How to make MODERN melodic HOUSE [Like BEN BÖHMER and Anjunadeep] - Ableton Live Project File

today we are going to have a very fun track or a very fun video at the same time we are going to make a medic house track or we can even call it extra progressive house or progressive deep melodic house it's like really in between some people have been called it actually your house as well but anyway we are going to make a medic house track similar to ones that that you will find in angina deep especially from van Burma and I'm going to use a reference track from him we are going to basically use the track that's called breathing from bamboo my I think it's a very cool track and the main ISM that I really want to pick that track because it it utilizes triplets a lot and I feel like it's something that many people avoids or scared to use so it could be very interesting for those people as well but even though we are going to use the reference track I'm going to start from scratch we are going to do the drums kicks basis and then million to take a look at the pads and the lead sounds and the hi-hat shakers ads and so on so we are going to do it from start to end and I will try to explain as much as I can I cannot really know exactly how bamboo mat code when he made a track but I can just try to give my own comments but in our way to talk let's sit down start Ableton and make some cool medical socks [Music] as usual the first thing that we are going to do is basically creating our low end so that we can have a groove going on so we need to pick some time perfect kick and for this track I'm going to pick something a bit fat like a full of sub but short because we would like to really put the bass the sub bass in front of the track so if we don't like the kick to take to MySpace so if I I think I called on Juna kick by the way I'm creating a sample pack as well so I'm going to share my samples later on most of them are just me creating artist based samples here we go this is the kick so like I mentioned it's like a really cool thump really short one you know that the me I also really love this type of kicks a short term so it cuts through the mix and then a nice sub so that you can actually maybe make it shorter or longer depending on your taste but this one is that kind of a perfect length I will say and if I play it it sounds like this which is kind of quite heavy you can definitely hear that thumb and fine turn this on you see that it's a sub heavy as well it was a little bit here again depending on how we feel with the sub and so on you can come back and do more stuff so what I'm going to do now just put the pigments and we are going to build a simple low end from this and then to make it really simple for us what I'm going to do take something like this and then I can make back to eighth the second one let's pick from the analog so that we have this kind of a nice variation going on the important thing over here though here is a drift so how much it drift from the tune so I try to keep it low for the sub basis because we want to set sub bass as smooth and as stable as possible because the variation there is not really that important but if you have too much variation it will really make it hard to properly master your track so because of those variations and volumes and so on so I'm going to pick this one what I'm going to do maybe tune this down let's say 12 DB so that we have an octave below and keep it like this and then I'm gonna go here and pick something like this the reason being matrix 12 is actually 20 use resonance in pigments and matrix to our filter it doesn't cut too much from sub other filters actually cut a little bit from the sub to emphasize on the resonance so there's the main reason so let's take this guy so what I'm going to do keep this long and give a small envelope here so we will have a song like this let me put it and if I click just simple media sounds like this let's boost a little bit really nice clean base on but what I'm going to do actually drove a simple sub baseline exactly the same as the reference track in origin track is actually I think eight per loop so we let's start with the four bar here let me create this so we can capitalize afterwards this unfold this we are going to just start with the E minor and we're going to pick with the e one so it will sound it will sound quite busy if I play here you will hear it and what I'm going to do let's start with a long II like this and then let's go to the third in the in minor scale we will have one two three I'm jumping one here and half three four five six so these are the notes that we are going to utilize the other thing is I'm not really thinking jumping too much between different in notes because then sub bass becomes not sub anymore if that makes sense so probably if I go above be here even the B is actually a bit high to be honest but if I go even further it will be a bit too light thank you can hear and here it gets really bright and it doesn't sound like a sub anymore and let's go back so we are utilizing one third fifth and fourth and sounds and it's actually not as simple you can definitely hear in the original track it tastes like utilizing different things like you can do maybe something like this a triple thread and then you can maybe change it to like this and let's do it maybe 1/8 and you can even maybe exaggerate it like this and then maybe if you want to keep it a bit maybe less aggressive then you can use like something like this it gives kind of really nice polyrhythmic feel to the sound so for now to start with I'm just gonna use it like this and depending on the part of the track actually we're going to either use a long one and a short one and if you duplicate this now and applicate this one as well the second part let's say off the track is basically going back to the e again but this time we are going to use double e so as simple as that so be I'm not going to play a lot with the base or the velocity because I really want that stable base tune and just because of it I'm gonna go here now so let's solve this guy the other thing that I'm thinking now is actually maybe distorting a bit so that distortion itself often times also compress the sound so the levels gets a bit more even and then I'm gonna compress it a bit afterwards just like it's like this really creamy sound I really enjoy in pigman spaces because I really think that they sounds really nice but we are going to do of course sidechain to the king that's important because when the kick hits we don't want n sub that there and our keep is kick is quite short as well you see 0.15 so it's kind of like a very short kick and we have to site into the base let's do that and here we have something that's called look-ahead which means that you start decking your base signal before the kick hits and this is important because it will also help your kick to pop because we already believe them the sub base before the kick hits so it's really helping kick it out in this end so if you play together now really nice crew going on maybe we can pull him down the kick a bit and finally I would like to kind of a bit group process together the things that I like to do is for example utilizing glue compression and channel EQ like a boost a bit on the low end so it gets a bit less a basic cut a bit here depending on here's a nice time I'm gonna boost it with ties as well can probably open up the this on a little bit depending on the how much that thumb that we need but in the track there is also another bass sound and the elbow pad sound so we don't really need that thumb of the bass because they're like I said a lot of things going on so what I'm going to do I'm gonna duplicate this and we are gonna create this kind of read more weirder googling bass sound out of it so if we go back to our pigments again I'm going to turn this off and I'm gonna go for the analog engine and I'm gonna utilize all the trio sliders and this time I want to beat riff because it's like a high bass so I'm not really interested of the sub song but a bit high part of the song so what happens now is I'm gonna put it in the seven semitones so the fifth perfect fifth and open this and I don't want this envelope anymore that heavy so what we are going to do is basically increases like this and then we utilize another one here and that volume back up again it's really growing but what I want to do I want to exaggerate that sound and we're gonna change the mini this one if we start resonated it you will start to lose that low-end so if we play again it gets really that the resonated sound in the meantime that we don't need that so super lows and afterwards the important thing over here is playing with these finds to make it even more fatter and more and a lot on the look so we can go a bit here and then adept it's a subtle effect but you can definitely hear it it's like these viewed phasing of oscillators that you can clearly hear and this time I'm gonna actually to lies overdrive let's play all together to see if actually works together and here we cleaning up the subway a bit and because we don't have so many sub bases we can make sizing a bit less aggressive just like that I will keep the low and like this again I don't need too much work here we can come back later on in the final tuning when you are a be comparing proclivity on track but is good to go again the important thing over here is keeping your kick a bit shorter so that we can give a bit more space to base so it is more like a progressive posturing and now we have done that let's go for the hats and they're not so many things here a couple of ticks but we can take a look at them and we can start with actually that really bright and closed hi-hat sound probably so I'm gonna delete these 16 hats so we only have the off hat and I'm gonna just search for ban hat it's a very bright hat sound something like this will be useful for us the main different in this hat sounds actually we are going to utilize and thick plaits rather than just having like the offbeat closed hi-hat sound so if I take this off here and I'm thinking like making the shorter sort of easier to explain let's do it this way so if you take a look at the classic approach you see the off hats of heads of it so it will sound like this it doesn't make sense because all other things are triplets so what we are going to do is basically click here and go on to triplet mode and let's put into one eighth so what happens now you see that we have three hits rather than four hits it on each bar so that basically means that we can do like this or we move this guy over here and all day and if I play one motor [Music] almost like this revered stopping and going back again what I'm going to do paper probably maybe cut it here and then shoulder here and I think there's a bit let me see probably this guy over here is not that bad this guy over here is a bit irritating so what I'm going to do this one [Music] I'm gonna actually even make it like this I wanted a bit more brighter because the original track it is a very bright hi-hat sound so let's boost it like this and cut it here so we are not like a boost Engle and I want to have another one less - like this is the one that gives that bright character so I don't wanna take it off super much but I don't want to boost it neither suggest the balance that is done and what we can do is a slight vocoder to really make it ever organic [Music] and I'm thinking maybe creating a room reverb to the return so that we can actually send a little reverb so that we can create this kind of room effect so let's call this like a drum room and because we are gonna send the hi-hat so I don't want to cut all this size let's let them pass through and maybe cut super lows instead and did it go let's go like this and then if I try to send a little bit to the drum room make it shorter maybe thread lay so that we can hear dojin hit a bit better and a bit larger I think this is good enough again the volumes are a bit too much probably and we can finally maybe slightly two flies the compressor - just a skosh a little bit just a tiny bit just a bit more pleasant really hey nothing much this is good for now but that is not the only thing that it has the track has and track has this kind of really vocoder shaker the moment that you hear it if you have been this channel for a while you will hear that that bad one is about curve a so it was one of those moments for me I was like yeah yeah that is ever coder and there's a builtin so I actually don't know if he uses Ableton so maybe he used another D aw and then just had the sample over the vocoder the effect at it so we're gonna do that now I know you're like what are you talking about so you you learn this a bit better let me do it so what I'm going to do just copy this can this guy below here it will be the same mini more or less but what I'm going to do just pick a shaker sound I'm interested a bit more like Tiger these are all same I think this should be fine if you saw this it's a bit too dark so let's transpose this guy over here a bit so we have a bit brighter effect and then you can see that this is a bit too in-your-face I need to nice a like a digital so what I'm going to first introduce a chorus this is the important part and it just will also make the sound a bit more let's say wider and more fun spread on the sides and so on so what we are going to do play around a little bit so let's all this let's play I think something like this is fine again the main characteristic of the Sonics that comes from the vocoder there's the more important part I will say so let's bring on a vocoder here and I'm gonna do it before the course because I am on course to utilize the vocoder effect as well but I want to see the effect so that's why I play with the ago called the 4d course first so let's play around with the book a little bit and try to get a bit nice shaker sound yeah something like that that was the main like him yes I'm a moko the sound in the shakers and I when I heard that one in the origin sound I was like yeah that is that and the one final thing is I'm not really happy with the stereo field I'm gonna abuse that put a delay and then we're gonna turn these things off and this one off as well and bring this down like that so if I now do it wanted person ping-pong you will see that it will be like that almost we it phasing but if you keep it small like this and do it like this and turn the feedback down it just give this kind of nice Emmys and if I play with the track now it will start making sense and let's send it to all drum room again and one final thing I'm thinking of cutting a bit here and maybe do it like this and that's good and of course this will be like going all the way here what we can do and finally we can maybe go to process them together with no the glue confessor faster attack probably something like this again we can probably introduce a bit the slap echo depending on I don't remember if the Georgian strike had it so I will wait a bit for this one until the end of the track so once this is done then we have this kind of via ping ping sound and it is really important for this dragon and let's start with this one salt we have that ping going on for us so let's call this one pluck hits and let's just get that pigments I will just utilize really a single oscillator for this one because it's a quite simple sound so it's just playing the B all the time so what I'm going to do just put it here because it's the same tempo and I'm gonna go here and copy everything and put them into P however it's not that often it's like this and then I'm gonna put this it's like giving this kind of reading nice cool and to the sound however it is a b2 let's say a dark let's put it in p4 and let's go for the pigments again okay let's go and then of course it's kind of a really plug sound so we may we have to make it a plug so I'm gonna utilize the mu looks like this and then we are gonna take this mu loop tube and put it on the filter so that we can open up the filter very fast and like this and we're gonna give a nice release and I'm gonna go for the Sun filter we can get actually a matrix maybe and go for traffic it kind of feels a bit like nicer I feel like the decay is a bit too long just shorten this up and then we're gonna go for a delay reverb here again the amount of envelope that you're using has a really big effect on the sound itself finally finally maybe put this one a bit more yeah this should be a bit brighter and finer so the things that is missing is we have to make this a bit like a thicker a bit kind of cooler the reason being that this sound became really dominant player in the track so we are going to saturate a bit I'm gonna go for actually soft sign or medium and then we can go for EQ I'm thinking of boosting a bit here try to get the sound a bit thicker even though we are utilizing their high and afterwards actually there is a like a automation in this one so it's a bit like closed in the beginning and during the track it opens up so but we can deal with it later on if you play everything cool and nice however it we are still missing one of the main element here that's really important is the chords that really creating this kind of nice ambience in track and then using those chords and creating really this cord plug hits as well so let's put the chords down to the pads I was saying I may be too lazy to write down the coast back again so I prepared them already here and by the way I think this wreck is 122 so let's put this 122 eight the meantime and corporations like this it's really kind of same with the bass but a bit more richer again this is something that just taken from the audience on Origin track and we need to create this kind of really nice grooving pad sounds for me to fill up the ambience that we have because at the moment we have like high and low and a simple percussive hit so we need to fill that space so let's do that let's introduce a pigments and the important thing on this sound is actually still keeping that vintage vibes to track so let me maybe go for let's go analog here and then if I play now it will just sound like a salted not really that we are that we are looking for but I mix to slightly put those months like this and then I'm going to basically put in the monitor both and I'm loading this up just closes and this one has changed the matrix 24 give me the resonance and of course the em a little bit slower so that we don't have this like bump sound like smooth transitions give a bit release and I want the similar thing here in the second envelope and I'm gonna put it slightly really ever slightly to the cutoff I don't want it to be exaggerated but you can utilize x2 the voice and make it a bit more like a spread [Music] I felt like in division track they keep it simple like this so I'm gonna keep it this way as well and then we are going to probably be utilize a bit LFO on the like filter Reed is smaller and then for the here they define bass the tuning of the oscillators we are going to play with it a bit as well let's do the sign mostly the really small one and then for the LFO here we are going to change the feeling so it is still continues to run all the time regardless of what we are doing with this and then let's put a chorus on top of that so this one gets really wobbly so we are almost there but when origin attract there is also a bit of distortion I think and a bit like a reverb as well what I'm going to do it like slight distortion and then [Music] for the reverb part I'm thinking of creating kind of pad reverb a bit like a bigger reverb that I can send different pads into it so what I'm going to do you open this up like this and open this up maybe we can keep it up smaller and then 100-person wet and make them like this decrease the decay time to maybe three seconds or something like that so that is long but not really super long let's put it like you don't need that here and then we can start sanding and see how it affected this is how did lay sounds maybe bigger [Music] together the trickery here is both the river and Paddy self should be sighting the kick so that we had this nice groove glue going on in whole track it doesn't need to be super aggressive let's put this here on the paddle and during the track it's this one actually opens up and closes up selected [Music] you see definitely how it plays around with all the other elements again it's not really something super complicated but it just really ends up or like a Brooks again with other things that we had done and that's not all the thing that we need we need also another that like pom pom super Angus of course sounds and we're gonna do that now as well so the plug itself is exactly the same like the the chord progression that we have but it's like the tripled hits so if I change it like a triple grid you will probably see Friday start and end and in between here actually you we will fill it up later on but I think this is a good start to begin with and if I play it it will sound like this pretty cool cool little chord progression over here again to make it really kind of vintage sound like the band boomer feel we're gonna utilize the unlock one more time and this time we are going to utilize all the oscillators and use the same tricks but we're gonna utilize a much more aggressive envelope so what I'm going to do basically is that activate all these guys put two volumes up right and if I play now and play around like this and I'm gonna put this like one octave above and this one one octave below so this one gets really rich and then we're gonna play with this guy give it beliefs and of course I may look to goes for the cutoff and then we are going to go for the mini filter again [Music] with keyboard so at the when you play higher notes it opens a bit more again we can drift a little bit more so it gives even more unlock five and then the same thing over here we can take the LFO and put it here and then put it on to the free mode not here of course if you play the track [Music] the missing part over here is actually all Drive and distortion because it or drive especially will give really this kind of high richness to the sound if I play [Music] and then we're gonna play a little bit to beat the prob'ly assay EQ here we go [Music] the the most important part over here is to be honest - envelope - and how you are opening up and closing Dom during the track it's not only playing with the color itself it's not like this is also like a different combination so if I take ml up to here for example and right click this one I can actually take one of the macros let's say I want to the macro one and let's call it filter envelope and if I make it one so what happens here is no no I can decide how much the envelope will be applied to the cutoff and is really important for this track because this is played like a lot during the track [Music] and let's change this one to the mini [Music] and meanwhile this not only of course enough and then you have like playing with the decay time so that it can kind of get longer and in the mean of course and the cut also let's call this one cut off and put the sky to the cut off here so we can open up two at the same time I play you can see how much you can actually change tumblr and they controlled everything and the final thing of course here we let's call it decay doesn't really matter that much and let's put this one let's go here the VC V zero so that I can click the sky and then here decay increase it decay increase it so what happens if I increase the Macra now I almost decide how much not almost I decide just basically how much blackness the sound itself will have and it's also important parameter here and finally there was a like I think that small reverb on top of that so we're gonna take that applies slide River [Music] and one important thing over here is of course we are still not in done yet and it is the the reverb how much not reverb the delay that slaps back when you play the sound and that one I think in the origin track it was a triple so that what I'm trying to say when I hit the plug sound and then we will hear the like a echo of the sound basically at the same time so what we aim is to take this guy put it into a hundred person wet and then we're gonna go for a triplet and I think it was like 1/8 something like this and we're gonna send this sound today now so this one is a third just call it not slap but maybe just delay and fee start signing here [Music] [Music] and see how much we can control the one thing that you can definitely is here on the eco I think it was this one if you like compressor we can exercise chained to the origin sound so many origin sound hits we can doctor delay so that we don't hear both delay and ocean sound at the same time so what we're going to do this is the 8 sidechain take it from the 8 pigments you should make it really short release fast attack that's good to go and then we have this simple claps and a bit of white noise on top of that and I think we had 4 more pads but now I think it's time we have most of the elements here I can go back now take a look at the origin track and things a bit in order and put a bit automation and come back and we can discuss that one afterwards all right so most of things already the things that we were missing basically this white noise let me start with this one because it's kind of important sounds like this I'm just using it like ambience creator and if I play with the track here you will hear a bit more what it does [Music] giving really nice and misty the other thing is here basically pigments I took the on a look and then turn off everything and put a noise and make it a bit red noise so I can play around with the logo and of course as well and the Sun filter and just automating it the other thing that was important that we missed is kind of this horn sound I think it is this guy very fast attack again the main theme really continuous all the time this time we are having again the analog but using only one single oscillator and putting out of voices here however the important thing is a bit tricky sound simply because when the envelope hits you almost here like it gets out of tune and then comes back very fast so what I did to kind of replicate that is I took the envelope to hear this guy and put it on to detune so when I hit it it did to this I really a lot and however the amount of voices drops down so the psalms get detuned from the size of the middle so it's I know it's a v8 concept but and then goes back again opens up and less detuned one more time and I am an additive noise while I'm doing that so it gets really weird and then I'm using the same memo also open up the cutoff and then here really there is no effect at all I'm just signing some to do pad reverb that we made and then cutting a bit slippery highs and other plackets were like these chords the same I think it was let me see here but just using the same chord over and over again and grays plays around with that other plug sound if I play together really cool little effect here and the club of course as usual we didn't do any clap and this is a simple clap really it's a bit wider this one is just ivory sampled it by using a snare and clap and to clap sighting and that together so this is a longer clap you can hear the snare in the meaning and not to clap on top of each other like the song yeah that was more or less it and there was out of automations like I mentioned like if I show you two plugs you see that I'm playing those different macros that we created like the filter envelope the cutoff and the envelope itself and I think I mean playing one more ting somewhere here like eq8 opening up in the beginning and volume I think I was compensating something here more or less so the a lot of automation going on I would assume that he probably played his Moog and I'm played with his while while doing this and I actually don't know because in sub 37 you can also use their as VST version of the hard way so that you can automate almost anything in the meantime maybe eat it that way and yeah I think that was it we or we have covered everything so let's start and and I can show you I ran a little bit yeah one more thing they shimmer this is really important button and couple of people were asking about this in a previous video that those transitions that I would don't use much effect and I don't think he did neither and what I did here basically create a super long reverb and I keep sending the things in the reverb all the time so if I go to plug here and you see this one the shimmer like I'm keep sending stuff all the time so when I want to exaggerate something or when I and I'm out to articulate something I just use it I just added a bit too shimmery verb and create this nice I'm so example will be if I play [Music] - really nice like a vintage vibe into it so really cool so let's do so let's do start end and sorry for that and I think I not only plugs I'm using so I can I think not only plugs I'm using those sound stuff even the chorus I think if I remember correctly here yeah I'm standing there and here so any time I want a bit more smoother transition we tale of articulation I did that okay now we try to start that and I try to show you around a little bit so let's go [Music] [Music] and yeah that was it I hope you enjoyed the video and I hope you learned something and if you did don't forget the subscribe the channel and like the video that helps a lot and other than that let me know what you want to in our health videos on the comments below and I try to help as much as I can as usual other than that I will catch you next one goodbye

Channel: Yalcin Efe - Mercurial Tones Academy

Views: 42,857

Keywords: Anjunadeep, Deep House, Melodic House, Anjunabeats, Above & Beyond, House Music, Ben Böhmer, Ben Bohmer, Berlin, the making of, studio, Ben Bomer, Morning Falls, Music Production, anjunadeep, Anjunadeep tutorial, ben böhmer tutorial, ableton tutorial ben böhmer, Ableton tutorial anjunadeep, ableton tutorial deep house, ableton stock plugins only, Ableton stock only, how to anjunadeep, melodic house, How to ben böhmer, how to melodic house, breathing, remake

Id: 6nwV0Eszve0

Length: 45min 48sec (2748 seconds)

Published: Thu Jul 09 2020