VIDEO & AUDIO MASTERCLASS | Designing a Music Loop for NFTs

[Music] all right everyone hello good morning good afternoon good evening wherever you are in the world my name is jason levine and welcome to the friday master class today we're going to be doing a little bit of um audio for video creating some music and underscore for a collab nft that uh i'm working on with our own paul so and unfortunately didn't get to see paul today he's got some uh internet uh issues over in his locale today they're tearing up the street which they just did in my neighborhood not long ago so but it didn't happen on friday uh these things always happen but it was the universe probably saying take a break for now so that's awesome we'll look forward to bringing paul back on soon and of course he'll probably get to showcase the final version of this in the next couple of days or sometime later next week in any case uh thank you of course coming to you live on adobe live behance youtube and back on twitter yes we're back on twitter well i hope it's back on twitter let me see actually see if it's streaming over there i hope it is and it looks like it is or is it is it streaming over there i i don't see it oh crap well that sucks it should be oh well not gonna worry about that hopefully we'll get that back where i had it working just the other day but you know that's how these things go the universe friends in any case uh lovely to see you all i see we've got umichorn and fairy and reverb mike and rick and mallory and wade and golden rose and steve michelle how are you all doing yeah that one just isn't wanting to play nicely so that's okay check with you twitter i don't need you today thanks for nothing but it is bothering me that that isn't working in any case promote mehra nice to see you as well and uh we've got ahmed zee soon too okay so we're gonna kick off uh in audition where i've already pre-loaded the video that was created so this was uh some stills that were converted into an animation after effects and uh we're going to do a little a couple of variations of scoring the um the kind of musical theme now if you've been kind of aware or i should say if you've been uh unless you've unless you've kind of been under a rock in the last few weeks uh no doubt you've heard a lot about this nft boom happening and uh paul's actually sold quite a few of these already i've got a couple of adobe live alums that have been doing really awesome stuff selling some incredible nfts anna mcnaught um you all know actually she and her husband uh were on yesterday and the day before showing some cool stuff in premiere for social uh social output she's been doing some really wonderful nfts did a really cool one for earth day we've got elise swopes who again has graced the adobe live stage as it were many times creating some amazing nfts so um why not decide to get in on this game as well buy some ethereum so this is the piece and uh first i'll just show it to you without any sound so let me just take this off here and you'll kind of see what we got now we went with like a 15 second oh wait hold on there's still music playing i don't want that we went with a 15 second um loopable animation here so oh and i still have some of the audio playing damn you ulta um went with a 15 second animation i haven't seen too many long animations um minted as nfts i'm sure there are some there's obviously no limit to that it just seemed like 15 seconds is probably enough maybe 30 would would be better the challenge here in adding audio to this of course is well one um making something that kind of sounds interesting and really kind of augments the visual in a nice way in 15 seconds is a challenge in and of itself and also having something that short well ideally if anyone is ever going to play the audio anyway i mean you know we know this from a lot of things a lot of times the audio just doesn't get heard but if it were to be heard and played back it has to loop and it's not just a matter of begin and start again but it should it should be kind of seamless right there should be it shouldn't feel like there's a definite stop and then it starts again i mean you could do that for my ear that would get really irritating after you know two passes so the challenge was really to try and make something that kind of loops continuously that you could have you know just playing a few times and not want to you know go crazy i couldn't even think of a good word for it so i thought that i would start with kind of a pulse now i was going to do this via the moog here so i've got the moog set up and was going to do some like super low frequency sounds there i'm going to get my headphones on so i can hear what i'm doing here all right and i'm going to give you just a little quick taste here of some of the elements that i've laid in already and then we're going to augment these further so i started with this bass pulse which is in the key of f and it's just a repetitive pulse and if you take a look at the track you'll see that i played it now i didn't i didn't as is often the case i didn't play this to a click i'm playing this live no midi because i'm doing this in audition of course i've said it once before and i'll say it again this is very much probably the last sadly multi-track session i'll do here because as i mentioned i'm going on sabbatical week after next and i'm doing some production for some other groups and they sent me projects that have midi files so can't do it here you know sucks but i'm going to have to go back to something else actually curiously in the chat if any of you are using presonus studio studio one curious about your thoughts on that i have pro tools i don't like it i'd rather not use it and i love ableton but i just i find the ui really difficult so and i'm not i'm not great in ableton so um let me know your thoughts on presonus studio one if you use it anyway this is the base pulse check this out so real simple repetitive ostinato just kind of pulsates a little picked bass action there a little little reflection okay and then over top of that i wanted to add some kind of a dream a dream pad so i kind of dipped into some of the sounds from the old um my old what is this ex-5 this yamaha ex5 here and added this dream sphere i'll wait till it gets to the end so we can kick it in all right let's do this now kind of a nice little sweep on there [Music] i mean it's really nothing right and then i added another patch which kind of has that like a glassy atmosphere where i'm doing subtle subtle harmonic changes you can't get too busy in 15 seconds especially if it's going to loop [Music] and while i was doing that it's going through some of the like the the synth patches i never use this ex5 for for its patches i use it as a controller and it had those like um kind of classic simmons toms and i just thought they kind of worked they sound like this [Music] right so let's put this all together and kind of hear what this rough sketch sounds like now this doesn't even have moog on it yet but take a listen and then right so it's a nice loop okay so i as a start i think it's pretty good i think it sounds okay it needs it needs more obviously um and part of what it needs is sound design so again we're going to tackle this with a couple of different things i did some of this just before the stream because i just didn't know how much time i was going to have you know first just to kind of um to uh mickey mouse sort of the the motion of the electricity you know of the of the text that you see the bitcoin logo and those things you know what does that sound like so i dipped into some of our loopology sound effects which um i don't think are available anymore i'm not entirely sure i don't know if you can still it's still sit let's see does it work if i go download sound effects and more hold on let me switch over let me see if that's if that link still works i'm not sure that it does it does okay yeah so you can still get uh all of the audition sound effects unfortunately the loopology looped music is all gone but um sound effects are still there so that's pretty cool um in any case i brought in a couple of different things so the first one was um i actually retitled it here what i call this so it's like an electrical whirring all right so as we're as we're kind of you know scrubbing through this you have this like [Music] and you can see that the light is just kind of glistening and changing over time and then it kind of dips back down again so i used this one here this little sonic buzz actually chopped up a couple of variations of that which created this and i pitched this was just digital noise but um using the pitch shifter i was able to actually pitch it in tune into f uh so that it actually um resonates with the with the with the bass tonality of that bass note so that in conjunction with this so this other one here is just kind of high-pitched uh digital noise and it kind of simulates it it kind of works with some of the sparkling lights you can see i ran a really aggressive high-pass filter on here so really nothing uh no frequencies above 960 hertz it's really just meant to be upper mid range and high end just to kind of you know screw like what what does electricity sound like [Music] right you know when you hear it in movies um kind of a tonal a little off-putting this might be a little too much all right together these two things and that see that last part works really well because it's like you hear the light kind of fizzle out like the last bit of energy and then it fades back down so that really works so i was thinking maybe we'd start and make another track here and uh i grabbed a couple of um a couple of additional i'm gonna stick this over here now a couple of additional files sound effects sound design files that i think could work really nicely so let me go ahead and grab those i already placed them in their own discrete location here which one don't i need i think i think actually all of these are fine all right so let's open these up and i gotta remember which one i want so there's one oh this one i think computer noise [Music] might be a little too busy that's cool but for something else cool how about this distortion static too much [Music] also too much too much too much very aggressive all right so let's start with something like this all right maybe not the whole thing but uh we'll see if we can find something that kind of works all right so let's take a look down here so i see umikorma's asking so is anyone going to uh to backfill no i do not believe so so they'll probably run replays i will be uh so next week will be my uh my last stream uh for a while i'll be streaming on my channel i'll be doing other things just non-work related things and then i'll be back on adobe live uh june 25th so i'll be gone for about two months which i'm very much looking forward to so call these electrical beeps and what we're trying to do is just trying to again kind of simulate and fill some space to kind of punctuate some of those brighter spots in the animation there i'm going to turn this one on discreetly by itself and let's see if this does anything and i'm just going to see where it where it falls right now as you've seen me with sound design sometimes you drop something in and it just kind of works sometimes you've got to move stuff around i didn't add markers because there weren't really any discrete things happening on screen that needed specific timing those other two they just kind of work as they are i did some cross fades but you just sort of have to play with it based on the type of animation that it is so let's take a look here and see if this does anything at all so that that right there that works great like that i really like so maybe what we'll do i'm not sure if i want those beeps there necessarily so i'm going to do a let me do a couple little creative edits here so i'm going to cut this and by the way you can see i've i've made a marker region here that just keeps looping because that's kind of the the 15 second section uh that i want to use so i'm gonna do another little thing here so i'm gonna get out of that for a second i'm just gonna select a little piece of this and split it and then i'm going to duplicate this little piece a couple times alright because i kind of want this to last yeah i mean that light gets real bright so maybe kind of keep that going so as you maybe have seen before if you just drag the edges of your clips over top of one another they will automatically seamlessly cross fade so you may need to elongate these cross fades i don't mind if a little piece of that snuck in there that's because again i'm kind of crossfading over a longer section here let's see and i don't mind if it even has almost a little bit of a rhythmic pulse because it's really meant to be in the background so we're not going to really hear that necessarily anyway all right so let's drop this down to around -6 armando for notch eq what parametric eq plug-in that allows sidechain do you recommend uh you know i'm not sure i gotta be honest with you man i don't i don't remember which if any uh which of our uh eq effects allow for sidechaining um i don't think i don't think the i don't think the notch filter does does it no this only has channel map because if it did they would have this button here set sidechain input so we're diverting a little bit here but um so i'm not sure i'm not sure if any of our native eqs support sidechaining definitely not the graphic not a chance yeah no um some third-party ones perhaps not fft either no um maybe here let me see i'll give you one more second i'll take a look here is my man american have i used that as a side chain no yeah i'm not sure i'm not sure if uh if there are any that are supported i mean i'm sure there's some third party one that may work but none of our native ones work unfortunately for side-chaining sorry about that okay nacho cheese very good you need a good whoosh yeah you know i i had a bunch of different woosh things in there i'm trying to simulate that with kind of the musical elements as opposed to the sound design so that it's more musical if i just wanted to do because you could just do this as an atmospheric sound design totally 100 without any real music and just like dissonance but i wanted it to be a little more a little more melodic you know this is just a it's it's a it's an experiment right that's kind of cool all right and then maybe we'll bring some of those beeps and what do these sound like down here [Music] yeah okay so we definitely don't want that so we're going to cut right there yeah that's that's we don't want any of that and maybe we'll just put those beeps kind of in there yeah that that kind of works i'm going to take another one of these and let's crossfade it and see it kind of works maybe even pitch one of these up slightly so a little detuning all right grab our properties panel stick that over here for a sec so i'm going to go into our stretch mode we'll do real time and uh i'm gonna do very speed to pitch it up so it'll speed it up but uh it'll maintain the quality let's hear what that sounds like okay yeah and maybe i'll just kind of have this gradually fade out that's a lot of little beeps there and it's pretty loud so let's bring both of these noises in and see see what this sounds like now it's probably way too busy and loud oh hold up your marker section here [Music] [Music] i don't think the beeps are working [Music] yeah it's like it's like real busy i don't know let's see if we use just the beeps [Music] yeah maybe [Music] okay so i need one final actually i like that with these two so i think this electrical noise one it's just not doing it it's kind of too it's just too much uh and it has too much of its own tonality curiously the pitched beeps that we just did are actually resonating in the same pitch so it it actually kind of works um like saying you could take the front fade up part of the clip and play it backwards at the end yeah that could actually work nicely that could definitely work maybe i'll do that let's let's try that as an option right now i'll take this clip here and uh oh but i'll have to turn it into a new clip it'll it'll reverse the whole thing what does this one sound like yeah that'll be a little too subtle i have another idea okay so let's do this oh and there was one more thing i wanted to add here so and this is an f and then we're gonna we're gonna segue and by the way i haven't even added the moog yet so again i you know i don't wanna do too many things on this but i'm trying to just add a bunch of different options that we can kind of mix in and out um and i'm thinking having some kind of a a moog base i already had a track for that let me move that over here and let's get this ready and let's just add this in and see see if this does anything i was going to play around with the modulation a little and see if that worked that made anything interesting sounding [Music] it's real it's getting real dirty okay this is really hard to do from behind okay let's give it a shot [Music] i don't know what that was not great well it's analog so it's nice but i don't know if that really works i don't know if that does anything it doesn't really get us anything there if we flange it or something and let's have it start like that and kind of just gradually fade up okay that actually kind of worked and let me go and i'm going to add a little analog delay on here so this will catch that uh um that little octave thing that i do at the end [Music] oh and i there need that much feedback but we will trash it and [Music] [Music] ah it's all right [Music] this glass one has got a lot of low mids in it [Music] so we're gonna put some eq on there do that's better [Music] opened it up a little [Music] all right not bad let's go ahead and save this as var one f all right saving our work yes all right and yes it is a collab that i'm doing with paul here very cool okay so let's go back to the screen didn't realize we weren't on there sorry friends all right okay all right so let's do one more thing to this one and f so i laid in some melotron here and uh now this was recorded with one of the soft synths and as such uh i had to loop it through so i couldn't overdub with the other things in time so i had to actually play a physical metronome on my phone time myself and then oh my god okay uh i have a minor emergency friends i need to step out for a second so i'll be right back this should only just take a minute or two gotta go take care of something here um so i'm gonna play this for you and i'm gonna loop this and then you're gonna see if this drives you crazy this is the day we're having today all right so bear with me here i'm gonna get i can't believe this is happening okay hold on i'm gonna do one more thing should be fine okay i'm gonna play this back brb friend sorry for this uh i gotta take care of something real quick okay here we go [Music] so [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] all right so for a loopable nft it's been looping for two minutes paul is here what's up right okay gerry odom loving the low five vocal stuff oh cool you actually heard that in there very cool all right so let's get back to business i'm out of breath all right where did i leave off yes melotron uh oh which i was actually just playing i meant that wasn't supposed to be on [Music] i hadn't even slipped that in time yet so that's actually pretty cool um it's supposed to be let's see [Music] okay so it's supposed to be about here so if i slip this approximately to there yeah that looks right let's see if i solo these [Music] oh it actually has to come sooner okay that's fine even better also maybe i it kind of actually did work where it was hmm okay well let's do this let's shrink this up and see how that plays [Music] yeah that's kind of nice and creepy [Music] [Music] no [Music] uh let's get rid of those too [Music] oh [Music] uh [Music] what does wet and mix mean fairy is asking so uh you always have a wet dry balance for your effects the dry signal is just that it's the original signal unaffected and then the wet signal is how much of the delay we're allowing to pass through so if i let's say i had you know right now we're at like 85 percent and 15 if i just increasing the wet signal you're gonna start to hear a lot more of the delay output and then in conjunction with this like feedback setting this is where you can get some very intense digital distortion type effects where it basically is looping on top of itself to create something like this so first i'll start just by increasing the wet output it might be a little hard to hear because this is legato i'm not really letting up on the keys so there's just more echo output versus if i had it down at like 15 [Music] it's much more subtle right let's go back up to like a hundred percent echoes are louder so again now i'm not i don't have a lot of feedback either if i increase the wet and increase the feedback that's the number of subsequent repeats it's going to get very intense very fast [Music] [Music] okay and same thing with flange you have the the wet dry mix so this is a single slider that's basically saying this is you know 93 93.1 percent dry with about 6.9 of that wet signal so just a little bit of flange on top of that just to give it a little bit of an edge all right more feedback yes very cool all right so i think we're gonna this is this is this needs some mixing here i'm not gonna mix this one just yet it needs some balancing but i think as a as a concept you know if we break down the elements here so let's do this i'm gonna move and i don't know do we need those toms what do you think the little tom bits in there so let's start this kind of organically so we started with our our base [Music] right we have our dream sphere [Music] stick the melotrons over here maybe we'll maybe we'll flip the the glass to the other side as well [Music] [Music] [Music] what do you think sounds like some 70s prague [Laughter] not gonna lie to you this week my my workouts have been exclusively king crimson 72-74 genesis 72-75 and just this morning i listened to the remastered deluxe edition of emerson lake and palmer's tarkus so yeah it's it's been on my mind for sure kevin is this your melotron dude i wish you know i wanted to buy one years ago and didn't and then over the years thought about it i'm not sorry i didn't because an original melotron as awesome as it is it's such a beast it's a beast to maintain i mean you're just you're buying something that is likely going to just break um i'd still love to have them of course now they have the digital melotrons but those melotrons are from those are actual samples that are in native instruments and i have the arturia mellotron um which is amazing it has the the catalogue of stuff so no i don't have a physical one unfortunately but they uh they're really they're really just as good debbie mason sounds like i'm walking out to the set of stranger things ooh i like that okay so we've got about 12 more minutes so let's what do you think is paul still here paul hasn't said anything paul's like i hate it what do you think looks and sounds mythical i like that you want to go and buy more snacks okay cool and scary mark mary lindsey can i make a chill wave set please you know i'm going to be doing that actually during my sabbatical i've got a couple of my own album projects and uh yeah chill wave is it comes pretty pretty effortlessly now that's some brain salad surgery good one kev i didn't listen to that one today that'll probably be tomorrow paul i'm still here and it's fantastic oh all right yeah dude i mean it again it needs mixing it's it's not balanced but i think it's a pretty cool start right maybe does it maybe it doesn't need the glass what do you think [Music] i really like how the sound effects carry that like like the elect the electricity of the light fading to dark and that tuned i got to see i wonder if i uh i go into this can i undo the change oh yeah so just to show you so this is the change that i made here so let's undo the pitch shifter so here it was before it was an a flat uh which is fine but that would be a a minor third against f and i'm i'm going to really an f major so i had to i had to pitch shift this so redoing the pitch shifter and by the way just to show you here undo the pitch shifter and then oh i can't duh it just it just really it just does it right kind of really makes it work nicely [Music] okay yeah sorry that was more you know you couldn't hear me playing that that was me just me checking my my pitch to make sure it was right uh paul's saying that pitch shift foghorn sounds awesome uh maybe the glass is timed to the symbols animating in oh yeah maybe we could we could fly that in again as those so they come in kind of soon which is kind of how i did it originally maybe i just need to shift it or the melotron comes in later i i don't want it to be too busy it is meant to be kind of atmospheric sounds like there's a crap ton of stuff going on there and you know some of these electrical sounds are a little busy right now too um sounds like war alarm to me blue wave is audition a daw it is it is minus uh the ability to do midi and uh looping and a looping engine and virtual instruments so minus those three things uh it is a daw okay nine minutes all right so we're going to save this variation in f and i'm just going to in the meantime i'm going to move all of these active tracks here so that i know that those are keepers all right i'm going to mute all of those right now now i laid down again some you know variations in different uh oh and i and the toms yeah i don't know i don't know if we're gonna keep the toms or not we'll see they're they're nice but they're not a need to have um so i laid down some pads in a and this was again manipulating with some sliders and controllers to get kind of this weird atmospheric kind of sound [Music] oh that's kind of cool so i'm going to cut this right here and i'm going to drag that over there because i think that's going to work kind of nice and let's make a new track here and let's do some moog lead alright so this is an a and let's see what this is going to sound like so i don't want this one so buzzy i'm gonna have to tune this first so here let me switch the i don't have my side by side anymore all right i'll do this kind of in this view let me let me play this back for a sec and i'm gonna kind of tune this and set our patch up okay here [Music] my [Music] all right let's try a pass on this just to see all right thank you a frozen okay is that moog coming through by the way amplitude all right that wasn't spectacular do it again and i'm wondering maybe i should do it an octave two or higher a return [Music] hmm all right and let's do a little delay to kind of get into the vibe here [Music] [Applause] yes i was just kind of half playing the intro to fly like an eagle [Music] [Laughter] this is a little buzzy still do [Music] all right see i have too much wet on that we're hearing too much of that wet signal all right let's try this this can be our last little bit right here [Music] that wasn't bad kind of some nice echoes in there [Music] ah now we're onto something all right i'm gonna do one more and i'm gonna add this with a bit more of the brightness on there all right [Music] all right and then split this off to its own little track here grab that take drop this down and let's see how these sound together [Music] foreign [Music] now again i could still use the same electronic you know sounds to kind of mickey mouse the electric the electricity the animation of the the logos and the icons so i'm going to stick those back in and let's see what that kind of adds i'm not convinced this lead is great by the way just as a melodic idea if it works it all and it kind of needs to be more in the background add the same delay on here so let's do 479 25 feedback 27 trash and let's do no spread keep this kind of mono sounding and now you know what's weird you know what i noticed recently i don't is that just the track width it is why wasn't the pan showing up and this gets lost very quickly there for no reason weird all right let's see what that sounds like [Music] i've also got this one that i added the other day too that's that's this it's that it's that same dream sphere uh sound again just a pad let's put that back in kind of interesting but friends that's all the time we have so thanks so much for watching uh we've got more to come on adobe live we've got the illustrator daily creative challenge coming up so until next time stick around thank you so much we will see you on the next one next week have a great weekend everybody take care bye bye you

Channel: Jason Levine

Views: 858

Keywords: sound design, sound editing, how to edit sound, how to mix sound, how to mix audio, how to design sound, sound effects, SFX, Jason Levine, beatlejase, tutorial, premiere pro, adobe audition, protools, logic, mixing, how to mix sound for video

Id: elPaeR-GUGc

Length: 57min 40sec (3460 seconds)

Published: Fri Apr 23 2021