Down this project file for free (first 24 hours only) www.dl.dropboxusercontent.com/s/fi/8xymcmulqje93puo6xhri/Antidote-Audio-Noisia-Trick-2-Project.zip?rlkey=dlzinz0niz75aigebefrwlafc&dl=0
yeah music now is basically using the same 2-4 bar idea through the whole song but executed with different timbres/kits every 2-4 bars and interacting with one another as a form of call & response. if you program just 4 simple 2-bar loops and then play those 4 patterns through 4 different kits, you've essentially created the same drum pattern with 16 different variations/sounds that you can swap in and out with each other for much more dynamic compositions & arrangements. i.e. everything is 2 bars and pattern 1 plays, pattern 2 plays, back to pattern 1, now pattern 3. then for the second half of your 16 bars maybe you want to keep your drums pretty similar, so it's pattern 1, pattern 2, pattern 1, then pattern 4 as a fill turn around and to change it up from the first 8 bars. then when the second chorus comes around, you change up your drums entirely and it's pattern 5, pattern 7, pattern 4, pattern 2...whatever sounds good. i used to focus on building drums over 8-16 bars with mostly one set of sounds, but now i just sample & chop smaller 2-4 bar patterns and alternate between them. i mean bass is the same way: not every note in your bassline has to come from the same synth/sound source. you can replace the last note in your bassline with an entirely different one shot. you can play the 4 notes of your bassline on one synth, or you could think about devoting different synths/timbres to each of those 4 notes. you can play 4 notes on synth, play the next 4 notes with another, and keep alternating back & forth. it's almost like "paint by the numbers" where once you realize where the kick goes, you can put in any kick you want. if you know where the bass goes, you can take it out and put a different one in. think about sitting down and composing something over the course of 8-16 bars, but then how you could swap out different little pieces & parts every 2-4 bars. play out a 16-bar idea on a synthesizer, then think about breaking it up into 4/4/4/4 or even 2/2/2/2/2/2/2/2. you can just loop the same 2-bar drum pattern for 16 bars if you're changing the bass every 2 bars, you can just loop the same 2-bar bass pattern for 16 bars if you're changing the drums every 2 bars; it's about making music "modular" to where you can remove/replace the parts with something else that is cohesive enough either sound or composition-wise.
Dude yesss I've been trying to get this style of phrasing and arrangement down but nailing the drums has been proving a bit more difficult than expected lol but this was very helpful! Would love a more in depth video on the drums specifically
Yeah getting the drums I find is for sure the hardest as well! Studying Noisias tracks kind of help, but they’re just so on to it with sound design. They did a few tutorials with razer which I’d recommend, just search “Noisia razer tutorial” and it should come up
see its this kinda thing im looking for as a listener, its those mixups that keep it fresh and interesting. one of my favorite things is a main lead dropping out to a doubletime+halftime layered remix of that same line within its own track. play with time dignatures and pattern manipulation people, even if its not consciously heard, its felt.
more clearly here, by "its felt." I mean the tension between the doubletime and halftime and the difference in pattern, cus humans are good at noticing patterns. pushing harder at the listener with the doubled onslaught of notes, while simultaneously feeling like its trying to pull its's self back with the halftime, like its trying to restrain itself from just murdering you. the swap up like it cant quite keep itself strait. it feels more than a track, it feels like its alive and changing as you listen to it. its the same reason DJs do it during a live set, gives a very cool feeling. and good music doesn't just sound good, it *feels* good. make the music for yourself, what makes *you* feel good, not the listener. I want to hear what you love, what makes you passionate for this music. what fuels you. there's putting together a track, then there's putting together something that hits something deeper in you and the listener. that sub punching through your chest, that glittery sparkly treble, that complex drum pattern that hits you just oh-so right. its a conversation between you and your listener. that's something you, sometimes gotta go to a show to properly understand, if you have been producing without the type of sound system they have at live events. Listen to a track called blissed by suzy sheer on a pair of sorta nice headphones, its the best example of that haptic feeling I've found yet without those expensive sound system. its got a *fuzz* made by a distortion filter over I believe a saw or triangle wave that you can feel in your head where they meet. also, big big important tip. make sure your headphones or speakers and EQed correctly, you can do this with a tool called PeaceGUI for Equalizer APO. its a digital, windows-wide EQ that supports the AutoEQ project for thousands of popular headphones and speakers. its just a free audio upgrade if you have been running without it, I've had lots of people say they cant go back after hearing what their headphones were supposed to sound like.
Nice. And anyone who wants to study this more, look up musical forms (and structures). They are universal and applicable to almost any music you'll make. And to go even deeper, you can try to think how to implement these forms into different aspects of the music, other than just the arrangement itself, like applying to different separate elements (rhythm, pitch, texture, emotion, etc. etc. etc.). And what if for example you alternate send effects following a certain form? 🤔 I'm sure there's many other creative ways to use them, toying around with patterns is one of the most musical things you can do, dare I say. (bangin' sounds btw big ups)
Down this project file for free (first 24 hours only) www.dl.dropboxusercontent.com/s/fi/8xymcmulqje93puo6xhri/Antidote-Audio-Noisia-Trick-2-Project.zip?rlkey=dlzinz0niz75aigebefrwlafc&dl=0
You're a scholar and a saint mate
You're a gentleman and a true friend
ah damn. must have missed it by a minute
buuut why first 24 hours onlyyyyyy
plz, give project mans 😄😍
Good ol’ call and response.
super underrated composition technique!
yeah music now is basically using the same 2-4 bar idea through the whole song but executed with different timbres/kits every 2-4 bars and interacting with one another as a form of call & response. if you program just 4 simple 2-bar loops and then play those 4 patterns through 4 different kits, you've essentially created the same drum pattern with 16 different variations/sounds that you can swap in and out with each other for much more dynamic compositions & arrangements. i.e. everything is 2 bars and pattern 1 plays, pattern 2 plays, back to pattern 1, now pattern 3. then for the second half of your 16 bars maybe you want to keep your drums pretty similar, so it's pattern 1, pattern 2, pattern 1, then pattern 4 as a fill turn around and to change it up from the first 8 bars. then when the second chorus comes around, you change up your drums entirely and it's pattern 5, pattern 7, pattern 4, pattern 2...whatever sounds good. i used to focus on building drums over 8-16 bars with mostly one set of sounds, but now i just sample & chop smaller 2-4 bar patterns and alternate between them. i mean bass is the same way: not every note in your bassline has to come from the same synth/sound source. you can replace the last note in your bassline with an entirely different one shot. you can play the 4 notes of your bassline on one synth, or you could think about devoting different synths/timbres to each of those 4 notes. you can play 4 notes on synth, play the next 4 notes with another, and keep alternating back & forth. it's almost like "paint by the numbers" where once you realize where the kick goes, you can put in any kick you want. if you know where the bass goes, you can take it out and put a different one in. think about sitting down and composing something over the course of 8-16 bars, but then how you could swap out different little pieces & parts every 2-4 bars. play out a 16-bar idea on a synthesizer, then think about breaking it up into 4/4/4/4 or even 2/2/2/2/2/2/2/2. you can just loop the same 2-bar drum pattern for 16 bars if you're changing the bass every 2 bars, you can just loop the same 2-bar bass pattern for 16 bars if you're changing the drums every 2 bars; it's about making music "modular" to where you can remove/replace the parts with something else that is cohesive enough either sound or composition-wise.
Paragraphs....
Paragraphs…
too long did mot read
How much cocaine 😅
schizo type stuff
They are masters. Long live Noisia.
....is your comment bad irony ...?
Yah, I don’t want to be the one to have to break the bad news 😬😬
@@AntidoteAudio nik ia still making stuff so it's alive in my eyes
Arrangement gold! Thanks for sharing your observations.
😁😁 thanks to Noisia for their composition ideas
I adore your energy and passion my friend. Subscribed!
Thank you so much! 🙌
Wicked observation and great tutorial
Cheers!! 🙌🙌
Dude yesss I've been trying to get this style of phrasing and arrangement down but nailing the drums has been proving a bit more difficult than expected lol but this was very helpful! Would love a more in depth video on the drums specifically
Yeah getting the drums I find is for sure the hardest as well! Studying Noisias tracks kind of help, but they’re just so on to it with sound design. They did a few tutorials with razer which I’d recommend, just search “Noisia razer tutorial” and it should come up
Awesomeness, thanks
🙌🙌🙌
see its this kinda thing im looking for as a listener, its those mixups that keep it fresh and interesting. one of my favorite things is a main lead dropping out to a doubletime+halftime layered remix of that same line within its own track. play with time dignatures and pattern manipulation people, even if its not consciously heard, its felt.
🙌🙌🙌
more clearly here, by "its felt." I mean the tension between the doubletime and halftime and the difference in pattern, cus humans are good at noticing patterns. pushing harder at the listener with the doubled onslaught of notes, while simultaneously feeling like its trying to pull its's self back with the halftime, like its trying to restrain itself from just murdering you. the swap up like it cant quite keep itself strait. it feels more than a track, it feels like its alive and changing as you listen to it. its the same reason DJs do it during a live set, gives a very cool feeling. and good music doesn't just sound good, it *feels* good. make the music for yourself, what makes *you* feel good, not the listener. I want to hear what you love, what makes you passionate for this music. what fuels you. there's putting together a track, then there's putting together something that hits something deeper in you and the listener. that sub punching through your chest, that glittery sparkly treble, that complex drum pattern that hits you just oh-so right. its a conversation between you and your listener. that's something you, sometimes gotta go to a show to properly understand, if you have been producing without the type of sound system they have at live events. Listen to a track called blissed by suzy sheer on a pair of sorta nice headphones, its the best example of that haptic feeling I've found yet without those expensive sound system. its got a *fuzz* made by a distortion filter over I believe a saw or triangle wave that you can feel in your head where they meet. also, big big important tip. make sure your headphones or speakers and EQed correctly, you can do this with a tool called PeaceGUI for Equalizer APO. its a digital, windows-wide EQ that supports the AutoEQ project for thousands of popular headphones and speakers. its just a free audio upgrade if you have been running without it, I've had lots of people say they cant go back after hearing what their headphones were supposed to sound like.
Nice. And anyone who wants to study this more, look up musical forms (and structures). They are universal and applicable to almost any music you'll make. And to go even deeper, you can try to think how to implement these forms into different aspects of the music, other than just the arrangement itself, like applying to different separate elements (rhythm, pitch, texture, emotion, etc. etc. etc.). And what if for example you alternate send effects following a certain form? 🤔 I'm sure there's many other creative ways to use them, toying around with patterns is one of the most musical things you can do, dare I say.
(bangin' sounds btw big ups)
cheers for the tips for anyone who wants to learn more! 😊😊
WOW COOL this will help with 2 drop idea thx!
🙌🙌 super useful trick!
What is the original nosia song?
Arrakis (Noisia Remix) 👌
great tutorial !
Cheers!!
Why, those sneaky little buggers
😅😅
what's the outro track?
its not exactly a track. It's a construction kit called 'ripped' from one of my drum and bass sample packs "Equilibirum"
@@AntidoteAudio sheeeeesh
thanks for breaking it down
😊😊 cheers for watching!
I like the counterstrike remix better ngl, super sick fr
the counterstrike remix of gunseller?
@@AntidoteAudio 😱
😅 my bad, just remembering things incorrectly
This is what happens when you have 3 talented producers who can work together as a team
100% this trio was incredible
@@AntidoteAudio Was? I knew Teddy Killerz had a neuragenda.
is it really that cold in June?!?
Was 6c 40-45f the other week.
Yeah it was around 4c when I was filming this (I live in New Zealand)
Swooberdeewapwap. Handy trick!
🙌🙌🙌