Josh (Modestep) FULL Space Apocalypse Breakdown

all right disciple firm it's Josh here for a mode step and I'm going to be running through a tune of ours on disciple called space apocalypse and I'm gonna be showing you how I made that tune from start to finish let's go so let's jump straight in this is a project that I started in 2017 originally it was a trap tune that we were just using to open up our set and originally it sounded a little bit like this [Music] so kind of sounds kind of similar this was the original idea and then it dropped into something that sounds like this but we didn't like it we ended up scrapping it and when it came around to working on this new EP for disciple I thought let's go ahead and grab that intro because I really liked the intro it worked really well when we played it live with a few little tweaks it was going to be a new banger so I'll show you the project as it was it was quite simple and started off with this lovely synth here which is made in serum which is very very simple saw wave with unison on it yeah and just the volume automated I believe which I you can see oh no it was just an envelope that was literally it for the entire sound there's an envelope with unison turned up on the saw and with the detune modulating they're smiling yeah tiny bit of reverb on it and that was literally it the other sounds in here we've got also a very saw driven sub patch which Arlo Reese just here which is again just saw waves with unison turned up going through a fill-up here in the background we've just got a root note and let's turn that up I've just got a root note really high noise being played in the background just to fill out some atmosphere that I've just looped over and over again this arpeggiator which it looks like I programmed in bit by bit and then added a simple delay to it and the original sound and operator just sounded like this with a bunch of delay reverb ended up sounded like this and some of the pulsing sound is coming from this auto pan which I've used as like a volume shaper at the end there's not much there there's only about three or four sounds playing at one time and yeah so after I was done with this project I then exported this all out as a single stereo file and just dragged it into a new project which I'm going to open up for you now and this is two years later bringing in this stereo file of the whip right here and you can see I've come a long way with my organization in my project since then Ableton introduced groups in groups which are seem to use over and over and over again to make sure I sub group my selves and yes so instead of that trap drop we now have this very heavy what sounds like a double drop kind of riddim esque banger [Music] so if we run through it from top to bottom let's let's say that's the best way to do it I think the kick was provided by virtual riots incredible kick yep that's one of virtual riots kicks from his pack big up Valentin thank you very much for that tried to make my own kick drums I can never seem to get them as good as he managed to in those so I just end up using those ones the snares on the other hand these are a bunch of snares that I made in serum and I basically have been over the last few years also been making a whole collection of snare drums that are all made from serum and operator which I can go through like my own sample pack and drag and drop all of my own samples which is the case for quite a lot this song actually all the bass sounds either serum patches or they are made up of microscopic little chops of a bunch of bass shut one shots that I've been making over the years if you look in this folder here I basically sit and for two days at a time we'll just sit and make as many sounds as possible and then label them nicely throw them on my folder so that when it comes to making a tune like this I've got stuff to drag and drop into the project for so if we look at how this tune was made up I wanted it sound like a double drop so I had one layer of bass since which was quite a like wall of sound type vibe which sounded like this and then I have a bunch of kind of wampie sounds to create the groove in the tuna then altogether they sound like this if we have a look at what I use to make these screech sounds I'm pretty sure they were just reverb filler very basic patches again just saw waves don't find me using that many complicated wave tables it's literally just saw waves with the unison turned up and the reverb feel tuned in nicely with a tiny bit of oscillation on it just to give it that kind of vibrato fill this the same patch but pitch down unfortunately with the reverb fill if you want to pitch something down it's best to remake the patch because reverb filler doesn't really track pitch particularly well and that's the main teeth of the sound which again the patch looks like it's very simple yep again just always the whomps are probably slightly more complicated I don't know if I have any of the patches here actually because I think majority of this is made up of the sounds that I was talking about earlier I can play you what it sounds like so loud it's actually kind of strange they don't really sound like much as soloed sounds but when you combine them together they create the sound that that is the main drop so the main sound is made up of this sound and this sound and together they sound like this and they phase a little bit which gives it a more shiny fill than um than if they're played by themselves [Music] and then once I'm done with all my bases I tend to cut all the lows out and make a new sub base which usually is just operator with an extra few harmonics added and then saturated and then all the hides cut off and yeah that's pretty much how I make myself bases I tend to do it all separate to the actual sounds just because I like to have the control and the volume that it gives you if you make it separate to just using the base ounce the the sub that comes from the sound itself the vocal from the pack is actually something I found on splice and I believe I did not too much to it I think I made a left and right channel pitch down on the left and pitched up on the right which gives you this kind of or maybe not maybe they're just different performance on it I think here they are there you go and together just computer I do that quite a lot especially if the samples not incredible it it kind of kind of muddies up what the actual original sample was and makes it I don't know just a little more cool I like doing that with a lot of my vocals yeah I then throw absolutely all of the music other than the kick snare and the crashes rides and hi-hats I throw them all through a sidechain group I actually put my mastering chain before the sidechaining on that group and for some reason that just means I can get my mixes to slap and have the transients better because the transients aren't being affected by the mastering so I can go really aggressive with the mastering just on my side chain group and it leaves loads of nice room for the kick and snare transients means they're not being muddied up in the master whatsoever and then on the master I have nothing but a pro L and a tiny bit of imaging so it just all the loudness comes from pre side priests I change stuff on this large group of all the music if you actually listen to it sounds a bit weird I find you can get stuff really loud that way because you don't have the kick and snare pushing into the limiter so it means that you can really aggressively limit without affecting the sound too much and then yeah you just kind of make up the level on the master make sure everything it's kind of being mixed up to zero DB which is what I tend to do kind of like a reverse mixing I try and make it expand instead of instead of trying to mix everything and push it into a limit I just make sure there's the space for everything in the mix and if there isn't space for it try and create it somehow for example with the tops on this tune I did a separate volume shaping which is a really tiny sixteenth note cut every time there's a transient just so it allows the kick top-end and the snare top-end to punch through a tiny bit [Music] yeah and that way it just I just tend to get really good results really clear results and really loud results which is obviously what you want with a heavy dubstep tune another thing I do on my master is just for a visual thing I tend to put the spectral analyzer on and over the years I've just been able to with my eyes tell if st. good or bad is happening for example when I look back at this I can tell straight away that the basses sub bass is tickling in around minus six and just above which is what you'll find a lot of dubstep producers are kind of aiming towards it's the most balanced sub that you can get for a sound system without it being too low or distorting too much and but yeah over the years I always keep this on my master keep my eyes on it at all time so I can kind of visually see the frequencies as well as using my ears means you can actually mix down your tune without even having particularly great set of monitors which these don't put anything out under about 60 Hertz so a lot of that guesswork for me anyway so that wraps it up that was a somewhat brief run-through of how we made space apocalypse I hope it's given you some insight as to how we made the tune and if you liked it give it a listen cop it now on disciple and make sure you get lovely t-shirt as well see you later I forgot to like a disciple YouTube video and look what happened you do don't forget to subscribe [Music] symptoms may include opening a wormhole honey like

Channel: undefined

Views: 38,127

Rating: 4.9863944 out of 5

Keywords: Virtual Riot, Barely Alive, Disciple, disciple recordings, abelton, disciple round table, lite, live 10, edc, disciple records, 12th, ableton tutorial, diciple, dubstep, riddim, modestep, modestep space apocalypse, echoes ep, modestep echoes ep, dubstep 2019, riddim dubstep, echoes ep modestep, disciple tutorial, sound design tutorial, 2019 riddim, dubstep tutorial, modestep tutorial, josh modestep, serum tutorial, disciple modestep

Id: --Z4L8WUAyg

Length: 13min 57sec (837 seconds)

Published: Wed Jun 19 2019