(melodic trap music) – [Danny] What’s up? I’m Danny Wolf. I’m here with The Crate.
About to make some fye shit. ♪ Call my plug on the phone
like “Trust me Danny” ♪ ♪ Always keep it real ♪ ♪ I ain’t never been an actor ♪ ♪ Move them bricks to
the bando like, ouu ♪ ♪ Move them bricks to
the bando like, ouu ♪ ♪ Water, water, water, water ♪ So, let’s give it a look. Pfft. Let’s see, first contender. What the fuck? (laughing)
Cool. A’ight, let’s see. (lid crashes to the ground) A pencil sharpener.
(whirring) Very classy. Bread? Is this bread? What is this? Pasta. Whole wheat, can’t go wrong. Classic.
stapler snaps) What is this?
(spoons rattle) Measurement spoons. And last but not least, a pencil. Is that it? Oh, no wait. There’s something else. Oh, we’re just carving pumpkins. We’re just having fun. Alright, cool. In my spot, with my boy Dilip. About to record this. How should I do this? Should I like. (scraping)
– Cut into it. (stabbing) – Oh, shit. We’re onto something. (tapping) I can probably use it as a kick too. I can make like some cool little, like, a little synth. (scraping)
Ooh. (pasta shaking)
(flicking) – Damn.
– That’s that Zaytoven. (pasta bits crashing over surface) Oh shit.
(laughing) I knew it. I’m like Dr.Dre right now. (chiming) (stapler snapping) Ohh. Classic. (strumming)
It’s like a little bass. – [Dilip] Yeah. (metal scraping) – This could be the hi-hats. (chuckling) Maybe I could play these
like a little chandelier. – Yeah, like some chimes. (clinking) (laughs) – It’s not really how I wanted
it to sound but that’ll work. – Yeah. (clinking) – Bet, last one. (sharpener whirring) Hold up. You’re gonna have to hold this. Got to do a little team work. (sharpener whirring)
(laughter) – Dope. – That was hard.
– Hit something with this. – Punch it?
– Yeah. (thump) That’s a hard ass kick. You see that?
(thumping) Bop. – Damn. Alright, now we
gotta carve the pumpkin. I gotta get the squishy shit outta here. Yo. It’s like a futuristic pumpkin. Now all we’ve gotta sample is. I feel weird doing this. (scraping) Mm-mm. This pumpkin’s dried. He has no squishy sound, bro. (grating) (laughter) Can you pick that up? – Yeah. You got to do it louder though. Like, you gotta do it harder. – Damn, I gotta finger blast this? Ah, shit. Damn, can we blur this? If you’re 18 years and under,
please stop watching this. (squishing) (laughter) – [Dilip] Okay. – Now, time to make some fye shit. I basically have all the
instruments trimmed up. So, I’m gonna turn this
into like, a snare. The little slap.
The kick that I made. (chiming and shaking) The pasta. I’m gonna use the pasta. (scraping melody) Let’s do this. Here we go. Alright. (samples playing over metronome) Sauce. Can’t go wrong with Gross Beat. Gross Beat basically just
kind of makes it glitch out. I’mma change the 808. Gotta get the 808 right. Can’t rush the 808. It was just mostly building around the key and the tune of everything. ‘Cause everything’s in a different tone and a different pitch. So, it was just mostly kinda figuring out what the little knives were in. Like, a C-note or F or a G. And then once you get that,
you just build around that. Damn, I’m about to show
ya’ll all the VST sauce. Here we go. (futuristic trap beat) So what we’ve got right here is Loom. I grab the little knife thing I used, and I made this melody out of it. (scraping melody) So, it kind of adds a little bit of surprise element. You don’t really know what that is. Sounds like a percussion. And then I added this melody. (synth melody) Nasty. And then, I just add a little bit of bass. (futuristic trap beat) And I just add a little bit
of Gross Beats to my hi-hats. So you kinda adding a little bit of weird Sci-fi sounds to it. I don’t layer my kicks sometimes, sometimes I’ll just layer the 808 first. And then just add the
little kicks as fillers. And then now, we’re just gonna
add a little bit of pads, maybe just to fill it in. I like to use Serum. It’s pretty tight if
you know how to use it. A lot of people get
turned off by Serum, but. I ain’t mad. But the majority of the
beat is going to be driven by that little pumpkin
carver thing we used. How did I get into producing? Just watching a lot of
producers making beats on YouTube and stuff. Actually, it was really Waka
Flocka, and it was Flockaveli. That was a crazy mixtape. That was really what just, broke everything out and made
me want to just make beats. It was really like a YouTube
video of Lux Luger on YouTube, and he had his homie just
like how we have now. Like, hopefully we inspire
some other kid out there. You know? Yeah, I was just watching him make beats. And then I was just like, “Damn, I want to do what he’s doing.” Now we’re here. Another one. (whirring and booming) That’s the pencil sharpener and (squishing and grating) that’s the finger blast. Now I’mma just use that
(slapping) little rattle with the pasta as the drop. When the beat comes in, boom. The stapler as like a cymbal. And then, we just add a
little bit of pitch shift. Switch it up a little. (dark trap beat) Two beats in one. But we ain’t gon’ get too flashy. That’s how we gon’ end it. (laughs) – I think it went great with what we had. It was definitely a crazy experience, this was a crazy experience. There’s just a lot of tweaking. I thought I wouldn’t snap
that hard but, you know. (scraping) (futuristic trap music) (laughing) Some ignorant shit. And then, I was like “Why
not just make two beats?” And then you just.
(scraping) Just in case the rapper doesn’t like it. (dark trap beat) It’s a real dark sound. It’s more for like artists with a lot of bass in their voice. And there you have it. Whatever you do, just snap. All the plug-ins, all the Pro Tools, all the software, all this extra stuff, it doesn’t really matter. As long as you’re good at what you do, so. You know, just focus on music theory. Focus on learning the ways of
layering melodies, I guess. And, be yourself. (futuristic trap music) Ooh, this one for Pablo. I’mma make him rap on it.