the build-up  is good because when that drop came in, it was weak   and that's largely because  everything's so loud and powerful now, you know, and you've got the build  up you need to take the bass out. So, yeah, there's work that needs to be  done on that. I'm gonna do it a bit more and then you can download it but I hope you've  enjoyed this random impromptu session anyways, guys. Thanks for watching and if you dig it, please,  consider subscribing to the channel because it really helps me out, and share it with your friends  if you think it's worthwhile Hang on a second, I told you i was going to show you how to transpose this. I just remembered. Okay, let me transpose it for you. So, if you want to have it in a different key, what you do is go into whichever... I mean, you could probably do it another way but  this is how i do it. If you want it in the   key of F Sharp Minor, like the original track, the  Morton and Guetta one, that is... Let's see... From A...  That's a rubbish instrument, come on! We  got the synth here... From A, which is here,   what's the quickest way to get to the F Sharp?  It's by dropping it one, two, three semitones.   So, let's just collect all, press down three times, and now do that with all of your melodic  elements. Three times. Bass three semitones down, sub bass and normal bass three semitones down, and  now... You'd need, obviously, your vocals are now going   to be out of tune. So, what we can do in Ableton  is we could... You could either choose a different   vocal in the key that you want it to be in or, if  you found an absolute dope ass vocal like this,   then you can just make sure that you've  got Complex Pro and then just drop it three   semitones. If you drop it much more than  that, it might sound a bit weird. Now,   let's listen to the tune. I think  that's everything that's been dropped. And this was the original temp... the original key it was in. That's how you do it, anyway.   It's just easier to write things in A minor   if you're not that skilled  at playing the piano and whatnot.   That's why I like to show it in A Minor because  it's easier for beginners and people who are not great at playing piano.   I literally just said that. Anyway,  until next time.Thanks again, cheers and happy producing!
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Channel: EDM Tips
Views: 42,036
Rating: undefined out of 5
Keywords: How to make Future Rave, How to Make Future Rave Ableton Live, Future Rave tutorial, Future Rave music tutorial, how to Future Rave, how to future rave drop, how to make future rave lead, how to produce future rave, how to make future rave melody, how to make future rave bass, Future Rave, Future Rave music Ableton, Ableton Future Rave, Future Rave Ableton, how to make music like David guetta, David Guetta Morten Tutorial, how to make music like morten, EDM Tips
Id: 4JK9eJTEP_I
Channel Id: undefined
Length: 44min 4sec (2644 seconds)
Published: Fri May 14 2021
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