Prática de Shadowing: FL Studio 25 • Trap Drum Patterns for Beginners - Aprenda a falar inglês com vídeo

Trap beat drum patterns for be -giners.

Hello and welcome to Busyworksbeats .com.

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That S was not long enough.

If you don't know me, I'm Game from BusyworksBeats .com.

We train over a million producers around the world.

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In this video...

I'm going to show you the trap drum patterns you could use right inside of FL Studio or other DAWs.

And once you understand how fun it is and how simple it is, you could apply this to your own unique style.

Alright, so the cool bonus for today for you guys tuning in

to watch is I'm going to give you guys my go -to drum kit, which is basically eight of the top sounds I found out of like 70 or 70, 700 gigs of sounds.

These are my eight top sounds, okay?

So this first one is like a kick 808.

Next thing, we have like a rim shot snare.

Here's like a go -to snare.

There's a hi -hat for you guys, a hard snare, super hard snare, a punchy kick for you guys, and a laser that I like a lot.

And also the spins 808.

Okay, so firstly, let's talk about just simple kick and snare patterns.

So whenever I'm working inside of FL Studio, the first thing I'll do is I'll open a sound from what's called the browser.

little folder icon and then i have my sounds imported into fl studio you could just drag

and drop a folder into the browser and it will add it to your sound collection here So these are downloaded sounds, these are not stock sounds.

Firstly, we're going to right -click here and open a new channel.

This will basically add the sound to our channel rack.

The channel rack is where we add sounds and where we create drum patterns.

Okay, so we're going to click this button to open the channel rack.

The simplest starting point in my opinion is if I just make a click way over here to the right, and then we're going to right click and fill each two steps.

This is basically going to be a metronome for your beat.

Let's go to song mode and just left click and add it into the playlist.

So I'll usually do this for about four bars or two bars at the minimum.

Okay, so this is really two bars at double time.

We don't need to get complicated.

We're 140 BPM.

So we're really in double time.

This is not normal BPM.

And then just hit space bar on song mode to hear your hi -hats.

So it should just be a steady little hi -hat all the way through.

So consider this almost like the metronome for your beat.

So nextly, let's go to a different pattern.

So let's just left click here scroll to a different pattern.

The reason I produce my drums on different patterns is because I want to create change -ups over time.

So I'll usually separate the hi -hats and the kick in the snare.

So nextly, let's focus in on our snare.

So let's say we want this, this Metro Boomin' Snare.

Let's right click, open up a new channel.

Okay, let's hit, Let's highlight these sounds here.

And if you want these sounds, just go to BusyWorksBeats .com.

It's free to join.

Click on where it says free downloads, and then you'll have access to my go -to sounds.

okay so let's highlight these sounds let's get in the habit of highlighting these in the channel rack

and hitting ctrl l this will send the sounds to the mixer

and label them for you where you can adjust the volume the panning

and everything else and other effects

so next what i like to do is go to song mode left click

and add in a snare so notice i'm producing in the playlist

and not in the channel rack this is going to help me understand the puzzle pieces of the beat

so let's go to pattern two here and we're going to count we're going to turn the metronome on this

a three and seven.

So every time the metronome hits, let me turn off the hi -hat.

You guys hear that sound?

You can right click to change out your sound by the way.

you Okay, I keep mine on pulse because it's faster.

So it's one, two, three, four, five, six, seven.

So the snare for trap drums is on the three and the seven count.

So it's one, two, three, four, five, six, seven, eight.

Okay, so that's where the snare goes.

Now let's turn our hi -hats back on.

So really simple.

Let's find a little lightweight snare.

And we're going to use this as a ghost snare.

So let's right click and open this up.

So here's where we get into more intermediate to advanced concepts.

Let's hit control L.

Send that to the mixer.

So now I want to bounce.

So how do you create a bounce?

It's trecillo.

Trecillo.

trecillo

so it goes trecillo trecillo trecillo trecillo it's not triplets triplets

is one two three one two three one two three one two three Tresillo is tre -si -yo, tre -si -yo.

Basically, they're equidistant notes.

So Trecio, once you understand this bounce, you'll understand almost every genre.

And I'm going to do this video for other genres just to show you how ubiquitous Trecio is.

So basically what we're going to do is one, two, snare, four, three, C, snare.

One, two, snare, four, three, C, snare.

Okay, so let's add that in.

One, two, three, four, three, C.

That's the bounce.

Now let me show you guys syncopation real quick.

I'm not going to make this a super long lecture here, each four steps instead of two.

Your beat is gonna sound stiff as a mug.

And that's because the hi -hats are not on the syncopated areas.

So basically what we can do is offset this hi -hat.

Because it just hits when the metronome hits.

That's called the beat, like a heartbeat.

the bounce comes from the in -between, okay, called the syncopation.

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So if I simply hit, control shift and use my left

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and right arrows I can move this over to the end

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so it's one and two and three one and two

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and three and four and five and six and seven

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and eight and one two and three four and five

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and six and seven and eight and now the beat feels like it's bouncing

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because we put the hi -hats from the one two three four to the end

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so now it's one and two and three and four

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and five and six and seven eight and nine okay so now there's the bounce

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So that's where bounce comes from is syncopation and also trecillo.

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So let's right click, fill each two steps.

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Okay, so now you guys know where bounce comes from.

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There's actually like a scientific definition of bounce.

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Okay, now we're going to add some kicks.

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Now here's where we kind of switch into different sub -genres of trap.

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Some people use the 808 as a kick, some people use the kick as a kick.

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So let's just start with a regular kick.

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Let's right click, open up a new channel.

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Remember hit control L, get in the habit of doing that.

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let's go to the song mode here let's drag a blank pattern in

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and now let's start drawing in this kick

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so i want to go three seal

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so it's boom three c oh boom three c oh boom

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three c oh boom three c oh boom three c oh boom see how that's you know

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that can carry the beat if i wanted to just repeat that over and over again

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Let's highlight this.

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Let's hit control B to latch paste.

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Let's turn off the metronome.

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Okay, so let's say it gets a little repetitive.

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Let's go here to pattern the end pattern here.

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Let's click in the top left.

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Let's go to make unique.

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What this does is it duplicates the pattern to a new pattern so that we can make a change to it.

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So now I want this pattern for the kick to be like a little bit different than the rest.

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Let's go inside the pattern with the channel rack here.

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And let's figure out what we can do.

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We can add more trecio.

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We can add ghost notes.

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So let's hear this in context.

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I'm going to hit control left click so I can solo just the end area here.

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So now I'm going to add more bounce by adding more trecio.

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So now it's going to go trecio. So let's go trecio.

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Trecio.

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Trecio.

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But it appears as a double kick, but really this is just trecio meaning another trecio.

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guys another little technique you can go to the graph editor

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here anytime you have back -to -back kicks this is a cool technique especially for 808s

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Go to your velocity here and just turn it down a little bit.

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So now we have, I call these ghost kicks.

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It's like a stepping stone, like one, two, one, two, three, four, one, two, one, two.

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It kind of guides the ear.

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Okay, let's hear this all together.

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Now I can just, you know, play keys on my keyboard.

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I'm not going to sit here and make a whole beat for you guys, but.

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You know what?

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I got to turn my keyboard on.

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That would help.

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All right, we got the keyboard loaded up.

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So now I'm going to record in a melody.

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You guys don't need to memorize this part because this is going beyond the scope of a drum pattern.

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Let's record in a simple melody.

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Let's do like D minor.

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Something like that.

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Very basic.

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Okay.

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all right

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so you guys will get the project files for free uh

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just go to get into busyworksbeats .com look at the free Downloads and look for the trap folder under the FL Studio.

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So let's just call this piano.

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Now, you know, I'm not going to get into everything about everything, but in my...

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You know, my original process of how I create beats, I have a system that has four components to it.

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And I'm not going to sit here and explain everything about everything here.

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But basically, the drums are the rhythm to your beat.

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It's like the heartbeat.

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And what we just added is a chord.

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So that's the harmony section.

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Plus we added what's called a top line.

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But really, we just added a harmony section with rhythm.

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So this is harmony plus rhythm.

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And once you understand these four components, it'll make so much more sense.

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So basically, everything has what we call a top line layer.

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This is your memorable melody.

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And again, I would make a whole beat here, but we don't want to waste time.

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Then you have a harmony section.

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And then you have what's called contrast.

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This is where your bass goes, where your 808s.

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And then you have rhythm.

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So now I know, what is the beat missing?

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The beat is missing a contrast layer, a .k .a the bass, and we could add a top line here.

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Okay, so now I'm knowing which puzzle pieces I'm actually missing.

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so that we don't overfill the beat.

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Now really this piano also has contrast in it, so it's harmony, contrast, and rhythm.

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Okay, so it's really three things in one.

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We can also consider that a top line, but I don't want to get into the weeds about everything.

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So let's just assume we have everything.

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uh let's go and find us an 808

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so let's go over to our go to kit let's find the spins 808 let's right click

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and open a new channel now here's where people tend to draw notes in but for me i like to record

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the actual 808 pattern by hand.

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It just gives me a more lively sound.

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Okay, so let's hit Control L.

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And all we need to do is just find the root note because every 808 is different.

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They're not all tuned to middle C.

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So we just need to find that root note for D.

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Right here.

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And I just need to figure out which octave I want to be in.

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So if you can't hear your 808, simply just go to pre -computed effects and just turn it up a little bit.

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I have to decide do I want to be up here with it or down here.

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So let's be down there.

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Let's record and it's going to go boom.

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Or I might omit some notes.

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So it's boom.

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crazy you know i'll probably switch it up over time let's record this in

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so notice how i like jumped around a little bit that's

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because once you understand how to create baselines you can be a little bit more freeform Okay, so here's the 808 that we just recorded.

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Let's double click in here.

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Let's hit Alt +Q to quantize.

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Now, Let's just hit Alt -Q.

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I don't want to explain so much here.

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And what it does is it locks it to your template.

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Okay.

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So let's hear what we have so far.

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So let's identify the Trecio just to show you guys how repetitive Trecio is.

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We have three Tresillos here.

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So notice at the end I went, I did all these different notes.

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That's because I want the ear to not get bored of hearing the same pattern.

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And I'm letting the ear know, hey, we're about to move into something different.

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There's no rules for this.

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It's just...

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based on however you guys like to do stuff.

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Now, I'm not going to force a bunch of stylistic stuff like slides, but I'll show you how to create an 808 slide and how to do hi -hat rolls real quick.

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So let's say I want to go up an octave here.

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and then down an octave.

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Let's double click on where we want to slide to, double click on the note, and then click the slide icon.

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So now we're going to slide from this note all the way down to this note in that amount of time.

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Again, this beat doesn't need slides.

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I'm just showing you guys how to create a slide.

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So I'll pull it up an octave so you can hear.

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Again, this beat and the style doesn't need a slide.

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So don't force it.

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But let's say you want a hi -hat roll.

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So let's go double click to find our hi -hats.

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To create hi -hat rolls, we have to be in what's called the piano roll.

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Most of the time or if you want to do like more of a metro booming style, it's more of a stutter than a hi -hat roll

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But a long story short and we're gonna go one two three two two three four one two three All right,

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this is that little bounce

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So let's right click here

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and it's gonna be on a roll one two three did

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it up one two three two three did it one two three good one Let's highlight it,

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right click the note in the way, hit control L.

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It will elongate the note to out.

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One, two, three, one, two.

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So let's highlight this, hit control L.

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Next, let's hit Ctrl +Shift to highlight all the notes we want to slide and hit Alt +U to chop them up.

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I learned that from Chop Squad DJ.

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Shout out to him.

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Now, normally we don't play kicks and 808s at the same time, so I'm going to turn off the kick just for a second.

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Let the 808 kind of breathe.

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Now let's bring in the kick.

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Now again, I'm not trying to show you guys everything about everything here because the video would be too long.

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So let's just add a soft clipper for now.

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Let's push the volume in with the knee cue.

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Okay, so let's just add one more thing.

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We're making a beat at this point.

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So let's just add like a top line expression.

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and we're going to do that at the end of the bars So I don't know why I just randomly stopped, but...

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I'm glad it stopped anyway because that's all we needed.

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So now let's hear this one time through.

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And again, we just made this beat in like five minutes.

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Now somebody might ask, "Okay, how do you arrange this?" Well, this is getting into a different video.

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Hopefully I remember to link it below my "How to Turn 8 Bars Into a Full Song" video.

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Basically, you look at the four components that you have, okay?

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The piano is doing a contrast, so let's just take out the 808.

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And let's let the kick breathe.

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See how there's different ways to rearrange these puzzle pieces.

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I don't want to sit here and spend too much time here today.

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I just want to thank you guys for being loyal to get these project files.

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And remember you guys get my go -to sounds for Trap.

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Just go to busyworksbeats .com, sign up for absolutely free, and then go to where it says free downloads and that's where you can access this go -to kit.

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It's under the sounds tab.

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And it should say GoToSounds.

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All right, guys.

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Share with a friend.

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Peace.

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Contexto & Histórico

O vídeo apresenta o FL Studio 25 e se concentra na criação de padrões de bateria de trap, onde o instrutor, um experiente produtor musical, compartilha dicas e técnicas para iniciantes. A interação com a audiência é constante, incentivando os espectadores a se envolverem e aplicarem as habilidades aprendidas em suas próprias produções. A prática é essencial para entender a dinâmica das batidas e a construção de uma música. Ao dominar a estrutura de batidas e ritmos, os aprendizes também podem melhorar sua pronúncia em inglês ao ouvir atento e repetidamente as instruções dadas.

Top 5 Frases para Comunicação Diária

"Please smash that like button." (Por favor, clique no botão de curtir.)
"We're going to create drum patterns." (Vamos criar padrões de bateria.)
"This is your metronome for your beat." (Este é seu metrônomo para a batida.)
"Let’s turn the metronome on." (Vamos ligar o metrônomo.)
"You can access my go-to sounds." (Você pode acessar meus sons favoritos.)

Guia Passo a Passo de Shadowing

Para explorar o vídeo de maneira eficaz usando técnicas de shadowing em inglês, siga os passos abaixo:

Escute com atenção: O primeiro passo é ouvir o vídeo sem fazer anotações. Preste atenção ao tom, à pronúncia e ao ritmo do instrutor.
Identifique frases-chave: Enquanto ouve, identifique frases ou palavras que se destacam e que são repetidas ao longo do vídeo. Isso ajudará a familiarizá-lo com as expressões comuns na música e na produção.
Repita imediatamente: Depois de ouvir uma frase, pause o vídeo e repita o que ouviu. Isso ajudará a melhorar sua pronúncia em inglês e sua fluência.
Pratique o shadow speech: Tente reproduzir os padrões de fala do instrutor na sequência correta, tentando imitar seu estilo e entonação.
Grave-se: Grave sua prática de shadowing e ouça a gravação. Isso permitirá que você compare sua pronúncia com a do instrutor e faça ajustes conforme necessário.

Usar o shadowspeaks para estudar a fala é uma maneira eficaz de entender e internalizar a forma como os falantes nativos se comunicam. Com essa prática, você não só melhorará sua pronúncia, mas também se sentirá mais confidante ao usar o inglês em situações cotidianas.

Para recursos e exercícios adicionais, você pode explorar um shadowing site que fornece materiais de áudio e vídeos para aprimorar suas habilidades linguísticas.

Gramática neste vídeo

As estruturas que o falante mais usa, com as palavras exatas do vídeo:

Estrutura	No vídeo
Conselho com “should” should + verbo — dizer o que é uma boa ideia	should just be · should say
Possibilidade com “might / may” might/may + verbo — algo possível, mas não certo	might omit · might ask
Present continuous am/is/are + -ing — algo que está acontecendo agora ou nestes dias	I'm working · i'm producing · is going
Futuro com “going to” be going to + verbo — um plano ou algo que dá para prever	are going to work · I'm going to show · I'm going to give

O que é a Técnica de Shadowing?

Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.

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