0:00:11 > 0:00:14DRUMS, BASS AND KEYBOARD PLAY
0:00:21 > 0:00:24You know, making music doesn't have to be mysterious
0:00:24 > 0:00:25anyone can have a go.
0:00:25 > 0:00:27And today's technology makes it even easier
0:00:27 > 0:00:30for you to have a crack at making your own music.
0:00:30 > 0:00:33To our ears, a finished song might sound so perfect,
0:00:33 > 0:00:37so amazing that it's hard to imagine how it was put together,
0:00:37 > 0:00:40but a track or a piece of music is usually made up of ingredients,
0:00:40 > 0:00:42elements that, with a bit of listening,
0:00:42 > 0:00:44you can start to separate in your mind.
0:00:46 > 0:00:50Take this song so, first off, here's the beat.
0:00:50 > 0:00:51That's usually a drum pattern,
0:00:51 > 0:00:54and it's the motor of the tune driving it forward.
0:00:54 > 0:00:56Now here's the bass.
0:00:56 > 0:00:58BASSLINE LOOPS
0:00:58 > 0:01:00Here's the rhythm.
0:01:00 > 0:01:01KEYBOARD LINE PLAYS
0:01:01 > 0:01:03And here's the melody.
0:01:03 > 0:01:04GUITAR RIFF SWELLS
0:01:11 > 0:01:14Those are all just sounds a beat, a series of bass notes,
0:01:14 > 0:01:18a series of chords and a pattern of notes forming a tune.
0:01:18 > 0:01:21Each of those sounds was made and then combined together
0:01:21 > 0:01:24using computer programs and musical software.
0:01:24 > 0:01:27But you don't need a professional recording studio and loads of money.
0:01:27 > 0:01:30Smartphones and computers can run software and apps
0:01:30 > 0:01:34that allow you to make music the same way the professionals do.
0:01:34 > 0:01:37Listen to the people already doing it, like 15-year-old Happa,
0:01:37 > 0:01:40who's making amazing electronic dance music.
0:01:40 > 0:01:43It's just becoming so much more accessible and cheaper,
0:01:43 > 0:01:45and, you know, pretty much anyone can start,
0:01:45 > 0:01:48just in their bedroom, just with a computer.
0:01:48 > 0:01:50So you can use these brilliant apps and programs
0:01:50 > 0:01:53to make amazing music wherever you are,
0:01:53 > 0:01:57at home... at school with your friends...
0:01:57 > 0:01:59or out and about.
0:01:59 > 0:02:02And now is an amazing time for us to be making music.
0:02:02 > 0:02:03But don't just take my word for it.
0:02:03 > 0:02:07Here's Radio 1 host and club DJ Monki.
0:02:07 > 0:02:08The thing is now
0:02:08 > 0:02:10it's like it's so easy to make music if you wanted to,
0:02:10 > 0:02:12compared to...like 20 years ago.
0:02:12 > 0:02:14You don't need a big studio,
0:02:14 > 0:02:17you don't need lots of analogue equipment that costs loads of money.
0:02:17 > 0:02:20You can simply buy a laptop and buy the software
0:02:20 > 0:02:21and get going straightaway.
0:02:21 > 0:02:24And what about Ellie Goulding's producer, Starsmith?
0:02:24 > 0:02:27The possibilities on some of the apps
0:02:27 > 0:02:29are crazy about where you can go with drums
0:02:29 > 0:02:32or different synth sounds and things like that.
0:02:32 > 0:02:34It's a completely different way of thinking,
0:02:34 > 0:02:36as opposed to drawing it in with keyboard and mouse,
0:02:36 > 0:02:38and it takes you out of your comfort zone in a good way.
0:02:38 > 0:02:41Now, music and technology have always worked together.
0:02:41 > 0:02:44Musicians have always tried creating their own electronic instruments.
0:02:44 > 0:02:46Think of the electric guitar.
0:02:46 > 0:02:48Nowadays I can use the technology
0:02:48 > 0:02:51to take the guitar in a completely different direction.
0:02:51 > 0:02:53This loop pedal only needs a few notes
0:02:53 > 0:02:56in order for me to create a brand-new world of sound.
0:02:56 > 0:02:58HE PLAYS UPBEAT RIFF
0:03:05 > 0:03:08RIFF LOOPS
0:03:08 > 0:03:12HE PLAYS MELODY
0:03:17 > 0:03:18Not a bad little melody.
0:03:20 > 0:03:23There's loads of different ways you can make beats.
0:03:23 > 0:03:24You can get a whole drum kit on your phone,
0:03:24 > 0:03:27or you can use a MIDI keyboard and some friends
0:03:27 > 0:03:29to create the kind of rhythm you want.
0:03:31 > 0:03:34I can compose on a MIDI keyboard, too.
0:03:34 > 0:03:36And I don't have to read music to do that.
0:03:36 > 0:03:38I can pick it up as I go along.
0:03:40 > 0:03:43You can play any instrument you can imagine on these keyboards.
0:03:44 > 0:03:49In fact, some musicians write their whole song just using a keyboard.
0:03:49 > 0:03:52Dan Smith from Bastille and his producer Mark Crew
0:03:52 > 0:03:55have written a lot of songs, including Laura Palmer.
0:03:55 > 0:03:57Like a normal piano sound,
0:03:57 > 0:04:00and then you can very easily change that to a distorted electronic piano.
0:04:00 > 0:04:02We use it quite a lot on the album.
0:04:05 > 0:04:08You can now get libraries of samples loaded onto your computer,
0:04:08 > 0:04:12and you can start building up whole songs on your own using that.
0:04:17 > 0:04:19Or try out a bit of kit
0:04:19 > 0:04:23that lets you physically improvise and create a tune on the spot.
0:04:23 > 0:04:26Technology hasn't just changed the way that we create sound.
0:04:26 > 0:04:29Once you've got all this amazing music at your fingertips,
0:04:29 > 0:04:30you want to be able to record it.
0:04:30 > 0:04:33Music used to be recorded on one of these.
0:04:35 > 0:04:37Audio tape.
0:04:37 > 0:04:39The tape used to be physically cut up to make the track.
0:04:39 > 0:04:43Now the audio tape has been replaced by the computer.
0:04:43 > 0:04:45Computer software will give you a timeline.
0:04:45 > 0:04:47Basically, that's the blank tape,
0:04:47 > 0:04:50and you can add those different elements onto the timeline
0:04:50 > 0:04:56the beat, the bassline, the melody, the sample and the vocal.
0:04:56 > 0:04:58Whatever ingredients you want.
0:04:58 > 0:05:00So what music do you have in your head?
0:05:00 > 0:05:02What do you fancy having a go at?
0:05:02 > 0:05:05Pick a piece of technology, like a virtual drum kit in your phone,
0:05:05 > 0:05:08or a sampling program on your computer, and have a go.
0:05:08 > 0:05:11All you need are your ears and your imagination.
0:05:17 > 0:05:20Technology means that if you want to have a go at making music,
0:05:20 > 0:05:24you don't have to wait for a recording contract or hire a studio.
0:05:24 > 0:05:27If you want to, you can create and record music wherever you want
0:05:27 > 0:05:29at school, with friends,
0:05:29 > 0:05:32or like Kito, who made this amazing track Sweet Talk,
0:05:32 > 0:05:34in your bedroom.
0:05:34 > 0:05:36# Work it hard, take it far... #
0:05:37 > 0:05:41The idea of a home recording studio may sound complicated,
0:05:41 > 0:05:43but it's not.
0:05:43 > 0:05:47You've already got the most important thing imagination.
0:05:47 > 0:05:51Then all you need is a device to record and edit the music on,
0:05:51 > 0:05:55something to listen to the music with, and you can get started.
0:05:56 > 0:05:58Kito has written some amazing tracks
0:05:58 > 0:06:00using a really straightforward setup.
0:06:00 > 0:06:02Her music may have begun in her bedroom,
0:06:02 > 0:06:05but it's ended up on Radio 1, so I'm heading out to meet Kito
0:06:05 > 0:06:09and ask her to take me through the basics of setting up a home studio.
0:06:10 > 0:06:13- Hiya, nice to meet you! - Hi, nice to meet you!
0:06:13 > 0:06:16I want to get started making music what are the essentials that I need?
0:06:16 > 0:06:18Yeah, all you need is a device.
0:06:18 > 0:06:20You could use a tablet or a smartphone,
0:06:20 > 0:06:22or a laptop, which is what I use.
0:06:22 > 0:06:24You don't even need speakers if you don't want them.
0:06:24 > 0:06:26You could use your headphones.
0:06:26 > 0:06:28It depends, like, how much money you've got
0:06:28 > 0:06:30or how in-depth you want to go.
0:06:30 > 0:06:35But I use my laptop, and I use these studio monitors,
0:06:35 > 0:06:38and they run through an audio interface.
0:06:38 > 0:06:40I pretty much use the bare essentials.
0:06:40 > 0:06:42OK, so you've got your device,
0:06:42 > 0:06:44you've got your way of listening to the music.
0:06:44 > 0:06:45What's next?
0:06:45 > 0:06:48So, basically, all you need is software to edit your music.
0:06:48 > 0:06:51There's so many different digital audio workstations.
0:06:51 > 0:06:54There's more professional, industry-standard ones,
0:06:54 > 0:06:56and then there's like really basic free software
0:06:56 > 0:06:58that you can download online.
0:06:58 > 0:07:01With your canvas, you can start adding in music
0:07:01 > 0:07:05in the form of MIDI - Musical Instrument Digital Interface -
0:07:05 > 0:07:08or you can use samples and waveforms.
0:07:08 > 0:07:11You can record vocals, you can record all sorts of sounds.
0:07:11 > 0:07:13But that's your workstation and your canvas.
0:07:13 > 0:07:17So this is what a blank canvas looks like, or timeline,
0:07:17 > 0:07:21and then there's also a mixer page,
0:07:21 > 0:07:24which will have your channels and your master output.
0:07:24 > 0:07:27Basically, this is where all your tracks will go.
0:07:27 > 0:07:31So all the instrument tracks and audio tracks
0:07:31 > 0:07:34will make up the arrangement page, and that will be your song.
0:07:34 > 0:07:36Now, looking at the timeline,
0:07:36 > 0:07:39I can see that making music isn't just about listening,
0:07:39 > 0:07:40it's also a visual thing as well.
0:07:40 > 0:07:42Yeah, it definitely is.
0:07:42 > 0:07:46It often starts off as an idea, and you can have like one melody
0:07:46 > 0:07:48or something that you want to start with,
0:07:48 > 0:07:51but you definitely need a workstation to organise everything.
0:07:51 > 0:07:55And it is very visual you can see where the intro is
0:07:55 > 0:07:57and the drop and the breakdown.
0:07:57 > 0:07:59Especially in dance music, it's very structured.
0:07:59 > 0:08:01So when you record something,
0:08:01 > 0:08:05it records into your arrangement page as a waveform.
0:08:05 > 0:08:09This is what a waveform looks like of a recorded vocal,
0:08:09 > 0:08:15and you can see when it's sustained, the waveform gets fatter,
0:08:15 > 0:08:20and when...Reija sings quieter, the waveform is much smaller.
0:08:20 > 0:08:22# If you want me back... #
0:08:22 > 0:08:25And then I've gone and added a lot of effects.
0:08:25 > 0:08:29I've EQed it, and I've added delay and reverb.
0:08:29 > 0:08:32# Gonna, gonna bleed you dry-y-y-y
0:08:32 > 0:08:35# It's like you're on the starting li-ine... #
0:08:35 > 0:08:38So adding effects makes the vocals sit in the track better,
0:08:38 > 0:08:40and it makes the whole track come together.
0:08:40 > 0:08:44This is actually a project that I've just been working on.
0:08:44 > 0:08:48Each individual track is a different sound that's making up the song.
0:08:48 > 0:08:52So even the drums are split into kick drum and the snare,
0:08:52 > 0:08:54and then there's all the percussion and high hats,
0:08:54 > 0:08:56and they're all on separate tracks,
0:08:56 > 0:09:00so I could solo one and just listen to that individual sound,
0:09:00 > 0:09:03or I could listen to all of those sounds together.
0:09:03 > 0:09:06So now your set up, how do you get making some music?
0:09:06 > 0:09:09So once you've got an idea, you can start developing it,
0:09:09 > 0:09:10and you can build on that.
0:09:10 > 0:09:15Like if it's a melody, you could add other melodies that go well with it.
0:09:15 > 0:09:18Or if it's drums, you can start building a melody on top of that.
0:09:18 > 0:09:21You can really do it any way you want.
0:09:21 > 0:09:23You can make music just with your computer,
0:09:23 > 0:09:26with samples or pre-existing software.
0:09:26 > 0:09:28I'm very, very, very software-based,
0:09:28 > 0:09:32so I don't play stuff on a keyboard, like most people.
0:09:32 > 0:09:35But I actually draw a lot of it out.
0:09:35 > 0:09:38So you can draw notes in with a pen tool,
0:09:38 > 0:09:42and you can move them, change the size, change the velocity,
0:09:42 > 0:09:46even select everything, change the key.
0:09:49 > 0:09:51Can you tell us more about what kind of devices and instruments
0:09:51 > 0:09:53you can connect to your computer?
0:09:53 > 0:09:56You can connect lots of different things to your computer,
0:09:56 > 0:10:00like a guitar or a bass, drum pads, synthesizers.
0:10:00 > 0:10:02There's loads of options when it comes to making music.
0:10:02 > 0:10:04All of these instruments can be connected
0:10:04 > 0:10:08with USB, minijack, FireWire or Thunderbolt.
0:10:08 > 0:10:11You can also use an audio interface,
0:10:11 > 0:10:14which is an external soundcard to record these instruments.
0:10:14 > 0:10:16This can help control the quality of the sound.
0:10:16 > 0:10:19When you start making music, it might be a bit overwhelming,
0:10:19 > 0:10:22but it doesn't have to be complicated to start with.
0:10:22 > 0:10:25You can just start with a very simple project
0:10:25 > 0:10:27and work on the things you already know.
0:10:27 > 0:10:30As you learn, you'll probably get more in-depth with it.
0:10:30 > 0:10:33But yeah, it doesn't have to be overwhelming, it's lots of fun.
0:10:33 > 0:10:37The cables, buttons or pieces of kit shouldn't frighten anyone.
0:10:37 > 0:10:41We just have them to help us make exciting music more easily.
0:10:43 > 0:10:46Some musicians start off with a beat and then add a melody.
0:10:46 > 0:10:50Others have an idea for a tune, jump straight in and record that first.
0:10:50 > 0:10:54In the end, everyone finds a way that works best for them.
0:10:54 > 0:10:57What's important, whether you're on a workstation working with samples,
0:10:57 > 0:11:01or recording a mate on the drums, it's what works best.
0:11:01 > 0:11:04Who knows? Soon I could be listening to a track that you've written.
0:11:11 > 0:11:13You might think that in order to make music,
0:11:13 > 0:11:15you need to be able to play an instrument
0:11:15 > 0:11:16or read musical notes, right?
0:11:16 > 0:11:17Wrong!
0:11:17 > 0:11:19Using a technique called sampling,
0:11:19 > 0:11:23you can build tracks using existing sound recordings.
0:11:23 > 0:11:25In fact, the song we're listening to right now
0:11:25 > 0:11:28has been made entirely from samples.
0:11:28 > 0:11:30Listen to the beat of the song.
0:11:30 > 0:11:33DRUM PATTERN PLAYS
0:11:33 > 0:11:37Notice something? It's actually one short section.
0:11:37 > 0:11:38That section is the sample,
0:11:38 > 0:11:42and it's been repeated again and again to create a loop.
0:11:42 > 0:11:46And you can do the same thing with a bassline or any musical sample,
0:11:46 > 0:11:48using them once or looping them.
0:11:48 > 0:11:50And when you're listening to these samples,
0:11:50 > 0:11:52how would you describe the sounds of the instruments?
0:11:52 > 0:11:55Well, you don't need to know complicated musical terms.
0:11:55 > 0:11:58Every instrument has a timbre, and it's the quality of its sound.
0:11:58 > 0:12:02That timbre can change depending on how the instrument is being played
0:12:02 > 0:12:04and the music it's playing.
0:12:04 > 0:12:07So listening to the timbre of these different guitar samples,
0:12:07 > 0:12:10you could describe them as warm or cold, spiky or smooth
0:12:10 > 0:12:13words that we already know and we all understand.
0:12:13 > 0:12:15It's all about listening.
0:12:15 > 0:12:19Back in the 1970s, DJs used to listen to funk and soul records,
0:12:19 > 0:12:23took samples from them and created hip-hop.
0:12:23 > 0:12:26Today, thanks to easy-to-use technology,
0:12:26 > 0:12:28we can all have a go at sampling.
0:12:28 > 0:12:30I went to Leeds to see 15-year-old Happa.
0:12:30 > 0:12:34He got into sampling when he wasn't well and was stuck at home.
0:12:34 > 0:12:35Now he's being featured on Xfm
0:12:35 > 0:12:40and is producing some incredible electronic dance music.
0:12:40 > 0:12:43Can you talk me through the samples that are available for people?
0:12:43 > 0:12:46Pretty much all pieces of music software come with sample libraries
0:12:46 > 0:12:49with loads of different types of samples.
0:12:49 > 0:12:53Usually, you know, instruments, sometimes field recordings.
0:12:53 > 0:12:55Most of the time they come with the software.
0:12:55 > 0:12:58So I'm going to set you a challenge to build a track from scratch.
0:12:58 > 0:13:00Now, the deal is, I'll let you pick the basic instruments,
0:13:00 > 0:13:02like keyboards, drums and stuff,
0:13:02 > 0:13:07- but I'm going to pick three samples that you have to use, deal?- Deal.
0:13:07 > 0:13:09All right, so your three samples are bongos,
0:13:09 > 0:13:13a trumpet and my wild card, a car horn.
0:13:13 > 0:13:15So how are you going to get started with the track?
0:13:15 > 0:13:18I think I'm going to start with the bongos
0:13:18 > 0:13:20and then maybe add some of my own samples,
0:13:20 > 0:13:24just to build up a beat, to have that main structure and the frame.
0:13:24 > 0:13:26And then build some melody upon that
0:13:26 > 0:13:29and then try and inject the horn and trumpet into it somewhere.
0:13:29 > 0:13:31So the program lets you set the tempo,
0:13:31 > 0:13:35which is measured in beats per minute, or BPM, as it is referred to,
0:13:35 > 0:13:36so I'm going to set it to 130,
0:13:36 > 0:13:38cos that's the usual pace I tend to work at.
0:13:38 > 0:13:42I'm just going to look through some of the different bongo loops I have.
0:13:42 > 0:13:45Sounding good, I'll just drag that in to an audio channel.
0:13:45 > 0:13:50That little section of coloured block there is like a small rhythm,
0:13:50 > 0:13:52and if I click this button, it then loops,
0:13:52 > 0:13:56so I can do some live editing and hear the changes as I go along.
0:13:56 > 0:13:58It sounds a bit weak,
0:13:58 > 0:14:02so I'm going to try some distortion to give it a bit more oomph.
0:14:02 > 0:14:06I'm going to add some reverb to this just to make it sound a bit bigger.
0:14:06 > 0:14:10I like to, erm...pitch a lot of the stuff I use down,
0:14:10 > 0:14:15cos I just think it gives it a thicker, deeper sound.
0:14:15 > 0:14:19So I'm just going to drag this plug-in onto a new MIDI channel.
0:14:19 > 0:14:21It has like eight different sections,
0:14:21 > 0:14:24of which you can drag samples in, if you want to build a beat.
0:14:24 > 0:14:27So I'll just double click here to add a MIDI note,
0:14:27 > 0:14:29and I want it to be on the beat.
0:14:29 > 0:14:33And we'll give it a listen, press play up here.
0:14:35 > 0:14:37So you can see that's now looping in time with the bongos.
0:14:37 > 0:14:39The kick's a little bit too loud on there.
0:14:39 > 0:14:41So this is where you're really using your ear,
0:14:41 > 0:14:44trying to find the right sample with the right timbre.
0:14:44 > 0:14:46So that's... got a nice beat going.
0:14:46 > 0:14:48DRUM BEAT
0:14:48 > 0:14:51And I think I'm going to add in a high-hat.
0:14:51 > 0:14:54So I'll just drag that into one of the sections.
0:14:54 > 0:14:56So then we're going on the offbeat.
0:14:56 > 0:14:59So now we've got just a simple beat going.
0:14:59 > 0:15:00FASTER DRUM BEAT
0:15:00 > 0:15:03Now I'm going to bring in some more elements to the drum beat.
0:15:03 > 0:15:05I'm going to add a snare drum.
0:15:05 > 0:15:07SNARE DRUM STARTS
0:15:11 > 0:15:14I think I'm going to try and...
0:15:14 > 0:15:16somehow work some of the trumpet into it now.
0:15:16 > 0:15:19I need to get the trumpet to fit with the beat,
0:15:19 > 0:15:20so I'll use a tool called quantizing,
0:15:20 > 0:15:23which will move it around so it's in time
0:15:23 > 0:15:25with the tempo that I'm working at.
0:15:25 > 0:15:27DRUMS AND HIGH PITCHED TRUMPET
0:15:27 > 0:15:30DRUMS AND LOWER PITCHED TRUMPET
0:15:32 > 0:15:34I'm quite liking the sound of that.
0:15:34 > 0:15:37I think as a... like, side chain that to the kick,
0:15:37 > 0:15:41I think that might sound quite nice as it ducks with the audio bit.
0:15:41 > 0:15:42SLOWER TRUMPET
0:15:42 > 0:15:46Yes, it almost sounds like it's, like reversing the trumpet.
0:15:46 > 0:15:49It's quite good. Now we'll go for the wild card.
0:15:49 > 0:15:51CAR HORN
0:15:51 > 0:15:52LAUGHS
0:15:52 > 0:15:55Let's try this, see what it sounds like.
0:15:55 > 0:15:57MUSIC WITH REPEATED CAR HORN
0:15:59 > 0:16:00This doesn't sound quite right,
0:16:00 > 0:16:02so I'm going to alter the pitch of it.
0:16:02 > 0:16:04VARIOUS CAR HORN TONES
0:16:05 > 0:16:06CAR HORN FADES
0:16:12 > 0:16:15You know, I'll probably work on it a bit more,
0:16:15 > 0:16:18pay more attention to detail, progress it into a finished song.
0:16:18 > 0:16:20DRUM BEAT AND REPEATED LOW TONES
0:16:24 > 0:16:26So, this is a really clear way to understand a track.
0:16:26 > 0:16:28There's no musical notes at all,
0:16:28 > 0:16:31it's more of a visual roadmap of the song.
0:16:31 > 0:16:34'In this format, I can really see how the track
0:16:34 > 0:16:37'is actually a series of repeating sounds and riffs.
0:16:37 > 0:16:39'I can see the way he's laid out the samples
0:16:39 > 0:16:41'and how some appear more regularly than others.'
0:16:41 > 0:16:43DRUMBEAT AND LOW TONES CONTINUE
0:16:49 > 0:16:52I reckon Happa did a really good job,
0:16:52 > 0:16:55considering I gave him some pretty crazy sounds.
0:16:55 > 0:16:58So as well as listening to music, why not write some as well?
0:16:58 > 0:17:00It's not too hard to get started.
0:17:00 > 0:17:03Get stuck in to a software program, pick some samples,
0:17:03 > 0:17:06start chopping them up, and build some music of your own.
0:17:13 > 0:17:15You know, if you have an idea for a song,
0:17:15 > 0:17:17there's no reason to not start writing it.
0:17:17 > 0:17:20You don't have to wait years for your friend to become an amazing drummer,
0:17:20 > 0:17:23or spend loads of money on an expensive string quartet.
0:17:23 > 0:17:27You can play any instrument you want using MIDI and digital software.
0:17:27 > 0:17:29This brilliant track called Laura Palmer
0:17:29 > 0:17:33off Bastille's number one album, was produced exactly like that.
0:17:34 > 0:17:37# All the people of the town... #
0:17:37 > 0:17:39MIDI is a system that allows you to create
0:17:39 > 0:17:41the sounds of loads of instruments on a computer.
0:17:41 > 0:17:45You can also use MIDI instruments, like keyboards or drum pads.
0:17:45 > 0:17:48The keys and pads can trigger sounds on your computer,
0:17:48 > 0:17:51where you can later alter the pitch, strength,
0:17:51 > 0:17:55or sound of any of the notes, which makes MIDI technology great
0:17:55 > 0:17:59for song writing, because you can play any instrument in the world.
0:17:59 > 0:18:02Dan Smith from Bastille and his producer Mark Crew
0:18:02 > 0:18:05have written a lot of songs, including Laura Palmer,
0:18:05 > 0:18:07using MIDI technology.
0:18:07 > 0:18:09'I'm heading out to meet them to get a bit more info.'
0:18:11 > 0:18:13- Hey guys, nice to meet you.- Hiya. - How's it going?
0:18:13 > 0:18:15- Hey, man, all right? - Dev, nice to meet you.
0:18:15 > 0:18:17How do you guys use MIDI technology?
0:18:17 > 0:18:20MIDI technology in the way that we use it
0:18:20 > 0:18:22allows us to basically play anything into a keyboard
0:18:22 > 0:18:25and have any sounds in the world that we want to come out.
0:18:25 > 0:18:27We've used it, like, throughout the whole writing process.
0:18:27 > 0:18:30Like, when I'm recording demos in my room, I just,
0:18:30 > 0:18:33I will get a kind of, a lyric or a melody idea.
0:18:33 > 0:18:34I kind of start working the songs
0:18:34 > 0:18:37into a computer before the actual songs are finished,
0:18:37 > 0:18:41so I'll map out maybe the piano line, get the chords together
0:18:41 > 0:18:45and do bits of the melody and then try and think of a beat.
0:18:45 > 0:18:46So, how do you start?
0:18:46 > 0:18:49Where do the ideas and sounds for a track like Laura Palmer come from?
0:18:49 > 0:18:52Well, I had these sort of chords and I wanted to do these
0:18:52 > 0:18:54big, weird, kind of atmospheric oohs
0:18:54 > 0:18:57that do this, sort of this, like, descending line.
0:18:57 > 0:18:59- PIANO MUSIC - And I think I initially put it in a piano
0:18:59 > 0:19:01and I sung the oohs over the top.
0:19:01 > 0:19:02Part of the demo process
0:19:02 > 0:19:06is that once I've played in the chords, or the notes, or the parts,
0:19:06 > 0:19:08or the beats, or whatever, those things are there
0:19:08 > 0:19:10and they're really changeable.
0:19:10 > 0:19:12- You can have, like a normal piano sound. - LOW PIANO NOTES
0:19:12 > 0:19:15And then you can very easily change that to electric piano,
0:19:15 > 0:19:17which is another sound we use,
0:19:17 > 0:19:20this distorted electric piano music, quite a lot in the album...
0:19:20 > 0:19:21FAST LOW NOTES
0:19:23 > 0:19:25And, you know, I could click a button
0:19:25 > 0:19:27- and then you could be playing... - The timpani part...
0:19:27 > 0:19:29..the timpani...
0:19:29 > 0:19:31- Or strings. - Or the strings as well, like...
0:19:31 > 0:19:32SLOW VIOLIN MUSIC
0:19:34 > 0:19:37For us, it's great to just have it there
0:19:37 > 0:19:39and in our minds know it's going to change a bit.
0:19:39 > 0:19:42So, you started with an idea on your laptop.
0:19:42 > 0:19:45How do you progress from a demo to the final version?
0:19:45 > 0:19:47Once we'd listened to the demo together,
0:19:47 > 0:19:50we started to focus on sections, starting with the intro
0:19:50 > 0:19:55with the drums that Dan had already done and his piano part and oohs.
0:19:57 > 0:20:00With the intro, we knew the oohs would probably stay,
0:20:00 > 0:20:03and be something real, if not the voice.
0:20:03 > 0:20:06So the first thing we focused on was the drum sound,
0:20:06 > 0:20:09which Dan wanted to sound as much like a pulsing heart as possible.
0:20:09 > 0:20:12So we sat and went through some different sounds,
0:20:12 > 0:20:15and tried to find something that made us think of a heartbeat.
0:20:15 > 0:20:19And then we started working on how to program the MIDI
0:20:19 > 0:20:21to make it pulse as much as possible.
0:20:21 > 0:20:24PULSING BEAT
0:20:24 > 0:20:27We needed it to also be the backbone of the track and be really solid.
0:20:27 > 0:20:31So we ended up putting more of a real drum kit,
0:20:31 > 0:20:34full-to-the-floor kick on top of that.
0:20:34 > 0:20:36BEAT CONTINUES
0:20:36 > 0:20:41Our main job in the chorus was to get the drum kit sounding like a real drummer.
0:20:41 > 0:20:44We used the MIDI from Dan's original demo
0:20:44 > 0:20:49and chose a drum kit sound and went through all the different parts of that kit.
0:20:49 > 0:20:53But we missed the big, cracky explosion of Dan's original,
0:20:53 > 0:20:56more electronic snare that was in his demo.
0:20:56 > 0:21:01So over the top of that, we used the same piece of MIDI
0:21:01 > 0:21:05but just for the snare, to play a slightly different sound.
0:21:05 > 0:21:07SNARE DRUM
0:21:07 > 0:21:11With all the timpani and the drums and the pulse and the new snare
0:21:11 > 0:21:14sort of all layered in, it kind of sounds up and big and driving.
0:21:14 > 0:21:16Kind of exactly how we wanted it to.
0:21:16 > 0:21:18BEAT CONTINUES
0:21:18 > 0:21:23There are parts that were in the initial demo that we then decided to properly strip out
0:21:23 > 0:21:25when it came to the album version.
0:21:25 > 0:21:29So this kind of ran through the verse initially.
0:21:29 > 0:21:33And then the chorus exploded into like a big arpeggio.
0:21:33 > 0:21:35We kept the arpeggio in the final version of the song.
0:21:35 > 0:21:39I mean, MIDI is kind of completely fundamental to how we work.
0:21:39 > 0:21:42And you can be really, really ambitious with how you want things to sound,
0:21:42 > 0:21:44and where you want to go with the track.
0:21:44 > 0:21:46It's not me sitting at a piano writing a song
0:21:46 > 0:21:49and trying to imagine what it's going to sound like with drums in it,
0:21:49 > 0:21:52or what it's going to sound like with strings on top.
0:21:52 > 0:21:54You can, from the off, in the laptop, start recording it.
0:21:54 > 0:21:57And even if they sound a bit cheap and a bit rubbish initially,
0:21:57 > 0:22:01it allows you to bring in instruments
0:22:01 > 0:22:04and sounds that you would never be able to find,
0:22:04 > 0:22:09or that would cost a fortune to try and be able to record yourself.
0:22:10 > 0:22:13# Found yourself a path upon the ground... #
0:22:13 > 0:22:17You can easily get your hands on some of this MIDI technology,
0:22:17 > 0:22:20so why not come up with an idea and get experimenting yourself?
0:22:20 > 0:22:23You've got a whole orchestra at your fingertips.
0:22:29 > 0:22:32One way of making music is to take as much time as possible,
0:22:32 > 0:22:34playing with the sound, perfecting each element
0:22:34 > 0:22:37until you get the perfect song, and then sharing it.
0:22:37 > 0:22:41So what if you want to recreate your perfect song live,
0:22:41 > 0:22:44or experiment and make new tracks from scratch at a gig venue?
0:22:44 > 0:22:47Nothing beats making music live.
0:22:47 > 0:22:49That could be with your band or on your own.
0:22:49 > 0:22:53But suddenly you've got less time, less equipment, and an audience.
0:22:53 > 0:22:54Not a problem.
0:22:54 > 0:22:59Technology has opened up loads more ways to perform music live.
0:22:59 > 0:23:03There are plenty of tools and tricks you can use when you're playing live at a venue
0:23:03 > 0:23:06to help replicate the sounds you've made at home.
0:23:06 > 0:23:09Don't have a drummer? You can plug in a pre-recorded drum beat.
0:23:09 > 0:23:11Need your guitar to sound really explosive?
0:23:11 > 0:23:13Stick it through a distortion pedal.
0:23:13 > 0:23:17The best way to put all of this to the test is at a real gig venue,
0:23:17 > 0:23:20so I'm off to play for a super excited live audience.
0:23:20 > 0:23:24All right, I'm here. I'm here, everyone. I'm here.
0:23:24 > 0:23:26There's not even nobody here!
0:23:26 > 0:23:31My fans are probably caught in traffic or something.
0:23:31 > 0:23:33Anyway, there's no reason I can't rehearse.
0:23:39 > 0:23:42Firstly, let's see what we can get out of the amp.
0:23:42 > 0:23:44There's a whole range of amps available.
0:23:44 > 0:23:46Some of them come with built in effects,
0:23:46 > 0:23:47So I can take this riff...
0:23:51 > 0:23:53..and I can add distortion, delay,
0:23:53 > 0:23:55maybe even some reverb to change the tone.
0:23:55 > 0:23:58You can get them in the form of pedals as well,
0:23:58 > 0:23:59which you can trigger on and off.
0:23:59 > 0:24:01Let's try adding some distortion.
0:24:06 > 0:24:07Pretty meaty, right?
0:24:07 > 0:24:10So you can add these effects while you're playing live,
0:24:10 > 0:24:14or add them to other instruments, like a keyboard or a bass guitar.
0:24:14 > 0:24:18Nowadays, all of these effects are available inside of a tablet.
0:24:18 > 0:24:20And if you're playing live, chances are
0:24:20 > 0:24:22you're going to want to play along to a backing beat.
0:24:22 > 0:24:26Now, you can pre-program one of these using beats, samples or loops.
0:24:26 > 0:24:29Seeing as I've got one here, let's give it a try.
0:24:45 > 0:24:47And if I want to be my own backing band,
0:24:47 > 0:24:50I can use a loop pedal to create my own sounds.
0:25:12 > 0:25:15- Nice riff.- Thank you very much. This is my mate, Tim Exile.
0:25:15 > 0:25:19He's an amazing live performer and he is able to take a single sound
0:25:19 > 0:25:20and make it into a whole performance.
0:25:25 > 0:25:27So this all looks a bit crazy.
0:25:27 > 0:25:30Can you talk us through your setup, please, Tim?
0:25:30 > 0:25:32Well, it's basically like your setup there.
0:25:32 > 0:25:33You've got your looper here,
0:25:33 > 0:25:36which is like your guitar pedal looper thing.
0:25:36 > 0:25:39And there's just a whole bunch of effects and stuff.
0:25:39 > 0:25:42I've got drum machines as well, and synths and so on that I can improvise with.
0:25:42 > 0:25:45So, how do you get started with the performance?
0:25:45 > 0:25:49Well, I probably start by grabbing the mike, just like looping a sound.
0:25:49 > 0:25:51'Looping a sound. Looping a sound.'
0:25:51 > 0:25:54And then I'd just, like, take that sound, kind of chop it up,
0:25:54 > 0:25:56turn it into some kind of rhythmic loop.
0:25:56 > 0:26:00Looping a sound, looping a sound, looping a sound.
0:26:00 > 0:26:02Looping, looping, looping, looping, looping...
0:26:02 > 0:26:05By adding audio effects to his original loop,
0:26:05 > 0:26:09like distortion and reverb, Tim manages to build a whole new sound.
0:26:13 > 0:26:16You've made you a basic loop. Where can you take it from there?
0:26:16 > 0:26:20So I've got this drum machine there and I've got some loops.
0:26:20 > 0:26:22I can actually add some drum loops into that.
0:26:22 > 0:26:25So, let's say I'll get some more, like with the voicing.
0:26:25 > 0:26:28# Ah
0:26:28 > 0:26:30# Ah-ah-ah-ah-ah... #
0:26:30 > 0:26:33So to that I could just add a drum loop
0:26:33 > 0:26:37and something that will automatically be synced to it. So, like...
0:26:43 > 0:26:47And let's say I could add a synthesiser to that.
0:26:49 > 0:26:53Tim now adds other instruments to his original loops,
0:26:53 > 0:26:57taking samples from his synthesiser, drum machine, or even his own voice.
0:27:05 > 0:27:08This all sounds amazing, but could you do it with another instrument,
0:27:08 > 0:27:11- like, say, I don't know, my guitar? - Yeah, yeah, totally.
0:27:11 > 0:27:12Just plug it in, yeah.
0:27:45 > 0:27:47It's so great to make music with other people,
0:27:47 > 0:27:52and technology means you don't need to be tied to home equipment to do it.
0:27:52 > 0:27:55You can get out and collaborate with friends in a band, or other DJs.
0:27:58 > 0:28:01Your collaborators are also in your audience.
0:28:01 > 0:28:04They can affect and change the whole performance.
0:28:04 > 0:28:06Tim does brilliant gigs where people in his audience
0:28:06 > 0:28:10and online choose the samples he is going to make his songs with.
0:28:10 > 0:28:13So now you know, the music you're listening to wasn't
0:28:13 > 0:28:16perfected in the studio or with lots of kit.
0:28:16 > 0:28:19It was made in the moment. Live.
0:28:33 > 0:28:37Coming up with a song like Ellie Goulding's massive hit Starry Eyed
0:28:37 > 0:28:38means creating a brilliant sound.
0:28:38 > 0:28:41The beat's been laid down, the bass line's in,
0:28:41 > 0:28:43and Ellie's sung the melody.
0:28:43 > 0:28:45But the way that we actually hear the song is
0:28:45 > 0:28:48shaped by different audio effects.
0:28:48 > 0:28:52Go right back to Sgt Pepper's Lonely Hearts Club Band
0:28:52 > 0:28:55by the Beatles, or Madonna's Vogue.
0:28:55 > 0:28:58Loads of the most memorable sounds in music are often
0:28:58 > 0:29:01a simple idea combined with some amazing audio effects.
0:29:01 > 0:29:05I want to get more info from an effects expert, Starsmith,
0:29:05 > 0:29:09the man who helped create the sound of Starry Eyed.
0:29:09 > 0:29:11As a writer and producer,
0:29:11 > 0:29:14he's also worked with artists like Cheryl Cole and Kylie,
0:29:14 > 0:29:19transforming initial music ideas into beautiful and powerful songs.
0:29:19 > 0:29:21- Hey, man, how's it going? Nice to meet you.- Hey, man.
0:29:21 > 0:29:23- Nice to meet you. How's it going? - Yeah, not too bad.
0:29:23 > 0:29:25So, why do producers use audio effects?
0:29:25 > 0:29:30Basically different things you can do to a sound that can affect it in loads of different ways.
0:29:30 > 0:29:33You can use them for a lot of different reasons, really.
0:29:33 > 0:29:36A lot of the time I use them to fill out ideas in the track.
0:29:36 > 0:29:39If the sound isn't particularly clean and you want to tighten it up.
0:29:39 > 0:29:42Say if it's drums and I want to compress them,
0:29:42 > 0:29:45make them really punchy. Vocal might be a bit noisy.
0:29:45 > 0:29:49A lot of the time it can just be to gel things together.
0:29:49 > 0:29:53So can you talk us through what some of these audio effect are, and what they do?
0:29:53 > 0:29:58If you want, I could demonstrate some of these effects, if you want to record a line from the song.
0:29:58 > 0:30:00Sweet. I thought you'd never ask. Let's do it.
0:30:00 > 0:30:03'Time for me to limber up and lay down my vocal.'
0:30:03 > 0:30:05# Whu-uh-oh
0:30:05 > 0:30:08# Everybody's starry eyed
0:30:08 > 0:30:10# Everybody glows
0:30:10 > 0:30:13# Everybody's starry eyed
0:30:13 > 0:30:15# And my body glows
0:30:15 > 0:30:17# Whu-oh. #
0:30:17 > 0:30:19'Yeah, I reckon I got that in one take(!)'
0:30:19 > 0:30:24- So, be honest with me, how did it sound?- It was...interesting.
0:30:24 > 0:30:27Let's have a listen.
0:30:27 > 0:30:29# Everybody's starry eyed... #
0:30:29 > 0:30:33So this is it, completely dry. This is what you just put in.
0:30:33 > 0:30:36- It's going to hurt people's ears. - In a good way.- Yeah.
0:30:36 > 0:30:38# And my body glows... #
0:30:38 > 0:30:42Let's check it out with some flange, always needed.
0:30:42 > 0:30:47Flange is essentially a delayed version of the sound that is being mixed with the original.
0:30:47 > 0:30:51# Everybody's starry eyed
0:30:51 > 0:30:53# And my body glows, whu... #
0:30:53 > 0:30:57Now, let's hear it all together with some delay as well.
0:30:57 > 0:31:01Delay is the sound and then being repeated afterwards.
0:31:01 > 0:31:04Reverb is also really similar to that, except there's no
0:31:04 > 0:31:09spaces between the original sound and the dying-away sounds afterwards.
0:31:09 > 0:31:12# Everybody glows
0:31:12 > 0:31:14# Everybody's starry eyed
0:31:14 > 0:31:17# And my body glows, whu... #
0:31:17 > 0:31:21And just to make it really radio-ready, I've put some pitch correction on as well.
0:31:21 > 0:31:27So Autotune is essentially telling the signal that's running through it
0:31:27 > 0:31:29to be only playing certain notes.
0:31:29 > 0:31:33So here I've drawn in the notes of the D Major scale,
0:31:33 > 0:31:37so when the Autotune is working, it's only going to play those notes.
0:31:37 > 0:31:39# Everybody's starry eyed
0:31:39 > 0:31:41# And my body glows, whu. #
0:31:41 > 0:31:45So how did you use some of these effects on Ellie Goulding's track, Starry Eyed?
0:31:45 > 0:31:49Right at the beginning of the song, I've used some looping
0:31:49 > 0:31:53on little bits of Ellie's vocals that you can hear, that sound like this.
0:31:53 > 0:31:57# Sta-ah-ah-ah... #
0:31:57 > 0:32:00So there, I've just taken the beginning of the word "star"
0:32:00 > 0:32:03and chopped that and looped it up.
0:32:03 > 0:32:07I've also a reverse of Ellie's vocals as well.
0:32:07 > 0:32:10PLAYS BACKWARDS
0:32:10 > 0:32:15So that obviously sounds very clearly reversed, but in the mix of the whole track,
0:32:15 > 0:32:17you don't really know what's going on with the song
0:32:17 > 0:32:21and it builds up tension as well, ready for the verse to kick in.
0:32:21 > 0:32:24Many of these effects, like looping and reversing, were
0:32:24 > 0:32:28pioneered by bands like The Beatles on their album Revolver, for example.
0:32:28 > 0:32:31The keys in this song, I've used some flange on as well.
0:32:31 > 0:32:35On the chorus, I decided not to use it cos I wanted them to be punchy.
0:32:35 > 0:32:39Then it goes into the middle eight of the song, I decided to bring the flange in
0:32:39 > 0:32:44just at that point cos it gives it a bit more spacey and a very wide kind of sound in the mix.
0:32:44 > 0:32:46PLAYS SONG
0:32:46 > 0:32:49So at this point, there's no flange on.
0:32:52 > 0:32:55You can hear it switch there when the chords changed.
0:32:58 > 0:33:02It's really easy to go completely overboard with effects.
0:33:02 > 0:33:05You can put too many on and not realise immediately.
0:33:05 > 0:33:09The best thing to do is really try and figure out where each effect is filling a space in the track
0:33:09 > 0:33:13and then you learn not to put too many on really.
0:33:13 > 0:33:18The guitar is live and natural sounding, so that didn't have much done to it. It's compressed a bit,
0:33:18 > 0:33:20but that kind of sits there and fills its own space.
0:33:20 > 0:33:25On the bass, I've put on some distortion as well and some EQ to really bring out the low end.
0:33:25 > 0:33:31So it really fills out, gives the whole track a real kind of punchiness and beefiness to it.
0:33:31 > 0:33:34The keys, as I've said before, they're quite dry.
0:33:34 > 0:33:38There's no kind of chorus or flange on them yet. They kind of sit there along with the guitar.
0:33:38 > 0:33:42The synths, on the other hand, have got quite a lot of chorus
0:33:42 > 0:33:45and stuff like that, they really fill up a lot of the width in the track.
0:33:45 > 0:33:49Once all those are in, the vocals are in, and they're...
0:33:49 > 0:33:53It's really good with all the EQ and compression used, they slice straight down the middle.
0:33:53 > 0:33:56# And everybody glows
0:33:56 > 0:33:59# Everybody's starry eyed... #
0:33:59 > 0:34:04Now I can really hear some of these audio effects Starsmith used on the track.
0:34:04 > 0:34:07The flange on the keys, the distortion on the bass
0:34:07 > 0:34:10and the looping, reversal and Autotune on Ellie's vocal.
0:34:13 > 0:34:16It's amazing. Sometimes I imagine a song I really like
0:34:16 > 0:34:21couldn't have sounded any other way, but of course it could.
0:34:21 > 0:34:25That song has been worked on so hard and each little audio effect
0:34:25 > 0:34:28is doing its job, making that track spot on.
0:34:33 > 0:34:37# Sometimes I feel like throwing my hands up in the air... #
0:34:37 > 0:34:41This is You've Got The Love by Florence And The Machine. It's a great song.
0:34:41 > 0:34:46I love how each instrument is crisp and clear. You can hear a lot of space in the track.
0:34:46 > 0:34:49It's like there's a big distance between the left and right edges of the sound.
0:34:49 > 0:34:51None of this is accidental.
0:34:51 > 0:34:55These are great choices made by the producer of the song.
0:34:55 > 0:34:59Because the way the instruments work together and the way the track sounds
0:34:59 > 0:35:02makes every song you listen to unique.
0:35:02 > 0:35:06And music producers create that unique sound by mixing and multi-tracking.
0:35:06 > 0:35:10Multi-tracking is like painting a picture one colour at a time.
0:35:10 > 0:35:15Using music editing software, you can create a song by adding layers of sound one by one.
0:35:15 > 0:35:18This means you can control how each sound will be heard.
0:35:18 > 0:35:24Which is crucial when later on you want to mix all of these sounds together as a track.
0:35:24 > 0:35:27Charlie Hugall produced mega hit You've Got The Love,
0:35:27 > 0:35:31amongst many others, so he was the perfect person to show me
0:35:31 > 0:35:34how multi-tracking and mixing really works.
0:35:36 > 0:35:40- Hey, man. How's it going?- Hello. Nice to meet you.
0:35:40 > 0:35:43So how do you start a multi-track project?
0:35:43 > 0:35:46I normally get the band in together and get them to play through
0:35:46 > 0:35:50that track, so we can work out a good tempo for the song to work at.
0:35:50 > 0:35:53And then maybe you get the drummer in on his own, once you've
0:35:53 > 0:35:57established that tempo, to lay down the rhythm part of the track.
0:35:57 > 0:35:59I imagine it's a little more complex
0:35:59 > 0:36:02than just sticking one microphone in front of the kit, right?
0:36:02 > 0:36:06You start with nothing, a blank canvas basically in your computer.
0:36:06 > 0:36:11We assign those tracks to the instruments that we want to use to build up the song with.
0:36:11 > 0:36:15There's quite a few microphones on this particular recording.
0:36:15 > 0:36:19There's two kick mics here and they sound like this. KICK DRUM PLAYS
0:36:19 > 0:36:23We have the snare microphones. The hi-hat cymbal.
0:36:23 > 0:36:27Beneath that, we have the room mics and the overhead mics.
0:36:27 > 0:36:29And so all together, the drums sound like this.
0:36:29 > 0:36:33FULL KIT PLAYS
0:36:33 > 0:36:36So I'm sort of seeing this as like building blocks.
0:36:36 > 0:36:38You started on a foundation level with the drums.
0:36:38 > 0:36:41Now, what do we need to put on top of it to make it sound fuller?
0:36:41 > 0:36:45Normally, it's bass guitar, but in this case, we decided to use
0:36:45 > 0:36:49a really low piano cos we wanted to just have this really grand feeling.
0:36:49 > 0:36:53And it sounds quite small on its own. In the context of the song,
0:36:53 > 0:36:56it actually adds quite a big foundation to it all.
0:36:56 > 0:37:00And so with the drums, that sounds like this.
0:37:00 > 0:37:01DRUMS AND PIANO PLAY
0:37:05 > 0:37:07All right. So, what's next?
0:37:07 > 0:37:09I've left a space here to record some guitar,
0:37:09 > 0:37:12- so if you're up for it, we should give that a go.- What, me?- Yeah.
0:37:12 > 0:37:16- You want me on?- Let's do it. - All right. I'll give it a try. Cool.
0:37:16 > 0:37:20'Charlie helps get me set up, so I can start rocking out.'
0:37:20 > 0:37:22METRONOME STARTS
0:37:22 > 0:37:24# Sometimes I feel like
0:37:24 > 0:37:27# Throwin' my hands up in the air
0:37:27 > 0:37:31# I know I can count on you
0:37:31 > 0:37:34# You got the love
0:37:34 > 0:37:35# You got the love
0:37:35 > 0:37:40# You got the love
0:37:40 > 0:37:43# Time after time, I think... #
0:37:43 > 0:37:45That's my rock debut, right there.
0:37:47 > 0:37:51Now we can really introduce the weird and wonderful sounds.
0:37:51 > 0:37:54We wanted it to be really grand,
0:37:54 > 0:37:57so we decided to kind of add some strings and a harp.
0:37:57 > 0:38:00Actually, in this case, we didn't use any string players at all.
0:38:00 > 0:38:03We actually just used a keyboard with samples on it.
0:38:03 > 0:38:05Here's the lower string section.
0:38:05 > 0:38:08LOW STRINGS PLAY
0:38:08 > 0:38:12And then we added the high ones, but this is all from the keyboard.
0:38:12 > 0:38:16You can find samples like this on the internet,
0:38:16 > 0:38:19and they're readily available for you to use in your own projects.
0:38:19 > 0:38:21So it almost feels finished.
0:38:21 > 0:38:23What's, like, the last ingredient you would add?
0:38:23 > 0:38:26Well, normally it's the sort of all-important vocals,
0:38:26 > 0:38:29because they're just such an important part of the song.
0:38:29 > 0:38:31And then maybe after that, you'll add things,
0:38:31 > 0:38:34like effects, or a little bit of percussion or something.
0:38:34 > 0:38:36So we've got a lot of layers going on.
0:38:36 > 0:38:39How are we going to get them all to sit in the right place
0:38:39 > 0:38:41and sound finished?
0:38:41 > 0:38:43Well, that's where mixing comes in.
0:38:43 > 0:38:46And that's basically the way in which you balance the levels of each
0:38:46 > 0:38:48individual element in the song.
0:38:48 > 0:38:49Let me show you.
0:38:49 > 0:38:53So, each of these channels represents each of the tracks on the computer.
0:38:53 > 0:38:56For example, we've got drums over here. We've got the vocals.
0:38:56 > 0:38:59We've got a harp here, and guitars, strings and piano.
0:38:59 > 0:39:02So all of these effects and stuff you've got here are things
0:39:02 > 0:39:04you can actually do on a computer at home.
0:39:04 > 0:39:07So let's take a listen to the harp. We can move that to either side.
0:39:07 > 0:39:09HARP PLAYS
0:39:09 > 0:39:12So, that's the left side, central, or the middle.
0:39:12 > 0:39:14Or actually at any point in-between.
0:39:14 > 0:39:18Let's put that over onto the right side.
0:39:18 > 0:39:20And bring in some other elements now.
0:39:20 > 0:39:22GUITAR STRUMS
0:39:22 > 0:39:24So that's the acoustic guitar,
0:39:24 > 0:39:26and we've put that all the way to the left.
0:39:26 > 0:39:29So now we've got something happening on both sides.
0:39:29 > 0:39:32It sort of separates them so you can pick out exactly what's happening
0:39:32 > 0:39:37with each instrument, so that you feel like you're in the song.
0:39:37 > 0:39:40We've got those two things in, let's bring in the drums
0:39:40 > 0:39:42and find a place where they sit nicely with those.
0:39:44 > 0:39:45DRUMS PLAY
0:39:45 > 0:39:48I think maybe let's have a bit more kick drum.
0:39:50 > 0:39:52It's amazing how it really starts
0:39:52 > 0:39:55to feel like its really coming together and coming alive.
0:39:55 > 0:39:56So, once you've got everything in,
0:39:56 > 0:39:59you just keep listening, and get it to a place that you're really
0:39:59 > 0:40:03happy with it, and it might take a long time, but it's worth it.
0:40:03 > 0:40:05'Seeing how Charlie built up You've Got The Love
0:40:05 > 0:40:08'track-by-track was like getting an X-ray of the music.
0:40:08 > 0:40:12'It's his choices that help make the song come to life.'
0:40:12 > 0:40:13Take any song you really like.
0:40:13 > 0:40:16Think about what's been put in. What's been left out.
0:40:16 > 0:40:19How many musical decisions have been made to make it sound
0:40:19 > 0:40:22that addictive, that unique, that good?
0:40:30 > 0:40:32There's loads of different ways to make music.
0:40:32 > 0:40:35You don't need a swanky recording studio or even a computer.
0:40:35 > 0:40:37Technology is so smart these days,
0:40:37 > 0:40:40you can make music on your smartphone or tablet.
0:40:44 > 0:40:46'There are so many apps that can help you do this.
0:40:46 > 0:40:50'Samplers, touch drum kits, and even synthesizers,
0:40:50 > 0:40:51'are all out there now.'
0:40:51 > 0:40:54And other apps to help you mix and edit your track.
0:40:54 > 0:40:57Some apps are simple, some are more advanced, but the quality
0:40:57 > 0:41:01of the sounds and the range of apps is getting better all the time.
0:41:01 > 0:41:05No wonder people are making some seriously good music on them.
0:41:05 > 0:41:08'I'm going to spend the day using just a few apps to try and make
0:41:08 > 0:41:10'a track inspired by being out
0:41:10 > 0:41:12'and about in my neighbourhood in London.'
0:41:15 > 0:41:18I'm starting with a melody on the keyboard.
0:41:18 > 0:41:19Some sort of motif.
0:41:19 > 0:41:21A pattern that will keep popping up again through the song.
0:41:21 > 0:41:26ELECTRIC PIANO SOUNDS
0:41:28 > 0:41:31The sounds on these are amazing now,
0:41:31 > 0:41:34and you don't even have to be able to read music or play an instrument.
0:41:34 > 0:41:36You just get stuck in.
0:41:36 > 0:41:40ELECTRIC PIANO SOUNDS
0:41:44 > 0:41:46So, with an instrument,
0:41:46 > 0:41:49there's loads of different options that you can try out.
0:41:49 > 0:41:51You can choose a keyboard or a piano or a synth, and there's
0:41:51 > 0:41:54loads of audio effects that you can use as well, like delay or reverb.
0:41:54 > 0:41:58ELECTRIC PIANO SOUNDS
0:42:03 > 0:42:04Sounds like a good start.
0:42:04 > 0:42:07Now I'm going to import my keyboard track
0:42:07 > 0:42:09into a digital audio work station.
0:42:09 > 0:42:11When all of my ideas and tracks are together,
0:42:11 > 0:42:14I can see how they sound against each other.
0:42:14 > 0:42:16'Next, I want to lay down some drums,
0:42:16 > 0:42:19'so I found myself a good open-air studio.'
0:42:19 > 0:42:21So there's loads of drum apps around,
0:42:21 > 0:42:23some that allow you to play in a virtual kit,
0:42:23 > 0:42:26and some that allow you to map out the drum sounds individually.
0:42:26 > 0:42:27Before I get started, though,
0:42:27 > 0:42:30I'll set off this inbuilt metronome, to help keep me in time.
0:42:30 > 0:42:32METRONOME CLICKS
0:42:32 > 0:42:35DRUM PATTERN STARTS
0:42:44 > 0:42:46The good thing about this is
0:42:46 > 0:42:48I can layer sounds on top of each other, time and time again,
0:42:48 > 0:42:51until you get the exact sound you're after.
0:42:51 > 0:42:53TOM-TOM RHYTHMS
0:42:56 > 0:42:59So now, if I want to, I can change the tempo of the keyboard to fit.
0:42:59 > 0:43:01It's all about experimenting.
0:43:01 > 0:43:04Use your ears and figure out what sounds best.
0:43:07 > 0:43:11'I was passing a local studio and fancied a jam.'
0:43:17 > 0:43:20HE STRUMS CHORDS
0:43:22 > 0:43:26And a brilliant thing now is you can actually hook up your guitar to your tablet or phone.
0:43:26 > 0:43:29I'm using this little guitar jack down here, but there's
0:43:29 > 0:43:32lots of different ways you can connect an instrument to a tablet.
0:43:32 > 0:43:35Now I can select an effect that I want and get recording.
0:43:40 > 0:43:43HE STRUMS CHORDS
0:43:49 > 0:43:51Now, if you're learning to play guitar,
0:43:51 > 0:43:54or you're a bit rusty, like me, there's plenty of programs
0:43:54 > 0:43:56that can help you figure out the chords you might need.
0:43:56 > 0:43:59'Some of these apps will break down chords by genres of music,
0:43:59 > 0:44:03'and others will even show you the finger placement on your guitar.'
0:44:03 > 0:44:04HE STRUMS CHORDS
0:44:12 > 0:44:14Now, if you don't own a guitar,
0:44:14 > 0:44:17there's still a way you can get the sound on your tablet.
0:44:17 > 0:44:20I'm going to add some rhythm guitar. It's really easy.
0:44:22 > 0:44:27CHIMING GUITAR SOUNDS
0:44:33 > 0:44:37Now, I keep re-listening to the song that I'm building up all the time,
0:44:37 > 0:44:40cos I want to hear how the new parts fit with the entire song.
0:44:40 > 0:44:43The sounds are clashing because everything's at a different tempo.
0:44:43 > 0:44:45Now, that's not working,
0:44:45 > 0:44:48so what I'm going to do is work on the bass line instead.
0:44:48 > 0:44:52BASS SOUND PLAYS
0:44:54 > 0:44:57Now, that bass line's going to need a little bit of work,
0:44:57 > 0:45:00but with all these apps, you can keep trying out ideas
0:45:00 > 0:45:01until you get the sound you want.
0:45:01 > 0:45:05Now I think its time to record some vocals on to this.
0:45:07 > 0:45:12# Bah-bah-bada-bab-bab Bab-bab-bah-ah-dah-bah
0:45:12 > 0:45:17# Do-da-da-da-da-da-da-da Do-da-da-dah-ah-da-dah. #
0:45:17 > 0:45:21The voice of an angel(!) Let's listen back.
0:45:21 > 0:45:24- VOCAL PLAYS BACK - 'It's not the perfect microphone,
0:45:24 > 0:45:29'but it's great for laying down an idea you might want to work on later.'
0:45:31 > 0:45:35'But, you know, I still want the song to feel like the streets I know.
0:45:35 > 0:45:37'I'll use another app to record some live samples.'
0:45:37 > 0:45:40BELL RINGS
0:45:40 > 0:45:44With these kind of apps, once the sound has been recorded into the smartphone,
0:45:44 > 0:45:47there's lots of weird and cool things that we can do to it.
0:45:47 > 0:45:49The sampled sound could be turned into musical notes,
0:45:49 > 0:45:51or I can add other effects to it.
0:45:51 > 0:45:54'I've got about six different tracks on my mixing deck now,
0:45:54 > 0:45:57'all made using apps you can find on a smartphone or tablet.
0:45:57 > 0:46:00'I've put all of the tracks on my computer for editing,
0:46:00 > 0:46:04'and back home I'm doing more listening and lots more work on the song.
0:46:04 > 0:46:07'I need to change the tempos to bring all the instruments together.
0:46:07 > 0:46:10'I'm altering some of the sounds and samples I've recorded.
0:46:10 > 0:46:14'And that's all part of the process of working out the track.'
0:46:14 > 0:46:16INSTRUMENTAL TRACK PLAYS
0:46:22 > 0:46:25I'm pretty happy with my mobile music experiment,
0:46:25 > 0:46:29and now you can carry round all these music-making tools with you.
0:46:35 > 0:46:38One of the great things about making music is working
0:46:38 > 0:46:40and collaborating with other people.
0:46:40 > 0:46:42That's why I've got some mates of mine to help me
0:46:42 > 0:46:45do a cover of this Gotye song, Somebody That I Used To Know.
0:46:45 > 0:46:47Because working with friends
0:46:47 > 0:46:50and other musicians can add so much more to your songs
0:46:50 > 0:46:53and make them a million times better than if you're working on your own.
0:46:53 > 0:46:56MUSIC: "Somebody That I Used To Know" by Gotye
0:46:56 > 0:46:58I mean, you can work on a rhythm at home,
0:46:58 > 0:47:00but what about finding a drummer
0:47:00 > 0:47:02who can lay down an awesome beat for you,
0:47:02 > 0:47:05or maybe a guitarist who can improvise a great solo?
0:47:05 > 0:47:08or what if you want a massive vocal sound for your chorus?
0:47:08 > 0:47:11You don't need to go on a national search for a great choir.
0:47:11 > 0:47:14there's probably friends at your school, college or youth club,
0:47:14 > 0:47:16who are just waiting for you to ask.
0:47:16 > 0:47:20And no matter what facilities you're able to use, there are always
0:47:20 > 0:47:24ways for you and friends to work together and record a track.
0:47:24 > 0:47:27I heard that there were loads of budding musicians at Hayes School,
0:47:27 > 0:47:30so it was the perfect place to assemble my band.
0:47:30 > 0:47:33My first recruit is 14-year-old Liam, a wicked drummer,
0:47:33 > 0:47:36who's going to help me lay down a really tight beat.
0:47:36 > 0:47:39But before we can get started, we need to set up the kit
0:47:39 > 0:47:41and get it miked up.
0:47:41 > 0:47:43'We're using mics for each of the drums, the kick drum,
0:47:43 > 0:47:45'the snare and the hi-hat,
0:47:45 > 0:47:49'and we're adding two overhead mics to give us a full sound.'
0:47:49 > 0:47:51So Liam suggested that we try
0:47:51 > 0:47:54something classic, like a rocky beat, so let's give it a go.
0:47:54 > 0:47:57HE PLAYS A ROCK RHYTHM
0:48:03 > 0:48:06So what do you think about trying a few short fills
0:48:06 > 0:48:09- to break up the rhythm in there? - Sure, yeah.
0:48:11 > 0:48:13HE PLAYS TOM-TOM FILL
0:48:13 > 0:48:16Liam's playing along to a click track,
0:48:16 > 0:48:17that's a guide audio tempo,
0:48:17 > 0:48:21so that the beat stays at the right tempo all the way through.
0:48:21 > 0:48:24We both keep listening and then trying out different ideas,
0:48:24 > 0:48:26until we hear something we really like.
0:48:26 > 0:48:31Next up, I need to get some of the other solid elements recorded,
0:48:31 > 0:48:33the guitars and the bass.
0:48:33 > 0:48:35Andrew is my bass guitar pro,
0:48:35 > 0:48:39and Dave is going to play both the acoustic and electric guitar.
0:48:39 > 0:48:42I'm using different methods to record each of the guitars.
0:48:42 > 0:48:45For the acoustic guitar, I want a natural feel, so I'm going to
0:48:45 > 0:48:49try recording it with a microphone and also this portable recorder.
0:48:49 > 0:48:51It's got a stereo microphone at the front,
0:48:51 > 0:48:54which will record a lovely, rich sound.
0:48:54 > 0:48:56HE STRUMS CHORDS
0:49:01 > 0:49:03'For recording Andrew's bass line, I'm using
0:49:03 > 0:49:07'a DI box that plugs straight into our music-editing software.'
0:49:07 > 0:49:09HE PLAYS THE BASS
0:49:11 > 0:49:14'Dave's electric guitar is plugged into an amp,
0:49:14 > 0:49:16'so I've put a microphone right on the front,
0:49:16 > 0:49:18'which connects straight into my computer.'
0:49:18 > 0:49:22HE PICKS CHORDS
0:49:22 > 0:49:24Both Dave and Andrew are listening to the drum track
0:49:24 > 0:49:27while they're playing, to give them that solid tempo.
0:49:27 > 0:49:30It also helps them hear when they need to play quite straight
0:49:30 > 0:49:33and when they can experiment a little bit more.
0:49:33 > 0:49:36HE PLAYS GUITAR RIFF
0:49:36 > 0:49:38I've also managed to get my own mini brass band.
0:49:38 > 0:49:41I really want the chorus to sound big and grand,
0:49:41 > 0:49:44so the guys have suggested we record the chords of the track with
0:49:44 > 0:49:47all the brass instruments playing together.
0:49:47 > 0:49:51And I help out by clapping to keep everyone in time with the beat
0:49:51 > 0:49:53I've already recorded.
0:49:53 > 0:49:54BRASS PLAYS
0:50:02 > 0:50:04The track is really coming together,
0:50:04 > 0:50:08and now I'm ready to record the main vocals with Will.
0:50:08 > 0:50:11It's a good idea to record a vocal in a soundproof room if you can,
0:50:11 > 0:50:14so you don't end up hearing lots of outside noise.
0:50:14 > 0:50:16I'm using a condenser microphone, which will help me
0:50:16 > 0:50:18get a really clean sound.
0:50:18 > 0:50:22# And you didn't have to stoop so low
0:50:22 > 0:50:24# Have your friends collect your records
0:50:24 > 0:50:26# And then change your number
0:50:26 > 0:50:29# But I don't even need your love
0:50:29 > 0:50:34# Now you're just somebody that I used to know. #
0:50:34 > 0:50:36So, a few more people wanted to get involved.
0:50:36 > 0:50:39Said I needed a bigger sound. Is this big enough?
0:50:39 > 0:50:41UKELELES PLAY
0:50:41 > 0:50:43All right, guys. Let' go!
0:50:43 > 0:50:46One, two, one, two, three, four.
0:50:46 > 0:50:49UKELELES PLAY
0:50:49 > 0:50:51HE CLAPS HIS HANDS
0:50:56 > 0:50:59'Using just a stereo pair, a microphone on the left
0:50:59 > 0:51:02'and a microphone on the right, I'm able to record the whole hall.
0:51:02 > 0:51:04'It will really give me a big, booming sound.
0:51:04 > 0:51:07'It's a technique called the wall of sound,
0:51:07 > 0:51:10'and it was used by bands like the Beatles and the Beach Boys.
0:51:10 > 0:51:13'All the ukuleles are going to really bring the track to life
0:51:13 > 0:51:15'and help support the huge sound of the choir.'
0:51:15 > 0:51:22# Ah, dah-da-da, dah
0:51:22 > 0:51:25# But you didn't have to cut me off
0:51:25 > 0:51:29# Make out like it never happened and that we were nothing
0:51:29 > 0:51:34# And I don't even need your love But you treat me like a stranger
0:51:34 > 0:51:36# And that feels so rough
0:51:36 > 0:51:39# No, you didn't have to stoop so low
0:51:39 > 0:51:43# Have your friends collect your records and then change your number
0:51:43 > 0:51:46# I guess that I don't need that love
0:51:46 > 0:51:50# Now you're just somebody that I used to know. #
0:51:50 > 0:51:53Hooray!
0:51:54 > 0:51:57# But you didn't have to cut me off
0:51:57 > 0:52:01# Make out like it never happened and that we were nothing
0:52:01 > 0:52:05# And I don't even need your love
0:52:05 > 0:52:08# But you treat me like a stranger... #
0:52:08 > 0:52:12Can you hear how all those musical ingredients have mixed together?
0:52:12 > 0:52:14How the choir has brought the vocals alive.
0:52:14 > 0:52:18How the drums, bass and guitars have formed a really tight little section
0:52:18 > 0:52:21and how the brass just adds a whole other layer on top.
0:52:23 > 0:52:27# Ah, da-da... #
0:52:27 > 0:52:29By working with my mates at Hayes School, I was able to come up
0:52:29 > 0:52:32with loads of ideas and sounds for my track
0:52:32 > 0:52:34which I never would have been able to on my own, so don't just
0:52:34 > 0:52:37think about creating tracks on your own at home.
0:52:37 > 0:52:40I bet there's loads of people you already know at your school
0:52:40 > 0:52:43or college, that are waiting to make music...with you.
0:52:53 > 0:52:56I know how much work goes into putting a song together, like this track.
0:52:56 > 0:52:59I'm lucky I get to enjoy the end result, and that's one of the best
0:52:59 > 0:53:03things about making music, getting to share it with everyone else.
0:53:03 > 0:53:05Now technology has made it easier than ever before
0:53:05 > 0:53:07to give your music a life of its own.
0:53:07 > 0:53:11No record contract necessary. The internet is waiting for you.
0:53:11 > 0:53:15There are loads of music-sharing domains and social-networking sites
0:53:15 > 0:53:18you can upload your music to, and other sites that allow
0:53:18 > 0:53:22schools or colleges to release music under their own record label.
0:53:23 > 0:53:26You can actually share your song
0:53:26 > 0:53:28any time while you're working on it.
0:53:28 > 0:53:30If you separate out your individual audio tracks, like the beat,
0:53:30 > 0:53:33the keys, the melody, you can upload these tracks,
0:53:33 > 0:53:37or stems, as they're often called, to websites, where other people can
0:53:37 > 0:53:41comment on your work in progress, or even collaborate with you.
0:53:42 > 0:53:46You're best off uploading music formatted as an MP3,
0:53:46 > 0:53:49and, if you're sure you've found the sound you want and you're
0:53:49 > 0:53:52ready to share the finished track, you could think about mastering it.
0:53:52 > 0:53:56You can compress the audio channel so that the difference between
0:53:56 > 0:53:58the highest and lowest levels of the sound is reduced.
0:53:58 > 0:54:01That way, your track will sound as good as possible on everything
0:54:01 > 0:54:04from basic headphones to an expensive sound system.
0:54:04 > 0:54:06And that's it, right? No way!
0:54:06 > 0:54:10Your music now goes out in the world, out to all those different
0:54:10 > 0:54:13people listening, and has a life of its own.
0:54:13 > 0:54:16But even then, the tracks can still develop and change, because
0:54:16 > 0:54:19as long as you have the permission of the artist, you can always
0:54:19 > 0:54:23remix tracks, and the possibilities for remixes are endless.
0:54:23 > 0:54:25MUSIC: "Scale It Back" by DJ Shadow
0:54:25 > 0:54:27'I want to have a go myself, so I'm here at
0:54:27 > 0:54:31'a new studio to make a remix of this great DJ Shadow track.
0:54:31 > 0:54:35'And I'm going to get some help from my mate, club DJ, Rinse FM
0:54:35 > 0:54:39'and Radio One host, Monki, who's popping by to give me some advice.'
0:54:39 > 0:54:43So, I really want to make my own remix.
0:54:43 > 0:54:45How do I get started?
0:54:45 > 0:54:48OK. The first thing you need to do is download the stems, which is
0:54:48 > 0:54:51basically, like, the individual parts which make up a track.
0:54:51 > 0:54:54So, I've already downloaded the stems off the DJ Shadow track.
0:54:54 > 0:54:57I've got keys, I've got vocals and I've got drums as well.
0:54:57 > 0:54:59Now that I've listened to the stems, where do I start?
0:54:59 > 0:55:02So, making a remix is kind of like starting from scratch.
0:55:02 > 0:55:05Because you've already got bits from the song, you've kind of got
0:55:05 > 0:55:08a musical idea where to start from, but you have to make it your own.
0:55:08 > 0:55:10Where do you want to go with the song?
0:55:10 > 0:55:14Do you want to make it like a dance record or something more ambient?
0:55:14 > 0:55:15I want it to sound a bit housey,
0:55:15 > 0:55:17maybe a bit of garage in there as well.
0:55:17 > 0:55:20Basically the kind of music I used to listen to when I was growing up.
0:55:20 > 0:55:23OK. So the first thing you want to do is work out what BPM you want to start at.
0:55:23 > 0:55:25So what beats per minute.
0:55:25 > 0:55:28I've gone for 126 BPM, nice and up-tempo.
0:55:28 > 0:55:30I was going keep the kicks four-to-the-floor, and maybe
0:55:30 > 0:55:34be a little bit more creative with the percussion and hi-hats.
0:55:34 > 0:55:36Be, like, a bit skippy on the off-beats.
0:55:36 > 0:55:38So, this is what I got for my kick.
0:55:38 > 0:55:39KICK DRUM PLAYS
0:55:39 > 0:55:42And then introduce some hats.
0:55:42 > 0:55:44HI-HATS PLAY
0:55:44 > 0:55:47Some snares percussion.
0:55:47 > 0:55:49SNARE DRUM PLAYS
0:55:49 > 0:55:52Really go to town on my hi-hats.
0:55:52 > 0:55:54HI-HATS SPEED UP
0:55:56 > 0:55:58So, now you've got your beat on the timeline,
0:55:58 > 0:56:00let's listen to the vocal and see where it fits best.
0:56:00 > 0:56:04# I swear I saw a blue light
0:56:04 > 0:56:07# My feet followed it outside
0:56:07 > 0:56:12# I thought I heard someone say "Fly far away..." #
0:56:12 > 0:56:16So, this vocal won't fit with the beat that you have at the moment,
0:56:16 > 0:56:18so what you want to do is either like
0:56:18 > 0:56:21chop up the vocal to make it fit to the beat you've got, or loop it
0:56:21 > 0:56:26or stretch it, and that way, it will fit better into what you're making.
0:56:26 > 0:56:29So, I figured out that the original is 84bpm,
0:56:29 > 0:56:32and obviously I need to bump that up to 126.
0:56:32 > 0:56:35What I'm going to do is time-stretch it so it's in the right speed,
0:56:35 > 0:56:38but I'll also have to chop it up a little bit,
0:56:38 > 0:56:40cos it's a weird time signature.
0:56:40 > 0:56:44Once I've chopped up the vocal, I can put it in a sampler and play it on the keyboard, like this.
0:56:44 > 0:56:46VOCAL SAMPLE PLAYS
0:56:49 > 0:56:52Now, that is because I can get a little bit more creative with ideas.
0:56:52 > 0:56:55Sometimes when you're just trying to do all of your edit
0:56:55 > 0:56:58on the computer, it can sound a little bit robotic, but this one...
0:56:58 > 0:57:00VOCAL SAMPLES PLAY
0:57:00 > 0:57:03..you can get a little bit more jazzy with it.
0:57:03 > 0:57:05So I've got a few different plug-ins that I'd like to use
0:57:05 > 0:57:09to get my bass line, depending on what kind of sound I'm going for.
0:57:09 > 0:57:13With this one, I want to make it sound a bit retro, a bit classic, like '90s garage.
0:57:13 > 0:57:15So I've got this.
0:57:15 > 0:57:18DEEP SYNTH SOUNDS
0:57:18 > 0:57:21And I always like really weird noises in songs.
0:57:21 > 0:57:23It's kind of my favourite thing. So I've got...
0:57:23 > 0:57:24LASER NOISES
0:57:24 > 0:57:27..weird laser things. I like that. Nice texture.
0:57:27 > 0:57:30So it's already starting to sound like it's got its own feel to it.
0:57:30 > 0:57:34It's really good you have already started using certain plug-ins,
0:57:34 > 0:57:35because that way you find your own sound.
0:57:35 > 0:57:38So now you should start looking at your structure.
0:57:38 > 0:57:40Well, the way that I work is,
0:57:40 > 0:57:42I have to figure out what A is and C, before I can get to B.
0:57:42 > 0:57:45A being my intro and C being the drop.
0:57:45 > 0:57:49I need to figure out those bits first before I figure out how to get into it.
0:57:50 > 0:57:53'It was so great working with Monki and working
0:57:53 > 0:57:54'on that new remix with her.
0:57:54 > 0:57:57'She brought loads of ideas to the party.'
0:57:57 > 0:58:00You can just keep experimenting and sharing musical ideas.
0:58:00 > 0:58:03I've taken this track, and it's become...this...
0:58:03 > 0:58:07DANCE TRACK PLAYS
0:58:09 > 0:58:12# I swear I saw a blue light
0:58:12 > 0:58:15# My feet followed it outside
0:58:15 > 0:58:19# I thought I heard someone say... #
0:58:19 > 0:58:20Sounds completely different, right?
0:58:20 > 0:58:23Well, it's still not finished. There's more work I want to do.
0:58:23 > 0:58:26And technology and music are never standing still,
0:58:26 > 0:58:27and that's exactly the way it should be.
0:58:27 > 0:58:30Who knows what the music of the future will sound like?
0:58:30 > 0:58:33But you could be making it, right now.
0:58:33 > 0:58:35DANCE MUSIC PLAYS
0:58:54 > 0:58:57Subtitles by Red Bee Media Ltd