How to Make Progressive House Like Stan Kolev & Matan Caspi (Sudbeat, Beatfreak) *Project Download*

hey everybody my name is dowden and in this video we're going to be learning how to make music like stan kolev and matt and caspy these two artists collaborate a lot of the time on music so i wanted to do a video of both their styles combined stan and matin are some of the highest selling progressive house artists their specific style of progressive house with a little bit of a tech house aspect makes their tracks super groovy super clean and very driving and exciting for this style of progressive house we have very powerful driving low end and it sounds like this [Music] clean sounding drums with a little bit of tech influence that sound like this [Music] and catchy melodies with some dark undertones that sound like this [Music] so before we jump in make sure to hit that subscribe button so you get more videos like this one and if you want access to the project files with the presets the samples and audio bounces of some of the synths then make sure to click the link in the description below or the card up here in the corner all right let's get started okay so we're gonna get started with the kick drum first and the kick drum is very clean carries quite a bit of sub frequency with matin and stance tracks sometimes they have a lot of open-ended kick and bass sections so their kick is always very clean and their bases are always very warm and full and usually a little louder than some of the comparable tracks because they really really focus on their low end being super powerful so that's what we're going to try and do in this video as well so the kick very nice and clean got the sub frequencies that we need and uh let's move on to the base super super quick the base is going to be three different layers the first layer is going to be the sub the second is going to be a higher layer so that we can punch through the mix and have a bit of rhythm the third layer is going to be this groovy accented base top that's going to kind of groove along with the base and kind of make room in the top of the base for that groovy base so let's look at the midi here just 16th notes across the board and i'm going to grab a wave table and throw that into the base but first we can take a listen to that okay just sub frequencies right now but what i'm going to do is actually turn this into a sawtooth wave and we're going to throw an eq on just to really see what's actually happening as well as hearing it bring that filter down that's 24 make sure i don't have any of those low low frequencies around last octave here of d sharp is the key that we're in so uh the last octave that i want to focus on is this 38 hertz so anything below around 38 hertz i'm going to cut out because i don't really need that i'm going to push the sustain up just a little bit i'm not going to bring it all the way up because this is giving us a little bit of a punch because it's just dropping down maybe i'll go negative 1.5 [Music] the envelope is allowing for the base to get to full volume and then just drop down 1.5 decibels so it's giving it just a little bit of a punchiness i go to envelope 2 and push the sustain uh down to about 20 percent and then throw on to the frequency one envelope to about maybe 10. we're just opening up that filter very very quickly and just allowing for a little bit to get through it's punchier than just a sine wave we're getting those harmonics as well you can see and you can hear okay so that's pretty much it for the sub right now what i'm gonna do is duplicate this uh inside of the channel so i'm going to group this turn this into an instrument rack open up the chains and duplicate and i'm going to name this one sub and this one i'm going to name mid and high okay so i'm going to slow the mid and high i'm going to grab an eq throw that in the channel and right away i'm going to take out that low information [Music] we don't need that we already have our sub and i'm going to grab a multi-band dynamics and split up the frequencies a little bit and then sidechain them differently so multi-band dynamics i'll throw that on the mid and high and i will solo the mid section and i'm going to push this open all the way up to 15 kilohertz and then the low i'm going to bring to around maybe 200 to 300 and when i sold the mid frequencies now we're not getting that low anymore we're only getting from 280 or 260 to 15 kilohertz if i bring this down we'll start to get the subs again and eq off we don't need that so let's bring that up to around 260. we're just dealing with the mids and let's turn that up a little bit because it is a little quiet really push that up then we'll go into the sub frequencies and we'll do the same thing but the opposite so i'll grab the multiband dynamics and i'm just going to drag that into the sub frequencies and copy it over by holding ctrl or command that's going to duplicate it into the sub channel and i'm going to do the opposite so i'm going to have this low actually go down to 30 hertz and the high i'm going to stop it at 300 and now when i slow the mid we're only getting the low end of the sound okay let's actually add a second layer here i'm going to turn this into a sine wave bring this down one full octave and now we will have the sub frequencies let me bring this back just a little bit sub frequencies and then we have these other base frequencies as well so we have a really nice full sounding sub and then we also have this high end [Music] i want to give some movement to this high end so i'm going to put an lfo onto the matrix for the filter one frequency so just a little bit and then i'm going to turn the retrigger off and the speed and the amount down maybe a little bit less we have just a little bit of movement now okay great and now i'm going to sidechain compress that bass to the kick if i look at the midi here i have bass hitting on every single one of these notes and this could cause the bass frequencies to overlap quite a bit i'm really going to squish this down with some compression uh the side chain compression i'm going to throw a little bit on the entire channel and then a lot on the sub frequency the sub frequency is here i'm going to put sidechain from kick attack down a little bit and just solo that [Music] i'm going to be saturating quite a lot and that's going to add to the groove as well [Music] it looks pretty good to me we're making a lot of room for that kick but it is adding to the groove turn the kick down a few more db and the bass up a few db [Music] great and then uh let's actually back off just a tiny tiny bit on here and i'm going to add some compression as well onto the entire channel to make room for both instruments of bass just a slight slight compression on this one so now we're compressing the sub and then we're also compressing both of them together and one last thing i will do is just compress the actual base together so i'll just very quick attack and release there we go and let's turn this back down because now it's a little loud great let's move on to the next part of the base okay so now i'm going to move on to this base top with the midi looks like this it's more of a syncopated rhythm and i'm going to grab the mid and high wave table here and just copy that into the new channel face top and it sounds like this i don't want that low end so i'm going to grab an eq and cut that out i push the high end up a little bit okay great so for this one i want to give it a bit of movement as well so i'm going to put an lfo onto the cutoff maybe a little bit more open the filter a little bit more and also volume up on this a little bit and i'm going to throw something called tremolo on there it's going to give it a bit of a lofty back and forth sound [Music] very subtle just a little bit to give it some movement and then i'm going to throw a delay and a reverb on there but i want to make sure that i'm only getting the top end [Music] and i want to change this from a three to a five so that we're getting two different delays here and a little bit of reverb and i want to put a low cut on that reverb so i'm not getting any of that low signal great okay and the last thing i'm going to do like i said before is kind of make room for this base pluck in the top of this base here so i'm going to go back to the mid and high and i'm going to duplicate this compressor over and i'm going to choose instead of the kick i'm going to choose the base top [Music] just a little bit of side chain compression we're not going to pull it out too too much and let's take a listen to all three the kick and the bass with the bass top [Music] i'm actually going to turn down this mid bass a little bit so it's not so prominent [Music] and now we're starting to get this nice deep dark groove with our bass line and our kick okay so let's move on to the drums and this is where a lot of the signature style of stan caldev and mutton caspi come into play so a lot of the time oh my god let's get the out of me a lot of the time the drums even though they are both very progressive house influenced artists their drums sometimes come from a more techy perspective so i'm going to show you how to make these drums more suited for their style and especially with the hi-hats themselves so let's go ahead and grab the claps first draw midi clip here and i have two layers of claps nice high end clap and then i have this snare that's more of the punchiness that i want from that clap sound but the clap is pretty big because there is going to be a lot of open space kind of in that area so i'm going to grab my two claps and i'm going to draw in the midi for them the snare i'm going to put on the downbeats duplicate that over the clap i'm going to go a little bit more loose i'm going to draw them in but then i'm going to zoom in and actually move these over slightly each one will be a little bit different this one will keep actually on beat and this last one will move over slightly as well it's just going to give it more of a groove and a swing and a loose feel maybe turn that snare down just a little bit we don't want too much low end coming through and then i'm going to eq out some of that low end and last i'll add a saturator i don't really need to compress these together because the saturator kind of works as a compressor in that sense where it is kind of gluing them together giving it a bit of that bite maybe i'll put some has effect on the top flap just a little bit of stereo width as well for that clap and then move on to the hats so this is where you're gonna get the really really strong aspect of the tech house vibe that i was referring to so i have two hats gonna draw a midi clip there two hats the first hat is more white noisy softer more wide and the second hat is more punchy and high so what i'm going to do is actually draw in these hats just like you normally would 16th notes of course we can add a bit of swing to some of them slightly move them over and then i'm going to just grab all them and shrink them down just in size a little bit so they don't overlap and then i'm going to grab another hat here duplicate that over so this one again this one's going to be on beat but the other one's going to be a little bit more swingy and maybe i can move a little bit of these and then what i'm going to do to make this really tacky is add this accent before and after so let's grab this hat it's going to duplicate it over here and now you can see why i made it shorter so it doesn't overlap like this and this is going to be reduced in velocity quite a bit i'm going to put one on the end after as well and i can just copy these over a couple times and this is we're gonna get that nice swing from the hats okay this one's just a little bit loud i'm gonna reduce that volume a little bit this is just a little bit too long so i'm gonna shorten that one up so you get that bit of a chop there's an empty space in between the hats there and that gives it a bit of more of a like a pounding groove rather than a rolling groove that a lot of progressive house has and this will fill up a little bit of that rolling that the progressive we were talking about let's draw in our midi clip here and 16th notes and then of course super simple just draw in like this but instead of moving these down all the way i'm just going to move them down a little bit draw another four and maybe play around with the velocity a little bit duplicate that over and then i'm going to use side chain compression for this bring that over here so i'm going to actually use a compressor throw that on the shakers and this is going to give us a really nice groove so compressor side chain from and we'll put it to the kick release down attack down nice it's giving us that groove right away i want to fade in this a little bit i don't like how hard it's hitting so i'm just going to fade in just a little bit here make it sound more like a shaker and then i'm going to add some stereo width by using the has effect which is just a stereo delay with these settings 100 dry wet zero feedback and like this let's listen to the kick and the drums together next i just have these two toms and this tom loop that i've made so this tom here [Music] you want to make sure that when you're using toms and percussive elements that hold a pitch like this that you're tuning them so if i open up an eq i know that i'm in d sharp so i want to make sure that my tom is in key and there's a g sharp here so g sharp is in key with the track to get there i had to push this up eight semitones and actually had to push up the detune a little bit as well let's listen before [Music] so i could have pushed it up just the bit to get the d sharp i liked the way that the g sharp sounded so let's go back to that eight semitones and a little bit extra [Music] and then i just wanted to add a little bit of rhythm so with stan mattens tracks they don't have too many percussive elements going on all at once uh usually they rely on using more of the synth elements to really carry the excitement of the track where their drums are groovy but they're not that full they're a little bit more simplistic in a sense that there's not too much going on so just adding one or two of these to really carry that hook is usually better for this style than to add a ton of percussive elements like in other styles we can listen with the kick drum and then the second tom here is more of this like weird snarey type tom that uh a lot of the stan color of the mountain casper tracks have so let's actually just eq out a little bit this low end of that tom [Music] and let's go into that second tom so i'm gonna take a listen to this so it's like very distorted it's very uh high end i guess but i don't need that low end there's a lot of low end there and i'm gonna throw a reverb on there as well and just a little bit of dry wet that's pretty cool you just want to give just a little bit of rhythmic hook to it you want a little hook that is going to be interesting and not just throwing percussion in all willy-nilly but actually thinking it through and seeing what will help the loop sound more interesting [Music] and i'm having a hard time hearing these two toms so i'm going to turn the drums up and maybe the kick and bass down one db each and then maybe the hats and the clap down one db each and the shakers one [Music] and then i can turn this up a little bit more [Music] with these toms it's very percussive so i'm going to make sure that i have a compressor on there with no attack and just really squash down that transient [Music] there we go [Music] that's good last i had this tom loop so this tom loop is just something i made and froze down i'm actually going to filter out a little bit of the high end as well i want this to be very very much a textural sounding loop just something to have in the back [Music] just adding variation and uh giving a little bit more swing to that of course all these samples and the loops will be in the project file so make sure if you want to grab those go ahead and download those in the description below okay so now we're going to move on to the melodies and the first melody that i have is in d sharp and it's just this pluck lead and what i'm gonna do is actually just grab the bass top and duplicate everything in this channel over so the wave table the eq all the way to the reverb and drop that into the melody and we can take a listen right away okay and i'm going to open up the cutoff just a little bit more inside of my envelope too with the matrix amount [Music] so it's just a little bit pluckier and turn up the reverb just a little bit as well [Music] next i'm going to do this saw the sound that i called boop it's just an fm synth so i'm using operator and throwing that on there and very very simple just turning up the volume of the first level and a little bit of the second level we're going to get a bit of a frequency modulated sound but i'm going to take the sustain down on this one here and eq out the low end [Music] turn the volume down a little bit [Music] and put a reverb on there and this is just going to give a little bit of an accent to the loop nothing too crazy but uh let's just take a listen with that rest of the instruments maybe cut out a little bit more of that low end [Music] just a little bit of an accent there and now we're gonna move on to this big fm pluck i'm gonna grab this and bring it over and we're gonna use another operator another fm synth and i'm going to pull this up again pull this down decay pretty quick and then the course i'm going to bring up to 3 and the other course on the second layer the second operator is going to be before [Music] oh yeah listen so before and with the fm nice i'm going to use an eq get rid of that low end we don't need that and reverb again i want to make sure i'm using the low cut so i don't get any stereo sound on the low end very very stan kolev maybe a little bit more release on this sound as well [Music] so we're really building the loop now we have a lot going on we have the melody we have this little accent we have this big fm pluck that's going to be playing every once in a while and let's move on to this growl sound that i have so this sound is really really cool and it's going to be recognizable right away i have a few variations of it and to make this sound i used this patch here i grab a wave table sawtooth and i'm going to put envelope 2 up on the filter filter down 24 filter up here quite a bit and we're going to change filter 2 so that it has a pretty long attack slow attack and long release long release on the amp and then i grab this camel crusher which is a free plug-in the compressor on and distortion way up [Music] with some eq and reverb but i'm not going to use the low ones for this i already exported these ones and made some variations of it so they sound pretty cool i'm going to keep this growl for this though this little accent that i have maybe roll off a little bit of the high end and more reverb we're getting through these pretty quickly and we will move on to the arrangement soon and then we will see what we're doing with all these different sounds i have three sounds left i have a vocal a pad and this flute sound so we'll go to the flute first it is complete control using a preset that they have here and this is what it sounds like i just put a big reverb on there 100 dry wet so this is just a preset in complete control and then a huge reverb on there so if you don't have complete control or the reverb don't worry this sample will be bounced out to audio in the track and the project files a lot of stan at matins tracks have this organic style to them because they use samples of real instruments so i wanted to do that in this track as well to create this pad i actually took this flute and i froze the reverb so it played reverb i hit freeze and then i recorded it using resampling and then i unfroze and down pitched it and then i created this the pretty good way to make pads is by resampling reverbs and i do have a video of that i'll put that in the corner of the video as well so you can check that out after last what i did for this is just throw through a chorus on the pad as well to give it a bit of life movement it might not sound like much now because we're not really building the track out and we're just kind of building all the elements as we go let's just take a listen to what we have to have so far in this little bit and it might start to sound more like a stan call 11 matin caspy track last we have this vocal so this is just a vocal sample of me that i recorded and it sounds like this without any processing on it obviously it doesn't sound great but we're going to work our producer magic and throw a valhalla shimmer on there you don't have valhalla shimmer it is such a great tool to throw the mix up quite a bit and the feed back up quite a bit maybe some low cut high cut up as well here we go [Music] i love this plugin then i have this which i just took off the front of this sample that i've faded out and put it up five semitones and i'll just grab that same reverb and duplicate it on there these will be bounced out as well in the project files last we have our effects i just have these impacts that i created by using another valhalla plug-in which is super massive so i took a snare and i put supermassive on there and just made this and then i bounced out that audio and created these effects here then we have these bongo hits as well with just a bunch of reverb on them and they sound like this let's get into the arrangement i'm gonna do a quick arrangement now and really give this song the life that it deserves let's go with the kick and the bass at the beginning just the bass top [Music] i'm going to bring in some of the drums as well so let's listen to those just the the toms and the tom loop [Music] and we'll have the pad as well we'll turn that down a bit he's over okay so we move this clap over and we're going to bring in the drums here here i'm going to put scroll and this boop effect here okay i'm going to duplicate this all over [Music] bring the clap here [Music] okay i'm just gonna duplicate these kicks over another time so it fills up there i've got another growl 30 second mark [Music] after the clap can come in [Music] okay so what i'm gonna do is actually build up these pads here uh i have the vocal coming in right at the one minute mark i'm gonna have the kick and the bass everything come in but it's going to be very open-ended i'm going to get rid of everything except for a few elements and it's going to be very powerful so let me move this over here move this over here somewhere we have a couple growls a minute let's put another growl at the minute mark and let's build up this melody so i'm going to turn the melody on and i'm going to automate the cutoff filter so right click automation and right before it drops i'll turn it back down [Music] okay and that's good that's good let's put the kick over here the drums are going to come back full force right here uh about 15 seconds in [Music] let's cut out another one of these kicks all four of these [Music] great i'm teasing you with that drop i know what it's going to sound like it sounds sound really good so i'm going to hold on to that until i get to show you let's turn this effect up we have the effects here sounding good we have another impact here which is good that's where i want it so i think we're pretty much ready maybe the fm plus i'm going to bring in right at the drop and then let's put those on every one like this let's duplicate that over maybe i'll move this over a little bit like that that way they're not hitting the same as the fm pluck here and then i'll move this melody over a little bit as well same kind of deal with the cutoff uh let's go let's put the scroll here let's get rid of this one and i'll have the flute play in as this kind of drops back in okay imagine the clap down a little bit push this over a few more here make sure that we are going right to the end baseline goes all the way to the end that's good vocal down a little bit and volume and let's just put a little bit of glue compression on the entire drum buss here [Music] okay so we're ready to take a listen to our final version of this track [Music] [Music] [Music] [Music] [Music] [Music] [Music] all right everybody if you learned something make sure to give a like and subscribe to the channel so you get more videos like this one and if you want the ableton project files click on the link in the description below you'll grab the samples presets bounced out versions of some of the audio and leave a comment below to let me know which artists you'd like me to cover in my next how to make music like videos

Channel: Dowden Production Academy

Views: 2,798

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, compress, outta limits, tech house, ableton project file, presets

Id: xsYXjF6JGL0

Length: 35min 6sec (2106 seconds)

Published: Mon Nov 15 2021