0:28

You are listening

0:28

to the Inside The Mix podcast

0:30

with your host, Mark Matthews. Hello and welcome to the

0:33

Inside the Mix podcast.

0:36

I'm Mark Matthews, your

0:36

host, musician, producer, and

0:39

mix and mastering engineer. You've come to the right place

0:41

if you want to know more about

0:43

your favorite synth music

0:43

artist, music, engineering

0:46

and production, songwriting

0:46

and the music industry.

0:49

I've been writing, producing, mixing, and mastering music for over 15 years,

0:51

and I wanna share what I.

0:54

With you. Hey folks. So welcome back to the Inside

0:55

the Mix podcast, and this

0:58

is the third installment

0:58

of this mini producer

1:01

song from Scratch series. So what I'm gonna do is

1:02

I'm gonna start off by playing what I came up with

1:04

at the end of episode 62.

1:07

So here we go. So there we go, and we're

2:19

gonna continue to build on this in this week's.

2:23

Okay folks, so what I'm gonna

2:23

do now is I'm gonna use the

2:25

Logic Pro step sequencer and

2:25

I'm gonna create a drum pattern

2:28

to go from bar 21 to bar 37.

2:32

Yeah, I had to double check them. So I'm going to go to my

2:34

kit sample instrument,

2:38

right click in the timeline

2:38

and create pattern region.

2:42

And uh, it comes up

2:42

with a step sequences.

2:44

So I'm gonna, Let's go with

2:44

that kick, and I'm just gonna

2:49

use the step sequencer and

2:49

just programming some kicks,

2:51

and I've got this set to 16

2:51

steps at the moment, so let's

2:54

hear what that sounds like. So I quite like that, so

3:01

I'm going to duplicate that.

3:05

I'm gonna leave it

3:05

as it is, in fact.

3:08

No, I'm not. I'm gonna go in and I just wanna

3:09

change the velocity, so I'm

3:12

just gonna loop this region. And I'm gonna just change the

3:16

velocity cuz I want there to

3:20

be an accent on the first kick. Now it, cool.

3:31

Now I'm gonna duplicate it. Excellent.

3:34

So I, now what I'm gonna do is

3:34

I want the, so that's eight bars

3:38

I'm gonna have, and then after. Eight bars at bar 29.

3:42

I'm just gonna duplicate it again, but I want to kick and snare.

3:47

So let's open that

3:47

in the step sequence.

3:49

Sir, I'm just gonna

3:49

find a snare sample.

3:52

So let's, let's

3:52

see what we have.

3:55

These are still my kicks. So I quite like that one.

4:02

So I'm gonna have that come

4:02

in on every second snare.

4:13

In fact, I might leave it at that. Oh, duplicate the wrong one,

4:15

and let's do that again.

4:29

Excellent. So there we go. Really quick step sequencer, and

4:30

I've got a kick and snap pan.

4:34

Okay, so for this next part,

4:34

I'm gonna follow a similar

4:36

process and I'm gonna use the

4:36

step er and I'm gonna come

4:39

up with a high hat pattern. So I'm gonna find my

4:40

percussion or rather

4:43

symbols, software instrument. Here we go. And I'm just gonna make

4:45

that slightly bigger and

4:47

I'm gonna get rid of that. Actually, I want to

4:49

keep that at the end. So I'm just gonna loop.

4:54

25 to 29, and in there I'm gonna

4:54

move my Playhead to 25 and I'm

5:00

gonna create pattern region. Let's drag that to bar 25.

5:05

Not sure why I didn't start there. And let's find a high hat.

5:10

I quite like that one, so

5:10

I'm just going to, once

5:12

again, it's 16 steps and

5:12

I'm gonna leave this.

5:24

Cool. Right. The great thing about this

5:27

step sequencer is here, you've

5:29

got this note, repeat, so I'm

5:29

gonna put in some note repeats.

5:48

It's too many and maybe get rid of a few.

6:10

Okay, cool. I like the sound of that and

6:13

velocity wise, let's play

6:17

Robinson Velocity here as well. Let's humanize it a bit.

6:39

Just play around, just playing around with these velocity notes of this.

6:43

Hi, let's get it somewhere

6:43

roughly where I want it to be.

6:54

Okay, let's drag that

6:54

to the beginning.

6:57

So I've got a symbol here,

6:57

here, and I think it's gonna

6:59

override that symbol here. Okay, so I got my hi hat.

7:17

Kicked drum, and then at about 29

7:22

it's gonna come in with

7:25

the snail on top of it, which is incredibly loud.

7:33

So what I'm gonna do is I'm just gonna go into that kick pattern there.

7:36

I'm kicking snare pattern and I'm just gonna adjust the velocity of that snare and do

7:38

the same for this second one as.

7:47

So what you could do here, rather than having these separate patterns, is you

7:48

could just increase the steps,

7:51

which is probably what I should have done, but, um, hindsight's a wonderful thing.

8:03

Cool. So there we go. A really simple high hat

8:04

pattern using the pattern

8:08

Step sequencer in Logic Pro. Okay folks.

8:11

So now what I want to add is

8:11

an ARPEGGIATED lead over this

8:14

sort of bar 21 to bar 37.

8:17

So I've got my pad progression,

8:17

which has an automated

8:20

hike up filter, which I

8:20

did in a previous episode,

8:23

and it's also got that

8:23

tape walk effect as well.

8:25

I've got my. Program or rather pattern that

8:27

I put in programmed just now.

8:30

And I've also got

8:30

my kick and snare.

8:32

So I've got my lead summing

8:32

stack here and I've got

8:36

an instance of massive X. And what I've done is, I'm using

8:38

the logics inbuilt arpeggiator,

8:43

uh, which is going up and down. I actually might change it.

8:45

So it's shuffled and it's set

8:45

at one 16th in terms of rate.

8:50

And I've got an instance

8:50

of massive, and I'm using

8:52

this all hands, uh, piano

8:52

keys patch that is built in.

8:57

So if you're watching this

8:57

online, and I'll explain it

8:59

to you, I've gone through and I've starred or rather favorited all the, the piano

9:01

key patches that I particularly

9:04

like to make this easier. So it kind of sound, well, it

9:05

kind of sounds, it sounds like.

9:11

Okay, so that's the art

9:11

per, and I'm gonna change

9:14

the A back to how it was. So I'm gonna go up and down.

9:37

Okay. I quite like that, so I'm just gonna play along. Okay, that sounds quite cool.

10:15

I'm now gonna attempt to program it in, so I'm just gonna stop that

10:26

one again, as you can hear with the first one that I

10:27

probably programmed it or rather played it a bit too hard.

10:55

And I'm also gonna stop it there cause I haven't set up my loop region properly

10:57

as well, so that's probably

10:59

not gonna help me in my. So let's quickly do that.

11:02

Let's undo that recording

11:02

back to the beginning.

11:38

Well, I messed. I messed it up at the end there,

11:40

but I'm gonna use the first

11:42

sort of eight bars and I can

11:42

just duplicate it rather than

11:46

waste time recording it again. So let's go in there.

11:48

I've gotta quantize

11:48

this, delete that.

11:53

As I mentioned in a previous episode, having the n the note labels in

11:55

front of me really helps.

11:58

Um, let's give that a play. As you can see there,

12:10

it's quantized it, but it's not quantized.

12:12

It quite. Enough.

12:14

There we go To eighth notes.

12:26

Cool. So what I'm gonna do now is this. I'm gonna go into

12:28

scaler and I am going to

12:31

mid-cap that performance. In fact, I'm gotta stop it

12:45

there cuz listening back to it now, the, the, the variation

12:47

of dynamic, how I've played

12:50

it, it's quite so, I quite

12:50

liked it around 60 in terms

12:55

of velocity cuz the rest of

12:55

them satter, that sort of

12:58

mark and it sounds quite good. So now I'm gonna midcap it

13:06

clear that midcap, stop that and I'm gonna

13:26

drag that mid onto the.

13:30

Rather, yeah, the piano region,

13:30

the lead, uh, in Port Tempo, no.

13:35

Cool. So now what I have here is

13:37

the actual chord played.

13:43

If you're watching this

13:43

online, the, you can see from

13:46

bar 29, the actual chords

13:46

are there in the editor

13:49

window four, or rather the

13:49

piano roll in the editor

13:52

window and you can see them.

13:55

And if you go to the bars

13:55

21 to 29, it is just the

14:00

single notes, which are then

14:00

triggering the chords in scaler.

14:03

My apologies, I keep flicking between editor window and piano roll.

14:06

And it's the actual piano

14:06

roll, not the editor window.

14:09

So if I click here, you

14:09

can actually see the chord.

14:11

So I'm just gonna. Delete that and I'm gonna

14:12

put the cords there.

14:15

So in theory, now if I turn off scaler, what I'm actually gonna try

14:26

and do is, cuz this is a E one,

14:29

I'm gonna select all the notes

14:29

and I'm gonna go up and octave.

14:48

Okay. Commander s just to save

14:49

that, cuz Logic does have a habit of crashing.

14:53

And uh, so there we go. That is my lead up

14:54

section to go over this.

14:57

And actually before I

14:57

close this bit off, I'm

14:59

just gonna duplicate that. Okay.

15:01

To go over that. So from bars 21 to to 39 or

15:02

either 37, I now have a lead r.

15:09

There we go. Okay folks.

15:12

So in the previous bit there I

15:12

created the lead arpeggio, and

15:18

what I'm gonna do now is I'm

15:18

just gonna go through massive

15:20

and see if I can come up. We'll find a different sound

15:21

for it because although it

15:23

sounded good at the time, I've moved it up in Octave and I'm not particularly.

15:27

Happy with the sound I've got,

15:27

so I'm just gonna cycle through.

15:41

I quite like that one. I think for me, I think

16:01

for me it's that one there.

16:06

So that's called belly stage. Um, in fact, I wanted to do it.

16:09

I'm just gonna play through and, and play around with some of the parameters in it.

16:15

So I'm just gonna

16:18

boost the cut off. So it's about 200 herz,

16:21

maybe a bit of resonance.

16:37

Okay, cool. So now what I'm gonna do is

16:37

I'm gonna try what I did with.

16:42

With the pads in that I

16:42

had the filter cutoff.

16:46

So I'm, I'm gonna do

16:46

the same for this.

16:48

So I'm just gonna put a filter

16:48

on the main summing stack

16:53

and I don't wanna low pass. I wanna high pass. There we go.

16:56

And so about 500 and

16:56

I'm gonna automate that.

16:59

So a, to open the automation

16:59

lane and I've gotta follow

17:03

the same automation. As the pads.

17:09

So if you're watching

17:09

this online, you can see

17:11

above the pad automation.

17:13

So I'm just gonna mirror that. How that.

17:54

Okay. It's quite cool. But what I'm just gonna try

17:55

out before I move on from

17:58

this bit is I'm just gonna

17:58

turn that off a minute and I'm

18:00

gonna go into snap heat and

18:00

I'm gonna see if there is a,

18:06

can I hit snap heap and stare?

18:09

I'm just gonna look at the

18:09

plug-ins I've got here.

18:11

Cuz actually what I'm thinking is I might get like a. shift of frequency.

18:16

There's a frequency shifter here. I mean, I mean that might

18:18

be one I'm thinking of. No, that's not gonna be it.

18:21

But one I wanted to do is

18:21

maybe go the the, rather

18:24

than automate the filter

18:24

cutoff going back and forth.

18:27

I'm thinking if I could

18:27

find one that will do it

18:32

for me, it's gonna snappy.

18:34

It's probably the easiest thing to do. See where we got on here?

18:37

Browse and I'm gonna

18:37

go and look at mod.

19:05

I quite like that. I'm just gonna dial it back

19:21

and I'm also gonna go to

19:21

massive, and I'm just gonna

19:23

pull back the cutoff as well. And I'm gonna turn on the

19:34

channel high filter again.

20:12

Cool. So there we go. Add a bit more, uh,

20:14

interest to that particular.

20:17

So we've got the pads there and

20:17

we've got this lead arpeggio

20:21

over the top of it now, both

20:21

with a high cut automation,

20:24

well, the automation of the

20:24

high cut filter and, uh,

20:27

I've used snap pee again. I do have, uh, snap heap.

20:31

As you can see, you can quite

20:31

quickly get a, a, a cool sound

20:34

from it without having to do

20:34

a great deal with massive x.

20:38

Okay folks. And now what I'm gonna

20:38

do is I'm going to add some subbase to this.

20:42

So I've got my base

20:42

summing stack here,

20:44

and I've got Anna two. And in Anna two there is

20:46

a signature 8 0 8 base.

20:49

So if you go to 8 0 8, all

20:49

signature, 8 0 8 and it

20:52

sounds like this and I'm

20:52

gonna use that as my subbase.

20:57

So as you can see with Anna

20:57

two again, I've gone through

20:59

and there's only two I favored

20:59

to be fair in the 8 0 8.

21:02

Probably need to go through it. But what I'm gonna do is, in

21:05

this section I've been working

21:07

on, I want to add the subbase.

21:09

So to do this, I'm gonna

21:09

select the drop pads here,

21:40

and I am going to

21:40

grab, scale it too.

21:44

And I'm gonna mid recapture. Those chords.

22:05

Cool. Stop. And I'm gonna drag those, make

22:06

sure I've got the right one

22:09

onto my second base track.

22:17

Yep. And I'm gonna drag those across,

22:19

drag them onto the wrong one,

22:22

and make that a bit smaller.

22:25

Double click and here we go.

22:27

So if you're looking at this online, you'd be, you'll be able to see the,

22:29

the chords that are played.

22:32

And I'm just gonna stick

22:32

with the root notes.

22:37

There we go. And I can delete all

22:38

the other notes cause they're not needed and

22:46

might move it up An Octa. Yeah, there we go.

22:58

Now we got some bass. Everything comes

23:02

alive with bass. In fact, I'm gonna do the same.

23:12

I'm gonna add the subbase

23:12

to the section before, so

23:15

from bar five to bar 21. So I've got my verse pads, and

23:17

I've already got the mid here.

23:22

So I'm just gonna drag that

23:22

up and do the same thing.

23:26

And I'm gonna delete the notes.

23:29

I don't want, I'm

23:29

gonna move it up.

23:37

I think it was already at the right one. No, E two.

23:40

That's the one I want, but I'm not gonna have that

23:46

subbase coming straight away.

23:50

With songwriting, it's a good

23:50

idea to sort of break your

23:52

songs up into eight bars. So after every eight bars,

23:54

you want to either add

23:57

or remove something to

23:57

keep the interest going.

24:00

So from bar five to 13, they're

24:00

not gonna have the subbase,

24:03

it's not gonna have the subbase. So let's see how that sounds.

24:06

I'm gonna go from bar nine, so the subway is

24:14

gonna come in now. Cool.

24:39

I like the sound of that. So there we go. Really quick way to

24:41

add some subbase.

24:43

So with that subbase, what I

24:43

would probably usually do is

24:46

site chain it to the kick,

24:46

just to add a bit of movement.

24:49

But the cool thing about Anna

24:49

two in this instance is because

24:52

I've got the kick and the snare

24:52

sort of in this instrument

24:55

channel at the top, and I don't

24:55

really wanna dive into that

24:58

just yet, but if I go into

24:58

Anna too, and you probably

25:00

get this in other plug-ins

25:00

as well, but in the actual.

25:05

I dunno what they called it. Insert, I guess it's called

25:06

the insert section of an two.

25:08

There's a dynamic dropdown. Well, there's a dropdown

25:10

with a dynamic option

25:12

and there's sidekick. So I'm gonna solo that channel.

25:15

And it sounds like this. So this is without, and

25:25

this is with, okay, now I'm

25:31

gonna play it in context. Okay.

25:39

And the cool thing is, because I, I've got it side chained, um, well, it's

25:41

not actually side chained.

25:43

It's a side chain kick,

25:43

but it's actually synced

25:45

to the host tempo. So it's falling in line.

25:48

It's in tempo. It's not in tempo. It's in time with the

25:50

kick drum already.

25:53

So that's a really quick way

25:53

just to get that side chain.

25:57

Let's try it with the bit before as well and see what that sounds like.

26:18

Yeah, I think that sounds pretty cool. You could probably do the

26:20

same with the pads as well. Actually, I never

26:21

thought of doing that. Maybe I'll try actually, what

26:24

pads have I got with Anna too?

26:27

I've got them here. So let's see what that sounds

26:33

like with these pads. And I've really got a

26:35

chorus effect on there.

26:40

Let's try, it might, it

26:40

might not sound right.

26:43

I'm gonna, so it, what I'm gonna do is I'm gonna

26:58

put the dry, wet, all the way

27:00

down and I'm just gonna play it

27:00

in context and, and bring it in

27:03

and see if it actually works. Cause it might not,

27:04

but we'll give it a. I was making all those changes

27:33

there and I was thinking, it doesn't sound any different.

27:37

Why doesn't it sound any different? And I did the classic of making

27:38

a change to a parameter and

27:41

dragging things around, whether

27:41

actually having it enabled.

28:01

Okay, I'm just gonna go into

28:01

these mini notes actually,

28:03

because it seems to die a bit

28:03

throughout the performance,

28:08

so I'm just gonna go in. Mid transform and do,

28:10

uh, random velocity.

28:14

And I wanna keep a bit of a

28:14

humanized element, but I'm

28:16

just gonna make it a bit

28:16

more, what, why are they at

28:20

the moment sort of, they're

28:20

ranging between Christ

28:23

anywhere between 23 to 75. So let's sort that out.

28:26

Um, we'll do the top as

28:26

80 and . Can't remember

28:32

which way around it is. Do 75. There we go.

28:35

Let's give that a. We're gonna have

28:38

to replace them all now.

28:44

Now it's more audible's. Those mini notes to begin with.

28:48

Yeah, the mini notes what I had originally, because they're all over the place.

28:50

The, the effect wasn't so

28:50

pronounced, but now it is.

28:53

So I'm just gonna delete the

28:53

other regions I've got there

28:56

and I'm gonna duplicate that. We'll replicate and.

29:01

I've gotta delete everything at the beginning too, cause I'm gonna come back and create an

29:03

intro for this at some point.

29:05

So I'm just gonna delete everything at the beginning there. So now let's try it.

29:21

Just dial it back a bit. And then it's gonna shortly

29:38

come into the next section.

29:49

I think with that kick pattern,

29:49

I'm just gonna go in and I'm

29:51

gonna remove, I don't want it. I want every other.

29:56

Let's try that. Yeah, that's better.

30:09

Okay. And I think there is, it needs

30:16

to come, there needs to be some,

30:20

some more percussion there. So I'm thinking either collapse.

30:23

Oh, it does. It comes in with a snare, doesn't it? I'm just gonna try

30:28

creating a pattern here.

30:31

Um, with some collapse. Um, just double click on that.

30:40

I'm just gonna cycle that region. Select the whole lot.

30:43

Don't want that. There we go. Um, still got fresh air.

30:52

I'm just gonna turn that off while I do this. That one might do the job.

31:03

Let's give that. I quite like that.

31:19

Um, anything I say is I

31:23

think their velocity needs to come down again.

31:26

There probably is a way to set

31:26

it so the velocity doesn't start

31:29

at 100, but that's another day.

31:37

That's still really loud. Let's go and have

31:38

a look at that. Something's,

31:53

it's better. Cool.

31:58

So there I digressed a bit

31:58

cause I added some claps.

32:00

I had a little playground

32:00

with the snares there as well.

32:03

And I also added the, the side

32:03

chain effect to the synth pad at

32:08

the beginning of the progression

32:08

or rather the piece and also

32:11

added it to the base as well. So, bit more than usual

32:12

in that bit, in that

32:15

little segment there. But, um, some pretty cool stuff.

32:17

Okay folks, so for this next

32:17

part, which we're coming to

32:20

the end of this episode now what I want to do is I just wanna extend beyond Bar 37 now.

32:25

So what I want is, Two.

32:28

Dunno why I clicked on that. There we go. Sorry folks.

32:31

If you're listening to this on the podcast player of your choice, I uh, accidentally

32:33

went to zoom in and zoom

32:36

out and it went all weird. Um, so I want to take these

32:37

midi, uh, this arpeggio and

32:40

I'm going to option click

32:40

and I'm gonna drag it to the

32:43

right and I'm gonna stick it

32:43

on my next lead instrument.

32:48

And, uh, I've got the art

32:48

already set up on here.

32:50

So we're gonna use the same art pattern. And, uh, this time I'm

32:53

using pigments now.

32:56

I haven't used pigments in a while, and this is pigments four, and I haven't

32:57

touched pigments four yet, so

33:00

we're gonna give this a go. Before I do that, I just wanna

33:02

add, I'm just gonna add the

33:04

kick behind this and the sim

33:04

and the percussion and the

33:08

collapse as well, just to

33:08

gimme a beat to work with.

33:14

Okay, so that's pigment. So that's, let's,

33:15

let's have a look. There's a lot of presets

33:17

in here that I have

33:19

not been through yet. If you're watching

33:20

this on YouTube , you

33:22

can see there's a lot. Um, and that is just

33:24

in the keys section.

33:26

Um, so I'm thinking keys,

33:26

and let's go from the, I'm

33:32

not gonna go through them all, but I got a feeling This Annabelle one sounds quite good.

33:35

Uh, let's go from the top. I'll go for a few

33:36

and see what we have. I tell you what, I really

33:45

like this new sleek

33:47

interface for pigments. It looks very nice, so I

33:48

quite like this, Annabelle.

33:52

So I think what I'm gonna do

33:52

is dial back the cutoff a bit.

34:02

Now what I wanna do actually is.

34:05

I wanna use an LFO to

34:05

control this cutoff.

34:08

So I'm gonna drag the l

34:08

o over to the cutoff for

34:12

LFO two, and I'm going to,

34:19

I'm gonna set the rate on this. I, I. Now, when it comes to this, I

34:21

never like free start freehand

34:24

it with the, with the hertz. I always go for sink, just

34:25

to make it easier on myself

34:28

and leave it as a, let's

34:28

just go with a sore tooth,

34:31

not, yeah, sore wave. Um, a triangle, wave

34:34

rather not sore tooth.

34:40

Slap my hand and I'm going

34:40

to, I don't want free running.

34:45

I'm just o two sequence start.

34:49

Let's try that. That's moving a lot.

35:12

See, that's quite cool, but

35:12

I want to dial it back a bit.

35:16

I don't want it to be

35:16

so broad there you.

35:19

So sorry folks. I'm still trying to get

35:20

familiar with pigments again. It's been a while

35:22

since I've used it. So with pigments you can go

35:23

to the filter, the parameter,

35:26

and there's a little sort of

35:26

dial that, that that's how you

35:28

control the amount of modulation

35:28

or control this parameter's

35:32

having on the cutoff. See, I think that

35:59

sounds quite cool. Let's do the base underneath it.

36:10

So when you're recording these things, I've got the microphone in the way and I can't see the

36:12

keyboard a lot of the time, so I'm going on muscle memory.

36:15

So hence why sometimes I'll press the wrong key. So if I ever do that and

36:18

uh, you know why, it's cuz

36:20

I'm going on muscle memory. Let's play, play around with

36:38

those parameters a bit more.

36:46

That's all I did there was

36:46

I just turned off the second

36:49

filter and I think that. Probably sounds better.

37:05

Uh, it's got the classic,

37:05

I love doing this.

37:07

Um, it's got the, the modulation. I think that's a

37:09

modulation where, yeah. So the modulation where was

37:10

controlling the fine tuning

37:14

of the, um, Of the synth.

37:17

That's a really cool thing to do. So no matter what synth

37:18

you have, if you, there's

37:21

using the mo wheel. But usually what I would

37:23

probably use or do rather as

37:26

an l o and just control, just

37:26

really subtly control the fine

37:29

tuning of the instrument cuz it

37:29

adds a bit more character to it.

37:33

Um, I'm led to believe it

37:33

makes it sound more real, not

37:36

realistic, but it makes it

37:36

mount, makes it sound more

37:39

authentic as a synth because

37:39

you've got that fluctuation.

37:43

Uh, but it could be wrong either way. It sounds cool. Give it a try.

37:46

Um, I'm gonna leave pigments for now. I kind of want a base pattern

37:50

to go underneath this.

37:54

What base pattern am I using

37:54

earlier in the progression?

37:56

Let's have a look. Ah, keep using the, uh,

38:05

I mean, that might work. Let's drag that.

38:28

So I'm just playing around with notes here. Cool.

38:35

So what I've done there is I've just moved the notes. So the last note of that

38:37

particular bar, I've just

38:40

moved it up to the third. Let's try the fifth And

38:42

ah, there we go again.

38:47

See keyboard in the way. I think I throw the third.

38:55

Let's try that. I might drag that down.

39:15

Route note third,

39:15

Bruno, the chord.

39:22

Oh no, God. . That wasn't even the right key.

39:26

I am gonna stick with thirds. Um, I might stick a fifth in there.

39:35

Otherwise, it's gonna be the same note as the call before. Maybe it needs to be the same.

39:54

I dunno if this is gonna work here. Let's try that. Whoa fell.

40:14

I might just leave that

40:14

as is cause I didn't like.

40:18

Um, but what I'm gonna

40:18

do now is close the piano

40:21

roll and delete that.

40:24

And then, so what I could do

40:24

here, so just to give you a

40:27

run through, what I've done there is I've added, um, a third at the end of each note.

40:31

So from bar 37 to 39,

40:31

you've got the sort of

40:34

repeating, chugging base. Chugging is probably the wrong

40:36

word, and then it does the

40:39

root of E and then it goes up.

40:43

Just add a bit of variation. And what I'd probably

40:45

do then in the next bar

40:50

Z from bars 45 onwards.

40:53

Maybe it's just mix that up,

40:53

maybe use some seventh or

40:56

something in there just to make

40:56

it sound a bit more different.

41:01

Let's try that. Stick a seventh in there. I'll play it.

41:17

So this is with the thirds and now it's gonna

41:25

move up to seventh. Didn't hell that I moved.

41:33

I know. Then maybe.

41:41

That note wasn't right. Um, third year, uh, I said I

41:42

moved of the seventh is not.

41:47

I've actually moved it up to fifths. Sorry folks.

41:50

It's fifths not seventh. Get my counting wrong.

41:55

Let's try it. I think it'll.

42:11

Yeah, a bit of variation. Dunno about that note.

42:18

That one's okay. It's food for thought anyway.

42:22

Um, so what I'm gonna do now

42:22

is I'm sort of like coming

42:25

to the pro where I kind

42:25

of wanna start building.

42:30

Mapping this out. So what I want to do then

42:31

I think is come back into

42:34

the beginning, the intro

42:34

session, because I'm just

42:37

gonna go and customize my

42:37

toolbar cause I haven't got,

42:41

uh, time and beats in there.

42:44

There we go. So a really useful thing

42:47

to have in your toolbar

42:49

when you are songwriting,

42:49

I find is the CPU load.

42:54

Um, I've got a Mac studio now

42:54

and it's significantly less than

42:57

it was, which is quite nice. Cause I remember when I

42:59

had the, the old Mac book

43:02

Bright, which is great, and

43:02

I still use it, um, as soon

43:04

as I start pigments massive

43:04

working in the same project.

43:10

So what it's gonna do, I

43:10

dunno how this is gonna sound.

43:13

Let's give it a go. I'm gonna go from. Bar 49, so four bars, and then

43:16

it's gonna go back into the,

43:32

I'm not short at the moment. I, I think they might be

43:34

sounding like two different songs, but I'll persevere

43:36

and see where we get to.

43:39

If I get two different songs

43:39

out of this, then fantastic.

43:41

Um, but we'll see how we go. But I think the idea

43:43

here is you can see the

43:46

workflow and progression and the idea is coming to. Coming to through to fruition.

43:51

Um, by the moment,

43:51

possibly sounding like

43:53

two different songs. I'll be interested to know

43:54

what your thoughts are. If you're watching

43:56

this on YouTube, please do leave a comment.

43:58

Um, if you're listening to

43:58

this on your podcast, player of

44:00

Choice, leave a leave a comment.

44:03

If you can alternatively DM me

44:03

on a at Inside The Mix podcast

44:06

and let me know what you think. Two different songs

44:08

or not, not sure. At the moment, I'm probably

44:09

leaning towards two different. Okay folks, so that is

44:13

the end of this episode.

44:15

So quite a lot gone on this episode. So I added a kick and a snare to

44:17

the, well, two bar 21 to bar 37.

44:23

I also added some high hat as well. So in that instance, or rather

44:24

the workflow there was using

44:27

the step sequencer in logic. I then went and added a lead

44:29

arpeggio in there as well.

44:33

So I used massive for that. And I used the inbuilt arpeggio

44:34

built into logic cuz it's

44:37

inbuilt and, um, using too

44:37

many words there, I think.

44:41

And then I also added a base or

44:41

subbase to it as well, um, using

44:46

an Anna two patch called 8 0 8. 8 0 8 signature and it uses

44:48

the sidekick, um, effect in

44:54

Anna two, which is pretty cool. And I also added that to

44:56

the intro pads as well.

44:59

What else to do? I added some claps too,

45:00

um, to the progression

45:02

from sort of bars. Uh, bars 29.

45:05

I then added another variation

45:05

of the arpeggio using massive

45:10

from bars 37 to bar 53 and

45:10

just duplicated the drums

45:16

and percussion throughout. And then I've brought

45:17

the intro sort of bars

45:20

back into it at the end. And, uh, how many

45:22

bars is that little? It's 16 bars at the end.

45:25

Um, and at the moment it's

45:25

sitting around two minutes, 20.

45:30

I'm not bothered about the length at the moment cause I'm still flashing out.

45:32

There's gonna be an intro, there's gonna be an outro. That's probably gonna

45:34

be a bit more to it. But as I said previously in this

45:36

video, whether it's two songs or

45:39

not, I'm not entirely sure, but

45:39

I think it sounded pretty cool.

45:43

Um, what I'll probably move

45:43

on to next is maybe bringing

45:45

some more vocal, um, chops

45:45

in there as well and seeing

45:48

what else we can do with that. But it's getting

45:49

there I think for me.

45:52

What brings it to life and helps

45:52

me map it out is actually having

45:55

the kit there and being able to

45:55

hear that as I'm songwriting.

45:59

So even though it's just a,

45:59

a basic, um, sort of pattern

46:02

that I've used, it just

46:02

helps flash out that sound.

46:05

So I'd be interested to know what you think, to reiterate what I said previously.

46:08

Please do leave a comment if

46:08

you're watching this on YouTube

46:10

or DM me at Inside The Mix

46:10

Podcast on Instagram and let me

46:14

know what you think next week's.

46:17

It is gonna take a break

46:17

from the production.

46:20

It is gonna come back, but next

46:20

week's episode is gonna be the

46:22

first Synth Pals Pub episode

46:22

of the year, and it's a full

46:27

house and I'm excited about it. It's gonna be a great episode.

46:29

So that's episode

46:29

64 by my count.

46:32

If you want a feature on the

46:32

Synth Pals pub, please do go to

46:35

www.insidethemixpodcast.podium.com,

46:35

and you can sign up there under

46:40

the free resources section. But that is the

46:42

end of this week.

46:44

So, so what I'm gonna do

46:44

is I'm just gonna play this

46:47

sort of from the beginning up

46:47

until bar 53, so you can get

46:50

a flavor for what we have. So here we.

48:35

Listening back. Now that pigment patch might

48:36

sound a bit too wild, but,

48:39

um, I'll let it breathe for a bit and come back to it. So folks, don't forget

48:41

to leave a comment.

48:45

Um, and let me know what your thoughts are. If you're watching this

48:46

on YouTube, please do subscribe and hit that

48:48

notification bell as well.

48:51

And if you're listening to

48:51

this on your podcast Player

48:53

of Choice, please do also

48:53

hit subscribe and look out

48:56

for next week's episode. Just as a reminder, as I

48:57

mentioned just now, next week

49:00

will be the Synth Powell's

49:00

Virtual Pub, the Synth Powell's

49:02

Pub, the first one of 2023. And then we.

49:05

It back into this

49:05

project from episode 65,

49:09

so look out for that. Thanks for watching

49:10

and listening.