How To Make Organic House/Deep House like Tim Green, Volen Sentir, Hermanez *Project Download*

hey everybody my name is dowden and in this video we're going to be looking at how we can produce organic and deep house we'll be producing the style of tim green brian sid hermannes volunteer that really really tight sounding percussion the melodies that are really beautiful and atmospheric but really groovy tracks that are great for day vibes and late vibes and night vibes this style of music mainly revolves around three main elements the first being a groovy and a driving bass line that isn't too aggressive then we have really tight percussion that's super groovy and sometimes intricate and to top it all off we have really beautiful melodies that just tie in the whole atmosphere of the track [Music] a big portion of the video is dedicated to the percussive elements of the track because i find them very very important and they can really elevate the track there's a lot of tips and tricks that i hope that you're gonna learn from this video and take it into your own productions so without further ado let's go and produce some organic house okay so let's just dive into it so first i'm gonna explain how i'm gonna do this i have my current project set up here with the samples that i'm going to be using inside of this template file i've chosen these samples already i know they're gonna work with the project and then i have laid out a layout of my template of what kind of goes into each section of the track to kind of help me stay organized and when i give you the download for then you can also stay organized and you kind of can put in your own things here to make it your own track and then i have some samples that i have left in here because i want to use them i remember how i made them but i didn't want to risk not getting the exact same sound because i do really like how they sound so i'll show you how to make those sounds but maybe we won't get the exact same ones so i'll start with my kick drum the track is going to be in d minor um and then i have these two layers with my kick i have the original kick really short really punchy with with songs like this you don't want too much overpowering sub the organic and deep house vibes are usually not too aggressive so you don't want a kick that's overpowering and overbearing but enough sub that it's going to carry through the track on a big system but there wasn't much high end to this so i added a second layer and i faded out really quickly and i cut everything past this and then i eq'd out the low end the reason i did this is so that i don't accidentally get any of the sub frequencies from the sample and i just want that initial click and then maybe i'll compress these together actually i'm going to put no attack uh fair ratio i'm putting no attack because i don't want any of the original transients to get through i want to just compress maybe one or two db of gain reduction here just grabbing anything that might be peeking through kind of gluing it together a little bit next i'm going to do the baseline so i'm going to grab a serum patch um or i can just grab wave table keep it simple and drag and drop that in sub uh so we'll do the sine wave with maybe a little bit of the triangle wave kind of coming through to give it a bit of harmonic content a little bit less [Laughter] we're gonna put a filter on that no resonance and put this 24 and let's grab i'm just going to grab a span spectrum analyzer and i like to put that on my master and just take a look at what we got going on so you can see as i raise that you're getting a little bit of harmonic content there and i want to bring in a second oscillator and we'll put that up one whole octave so we'll go with semitones plus 12 and i'm going to turn this down a little [Music] bit just so we're getting that second octave there as well of the bass so we have our d here and our d here and then you have the a here which is going to be the harmonic content from the triangle wave and looks like an f or g here maybe f sharp so the triangle wave is adding harmonics it's adding extra sine waves which is going to make it sound more rich and have a better it'll sound better coming through speakers you'll be able to hear on like phone speakers and smaller speakers without sub this kind of gives us a little bit more for the ear to hear that rhymed unintentional okay let's move on to the actual bass line so i'll have my kick playing so let's make a mid clip here go down to d and sometimes with these bass lines they have like longer sustained notes sometimes it's more staccato the baseline i'm gonna have is a little bit of both so i'm gonna have a little bit of staccato a little bit of break in the base notes and then a long note and because of that i want to make sure that i'm definitely side chaining quite a bit to the the kick with the bass so that my uh or sorry the bass with my kick so that my kick really punches through the sub bass and we're not having conflicting frequencies so let's just take a listen to this right now cool and let's bring it down in october 2. i might take this note out we're going to see how it affects the energy when you put a note here not specifically just this spot but when you put a note that kind of accents that rolling feel it kind of adds a bit of energy to the track and it kind of brings it forward so it's kind of like a more rolling forward motion a little bit more pressure into the next one and sometimes that encourages a little bit too much energy into the track so i might take that out we'll see how it goes and then without let's do that cool so we have just the one there and i just want to make sure that it's just getting a lot of that sub bass i'm going to turn down um the higher octave just a little bit more and then of course we're going to use sidechain compression so i'm going to grab my compressor throw that on and side chain from the kick that's just fine like that really squash that bass for that kick let's go that's also why we want a nice punchy kick so it can punch over that base next i'm going to do is where it says base here i'm just going to add actually a tom so i'm going to change this to a a drum rack and i'm going to grab a tom that actually sounds kind of interesting something like this something that's a little bit distorted i'm going to drag and drop it into the drum rack and the idea behind this is it's not really going to be a base per se it's going to kind of be like an accent to the base it's going to give it a bit more groove so i'm going to eq out a lot of that high end i don't really want that to be super super distorted like it is i'm going to filter out the high end and we're gonna draw out a midi clip again this time to kind of accent the bass line let's try this let's go to let's go to sixteenths [Music] let's try that with the baseline [Music] we gotta make sure that we're in the right key so we're gonna grab a tuner throw it on there sometimes the tuner doesn't work very well also i wanna filter out a lot of that low end i don't want the base of this i just kind of want the there we go not like hitting noise okay and i want to filter fade out a little bit of the tail end because it sounds a little bit too long let's listen again see let's duplicate that and we'll filter out a little bit harsher on the eight next let's move on to our hi-hat so hi-hat one it i call this the fill space uh and that is going to be the offbeat hat and it's going to just fill up a lot of that high end of the sound it's going to fill a lot of the space of the track so i'll show you what i mean i'll grab my hi-hat and we're going to put that inside of a drum rack so i guess i'm going to jump grab the drum mark first drag and drop it on and go to here shroud our midi tracks okay so we have our hi-hat there and then what i'm going to do is i'm going to grab a vocator and this is going to give you that high-end tail that we want to kind of fill up that space the hat itself isn't too too long [Music] it's short and punchy and what i'm going to do is put the vocator i'm going to filter out a lot of the low end i'm going to have just the high bands really pushing up here and i have the dry wet at 100 and listen to what this does [Music] okay so it's like really scratchy sounding and then you can increase the release so i'm going to increase it until it's a little bit longer now it's going to fill up that high end of the space uh maybe i'll fade in just a little bit that's less punchy i'm going to compress this and the reason i can press this is to make it even less punchy and it sounds counterintuitive because usually you want your drums to be more punchy but when they're less punchy like this it kind of fills up the space without uh making it have to be so so loud uh to fill up with the tail end so the tail end's going to be compressed it's going to be just as loud at least a little bit closer to just as loud as the initial hit so you can turn it all up it's going to be more of like a longer section of hi-hat and then last of course i want to eq tighten everything up i'm just going to add like this little accented hat to add just a little bit of swing to the to the hi-hats as well so i'm going to go inside here and grab hi-hat 2. drag and drop that into my drum rack and then this is good for adding a little bit of variation to the track because we want to be using a lot of percussion a lot of subtle things that are going to make it sound more interesting go yeah 16th and we're going to turn that right down i want to make sure that i'm only adding the vocator onto um and i'll actually both these effects the compressor and the vocal i want to make sure i'm only adding that onto the first hi-hat because i want the second hi-hat to be dry i'm going to fade this one in a little bit as well to take away some of the punchiness and i'm going to turn the volume down so i'm going to open up my chains and turn that down and you can hear how it's adding that little bit of groove let me turn up a little bit more cool and now let's go into the hat 2 which is the punch gear hat and this is going to be the hat that gives you that punch that we kind of took away from the open hat i'm going to have the same hat the hat too so i can drop that in and then we're going to put that on the offbeats nice and simple grab an eq okay moving on to shaker once this is where it starts to get a lot more groovy and interesting so i'm going to grab the shaker loop that i used uh this is actually a shaker loop from the production music live sample pack so those are really really good progressive deep house sample packs and i'm going to drag and drop that onto the shaker loop area here so make it a little bit shorter this is a really groovy shaker loop definitely grab yourself some good shaker loops because they are definitely great for adding a lot of value to your tracks in terms of making them subconsciously groovy that's why i have it here titled organic groove because it sounds very organic it sounds realistic it's going to make the listener feel like it's a little bit more realistic and interesting subconsciously go back to the phil space hat i want to actually add a has effect that's something i forgot to do so this is just a stereo delay i'm going to drag and drop that on to uh i can add it to both hats actually it's going to have zero feedback 100 dry wet and it's going to i'm going to change this from sync all the way down to zero and turn this off so that we can interact with these separately and i'm going to put this up to about 10 milliseconds maybe a little bit longer not just creating a stereo delay between your headphones or your speakers so the left signal plays and then the right signal plays 15 or 16 milliseconds later depending on this and if you go anywhere between 7 and 30 or 40 milliseconds your brain is going to interpret that as one sound and it's going to sound very wide if you go any further than that uh then it can start to sound like two sounds and if you go any less it can cause bad phase cancellation issues even with higher end sounds go ahead to the next sound we have our digital groups the reason i call the digital groove is because i'm going to be doing it digitally not using a sample that is more organic sounding let's go ahead and grab our shaker one drag and drop that in and what we do with this one is i'm going to cut out the first bit like this so i don't want the transient of that that hi-hat to be so punchy i want it to be more of a soft attack i'm also going to fade it in a little bit so it's more like an actual shaker i do this for a lot of my tracks this is a really good tip to get your own shakers out of samples you can create the sample uh or take a hi-hat sample and do this exact same thing and it's going to be more of a shaker sound more of a you know like an egg shaker or a rattle or something like that and what i'm gonna do with this one is i'm going to um filter out some of the high end and the low end so i don't want that that low end and i don't need all that high end either because i want to be more of like a midsection shaker listening to the organic groove it's got a lot of high end so i kind of want to focus on the mid section with this other shaker so let's make a midi clip we want 16th notes one two three four and then to make it even more interesting i'm going to change the velocity of them so i'm going to go like this so it's going to be this the first is gonna be the quietest second one a little bit louder third one on the offbeat is gonna be the loudest and then back down a little bit and that's gonna make it sound a little bit more uh eyes a little more interesting to the ear and i want to add a stereo delay to this one as well so i'm going to grab my delay i already have a preset made for this what i just showed you in the last hi-hat and let's listen again make it nice and wide cool now we have both shakers together but we're gonna do even more shakers because the more shakers that you get with this the more organic and authentic it can sound as long as you're not overdoing it i know that sounds kind of counterproductive but if you can get a decent amount of shakers in here it's going to sound really full and it's going to sound really pleasing to the ear if you do it right so don't overdo it but adding one two or three shakers is usually a pretty good bet and yeah you just kind of want to layer them in a way that they're going to be interesting and working from each other so they're not doing the exact same thing maybe you have one pan from the left to the right and then the other one panned from the right to the left you have one that's mostly low end mostly mid and mostly high and i'm by low end i mean like you know pretty high still but uh let's go ahead and copy and paste the midi track i'm sorry the midi clip and let's change these shakers and let's grab open hat one so i'm actually gonna grab an open hat for this one and drag and drop it on there and i'm going to cut out all this empty space here but i'm also going to do the same thing where i was doing before but cutting out that area fading it in and let's listen to it down a little bit let's throw an auto pan on there to make it even more interesting to the ear put this all together cool interesting next let's get into our cl uh let's actually sorry i'm going to eq this first one take out some that low end next we're going to go into the claps uh this is going to make it interesting because now we can add a clap on the offbeats but i want to make it a little bit more interesting so i'm going to grab two different claps with two different tail ends so i'm gonna have this clap here and this clap so i have one and two so they're a little bit different and i want to do is i'm just going to fade out the tail end of them i'm going to open up my chains i'm going to duplicate hat 18 and what i'm going to do is create midi information here so i have the claps on the offbeat uh chains in the ins and outs here i'm going to change this to a different note here doesn't matter which one and now i have three claps so i have two of the same here i'm going to change the second note to here and this one to here i'm also going to offset them slightly so it's a little bit more interesting a little bit different one a little bit different and that one's already a little bit forward and again that's going to make it more humanized more organic sounding and we are making organic house so uh okay and then the main reason i duplicated this is now i can change them slightly so i have my first clap which is this one um that one's going to be just faded out pretty quickly nice and punchy the second one is gonna have a longer tail so it's still gonna be cut down a little bit with a little bit of a fade out and then the third one i'm also gonna fade out to be nice and punchy so this is gonna have i'm gonna put longer tail and then when we play this i'm gonna switch actually the midi for this so i'm gonna bring this one down and bring these notes up and then we can take a listen so it's just a little bit of variation that's going to make it sound even more organic more authentic a little bit different and really subconsciously interesting [Music] i'm gonna go on to our percussive elements so i know we are doing a lot of drums here but i can't stress enough how important it is to focus on the percussive elements of organic and deep houses it's a such a huge quality in proper use of percussive elements in these tracks they can really make or break a track it can elevate it very very high so next we have our perks create a midi grab my percussive element this one here okay so let's have maybe a little off a little kind of carrying perk here maybe something like this so add a second percussive element but i'm going to actually make this these loops a little bit longer so i'm going to have this not repeat every time and that's just going to make it even a little bit more interesting a little bit more dynamic i guess next we're going to move on to the tom so i'm going to grab my tom drum here try to drop it in the drum rack and this is going to be giving a little bit of melodic tone to this as well so i'm going to push this up eight semitones because i know that is the key that i want to be in we can check with our tuner track is in d this is going to be three semitones up to an f make our midi track here and let's add some toms to this [Music] okay i'm gonna turn on the main hat here it's actually taking up too much um of that high end i'm gonna turn off this base i don't really like this the way that it sounds and let's move on to the last percussive element it's gonna take a clap and i'm going to just drag and drop it in it doesn't even matter what kind of clap as long as it's that's actually a pretty good example what i want to do and i have this filter on and we can listen to what it sounds like without the filter and what i'm going to do is just turn the filter on with some lfo but i have about six on the lfo here it's a pretty slow rate and it's a sine wave and what it's going to do is just kind of filter out that high end and open and close it really slow um oscillate it back and forth and opening and closing it and it's gonna make kind of a resonant kind of wafting snare in the background of the track [Music] let's go to the sixteenths [Music] and let's try that and we'll keep this pretty quiet just adds a little bit uh extra flavor to the percussive elements okay finally moving on to the scents i know we're pretty far into this video already but let's just dive into the synths uh this is actually my vocal that i just literally said the word oh and then i just recorded it added a bit of some eq onto it and just transpose it up i believe or no i transported down seven semitones [Music] and just adding a little bit of a vocal element to it um it's just kind of a cool sound even a vocal just a cool uh little little blip sound that i added then i have this small loop that i did too so this is going to be this the little melodic loop [Music] so it's very important to add these atmospheric organic elements to these tracks as well because they're going to be adding um a non-digital feeling because when we're writing this music it doesn't feel as digital as some other genres so the way that i made this loop is i just took a preset i believe it was the simplest piano here you just take a listen [Music] it's got a ton of delay and reverb on it [Music] there's a delay uh reaver plug in here round or rom so you can hear that just adding a lot of wet effect to that makes it sound really really nice and like floaty so what i did is just kind of wrote a melody line [Music] and then i just recorded it and then i added it to the loop and listen how much value this adds right it adds such an amount of depth just adding a couple plucks on those on those down beats let's make a quick pad here i'm gonna make this in d go all the way to the end and it's just going to be a sawtooth wave really simple pad uh initiate a preset with our pad we want to have slow attack [Music] at least a little bit uh quite a bit of release sawtooth we want unison detune up quite a bit we can turn the blend up a bit so that the sides are a little bit louder than the center filtering on second oscillator maybe pitch that up volume down a little bit [Music] and let's change this to a different wave something a little bit more interesting let me keep the same octave cool and now to make the pad a little bit more interesting we're going to add a couple lfos onto the maybe a little bit onto the detune a little bit onto the wavetable position uh maybe panning back and forth a little bit on the filtering [Music] and then to make the real magic we add some hyper dimension and chorus and some reverb [Music] very basic and we need to add a bit more harmonic content with this this uh let's lower the octave there cool now we have a pad let's move on to a another pad uh so this is where you're going to make um your own judgment call so i have pigments and it's so great it has so many great great presets uh i definitely don't think that you shouldn't use presets i think they're great for uh this day and age and electronic music everyone's using presets at least a couple times in in some of their tracks it just gives you ideas and honestly there's some amazing sound design that a lot of producers would never be able to think of it's just some amazing amazing presets and i suggest grabbing them and making them your own tweak some things make it a little bit more suited to your style but anyways i have pigments i grabbed this ancient beings preset i don't remember if i tweaked it i might have i'm going to freeze it and flatten it so you can actually have the pad as well in the download of the sample pack but i'm going to just copy the preset the midi track over and let's take a listen sounds great i'm going to also add my eq that i had before and more reverb it's very organic sounding very authentic brings the track a little bit more to a human feel just wanted to interrupt the video for a second i do want to let you know that i am offering now online coaching via video call i have one-on-one video sessions that we can book but there's also monthly personal coaching packages available as well these packages are for serious producers that are looking to fast track their success we'll work together on figuring out what it is that you need to work on what skills you need to improve to become a much better producer much faster we'll listen to your music we'll dive into your dog via the video chats and we'll talk through email back and forth and we'll really dissect where you need to improve so that you can improve much quicker if you're interested in the monthly coaching packages or the video calls then check the description for a link to that website all right back to the video okay and all together this is what we have so far so that's pretty good but we need a melody we need something that is going to elevate this track even more to make it even more interesting and more exciting and that i'm going to use complete control for so complete is what i got when i bought uh purchased my complete a25 keyboard and it just has a bunch of different presets in it as well and this one sounds really cool it's got the synth harp if you have a sampler i would suggest using like uh like a sample like contact um which has real instruments african instruments and different stuff you can get these really really cool authentic sounds but for this i'm going to use a synth i'm going to use a massive preset inside here and let's just take a listen to what it sounds like really really cool i'm gonna duplicate everything over a few times so we have a longer track to work with but i don't want to duplicate these i'm going to just cut these out for now and grab everything up here and duplicate it sure we'll go to here uh and then i'll press paste and we'll put paste those back in just wanna show you what these sound like they're just some sounds just some resampling so i just was playing around with some sounds and i just turn resample on inside of here hit record press play record played whatever on some different drums and things and just got those sounds and added some reverb and delay and it just gets some really cool sounds great about a midi keyboard and some of the presets that you can use and some of the sense you can use is there's velocity tracking so depending on how hard you actually hit the keyboard if you hit it lighter or harder it's going to create different sounds it's going to do different things inside of the sound maybe it opens up the filter cut off maybe it changes the wave table position different things so when we record we can make it sound really alive and really organic because we are actually recording different amounts and it's almost like we're automating as we're playing so let's go ahead and hit record and just play a little loop here [Music] i liked everything i recorded up until that last note there so i'm just going to turn that off and let's play that again and i'll keep recording [Music] okay so i'll get rid of that and i'm going to quantize this a little bit maybe about like 90 i don't want it exact right i want it sound a little bit authentic and raw so i don't want to quantize it directly to the grid giving it a little bit of wiggle room will make it sound more realistic and let's just duplicate that i can go in and change some of these velocity settings as well so that it sounds different or i can grab a velocity midi effect and drag and drop it in there and now if i put on random it's going to just slightly change the velocity amounts of those notes by however much you put in here now every note is going to be just a little bit different even though it's repeating it'll be a little bit different every time [Music] do [Music] cool so i like how it sounds so far i want to see if i can make this a little bit less aggressive sounding okay so it looks like it's got a bit of uh this position changed phase and ring modulation on there so i'm going to turn the ring modulation down it looks like it's pretty high okay so it looks like it's the phase that's causing this so i'm just going to reduce the phase inside the modulation oscillator okay i'm going to take a list again and i want to attenuate that last note a little bit [Music] okay i'm gonna grab a reverb throw that on there quite a long decay time and there is some delay on here but i'm gonna increase it [Music] so it's sounding really good so far but a lot of these tracks have counter melodies or sub melodies so it's going to be the last thing that i add into this and it's going to be just another another synth here let's grab uh maybe a serum and drag and drop it in and let's find like a nice shiny sound so maybe i'll just make it really quickly uh let's keep the sod uh sawtooth so i'll just reinitiate that so simple sound uh some detune pan modulation lfo on the detune a little bit and turn on oscillator b uh yeah that'll work filter put a high filter on there [Music] and we're gonna make a pluck uh it's gonna be short decay long release and you'll see why in a sec long release on the amplitude as well and a second envelope to make it just a little bit punchy so i have this first envelope opening up the cutoff filter and then the second one is just going to open up the very very tip of that filter so it's going to open it up for like a really split second it's a little bit punchy [Music] this might be too resonant let me grab a sine wave basic shape sound wave [Music] octave up [Music] level this down and sine wave up okay and a ton of uh let's put a little bit of chorus actually and then a ton of reverb and delay on there [Music] okay so let's hit record and just wing something again cool so i like the first little bit there so i'm just going to copy that [Music] over and now we have a second melody if i could just find the last note get rid of that uh with this style there is a lot you can do with it you can put in elements and remove elements just to make it interesting the main bulk and the main ideas behind the track are really having that really solid loop a loop that you can listen to for five minutes six minutes straight and not get bored because it's just such a high quality it has so much organic feel to it so much subconscious interest going on and there's just such a level of complexity to it that you don't even get bored listening to it and that's the beauty of this style and that's the beauty of a lot of styles of electronic music so one last thing we're going to do before we listen to the final product is i'm going to change the baseline a little bit and we're going to just change it so it's a couple different notes because i like to a lot of the times in tracks they do this it's going to elevate the track just a little bit more and then we're going to have one final playback with uh the second lead being introduced and uh maybe i'll filter in this lead so let's go ahead and grab my filter automation and just very quickly over the course of maybe a couple bars there change that baseline [Music] uh let's change it only on the second one here so let's do this and add just a little bit more saturation to that baseline because we didn't really uh add a second layer onto that so i'm just going to add a little bit of saturation just maybe three decibels and let's take a listen just add in tiny bit of white noise here and the way i do my white noise is i add a utility and turn up the volume of it so i have utility controlling the volume and white noise playing through an operator one last thing i'm gonna do actually is i'm gonna put a reverb onto the last lead and i'm going to automate the dry wet so i'm gonna have my dry wet all the way to 100 and i'm going to bring it down so it's a bit more dry and that's going to kind of fade in the original sound okay and i'm going to very quickly remove some elements and just kind of bring them in to make the track more interesting okay so in a lot of like volunteer interior tracks a lot of progressive house and deep house tracks they have these things where they kind of just introduce these elements these samples throughout the track and it just really glues it together and adds that atmosphere so i'm going to show you a really quick way that you can do that and it's kind of the same idea before as grabbing presets and different pad sounds i'm just going to insert a pigments because they have really really nice pad sounds and then just cranking up the reverb and delay on this let's let's grab a lot of reverb take the compressor off we don't need that and put a long long decay time on there and let's just play the track and play a few notes while recording in another audio track so an audio track here put the routing from the pigments and click record arm the pigments i'm going to cycle through different presets as this is playing make sure that's recording and it is perfect go to the next preset and we'll do one more [Music] oh that last note was sour that was not my fault that was a sequencer's fault uh so maybe we'll just fade that one out cool and that we have you can just chop this up we can split this here we can split this one here and put this one here and now throughout the track you have these different sounds you can work with and we can get rid of this pigments unless you want to use it later and let's spread these out a little bit further hopefully they all sound good on their own that's that put these like atmospheres at my spheres and that's really it it's just adding a lot of these different elements to make it sound cohesive and glued together while maintaining interest so you can repeat the same loop over and over again but add little details like these pads and these melodies that are interesting to keep the track pushing forward and to keep people engaged and listening so let's go ahead and have one final playback i hope you enjoyed i hope you learned something and let's enjoy i bring the element back here [Music] so do [Music] gonna filter out some of that low end in the base there [Music] all right everybody thank you so much for watching i hope you enjoyed i hope you learned something if you like this video make sure to give me a thumbs up and if you're new to the channel and you haven't already yet please consider subscribing it helps me tremendously and you'll get tons more content like this because let's be honest it's great isn't it i think so make sure to subscribe and we'll see you next time

Channel: Dowden Production Academy

Views: 19,421

Keywords: Fl studio, Ableton, Live, 10, Tutorial, Tips, Two, Minute, Tutorials, Producer, Production, Music, Produce, Compression, Techniques, EQ, Equalizer, DAW, DJ, House Music, Progressive House, Deep House, Learn, Dowden, Academy, Reverb, Plugin, VST, Bit Rate, Delay, Effect, saturation, compressor, eqaulizer, eq, equalization, drums, snare, clap, hat, hats, hihat, dance, groove, tim green, volen, sentir, all day I dream, brian cid, hermanez, organic house

Id: zhP697MndUk

Length: 46min 28sec (2788 seconds)

Published: Thu Feb 25 2021