Music Production FL Studio Courses

Introduction (00:00-00:10)
- Introduces the topic of drum bounce techniques for emotional beats with high BPM
- Will be breaking down his drum patterns and sounds

Loop Breakdown (00:10-00:20)
- Uses a self-made guitar loop to lay the foundation
- Loop sounds melodic and emotional

Drum Thought Process (00:30-00:40)
- Explains his thought process for creating bounce in drums
- Considers sounds, placements, and effects

Clap and Hat Foundation (00:40-00:50)
- Starts with a clap or rimshot as the backbone
- Adds hi-hats to build bounce

Hi-Hat Effects (01:00-01:10)
- Uses a standard hi-hat sound
- Applies delay with 1/4 note time and light feedback
- Adds light reverb for space
- Cuts lows with EQ

More Hat Effects (01:10-01:20)
- Sets delay input volume very low then drags knob up subtly
- Adds subtle reverse hits and reverb
- Variety in effects keeps it interesting

Patterning and Velocity (01:40-01:50)
- Plays with velocities to vary the sound
- Uses minimal steps for maximum bounce
- Rolls velocities on the last two hits

Clap and Hat Combination (02:00-02:10)
- Simple repetitive pattern is catchy
- Variation like reverses and rolls prevent monotony
- Leaves space for other elements

Bounce Without Steps (02:30-02:40)
- Doesn't rely on quantization for the bounce
- Clicks hits freely based on the musicality
- Considers hi-hat and snare placements

SNARE Techniques (02:50-03:00)
- Carefully places three snares total
- Gives them space to shine through

Regular and Offset Snares (03:10-03:20)
- Uses a main snare on the beat
- Adds two offbeat snares for movement

Playing Snares Off Each Other (03:20-03:30)
- Pitches offbeat snares against each other
- Fills space without clashing

The Power of Space (03:30-03:40)
- Believes space is key for a strong bounce
- Leaves room for sounds to breathe

Open and Reverse Hats (04:10-04:20)
- Adds an open hat on regular hits
- Includes a reverse hat on bars 4 for flavor
- Keeps velocities low to not overpower

808 Techniques (05:10-05:20)
- Uses a standard 808 pattern
- Adds a second 808 subtly stuttering the tail
- Fills out the low end melodically

Leaving Space for Artists (05:40-05:50)
- Understands the importance of open space
- Space allows vocals and melodies to shine

End Result (05:50-06:00)
- After applying all the techniques the beat bounces tremendously
- Demonstrates the power of thoughtful drum programming

Closing Remarks (06:20-06:30)
- Hopes the drum breakdown was useful for students
- Encourages feedback and questions in the comments

Introduction (00:00-00:10)
- Introduces himself as Swifty and says he will be breaking down how to make beats for Lil Tjay

Sample (00:10-00:20)
- Uses a loop sent to him by his friend Ari
- Has emotional chords with repetitive vocals
- Adds "little little keys" in between chords for variation on the hook

Bpm and Structure (00:20-00:30)
- Beat is at 100 bpm which is fast but can be bouncy with space and perks
- Lil Tjay raps over beats around this bpm

Drum Pattern (00:30-00:40)
- Uses a clap on the offbeat instead of on the beat for a double tempo feel

Clap (01:30-01:40)
- Plays section with just clap to explain its pattern

Hi-Hats (01:40-01:50)
- Uses regular hi-hat pattern
- Places hits in piano roll one by one but can also do in channel
- Plays a lot to get bounce
- No rolls, just a two step pattern

Hi-Hat Effects (02:00-02:10)
- Adds operator with default preset and just uses loop section for a reverse effect
- Adds double reverse
- Adds reverb

Hi-Hat by Itself (03:10-03:20)
- Plays hi-hat alone to focus on effects

Bounce of Hi-Hats (03:20-03:30)
- Main point is to get bounce that complements other elements

Snare (03:50-04:00)
- Adds classic snare on regular pattern

Second Snare (04:10-04:20)
- Adds wheezy style snare, pitched it up 2 semitones
- Adds velocity swell into next hit

Rim (04:50-05:00)
- Adds rim with reverb, same pattern as second snare
- Finds space in the beat for it to fit

Open Hat (05:40-05:50)
- Uses short open hat, places where 808 notes would hit

Crash (06:10-06:20)
- Adds longer crash with reverb for when 808 drops

Perk (06:50-07:00)
- Always uses triangle perk in same spot

808 (07:10-07:20)
- Uses short 808, knob halfway, soft clipper to make it hit hard
- Follows root notes of sample

808 Pattern (07:30-07:40)
- Not many notes, last element added to complement drums
- Same pattern repeated

Kick (08:00-08:10)
- Adds kick with same pattern as 808 for variation
- Cuts lows and highs with EQ

Tag and Outro (08:30-08:50)
- Plays final beat for listeners
- Automates low pass filter for bridge section
- Ends tutorial, asks for feedback

______________________________________________

Sample
- Uses a loop sent by a friend that has emotional chords with repetitive vocals
- Adds variation to the hook with "little little keys" played in between the chords

Bpm and Structure (00:20-00:30)
- Beat is at 100 bpm, which is fast but can be bouncy with space and perks
- 100 bpm is common for the type of beats Lil Tjay raps over

Drum Pattern (00:30-00:40)
- Uses a clap on the offbeat instead of on the beat for a double tempo feel

Clap (01:30-01:40)
- Plays section with just clap to demonstrate its simple pattern

Hi-Hats (01:40-01:50)
- Uses a regular hi-hat pattern
- Places hits in the piano roll one by one but can also do in the channel
- Plays a lot of hi-hat hits to create bounce
- Pattern has no rolls, just a basic two step pattern

Hi-Hat Effects (02:00-02:10)
- Adds an operator plug-in with the default preset and only uses the loop section for a reverse effect
- Adds a double reverse effect
- Adds reverb

Hi-Hat by Itself (03:10-03:20)
- Plays the hi-hat alone to focus on the effects

Bounce of Hi-Hats (03:20-03:30)
- The main goal is to get bounce from the hi-hats that complements the other elements

Snare (03:50-04:00)
- Adds a classic snare on a regular pattern

Second Snare (04:10-04:20)
- Adds a wheezy style snare, pitched it up 2 semitones
- Adds velocity swell into the next hit

Rim (04:50-05:00)
- Adds a rim hit with reverb, using the same pattern as the second snare
- Finds space in the beat for the rim to fit well

Open Hat (05:40-05:50)
- Uses a short open hat, places hits where the 808 notes would be

Crash (06:10-06:20)
- Adds a longer crash with reverb to accent when the 808 hits

Perk (06:50-07:00)
- Always uses a triangle perk in the same spot for consistency

808 (07:10-07:20)
- Uses a short 808 sound, knob halfway up, with a soft clipper to make it hit hard
- Follows the root notes of the sample for its pattern

808 Pattern (07:30-07:40)
- Pattern has not many notes to complement the busy drums
- Same pattern is repeated

Kick (08:00-08:10)
- Adds a kick with the same pattern as the 808 for variation
- Cuts lows and highs with an EQ

Tag and Outro (08:30-08:50)
- Plays the final beat for listeners
- Automates a low pass filter for the bridge section
- Ends the tutorial, asks for feedback

______________________________________________

Sample
- Uses a loop sent by a friend that has emotional chords with repetitive vocals
- Adds variation to the hook with "little little keys" played in between the chords

Bpm and Structure (00:20-00:30)
- Beat is at 100 bpm, which is fast but can be bouncy with space and perks
- 100 bpm is common for the type of beats Lil Tjay raps over

Drum Pattern (00:30-00:40)
- Uses a clap on the offbeat instead of on the beat for a double tempo feel

Clap (01:30-01:40)
- Plays section with just clap to demonstrate its simple pattern

Hi-Hats (01:40-01:50)
- Uses a regular hi-hat pattern
- Places hits in the piano roll one by one but can also do in the channel
- Plays a lot of hi-hat hits to create bounce
- Pattern has no rolls, just a basic two step pattern

Hi-Hat Effects (02:00-02:10)
- Adds an operator plug-in with the default preset and only uses the loop section for a reverse effect
- Adds a double reverse effect
- Adds reverb

Hi-Hat by Itself (03:10-03:20)
- Plays the hi-hat alone to focus on the effects

Bounce of Hi-Hats (03:20-03:30)
- The main goal is to get bounce from the hi-hats that complements the other elements

Snare (03:50-04:00)
- Adds a classic snare on a regular pattern

Second Snare (04:10-04:20)
- Adds a wheezy style snare, pitched it up 2 semitones
- Adds velocity swell into the next hit

Rim (04:50-05:00)
- Adds a rim hit with reverb, using the same pattern as the second snare
- Finds space in the beat for the rim to fit well

Open Hat (05:40-05:50)
- Uses a short open hat, places hits where the 808 notes would be

Crash (06:10-06:20)
- Adds a longer crash with reverb to accent when the 808 hits

Perk (06:50-07:00)
- Always uses a triangle perk in the same spot for consistency

Section 1: Getting Started (00:00-10:00)

Description: The instructor introduces what he will be covering in the lesson which is making boom bap beats and focusing on drums. He says he will show how to add your own elements over simple beats.

- Focus will be on drums
- Can add your own elements over simple beats
- Simple beats can have your own elements added to make a difference

Section 2: Choosing Instruments (10:00-20:00)

Description: The instructor discusses choosing instruments and focusing on the drums when first making a beat.

- Focus on drums when first making a beat
- Can add other instruments later
- Leave space for drums by only using main instrument at first

Section 3: Adding Strings (20:00-30:00)

Description: The instructor demonstrates how to add string instruments to a beat by following the chord progression and scale of the sample.

- Listen to main sample to find chord progression
- Use notes within the scale highlighted by the piano roll
- Build melody around main sample using scale notes
- Add effects to strings to make more ambient

Section 4: Playing the Simple Beat (30:00-40:00)

Description: The instructor plays the simple beat for reference.

Section 5: Adding Keys (40:00-50:00)

Description: The instructor discusses adding keyboard instruments and remaking the chords of the simple.

- Remake chords of simple by ear
- Build chords around the top note
- Use scale notes for chords
- Invert notes by moving them up/down octaves
- Randomize velocities of notes
- Add strumming effect by altering note timing

Section 6: Adding Vocals (50:00-60:00)

Description: The instructor demonstrates adding vocal samples and editing them.

- Use vocal one-shots from sample packs
- Stretch samples to match BPM
- Pitch samples to be in key
- Play with sample placement
- Chop samples as they are wav files
- Add reverb and other effects to vocals

Section 7: Fixing Timing of Vocals (60:00-70:00)

Description: The instructor shows how to fix the timing of vocals that were stretched.

- Check timing of stretched vocals
- Adjust pitch of vocals to match sample
- Determine pitch difference between sample and vocal
- Route vocals to mixer track with effects

Section 8: Continuing Instrumentation (70:00-80:00)

Description: The instructor discusses hearing other potential instruments and continuing to build the beat.

- Could hear strings, vocals, or other instruments
- Continue adding layers to fill out the beat
- Keep things simple for an artist to rap over

Section 9: Adding Drums (80:00-90:00)

Description: The instructor prepares to add drums and discusses drum sound selection and mixing.

- Use main instrument to add drums in empty spaces
- Select drum sounds from sample packs or drum VSTs
- Addictive Drums recommended for realistic drum sounds
- Play with velocities in Addictive Drums for natural feel
- Route drums to mixer track and apply effects

Section 10: Making the Drum Pattern (90:00-100:00)

Description: The instructor demonstrates making a drum pattern in the DAW.

- Use different velocity notes for natural feel
- Adjust note timing slightly for groove
- Cut overlapping notes
- Duplicate pattern and vary second half
- Add open and closed hi-hat notes
- Layer snares and percs

Section 11: Adding Bassline (100:00-110:00)

Description: The instructor shows how to add a bassline to accompany the drums.

- Solo main sample and drums to find root notes
- Build bassline following kick drum
- Use slide function between connected notes in scale
- Pitch notes and change presets for variation
- Match bassline to key and scale of sample

Section 12: Continuing Arrangement (110:00-120:00)

Description: The instructor discusses further developing the beat arrangement.

- Hear potential for strings, vocals, or other elements
- Leave space for artist by keeping arrangement simple
- Continue building layers while maintaining openness

Section 13: Mixing the Drums (120:00-130:00)

Description: The instructor demonstrates a process for mixing the drums cleanly.

- Gain stage drums to hit around -12dB before mixer
- Adjust levels in mixer while monitoring for clipping
- Give headroom of 5dB below 0dB on master
- Level kick around -6dB headroom on master
- Balance sounds around kick drum
- Apply light compression and clipping on master

Section 14: Finishing Touches (130:00-140:00)

Description: The instructor makes some final adjustments to elements.

- Pitch adjusted elements to match sample key
- Apply vinyl/tape effect plugin for vintage sound
- Play full beat and make any other minor adjustments

Section 15: Additional Tips (140:00-150:00)

Description: The instructor provides some final tips

- Play with velocities for natural feel
- Invert and experiment with note placements
- Use transition notes sparingly for movement
- Solo elements while working to focus on one part
- Randomize automations to avoid repetition
- Reference video sections as needed

Section 1: Introduction (00:00-00:10)

- Lexington from Germany introduces himself and says he will show how to make soul samples for NBA Youngboy

Section 2: Sample Loop Overview (00:10-10:30)

- Plays sample loop throughout various parts of video
- Loop uses chord progression of D sharp minor, C sharp major, G sharp minor, B major, A sharp major
- Roman numerals are vi, V, ii, IV, iii
- Starts with warm blues amp sound and discord progression

Section 3: Organ Layer (00:20-02:40)

- Adds higher organ layer playing same chords
- Uses Kontakt organ preset "Basic B3"
- Plays different melody but same chords for depth

Section 4: Piano Layer (03:10-03:30)

- Adds piano layer playing same chords with bounce between bass and high notes
- Uses Kontakt piano "Grandeur - Jesse Grant" preset

Section 5: Vocal Layers (04:00-04:20)

- Adds 3 layered vocal parts from Opus harmonizing chords
- Opus is good for soul samples with strings, brass, vocals

Section 6: String Layer (04:30-04:50)

- Adds string layer playing same chords for orchestral feel
- Uses Opus "Restful System" preset

Section 7: Guitar Layer (05:10-05:30)

- Adds saxophone break from Splice for fullness

Section 8: High End Layers (05:40-06:50)

- Adds celeste and tremolo world for highs
- Celeste arpeggiates chords for melody/ear candy

Section 9: Additional Synth Layer (06:40-07:00)

- Adds more high end with Episode 37 synth playing same chords

Section 10: Piano Solo (07:10-07:30)

- Adds pentatonic scale piano solo in triplets over chords

Section 11: Drum Layer (07:40-08:10)

- Adds chopped drum breaks from Splice with ambience

Section 12: Bass Layer (08:30-08:50)

- Adds Rickenbacker bass playing melody and ghost notes

Section 13: Guitar Layers (09:00-09:10)

- Brother Michael adds clean/distorted guitar and leads
- Makes loop come together

Section 14: Finished Loop (09:40-10:30)

- Plays final loop incorporating all layers
- Thanks for watching

Creating Ambient R&B Loops (00:00-10:10)

Introduction:
- The video will break down how to create ambient R&B loops in the style of Artists such as Drake
- Ambient R&B loops are mellow, atmospheric loops that can be rapped or sung over

Choosing a Scale and Making a Chord Progression:
- Open Keyscape and choose a piano preset
- Go to the scale helper and select F major
- Make a simple 4 bar chord progression using only notes within the F major scale
- Start with the root note F as the first chord
- For the second chord, skip one note and use the next scale note A
- Duplicate the A an octave lower for the bass note
- Fill in the chord by skipping a note and using the next scale note

Adding Effects to the Chord Progression (00:10-01:40)
- Add RC-20 and adjust the effects like distortion, wobble, etc
- Add Valhalla VintageVerb reverb and adjust decay and mix
- Add stereo widener to make the chords wider
- Add EQ to cut out unwanted frequencies

Adding a Bell Sound (01:40-03:20)
- Use a bell one-shot sample and adjust the envelope
- Copy the chord progression notes for the bell pattern
- Add echo, reverb, half-time, EQ, and stereo widening effects

Adding a Piano Melody (03:20-04:50)
- Use the Noir Pure Piano in Kontakt
- Copy the chord progression for the piano notes
- Add notes in between to create a simple melody
- Create a bassline by following the chord notes
- Add reverb, EQ, and other effects to make it sound vintage

Adding Percussion (04:50-06:00)
- Use one-shot samples and stretch the time mode
- Play root note of scale
- Add reverb, EQ and other effects to sit in the mix

Adding Vocals (06:00-07:00)
- Use a vocal sample from the Arcade plugin
- Create a pattern
- Add delay, reverb, filter, stereo widening and EQ effects

Adding a Bassline (07:00-07:40)
- Use a one-shot bass sample
- Play root notes of chords
- Cut highs and lows with EQ

Adding Drums (07:40-09:00)
- Create a simple drum loop pattern
- Route drums to a mixer track and add effects
- Cut lows and highs, add distortion, reverb, etc.

Adding Final Effects (09:00-10:10)
- Route all instruments to a mixer track
- Add vinyl strip plugin for vintage sound
- Cut lows to reduce mud

Creating Ambient R&B Loops (10:10-10:30)
- The loop created could be something Drake would rap over
- Tutorial covered the process of creating such a loop

Introduction (00:00-00:10)
- Flex on the track from drum knockers introduces the topic of creating emotional piano melodies from scratch
- He has a melody in his head that he plays as an example

Laying a Progression Over the Melody (00:10-00:20)
- Flex mentions laying a chord progression over the melody he has in his head

Using Minor Scales (00:20-00:30)
- Flex mentions he usually works in minor scales because it is most comfortable and familiar
- Minor scales create sadder, darker emotions compared to major scales
- The notes of a minor scale have a different pattern than major scales

Trying Out a Progression (00:30-00:40)
- Flex will try out a chord progression in A minor since it is most familiar
- Progressions can later be transposed to different keys using MIDI

Laying Down the Melody (00:50-01:10)
- Flex lays down the melody he has in his head over the progression

Quantizing the Melody (01:10-01:20)
- Flex quantizes everything to clean it up and remove sustain
- Quantizing snaps notes to the grid for perfect timing

Harmonizing Notes (01:40-02:10)
- Flex adds higher notes above certain melody notes for harmony
- This gives a more beautiful sound than solo notes
- Lowering the velocity of harmonic notes makes them more subtle

Leaving Notes Ungridded (02:30-02:40)
- Leaving some notes unquantized makes the melody more emotional and realistic
- Perfectly gridded notes sound robotic

Breaking Down the Progression (03:00-03:20)
- The progression is in the key of C major/A minor
- It follows the pattern of IV-V-vi-I

Playing Bass Notes with the Progression (03:30-03:40)
- Flex plays root, fifth and octave notes to flesh out the chords
- Adding a small melody makes it more interesting than just chords

Looping the Melody (04:00-04:10)
- Flex loops the foundation melody to improvise a top melody over

Improvising a Top Melody (04:10-06:00)
- Flex experiments with different melodies to find one that fits well
- He quantizes and adjusts the improvised melody

Trying Different Keys (06:30-07:00)
- The melody also sounds good transposed to B minor

Adding More Elements (07:10-07:30)
- Flex would add a bassline and vocals in his full production
- He used Grandeur piano with color tone and effects like EQ and delay

Introduction:
- Breakdown of how to make realistic sounding guitar loops in FL Studio without using a real guitar
- Will cover making chords, melodies, leads, percussion, and effects

Chords (00:00-01:20)
- Open FL Studio and choose "Guitar - Semi Hollow" instrument
- Select "E minor" scale from scale highlighting helper
- Build triads using root note, skip one note, use next note
- Vary velocities of notes for more realistic sound
- Copy chord shape and lower 5 semitones for variation

Melody (01:20-02:10)
- Come up with simple melody using root notes of chords
- Replicate melody and build chords around it
- Copy melody over bars and play with velocities

Effects (02:10-02:50)
- Add "Guitar Rig" preset "Jazz Amp Mono to Stereo"
- Turn off limiter for cleaner sound
- Add reverb for width and ambience
- Add EQ to cut bad frequencies and boost missing tones

Lead (03:00-04:10)
- Open "Guitar - Semi Hollow" and choose lead preset
- Follow root note and use in-key notes from chords
- Can use out-of-key notes as passing tones
- Vary velocities and pitches for variation
- Copy and modify lead over bars

Percussion (04:40-05:10)
- Open "Renegade" library and choose cymbal sound
- Use root note and third of chord as hits
- Play at same time as lead changes

Effects (05:10-05:30)
- Add long reverb for ambience
- Widen sound with stereo control
- EQ lows

Vocals (05:40-06:40)
- Use "Vocal Runs" preset triggered by root note
- Play same note at different octaves for variation
- Add reverb, stereo control, EQ highs/lows

Bass (06:50-07:10)
- Play bass an octave lower than normal for fullness
- Add long reverb, stereo control, EQ lows

Full Loop (07:10-07:30)
- Listen to final loop with all elements

Plug-Ins Used:
- Semi-Hollow by Ample Guitar (default preset)

Setting up the Loop:
- Choose a key (B minor used in example)
- Use scale highlighting to see what notes are in the key
- Set root note of the scale
- Notes that light up can be used, darker notes cannot
- Minor natural preset used for melody in B minor

Building the Chord Progression (00:00-01:50)
- Start with basic triads
- Invert middle note and move up an octave
- Duplicate notes and move up an octave
- Add notes between chords to transition smoothly
- Common I-IV-V chord progression used

Adding Melody/Leads (02:00-03:10)
- Use same plug-in and preset
- Follow root notes and notes from chords
- Look at ghost notes for inspiration
- Cut notes when transitioning for bounce
- Add transition notes not in key for smoothness

Adding Other Instruments (03:20-04:50)
- Pitch vocal to key and add effects
- Add guitar one shot
- Pickles Big Bass preset for bassline
- Follow root notes and add transition notes

Mixing and Effects (04:00-04:50)
- Turn off limiter and lower mix on amp preset
- Add reverb and stereo width
- Cut lows and boost mids on guitars
- Cut frequencies clashing on lead guitar
- Add reverb, width, cut highs/lows on vocal
- Cut highs and add reverb to one shot
- Cut very low frequencies on bass

Final Loop (04:50-05:50)

Side Chain Compression

What is Side Chain Compression?:
Side chain compression is a technique used to control the volume of one sound based on the volume of another sound. It is commonly used to duck the volume of background sounds when a prominent sound, like a kick drum, is playing.

Uses of Side Chain Compression:
- Most commonly used to duck the volume of bass sounds (like 808s) when a kick drum hits (00:00-01:30)
- Can be used on any sounds to control their volume based on another sound

Side Chain Compression Workflow:
- Select the sound you want to control the volume of (secondary sound), like an 808
- Right click its mixer track and select "Side Chain to this Track"
- Add a compressor to the secondary sound's channel
- Select the prominent sound (primary sound), like a kick, in the compressor side chain input
- Adjust compressor threshold, ratio, attack, and release to taste

Side Chain Compression Parameters:
- Threshold - The level the primary sound must reach to trigger compression (00:40-00:50)
- Ratio - Amount of compression applied once threshold is crossed (00:40-00:50)
- Knee - Gradualness of compression as threshold is crossed (00:40-00:50, 01:10-01:20)
- Release - Time for volume to rise up after primary sound stops (00:50-01:00, 01:10-01:20)

Testing Different Settings:
- Lower threshold applies compression more
- Higher ratio applies more compression once triggered
- Faster release brings volume up quicker after kick
- Play with these settings to find the right balance for your track (01:10-01:20)

EQ Notes (00:00-34:00)

Section 1: EQ Basics
- EQ stands for equalizer and is used to adjust frequencies in audio
- There are 7 main frequency bands: low, low-mid, mid, high-mid, high, and two shelf bands
- Each band can be adjusted using gain, frequency, Q, and filter shape
- Gain adjusts volume, frequency selects which Hz to target, Q adjusts bandwidth, shape is bell, shelf, etc
- EQ is used to remove unwanted frequencies, boost desired frequencies, balance levels

- Identify problem frequencies by listening and adjusting each band
- Use a narrow Q to target a specific frequency
- Don't cut too much, be subtle
- Know your microphone's frequency response

Section 2: EQ Techniques
- High shelf to raise high frequencies for clarity
- Low cut to remove unwanted lows
- Notch filter to remove resonant frequencies
- Multiband compressor for more precise compression
- EQ charts show common problem frequency ranges

Section 3: Additional Tips
- Learn about different instruments' typical frequency ranges
- Research microphone specs for its inherent EQ
- EQ stems separately before mixing together
- Don't over-EQ, make subtle adjustments
- Experiment on your own by tweaking knobs

Compression Notes (34:00-59:00)

Section 1: Compressor Basics
- A compressor reduces dynamic range by lowering loud sounds
- Controls are threshold, ratio, attack, release, gain
- Threshold is input level where compression kicks in
- Ratio determines amount of gain reduction above threshold
- Attack is how fast it compresses, release lets it open back up
- Gain makes up for volume lost during compression

Section 2: Compressor Techniques
- Use to even out levels and add punch/density
- Gentle compression on drums for tightness
- Vocals benefit from 2-3dB of compression
- Instrument bus compression ties mix together
- Sidechain to duck one sound for another

Section 3: Common Mistakes
- Don't turn ratio too high or it will "pump"
- Too fast attack can crush transients
- Adjust threshold and ratio together
- Don't use as makeup gain, be subtle

Noise Gate Notes (59:00-67:10)

Section 1: Noise Gate Basics
- Removes noise below a set threshold
- Controls are threshold, attack, hold, release
- Threshold sets noise floor level to open/close gate
- Attack is how fast it opens, release closes it
- Hold keeps gate open after signal drops
- Removes noise during silent periods

Section 2: Noise Gate Applications
- Remove noise from quiet instrument recordings
- Tame amp hiss or pedal noise in guitar tracks
- Gate reverb/delay tails cleanly
- Gate drum samples individually
- Be careful not to chop transients when gating

Section 3: Additional Tips
- Raise threshold gradually to find noise floor
- Adjust release to let tail fully decay
- Avoid gating low frequency instruments
- Gate in audio editor for samples
- Gate in mixer for live signals