HOW TO VIRTUAL RIOT (ALL GENRES)

there's no way you can cover this guy in like one video like virtual riot full name Christian Valentin broom na Valentine is a producer from Germany currently signed to disciple records inspired by artists such as Skrillex and the new emerging dubstep scene VR started to produce his own music here's what his music used to sound like then yet a string of releases in 2012 I saw a big success [Music] [Music] but it wouldn't be till 2013 that VR would really cement his name into dubstep history was as EDM mashup idols featuring the vocals of Skrillex Cohn sound knife party of each easy and more [Music] and then just a couple months later on Energy Drink a fun bubbly elector track was dubstep influences [Music] both of these amassing over six million views each virtual riot has since had numerous releases under his belt like the track idles refers to in the title the arse influences range far and wide in fact his first track on Soundcloud is a self-described combination of rock pop metal and trance [Music] [Music] ah Valentine VR has made a point of being a very diverse producer usually separating the different styles to different releases like on still kids versus the Rebecca and then German engineering how can I do a how-to on someone when you can't contain their one style of music I guess you can't the end will be filling this tutorial into four sections or 4 Horsemen of the ad pocalypse if you will melodic dubstep glitch hop future garage maybe an electro house the glitch hop and electro house will actually be really similar the tempo should be around 150 I think 140 used to be a popular number for dubstep but we want 50 now a big part of melodic dubstep are the super sauce they pretty much define the whole rhythm and harmony for the whole entire song you can also add a filter on them very much like in that deadmau5 video to create a plucky intro [Applause] open up a serum and turn on the Unison for the sores if you have two extra CPUs then go for 16 but otherwise 8 is probably fine too if you want you can add a second oscillator that is an octave higher and slightly more detuned and in good VR tradition we will be adding OTT you always want to layer your course with what I call a saw noise base this is just a sawtooth with maximum distortion and massive with the classic tube however slightly adding some white noise into the sound can create a raspier more textured sound and the randomness of the white noise also prevents it from feeling through static and it layers really well for super sauce VR uses a ton of 8-bit sounds throughout all his music styles [Music] meanwhile sticking to that theme we can go and make a simple arpeggio to go along as the chords I'll get into music theory soon but we can keep this art relatively simple just by using the notes of the first chord of the scale so if we're an F minor then just use the notes from F minor but you can add extra notes in between to spice it up a bit but like I said we'll get to that part adding some delay makes it less dry and creates a nice ambience and also yeah put some OTT on it [Applause] the arsh drumsticks usually sound like this and his snare often has a strong fundamental that cuts through the mix he also likes the side chain his high hats to the kick and snare creating more impact for the kick and snare while also creating some dynamic rhythm for these higher percussion elements at the same time don't overdo this however or else it just sounds really weirdly overly compressed the kick in the cores tend to line up like how the kitchen 808 line off the trap often the courts also stopped when the snare comes in this makes it a lot easier to mix because not ever since paying it all at once but the rhythm of the chords starting and stopping there's also a lot more interesting than just having sustained chords being held down the whole time oh yeah and add an LFO tool to turn that into instant future bass let's add a lead to go on top of these chords a big part of it comes from using the sync warp mode and vibrato to make it sound more alive for vocal chops there's two ways you could go about doing this one is to just take a segment of the vocal and play it like an instrument the others chop it up either in a sampler or in the playlist either way it's called put an order to plug in on it we set it to the key of your track then you won't need to worry about the samples being in key or not some auditing plugins even let you change the formants and how the vocal sounds and yellows add an OTT to that also saturating it to get that overblown speaker sound is something that we are likes to do we'll also need to add those little bleeps and bloops it's basically just a square wave but um I think it's forgetting something you know what is forgetting oh yeah now that we have a main structure to the drums and chords we can fill up those empty spaces in between wizz virtual riot has a whole library full of bass sounds that you might just chuck in here but us plebs has to resort to using VR presets but fear no longer I will demystify how virtual riot makes his presets and you can start making your own presets and stop using the virtual riot once please for the love of God stop is Glee Pat OTT on everything you know I know you think this is a joke but this is serious something you should learn is that the OTT sound the way I describe it in my head is that it can make a muffled sound turn into a bright polished sound and especially with bass sounds that can really bring out certain frequencies virtual riot more like virtual right Oh tt oh my god right OTT the question then is when do you know to add ODT or not the answer is just experimenting enough time so as OTT to be able to imagine what effect would sound like on something without it just like you can imagine what reverb or delay of course you can go overboard with OTT and like everything moderation is key so starting out with an init patch in serum oh that's where the name and it comes from find a cool wave table and automate the volume of that along with the sub with the same LFO we're going to be using this LFO for pretty much everything I would automatically there is sometimes choosing a specific way will work better than others maybe even backwards will basically be adding more motion to the sound at this stage for instance putting an LFO on that FM from me can change the tambour a lot just make sure the volume for oscillator B is also off then we'll want to get the high-pass 12 filter and put an elephant at 2 now we'll start get that vowel in motion for our sound you can also add a small amount of bright white noise small I said small amount just to add some high-end in case you think it's missing some I'd probably add ott at this point if you hadn't already vr usually will just boost the gain to bring back the volume but did you know you can drag these little lines down here and/or boost the different bands I've had some good result for this but your mileage may vary get a Hyperdimension and turn the size down to zero it will still work you just won't get those small short delays after the sound but an LFO on the mix knob as well and the mix of the distortion and the mix of the phaser but turn these knobs down so that the phaser stays in the exact position you want it to and doesn't keep moving about a pretty cool trick is to get an EQ and create two notches on them then with each note that not just will move in the opposite direction creating more of that valley sound and lastly a bit of plate reverb reverb on the bass say well as long as you don't drown it in reverb then it can be cool it just makes the sound have a bit of room and space to it and doesn't sound so bone-dry and with the LFO you can control it so it only adds to the sound and doesn't ring out afterwards and that's how you make a virtual riot preset now please stop using them stop if you see if you see someone using a virtual rack preset or you hear it you send them here and you tell them stop it and watch this do your part in making soundcloud a better place ok that's it that's that part let's talk a moment to talk about music through a lot of VR tracks are an a-minor it's an easy key to start off and due to there being no black keys I can tell these progressions are all in a minor because while they don't always start or finish on the a minor chord the one chord or the root chord of the scale the a minor chord used in the progression sounds like where you could end the song see if we played till this part it still feels like it would need to resolve the chords we're still expecting something else to come so that's how I can tell us in the key of a minor however the chord progressions that V are typically writes don't usually have that overly sad minor key sound but are actually quite uplifting and blissful this could be due to making use of the C major chord as well creating this weird state where it's hard to tell whether it's actually an a minor or C major remember these keys have the same notes and the only difference is being on where you start on the scale which heavy affects the mood of the track the type of quartz you'll often write make use of the seventh or ninth but he'll less likely use the same type of subtle dissonance I talked about in the Sandhill tutorial quartz and his progressions often go up by one note in the scale and what's particularly interesting is the frequent use of him going from the G to a minor which is something that happens a lot more than our expect [Music] those are just the chord progressions beginning where it goes from G to a minor but here are some more that don't start with the G to a minor but still have it [Music] meanwhile [Music] fortunately the ours typical super sore and vowel based style translates over into Electra house and glue chop so we can reuse a lot of the sounds from before the focus here relies mainly on arrangement and how you use those sounds while Electra house will be at 128 to 130 and follow the standard on the floor drum pattern clap on the two and four guitar pens to be slower but will vary 8 the drums a bit more a big part of the glitch all feel is adding that triplet groove you can turn on the triplet grid to help with that here's some other virtual rata basis you can make reservations [Music] [Music] cooker space [Music] you [Music] [Applause] my Skrill well bass vocals although you might lose some highs using vocal decks so you can bring it back out again with compression or saturation before the drop to transition from the verses have these short bursts of course or base with verb' spaces in between that can sometimes be filled up with different sounds and effects [Music] [Music] [Applause] [Music] [Applause] [Music] the future garage that VR makes tends to be around 140 BPM although sometimes at 115 so this isn't such a solid rule like whah selector house the main two elements of this style are the burial esque drums and load Roni Reese bass the bass is pretty simple just get a detuned sore bass but low pass it I tend to add a bit of Drive as well and turn on the glide as well just to get that cool slide between the notes for the drums it usually helps if you have a bunch of mentally samples you recorded out of your kitchen or garage hence the name future garage you can be quite creative with these drum patterns you could go for a slow halftime beat or something a bit more up-tempo but was the snare offset it's also nice to have an extra percussion sample that's like the main snare but a bit more subdued also rim snares not just any old regular snare but an actual rim snow yeah that's it swing will be important for these drums in high hats you can just boost the swing or use the groove pull but unlike the triplet groove what this is doing is shifting the second and fourth sixteenth notes to the right making them a bit delayed and adding instant groove once you have those two elements that's the main gist of the style the rest will be filling up the mix with lust spacious sounds such as the sine block [Music] ads like the Tokyo soundscape ones or some more vocal chops but a lot more Reaver being delayed [Music] the art likes to reuse vocals [Music] that is very cute oh yeah and I use the I use the a cappella [Music] [Music] that never let me go Roku can be found in the Serie G vocal foundry pack along with the leaving vocals and many uh Capello's that have been used for vocal chops and now the moment you've been waiting for oh god there's more why do I keep making it so hard myself by my shirts I'm selling shirts just like was melodic dubstep we can do this at 150 but did you ever think ah these drums are too complicated well fear no more we're just gonna put down a kick in a clap they're there for rhythm typefaces we can use a lot of what we learned earlier however there are different characteristics for rhythm bases for instance the basses will be held down for a prolonged amount of time using the volume motion womp-womp-womp but although the motion stays the same the Tambor of the sound goes back and forth like a seesaw going whee so if the volume curve is set to a quarter note get another LFO and set it to a half note and make that an upwards ramp and put that on the wave table position so the first time you hear the bass the wave table is in this position and then the second time you hear it's at another position and then this loops creating that seesaw effect I was talking about we the type of bass sounds you hear in rhythm often quite coarse and metallicky so you can turn on the unison detune I'd never really did this for the other bass sounds earlier but for rhythm it makes a lot more sense the metallic sound mostly comes from a flanger set the filter to flick - sine and turn the caught off to around 85 Hertz that's a good starting place you can automate the cutoff a bit but the motion will mostly come this time from automating the resonance of the flanger also putting on the heat tracking can sometimes be cool because then the filter will move around and change with the notes the low you go with the flanger the more little echoes you hear this might not be what you want at the moment but delays can be a really cool part of the rhythm bass sound setting short delays of a sixteenth notes or seventy 250 milliseconds adds a nice ambience to the sound because we use the filter for the flanger we don't have that high past 12th filter from before giving us that nice vowel motion to the sound hmm but we can use a second filter in the FX chain it's exactly the same as this one was the same filter selection and everything just you can't actually see it but it's there it's it works exactly the same way so this way we can still have that nice whump motion in the sound also the HN twelve filter is pretty cool it's like the high-pass filter but instead of having an extra peak it has a notch instead although adding all these effects in serum is a good starting point it doesn't have to end there just rename an effects rack to fat rat and bam it will magically convert into V ours fat rec filled with every saturation plugin you can imagine each adding a little bit of extra Drive to the sound maybe on their own it wouldn't make a huge difference but they all add up I'll include the link to where you can find a couple of these fat racks in the description so go check those out remember make sure to use capital letters or else it just won't sound the same because you'll be holding down one note for the duration of the track you know it is rhythm you'll want to choose a key that works the best with sub the C note is in the awkward position of feeling either too high or too low so that's why a lot of monotone bass heavy tracks are in the keys from E to G they don't have to be but it helps for this type of music what else am I forgetting oh yeah add haze on the offbeat and other funny vocals Tomoya sound too bad [Music] [Music] is a touching story once upon a time you died and all lived happily ever after the end I hope you enjoyed this ultra science tutorial I want to thank Crowe who our work with to make our virtual VAT track it seemed incredibly fitting since he himself has made lots of virtual riot remakes and tutorials that you can check out on yourself on his YouTube channel did you know if you support just one dollar on page one you get my thanks that's right I also do lessons which help keep the lights on so let me know if that interests you and now without further ado the track what is going on my name is Virgil riot and the track begins with this very big [Music] with lots of lots of saw waves [Music] [Music] [Music] [Music] [Music] [Music] [Music] okay this could work then the drop is very loud [Music] I just put an OTT on there the sausage [Music] halfway through there's this little break [Music] I just want to make that [Music] [Music] [Music] [Music] goodbye [Music]

Channel: Dylan Tallchief

Views: 604,235

Rating: 4.9746776 out of 5

Keywords: Free, FL, Studio, Remake, FLP, EDM, Dance, Dubstep, Trap, House, Future, how, to, make, tutorial, virtual riot, melodic dubstep, dubstep, dubstep tutorial, future bass, future garage, riddim, glitch hop, electro, complextro, electro house, disciple, skrillex, never let me go, chop chop, pray for riddim, energy drink, idols, serum, ott, serum bass, still kids, throwback, how to virtual riot, german engineering

Id: 6HoCilXjl2E

Length: 30min 0sec (1800 seconds)

Published: Tue Oct 02 2018