- You can drink with the helmet on?
- Oh, well if I have a... - A straw?
- A straw, I can. (laughs)
(upbeat electronic music)
- What's up Team MBL?
It's Musicbylukas. - And Laurenzray, and today,
we're not in our normal location. Actually,
we're in a different studio because we have
a very special guest with us, Mastrovita!
- Hey guys, what's up? - This is Mastrovita,
He's a DJ and a producer, and we actually just did a collab
together, called hold on. And it's actually out today.
- Today. - It's out right now,
on Spin and Copyright free. So, if you haven't heard it yet,
be sure to check out the link,
it's at the top of the description.
And as a special gift to you guys for all your support,
we are here to do walk-through of how we made he track.
- Yeah they're gonna do a walk-through,
and I really wasn't a part of the making of that track,
so I'm gonna bounce and let these two take over.
So, hope you enjoy the video!
- Alright, so here we are, in the studio,
is this your ghost-producer dog?
- Yeah, it's Chigo! - Chigo! Chigo the dog.
Does Chigo have his own Instagram account yet?
- Uh, no, not yet. (laughs)
- Alright so as you can see we have Logic Pro open here.
We both use Logic Pro, but if you use Ableton or FL studio,
or any other DOD don't worry, we'll make it make sense.
Yeah, so basically when we first started this song,
I had this idea. I got the vocal from 'Splice,'
and I pitch-bended it up a bunch of octaves,
like six semi-tomes I think. I can pull it up here
in a second. And I was messing around with the melody,
and my melodies are typically kind of like an arp.
Let's see, it's right here, let's see. It's like:
(Synthesizer notes)
- You've probably heard me mess around
with melodies like that. That's my signature like:
(Synthesizer notes)
Anyways, so that worked out really well.
It gave me those future trance vibes,
with the vocal being pitch-bended up.
And I kept working on the track more,
and then eventually sent it over to Mastrovita here,
on Whatsapp, and he was like: "I'm really feeling this."
What was your initial thought when you heard the track idea?
- Yeah, it was very fresh, very uh--just trancey vibes.
- Yeah! With a big drop still.
- Exactly, but I liked it from the beginning.
- Yes! And so he messaged me back and he was like:
"Yeah, I wanna work on this." And we had just finished
working on 'Dreamin,' which, if you haven't heard
that one song, 'Spinning Talent Pool.'
And it just kind of went with the same kind of flow,
and so we were already used to working together,
which is nice. And so he started working on the track,
as well. So now what we can do is show you
a little bit of the arrangement. He does the mixing,
the mastering, and also final touches,
like trying to make sure everything sounds really cool.
And he added his signature lead on the drop here.
A lot of stuff for the environment. Like the mood
in the second break. So the beginning of the track,
that's just an original mix, beginning.
We always like to keep at least 16 bars,
for the original mix version, and then
the radio edit version just starts like:
(Electronic music with female vocals)
The original mix version, you've got your 16 bars.
(Up tempo electronic music)
Gives time for the DJ to be able to mix everything,
in and out, when it's played live.
So we always try to throw on like 16 bars in the beginning,
and 16 bars at the end. So anyways,
you'll start from right when the track starts, so:
♪ Baby, wait, I knew that you're afraid ♪
♪ But it'll be okay, if you just stay with me ♪
- So there's the vocal. One tip you'll notice is
this lead, which is also in the drop here:
(Heavy bass electronic music)
It's the same lead, as this lead in the beginning:
(Electronic music) ♪ Baby wait, I know ♪
But you can tell that the beginning lead
is much more mellow. So, the way that we do that,
is that we use filters. And we take off the high end,
we mess with the cutoff, the reverb, everything,
to try to make it more subtle.
'Cause in the beginning of the break,
you don't want there to be so much energy,
'cause you're trying to just build the mood.
- Exactly.
- And so, that was what we did there,
was use that same melody, and then pull down
with the filter on there.
Then we have just something like basic like a snap.
The snap helps, just kinda:
(Electronic music) ♪ Baby wait, I know that you're ♪
Keep a little groove, exactly.
- Yeah, like that. - Just like a little groove.
Something, so people know when they start playing,
on the dance floor, people can still kind of move.
They know the BPM, they know the beat,
like they can kind of feel it a little bit more,
but it's not so much that it takes away
from the energy of the drop.
And we have basic stuff that you can see here,
like the casmir crash.
Really really simple, on the beginning of the break.
As it starts to turn into the build-up,
that's when you start seeing more things come in.
(Electronic music) ♪ Hold on to me, 'cause I know ♪
♪ I can make you believe, in something that'll ♪
♪ merely concede, oh so baby hold on to me. ♪
♪ Hold on to me. ♪
- Yeah, so a lot of this track is about feeling,
and I think that's one thing that goes past
a lot of producers, when they're making music,
is you don't think about feeling,
you just think about making this huge drop,
and sometimes it doesn't connect with the listener.
Because if you really wanna connect with the listener,
you have to make them feel it.
Like when you close your eyes, what do you see?
Can you think of like a music video idea?
Can you see yourself playing it live?
You want to put the listener into a mood, right?
- Yeah, absolutely.
It's very important that music keeps you in a world.
- Yeah!
- That it's your world.
- Yes. Makes you feel something special.
- Exactly.
- Yeah, so that's basically what we tried to do here.
We didn't try to over-do it with too much.
It was just about, like I said again,
opening that cutoff, adding little things,
bringing in the fill, just like
getting it ready for this big drop.
And that's what come in right here.
So it's really like a 16 bar entry.
You got an eight bar break, and then an 8 bar buildup,
going into the drop.
(Electronic music)
And you added this vocal sample right here,
- Yeah.
- Just to add that extra hype.
♪ Hold on to me ♪ (Electronic music) ♪
It's just those little touches,
like little ear candy effects that can really take it
to the next level, and make it sound super professional.
When the drop starts you'll notice we added like,
little pieces of the vocals, but not the whole thing,
'Cause you don't want it to be super repetitive,
and continue the whole vocal, so it's just like:
"Hold onto me."
'Cause that's the hook line anyways,
so that's what we want to keep repeating.
You'll also notice that we started bringing in
the clap comes in right away, on the drop.
But then, there's a top loop that comes in four bars after
a crash, and then the ride comes in four bars after.
So we're always bringing in little things,
to help continue the energy growing.
And also we have some vocal ad libs on here,
which are also pitch-bended up,
and then after 16 bars, we get the classic,
Mastrovita lead sound.
(Electronic music) ♪ Hold onto me ♪
I love that,
- Yeah, it's a,
- What's that about?
How did you start doing that?
- So actually a straight line like:
(Hums note)
And then I put the gate on it, 1/16,
and then it gives the effect like: "ticka ticka ticka."
- Yeah the pump.
- Yeah! And then I add some reverb, some delay,
make it a little bit brighter.
- Yeah.
- We got a stereo screen, and that's it.
- It's really clean, and I think it works so well
for the future trance kind of vibes,
'cause it just continues to add energy to the track.
So, the second break is really where Mastrovita
did so much work at making little things
that made the mood happen, like strings, effects,
arps, little things coming in and out of the track.
'Cause you don't want the second break to just be
a repeat of the first break, you want there to be
something a little bit different.
Something a little but special.
I always say this but in EDM music,
we don't really have a thing called the bridge.
A bridge, in traditional music, like pop music,
and rock music, whatever, they have thing called the bridge
where they switch up the sound a little bit,
after the second chorus, or hook.
And so, with EDM we don't really have that, so,
the second break is really where we can do that.
Where we can make it seem a little bit different,
and kind of pull it away form the rest of the track.
And so I think you did a really good job of that,
so I'll play a little bit of that for you guys.
(Quiet electronic music)
(Music builds in volume)
(Music builds in volume)
Alright so, can you explain a little bit,
about your process there, with this part of the track?
- Yeah it's actually a drone, from my complete ten,
and just played around with a little modulation,
and stuff like that.
And some other parts in the background,
and just brighten it up a little bit,
just to have this kind of atmosphere, you know?
- So it's a drone effect.
- Yeah, cone down.
- Yeah, it sounds really cool, and the way you open it up
right at the end it just kind of sweeps itself into,
- Exactly.
Yeah, otherwise, if you copy-paste,
it's too boring at the end you know?
So it's important to keep this kind of freshness to it.
You know? Surprised with something else.
- Yeah, you gotta do something different,
and make the listener be like: "oh,
that was really cool."
- Exactly.
- And also when you take time to pay attention
to detail like that it just makes the track
more professional, and shows how much you care
about the end result of the song.
Now one thing about my music is that,
I don't really have that many tracks,
I mean this one has a little bit more,
but part of the reason for that is because
it was a collab, so some of these are muted,
they're stems from when we sent the track
back and forth to each other.
But it's relatively simple,
there's not a million layers to the lead.
What we really try to do is focus on getting
simple sounds and make them sound bigger,
and fill up the space.
- He agrees, with you. (laughs)
- At this point in the track,
when we had the main idea of the track all completed,
that was when you started really
with the mixing and the mastering.
So, what would you say to people out there,
trying to produce their own tracks.
What are the Mastrovita guidelines or tips,
to mixing tracks?
Anything that you can say?
- Yeah, the most important thing is that
you know your gear, that you know what you're doing,
- Yeah.
- And that you hear the difference in what you are doing.
- Yeah.
- This is the most important thing, and then,
from there you can start to play around,
and try to play with the plug-ins and see,
"ah, now it sounds different to that."
- Yeah. What are your favorite plug-ins, like for mixing?
- Uh, waves.
- Waves, yeah so the waves plug-in suite.
And I know you like to use complete,
- Exactly.
- For a lot of your stuff.
And when you get to the mastering part of the track,
once the mix is all clean, and sounding pretty perfect,
what is your process for mastering?
- Well, mastering is like, I take the whole bounds,
and put it in a new project.
- Yeah.
- And then I have my compressor, my EQs for waves,
another arpy compressor, for waves,
and a limiter from Invisible. Invisible limiter.
- So he's saying he does not master in the same session.
- No.
- Different session completely,
where he has all of his stuff already set up
so he can start the mastering process.
- Exactly.
- And like yo were saying know your gear,
so you just have to get to know each plug-in.
I always say that if someone gave you a computer
with every plug-in ever, you might think,
"oh that's so cool!"
but then you wouldn't know what to do with any of them.
- Exactly.
- So sometimes its actually important to take your time,
and buy one plug-in at a time, and figure out
how it works, and I think that that will make you better
at understanding your gear.
- Yeah exactly.
- And also this is the first time
that we have ever met in person, which is crazy,
because I'm from Los Angeles, you're from Switzerland right?
- Yeah!
- Exactly, so its really cool to meet you in person,
and be in your studio, but this collab took place
completely online, through Whatsapp, so,
Don't think about the fact that "oh you guys
are so lucky, because you can be in the same studio."
You can be anywhere.
I know DJ duos even, that have never met,
that record and work together and collaborate.
As long as you have access to your phone, to your computer,
we just shared a Dropbox folder.
And collabing, you can do it from anywhere.
It takes a while to figure out which person
is gonna be a good collab.
Not everyone is gonna be great,
some people are gonna let you down,
some people are gonna ghost you and not respond to you,
or not finish their part, or make you do all the work.
Yeah exactly.
I think its similar to dating,
it takes while to find your perfect match.
So you're my perfect match.
(Saxophone music)
(Laughs)
Yeah we both use logic, we both like to use
Serum Nexus, center by waves, all these things
kind of just lined up, and that didn't happen for me
when I first started collabing,
I had a bunch of bad experiences, over and over,
to the point that I almost didn't want to collab anymore.
But eventually you do find good people to collab with,
and things do work out, if you keep at it.
Did you ever have any bad collab experiences?
- Oh yeah. Yeah yeah.
- And its the same thing with the producer's team,
it's important that you're all in it for the right reasons.
When you're jus sending someone a Soundcloud message,
and you're like "Hey, you wanna collab?"
They're not on Soundcloud to collab with you,
so they get kinda weirded out when they get that message
'cause you're not there for the same reasons.
But if you're part of the producer's team,
everyone is there to collab,
everyone is there to work together,
so when you message each other for feedback,
you're not gonna get someone that's like:
"I don't know, bro."
Or your not gonna get a situation where
everyone is just in it for themselves.
They're there to collab, and to work together,
in the first place.
And I think you have to work with people with the
right mindset.
And if you don't know what the producer's team is,
of course, I always have the link in the description below.
So also you might be wondering,
what the heck future trance is,
which is what I keep saying about this track,
that its future trance.
What that means, something that I started,
and you were really into as well,
we we're creating this baby of future trance,
and what it is, is basically the trancey,
inspirational break, with kinda that like:
(Synthesizer notes)
Like that kinda vibe,
like arpy kind of core progression going on,
and with a vocal, that's an inspirational vocal,
a lot of reverb on the vocal, that's why we like the
pitched-up female vocal worked really well on this track.
But then, the BPM is more future, with the 126 BPM,
and the drop has a lot more energy and groove,
like it has more percussion, top loop,
that kinda stuff.
And expect more future trance very soon.
- Oh yeah.
- That is it for today's walk-through.
I hope you enjoyed it, I hope you learned some stuff,
that you can implement now into your tracks,
so you can make them even better,
little tips and tricks form this guy.
- And if you like this video,
make sure you give it a thumbs up,
make to give it a thumbs up if you love Mastrovita.
And also, he's an awesome dude, as you guys saw,
and he's really smart and he knows what he's talking about,
so make sure to follow him on Spotify for his newest tracks,
and Instagram, we'll leave all of his information
in the description below.
- Yeah guys, and we'll see you next time.
- Yeah, we will.
- Bye!
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