Mix Trap Beats with VocalSynth 2 | FL Studio

Mix Trap Beats with VocalSynth 2 | FL Studio

December 1, 2019 2 By Kailee Schamberger


(trap music) Hello and welcome to BusyWorksBeats.com. Today we continue our trap series. I want to show you how
to create sub-layers. This is the stuff that the pros know. It creates movement in your tracks, so that your track doesn’t
feel like it’s being stuck or getting stuck at certain points. So I’m using VocalSynth for
things that aren’t even vocals, and I’ll show you how to
use it in a masterful level as far as creating your own sound. So for example, I have my
808, my kick, and my hi-hat all directly sent as a duplicate over to this sound effects channel. And they’re running
through pure VocalSynth2. Now here’s without the
sound, so I want you to listen to it before and then after. So here’s before. And here’s after. There’s so much more movement. So I’ll show you how to
introduce that movement, and movement in modern-day trap you have more than
just the linear hi-hat that goes tk-tk-tk-rrr-t-t-t. You could do a bunch of hi-hat rolls, but most likely you’re going to hear in the top tracks two hi-hats going on, and this is how you
create that sub-rhythm. So VocalSynth2, we’re
gonna turn it on here, and I have the 808 routed
to this track, okay? And I have the kick
routed, so here’s the 808. And that’s with no hi-hats. It’s creating it’s own percussion element. Let’s run the kick through it. Okay, so the tricks, the
reason why you don’t hear so much bass is if you
turn off this filter, you’ll hear the low end. So if I turn this filter off, you’ll hear frequencies that
compete against the kick. So what I did, the most
important components for this setup, and you
could take a picture of the settings if you want, the most important
components are the shred, okay, and I have the A-setting on 1/8th, B-setting on 1/32nd,
the C-setting on 1/16th, so that’s the only dynamic thing you can’t really screenshot. However, the filter is super
important for this sound, because we’re getting
rid of the bass stuff and we’re only leaving
the high frequency stuff. So I have mine set to
New York, I’m assuming NY stands for New York; HP
which is high-pass filter; and I have it set to 370 hertz and below, so everything below
370 hertz is being cut. And then I just click and
randomize the knobs up here. It’s going through and moving
stuff until it sounded right. And this is the tone
that I like specifically for this track, okay? And that’s what makes this creative. It creates a sub-layer
based on the source sound, so we don’t even have to introduce a new sound source, as far as like a raw sound. No extra, there’s no
other hi-hat I’m using. Let’s A-B it one more
time, here’s without. Pretty plain and kind of standard. Now here’s with. It just makes the beat feel
like it’s not predictable, and that’s the issue
with most beginner beats is that it sounds too predictable or it sounds like the beat’s getting stuck because the high frequency
stuff isn’t moving enough. And this is my way of
creating that for trap, and trap is all about
figuring out new ways to take what we’ve done
before, like playing linear, and just changing and flipping the whole industry on its head. And this is a pure example of that. So thanks for watching today. It’s BusyWorksBeats.com.