KENNY BEATS - EXPLAINING his BEAT MIX / CREATION PROCESS* 🔊💡 - LIVE (10/14/20) 💥🔥

how'd you mix this kick that's the thing i had the problem the hardest problem with this whole time i'm never talking about mixing with you guys which i probably should more but in my mind mixing is not as interesting as like the sequencing the arranging the coming up with the melodies the sample chopping the drum choice the patterns it's like mixing to me is like that sucks that sucks that sucks that sucks that's all i'm thinking in my mind nope that's too loud nope that sucks no that's too quiet no that sucks not hitting hard enough hitting too hard distorting like all i'm thinking is that sucks that sucks that sucks and every time something comes through i'm like move that sucks louder sucks quieter sucks louder sucks quieter and once something sucks five 10 20 times in a row and i'm like man i hate i hate it when it's loud hate it when it's quiet i hate it when it's a little less loud hide it when it's a little less quiet like then i start to go okay let me eq it okay let me use soothe two that's really what i'm using a lot okay let me um maybe try to limit it like maybe try to compress it maybe try to use a plug-in to do something to get rid of something i don't like about it but i'm not in my head thinking like all right let me now structure the drums against how my keyboards are sitting i'm just thinking like that sucks oh that sucks that sucks oh my my clap sucks oh my keyboard sucks ooh my and as i go i slowly just like move it down move it up move it down and this time the whole the kick i never liked the kick i love the kick sound and i like the kick pattern and i like the swing of the kick and all that it was hidden way too loud the most of the time i was making the beat then when i brought it down it like didn't have enough punch it wasn't a sharp enough short enough kick on like it didn't hit like an oz cash money foreign tech bwb it didn't hit like one of those so because it was rounder and bigger and more like finally or whatever when i put it lower it didn't cut through and so i slowly just been moving it up and down moving it up and down and as i like started to like where my mix was with the beat and with everything except the kick i realized yo i'm really quiet so maybe the reason i don't [ __ ] with how my kick is hitting is because my whole beat is too quiet and i can't explain the science behind that but maybe it's some [ __ ] oh [ __ ] the chat feed oh my god um maybe it's some [ __ ] where because we're at such a low volume or because everything is quieter than its potential you know what i mean things are ringing out the same things are clashing with each other the same so whenever i turned up the whole beat and i really just went like this i literally command a the entire beat just click one of the tracks and started moving it up i moved it up till i saw it getting red over here once i see that red then i go okay let me bring it back bring it back a little more [Music] okay boom nowhere in the loop now am i really hitting in the red but i'm really close to it i'm just a tiny bit under the red and when i say the red i really mean my master channel over here it's not peaking at all but it's getting really loud and i start to really be able to see what's actually happening in the mix of my beat once everything is as loud as it can possibly get so it's like a it's like a big ass [ __ ] piece of stone you know what i mean you're getting it down to this sculpture mixing is more like that than producing producing is just not like that at all because sometimes producing like you just hit the piece of stone with a hard enough hammer twice and it's perfect with mixing it's not like that you slowly chip chip chip chip chip away and it like comes together comes together but for me it usually gets to a point where i'm like 75 percent happy where i've been making the beat slowly touching it making the beat slowly touching it and then i'll be like i'll look at my speakers and or i'll look at like my volume on my computer and i'll be like yo my volume is all the way up and i know my speakers can hit harder than this like or i'll turn my speakers all the way up and i'm like damn if my beat was as loud as some other [ __ ] my speakers would be clipping right now because my [ __ ] is all the way up so you start to realize like man there's a level that you work at that you can tell in your room on your speakers or in your headphones or whatever you start to be able to realize like okay my [ __ ] should hit this loud when it's as loud as it can be or the loudest beat i've ever made sounds like this on my speakers or my headphones or on my computer so that's the reference point so maybe even play the loudest beat that you have and be like holy [ __ ] those 808s are killing it all my speakers but then when i play this beat it sounded loud before now it doesn't sound loud that's how it is so like i realize sometimes oh my god i made this whole beat and i like how the mix is but my speakers are cranked let me turn my speakers down let me get this beat way louder and in that process oh [ __ ] my snare is too loud oh [ __ ] my kick's too loud oh [ __ ] my 808 could be way louder oh [ __ ] um my hi-hat is way louder than i thought it was compared to my snare those things pop out right at that moment for me once i've been making the beat for like 30 minutes and i'm like man i might actually save this i might actually bounce it then i'm like okay how loud is it oh [ __ ] my speakers are cracked bring the speakers back turn the beat way up i'm in the red [ __ ] that bring it back from the red okay oh now oh my snare oh my this that's literally in my that's exactly how my mind works with this [ __ ] every single time there's no more or less than that um i'm not the best at playing keys you guys know i've been working on it every single week i've been learning chord changes i've been trying my best but how i was thinking about this is if i play a couple different melodies some that are really short some that are long some that are really repetitive like an arpeggiator or whatever on top of each other they're going to start to develop some kind of like texture or some kind of chord or some kind of vibe just play three different random melodies you know on different sounds maybe panda maybe some high octave low octave whatever a couple different random melodies and i knew i wanted to do like a kind of west coast big triumphant thing but i've learned in the past if you make yourself what you call like a drone or you make yourself this kind of weird mashup of three different kind of airy melodies that don't really stick out too hard but all kind of just sit with each other in the same kind of note scale chord you let them all sit there and it doesn't really exactly matter what they're doing or if any of them are a really strong melody once they all kind of just sit there you put them in some kind of filter some kind of texture maybe reverse them maybe pitch them whatever then make your baseline be something that people can really hold on to i was like i knew that [Music] i knew that that was gonna be like that's the thing you know what i mean that was going to be the moment and i know writing a baseline is not hard to do everybody does hard 808 patterns you know what i mean everybody knows how to do a cool like four-note bass line so if you give yourself a bunch of different little kind of things even if they don't spell out a bunch of chords it might all be in the in one chord all the notes that like as long as they all have a little bit of different texture to them and your bass line implies a different chord change which would be the technical way to explain it but like if your bass line starts pointing out all these different notes on top of this collage of weird sounds you start to get this re-harm is the technical term but basically this one little chord or this little chord change you've developed from all those melodies hitting on top of each other once the bass notes change slowly on top of that you're re-harming what you already played reharmonizing it you're turning it into all these different kinds of chords it gives all these different kinds of vibes and without really knowing how to play anything really technical you give yourself a whole bunch of feel and a whole bunch of vibe really quick and the first time i remember like hearing people do that a lot in rap [ __ ] and me really influencing me was like young chop and like that first era of like crazy chicago [ __ ] with you know i mean little reese and dirk and all them i feel like chop would always play all these different nexus melodies on top of each other and then his 808 would be so hard like his little 808 melody would dictate what they're singing and how the song goes but it didn't really matter what the melodies did as long as the melodies all fit and were kind of hard and i cooled sounds they would just kind of create a texture create a drone and then the baseline you know i mean makes it feel like what the song is really going to be and then once i got that baseline together i knew i would just kind of duplicate that and then you saw you saw how i did this i just did i just played it with the bass line just one note at a time and then slowly spelled out these chords just by drawing them in but this is the baseline and then i just added a couple notes on top that fit that felt good it doesn't have to be that technical you don't need to know your minor third major third necessarily you just gotta you know what i mean feel it out make sure it feels good in the b make sure it doesn't feel too awkward but this little bell probably just gives you a little sheen nothing too special what's this i added the roads underneath low octave so you have this high octavius low octave and then this little bell [Music] that little flutter at the end whatever just drew it in but [Music] on top of those notes on top of those notes then you put this underneath it [Music] all of a sudden you have all these things kind of working together as long as you don't have any awkward notes you don't really have to necessarily play one super cool melody you don't necessarily have to play one amazing sound or synth or sample as long as you have a bunch of things that work together and then you have this you know what i mean big punching whether it's 808 whether it's a bass line whether it's you know you mean a low piano thing a live bass whatever like it it creates this new kind of palette even if there's not one thing you're really focusing on you kind of have this vibe where you're hearing all this [ __ ] together [Music] with this synth there is a slow one too [Music] all that [ __ ] starts to work together in a way that i can't explain the harmony of i'm sure [ __ ] a lot of people can really simply in two seconds but like i can't tell you what 13th or 9th or sharp whatever i added in there i just started playing notes that all kind of felt good i knew they were all in the right key blah blah blah and slowly like i created a thing i really liked i really liked the texture of i really like the feel i really like the sound of even if i didn't love my melody that much i didn't love my bass line by itself that much i didn't love you know what i mean any one of the single things wasn't like god i found the perfect atmosphere sound god i found the perfect keyboard sound on the synth it was none of that it was just i knew like i heard a beat that i really liked this morning um was it thursday yeah oh you know it's thursday on wednesday morning and i was like man this beat doesn't have anything in it that i'm like obsessed with as far as the sound but they've got all these little cool things happening at the same time and then the bass line's so big it's all that matters so again with the with the drums and [ __ ] everybody got drums we can talk about the drums a little bit but i started with this break [Laughter] and because maybe because i knew i wasn't obsessed with anything i was playing yet i tried to do a rhythm that was maybe not the first thing you would expect so i was like okay maybe the if the rhythm of this is interesting even if i don't love my notes yet you know i mean the pattern might fill in what i'm not [ __ ] with about it so instead of boom [Music] it's anticipation just a little bit of a different rhythm but i kind of knew in my mind i was like even if i [ __ ] hate the [ __ ] i play if i have this really hard ass bass line my drums are slapping and i fill in a bunch of different weird little melodies on top of each other something's going to start to form so i never i've never explained that out loud before i maybe i sound stupid i don't think that that was really helping anybody necessarily but that's how i think about the beat in my mind if that makes sense i knew the drums were going to be kind of on some swung [ __ ] i knew whatever but that's how i thought about making the melody or whatever it wasn't just me sitting there like let me do a [ __ ] melody on top of a [ __ ] melody i was like okay let me just do a couple things that work together and then my baseline will make everything stand out

Channel: fliko

Views: 110,175

Keywords: kenny beats, kenny beats live, kenny beats live 2020, dont, over, think, shit, dont over think shit, kennybeatstips, kenny beats livestream, kenny beats october live, kenny beats explaining his beat mix/creation process

Id: FC__hbvnETY

Length: 15min 3sec (903 seconds)

Published: Thu Oct 15 2020