Chords for The Making Of Logic's "Take It Back" With 6ix | Deconstructed
Tempo:
125.5 bpm
Chords used:
Gm
Dm
G
F#
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I definitely knew after we made this that Logic would definitely like this, but I didn't
think he'll go the direction that he went on it.
I was making this on some like, hey, let's go, but it still has that vibe, but he's saying
like really, really awesome, important stuff on it too, which is like, for me, it's great.
It's like the best of both worlds, and this is one of my favorites on the album [Gm] for sure.
I literally met Logic probably two, three weeks after I started making beats, yo.
U Street in DC, they would have these beat battles.
It was a one year anniversary when they started doing it, and I won that beat battle.
And what's so crazy about it too is that they had local rappers open up for the beat battle.
That's kind of how poppin' it was at the time.
I remember seeing it, I was like, man, this dude is tight.
And he hit me up on Twitter, and I was like, yo, heard you killed it, let's link up, whatever.
We did like two records, three records that first day, and he was like, man, when I get
on, I'm about to bring you on.
For some reason, man, he saw that he fucks with the vision or something, and now here we are.
So take it back, I think the first thing I started off is with these drums.
As you can see in the mixer, there's literally nothing on it.
I like to keep my kicks dry.
Sometimes if you put compression on it, it kind of loses that edge, so I just keep it
super dry, just making sure it's knocking.
Super simple snare, and I like my snares punchy too.
Don't really use claps that much, I just like snares super punchy.
And then even on this, [G#m]
nothing on it, literally nothing [G] on it.
Super dry.
[N] But then the cool thing is, the hi-hats, if the kick isn't playing, it's just normal hi-hats.
I put this thing called the Fruity Standard FL Studio, Fruity Peak Controller.
And make sure you unmute it too.
And then put that on the kick.
And then you put your hi-hats, right-click the level on the mixer, and then you can link
it to the controller, meaning link it to the kick drum.
So you literally loop the hi-hat to the same plugin as the kick drum.
And then what's really cool is that you invert it, meaning the volume goes to zero when the
kick happens on the hi-hats.
And then you accept that, and then you can hear it.
You can even look at the mixer, like, super simple.
And then, you know, with the snare, kind of give it a little bounce.
And I love putting my hi-hats to the right on the grid, meaning they're not perfectly
quantized on beat.
Because sometimes when the hi-hat is too on beat, it sounds too, you know, robotic.
So, you know, I got a little space on it, a little breath, like you can even see if
I open it up.
You know, got a little room on there at the end.
That kind of makes it sit on the kick a little harder, too.
Sometimes I notice if the hi-hat is too on point, it makes the kick sound kind of whack.
So slide to the right a little bit, it'll sit nice on the kick.
And then open hi-hat.
Oh, I actually pitched this down for 400 cents, which is 400 semitones.
I can play it, like, normally.
It's kind of higher up, and it's longer.
But what I did is shortened it and [B] pitched it down.
And then, so the next day, I had these, went to the studio with my man Bobby Campbell.
Shout out to Bobby.
He helped me co-produce this record, Take It Back.
We were just going through [Gm] sounds, and then he had this one crazy loop, and it fades out.
And that's kind of what we had.
And I was like, man, I made these drums yesterday.
So I chopped it up, I pitched it down, kind of went to like
[Dm] Slow it down a little bit.
And I pitched it down, I think, like a semitone.
It kind of gave it more of a raw feel, as opposed to the higher one, kind of faster.
So I had these, right?
And then with these drums, I was like, okay, this kind of [Gm] has a nice little bounce to it,
you know?
Still pretty [Dm] simple.
I'll be at this.
Because I think, I'll play that.
That vocal kind of sets it [Gm] off, the way Logic was rapping on it.
It kind of answered what he was saying.
[G] This is my favorite part when I did the 808s, man.
Super simple.
But I like distorting my 808s too.
Just to kind of make it sound a little different, you know?
Super saw-y.
And then what's cool about this too, in FL, man, you can put this thing called portamento,
or glide.
It can make it sound like it's gliding almost.
Just at the very end, you know?
And then once I added [Dm] that
[Gm]
And honestly, man, this beat took me like 15 minutes, 20 minutes, man.
You know, there's brilliance in simplicity.
You can always add a lot of stuff to a beat.
But I think if you make every sound [F#] super important to the beat, you don't need to add
a lot of stuff.
If you take out one of these sounds, the beat isn't the same.
So I think that's kind of where I like [Gm] to
Everything is important to this, you know what I'm saying?
Man, I get so excited when I get to go see a show because I love, first of all, seeing
the crowd [F#] love and react and appreciate something that I just made by myself in my room, hoping
people would like.
And going to the shows and when they hear it, they're singing every word.
It's amazing, man.
I feel so blessed and grateful I get to experience that.
But it's also, that is [Gm] amazing.
And then second of all, it's a learning experience for me too because I'll be in the front of
house trying to enjoy myself, but in my head I'm like, man, this snare isn't popping.
I gotta pan these hi-hats better, you know?
So it always keeps me pushing too.
Because I'll hear other people's beats on the same system and I'm like, damn, these
beats go harder than my shit.
So I'm going back to the lab.
So it's inspiring too.
Super inspiring.
I love it.
[N]
think he'll go the direction that he went on it.
I was making this on some like, hey, let's go, but it still has that vibe, but he's saying
like really, really awesome, important stuff on it too, which is like, for me, it's great.
It's like the best of both worlds, and this is one of my favorites on the album [Gm] for sure.
I literally met Logic probably two, three weeks after I started making beats, yo.
U Street in DC, they would have these beat battles.
It was a one year anniversary when they started doing it, and I won that beat battle.
And what's so crazy about it too is that they had local rappers open up for the beat battle.
That's kind of how poppin' it was at the time.
I remember seeing it, I was like, man, this dude is tight.
And he hit me up on Twitter, and I was like, yo, heard you killed it, let's link up, whatever.
We did like two records, three records that first day, and he was like, man, when I get
on, I'm about to bring you on.
For some reason, man, he saw that he fucks with the vision or something, and now here we are.
So take it back, I think the first thing I started off is with these drums.
As you can see in the mixer, there's literally nothing on it.
I like to keep my kicks dry.
Sometimes if you put compression on it, it kind of loses that edge, so I just keep it
super dry, just making sure it's knocking.
Super simple snare, and I like my snares punchy too.
Don't really use claps that much, I just like snares super punchy.
And then even on this, [G#m]
nothing on it, literally nothing [G] on it.
Super dry.
[N] But then the cool thing is, the hi-hats, if the kick isn't playing, it's just normal hi-hats.
I put this thing called the Fruity Standard FL Studio, Fruity Peak Controller.
And make sure you unmute it too.
And then put that on the kick.
And then you put your hi-hats, right-click the level on the mixer, and then you can link
it to the controller, meaning link it to the kick drum.
So you literally loop the hi-hat to the same plugin as the kick drum.
And then what's really cool is that you invert it, meaning the volume goes to zero when the
kick happens on the hi-hats.
And then you accept that, and then you can hear it.
You can even look at the mixer, like, super simple.
And then, you know, with the snare, kind of give it a little bounce.
And I love putting my hi-hats to the right on the grid, meaning they're not perfectly
quantized on beat.
Because sometimes when the hi-hat is too on beat, it sounds too, you know, robotic.
So, you know, I got a little space on it, a little breath, like you can even see if
I open it up.
You know, got a little room on there at the end.
That kind of makes it sit on the kick a little harder, too.
Sometimes I notice if the hi-hat is too on point, it makes the kick sound kind of whack.
So slide to the right a little bit, it'll sit nice on the kick.
And then open hi-hat.
Oh, I actually pitched this down for 400 cents, which is 400 semitones.
I can play it, like, normally.
It's kind of higher up, and it's longer.
But what I did is shortened it and [B] pitched it down.
And then, so the next day, I had these, went to the studio with my man Bobby Campbell.
Shout out to Bobby.
He helped me co-produce this record, Take It Back.
We were just going through [Gm] sounds, and then he had this one crazy loop, and it fades out.
And that's kind of what we had.
And I was like, man, I made these drums yesterday.
So I chopped it up, I pitched it down, kind of went to like
[Dm] Slow it down a little bit.
And I pitched it down, I think, like a semitone.
It kind of gave it more of a raw feel, as opposed to the higher one, kind of faster.
So I had these, right?
And then with these drums, I was like, okay, this kind of [Gm] has a nice little bounce to it,
you know?
Still pretty [Dm] simple.
I'll be at this.
Because I think, I'll play that.
That vocal kind of sets it [Gm] off, the way Logic was rapping on it.
It kind of answered what he was saying.
[G] This is my favorite part when I did the 808s, man.
Super simple.
But I like distorting my 808s too.
Just to kind of make it sound a little different, you know?
Super saw-y.
And then what's cool about this too, in FL, man, you can put this thing called portamento,
or glide.
It can make it sound like it's gliding almost.
Just at the very end, you know?
And then once I added [Dm] that
[Gm]
And honestly, man, this beat took me like 15 minutes, 20 minutes, man.
You know, there's brilliance in simplicity.
You can always add a lot of stuff to a beat.
But I think if you make every sound [F#] super important to the beat, you don't need to add
a lot of stuff.
If you take out one of these sounds, the beat isn't the same.
So I think that's kind of where I like [Gm] to
Everything is important to this, you know what I'm saying?
Man, I get so excited when I get to go see a show because I love, first of all, seeing
the crowd [F#] love and react and appreciate something that I just made by myself in my room, hoping
people would like.
And going to the shows and when they hear it, they're singing every word.
It's amazing, man.
I feel so blessed and grateful I get to experience that.
But it's also, that is [Gm] amazing.
And then second of all, it's a learning experience for me too because I'll be in the front of
house trying to enjoy myself, but in my head I'm like, man, this snare isn't popping.
I gotta pan these hi-hats better, you know?
So it always keeps me pushing too.
Because I'll hear other people's beats on the same system and I'm like, damn, these
beats go harder than my shit.
So I'm going back to the lab.
So it's inspiring too.
Super inspiring.
I love it.
[N]
Key:
Gm
Dm
G
F#
G#m
Gm
Dm
G
I definitely knew after we made this that Logic would definitely like this, but I didn't
think he'll go the direction that he went on it.
I was making this on some like, hey, let's go, but it still has that vibe, but he's saying
like really, really awesome, important stuff on it too, which is like, for me, it's great.
It's like the best of both worlds, and this is one of my favorites on the album [Gm] for sure. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
I literally met Logic probably two, three weeks after I started making beats, yo.
U Street in DC, they would have these beat battles.
It was a one year anniversary when they started doing it, and I won that beat battle.
And what's so crazy about it too is that they had local rappers open up for the beat battle.
That's kind of how poppin' it was at the time.
I remember seeing it, I was like, man, this dude is tight.
And he hit me up on Twitter, and I was like, yo, heard you killed it, let's link up, whatever.
We did like two records, three records that first day, and he was like, man, when I get
on, I'm about to bring you on.
For some reason, man, he saw that he fucks with the vision or something, and now here we are.
So take it back, I think the first thing I started off is with these drums. _
As you can see in the mixer, _ there's literally nothing on it.
_ I like to keep my kicks dry. _ _ _
Sometimes if you put compression on it, it kind of loses that edge, so I just keep it
super dry, just making sure it's knocking.
Super simple snare, and I like my snares punchy too. _ _
Don't really use claps that much, I just like snares super punchy.
_ And then even on this, _ _ [G#m] _
_ _ nothing on it, literally nothing [G] on it.
Super dry.
_ [N] _ _ But then the cool thing is, the hi-hats, if the kick isn't playing, it's just _ normal _ _ hi-hats. _ _
_ _ I put this thing called the Fruity Standard FL Studio, Fruity Peak Controller.
And make sure you unmute it too.
And then put that on the kick.
And then you put your hi-hats, right-click the level on the mixer, and then you can link
it to the controller, meaning link it to the kick drum.
So you literally loop the hi-hat to the same plugin as the kick drum.
And then what's really cool is that you _ invert it, meaning the volume goes to zero when the
kick happens on the hi-hats.
And then you accept that, and then you can hear it.
You can even look at the mixer, like, super simple.
And then, you know, with the snare, _ _ _ kind of give it a little bounce.
_ And I love putting my hi-hats to the right on the grid, meaning they're not perfectly
_ quantized on beat.
Because sometimes when the hi-hat is too on beat, it sounds too, you know, robotic.
So, you know, I got a little space on it, a little breath, like you can even see if
I open it up.
You know, got a little room on there at the end.
That kind of makes it sit on the kick a little harder, too.
Sometimes I notice if the hi-hat is too on point, it makes the kick sound kind of whack.
So slide to the right a little bit, it'll sit nice on the kick. _ _
And then open hi-hat.
_ Oh, I actually pitched this down _ for 400 cents, which is 400 semitones.
I can play it, like, normally.
It's kind of higher up, and it's longer.
_ _ But what I did is shortened it _ and [B] pitched it down. _
_ _ _ _ _ _ _ _
_ _ _ _ And then, so the next day, I had these, went to the studio with my man Bobby Campbell.
Shout out to Bobby.
He helped me co-produce this record, Take It Back.
We were just going through [Gm] sounds, and then he had this one _ crazy loop, _ _ _ _ _ _ _ _
_ _ _ _ and it fades out.
And that's kind of what we had.
And I was like, man, I made these drums yesterday.
So I chopped it up, I pitched it down, kind of went to like_
_ [Dm] _ Slow it down a little bit.
And I pitched it down, I think, like a semitone.
It kind of gave it more of a raw feel, as opposed to the higher one, kind of faster. _ _
So I had these, right?
And then with these drums, _ _ _ _ I was like, okay, this kind of [Gm] has a nice little bounce to it,
you know?
Still pretty [Dm] simple. _
I'll be at this.
_ _ Because I think, I'll play that.
That vocal kind of sets it [Gm] off, the way Logic was rapping on it.
It kind of answered what he was saying. _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G] This is my favorite part when I did the 808s, man.
Super simple.
But I like distorting my 808s too.
Just to kind of make it sound a little different, you know? _ _ _ _ _ _
Super saw-y. _ _ _ _ _
_ _ And then what's cool about this too, in FL, man, you can put this thing called portamento,
or glide.
It can make it sound like it's gliding almost. _ _ _ _
Just at the very end, you know?
_ And then once I added [Dm] that_
_ _ _ _ _ _ _ [Gm]
And honestly, man, this beat took me like 15 minutes, 20 minutes, man.
You know, there's brilliance in simplicity.
You can always add a lot of stuff to a beat.
But I think if you make every sound [F#] super important to the beat, you don't need to add
a lot of stuff.
If you take out one of these sounds, the beat isn't the same.
So I think that's kind of where I like [Gm] to_
Everything is important to this, you know what I'm saying?
Man, I get so excited when I get to go see a show because I love, first of all, seeing
the crowd _ _ [F#] love and react and appreciate something that I just made by myself in my room, hoping
people would like.
And going to the shows and when they hear it, they're singing every word.
It's amazing, man.
I feel so blessed and grateful I get to experience that.
But it's also, that is [Gm] amazing.
_ And then second of all, it's a learning experience for me too because I'll be in _ the front of
house trying to enjoy myself, but in my head I'm like, man, this snare isn't popping.
I gotta pan these hi-hats better, you know?
_ So it always keeps me pushing too.
Because I'll hear other people's beats on the same system and I'm like, damn, these
beats go harder than my shit.
So I'm going back to the lab.
So it's inspiring too.
Super inspiring.
I love it. _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
think he'll go the direction that he went on it.
I was making this on some like, hey, let's go, but it still has that vibe, but he's saying
like really, really awesome, important stuff on it too, which is like, for me, it's great.
It's like the best of both worlds, and this is one of my favorites on the album [Gm] for sure. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
I literally met Logic probably two, three weeks after I started making beats, yo.
U Street in DC, they would have these beat battles.
It was a one year anniversary when they started doing it, and I won that beat battle.
And what's so crazy about it too is that they had local rappers open up for the beat battle.
That's kind of how poppin' it was at the time.
I remember seeing it, I was like, man, this dude is tight.
And he hit me up on Twitter, and I was like, yo, heard you killed it, let's link up, whatever.
We did like two records, three records that first day, and he was like, man, when I get
on, I'm about to bring you on.
For some reason, man, he saw that he fucks with the vision or something, and now here we are.
So take it back, I think the first thing I started off is with these drums. _
As you can see in the mixer, _ there's literally nothing on it.
_ I like to keep my kicks dry. _ _ _
Sometimes if you put compression on it, it kind of loses that edge, so I just keep it
super dry, just making sure it's knocking.
Super simple snare, and I like my snares punchy too. _ _
Don't really use claps that much, I just like snares super punchy.
_ And then even on this, _ _ [G#m] _
_ _ nothing on it, literally nothing [G] on it.
Super dry.
_ [N] _ _ But then the cool thing is, the hi-hats, if the kick isn't playing, it's just _ normal _ _ hi-hats. _ _
_ _ I put this thing called the Fruity Standard FL Studio, Fruity Peak Controller.
And make sure you unmute it too.
And then put that on the kick.
And then you put your hi-hats, right-click the level on the mixer, and then you can link
it to the controller, meaning link it to the kick drum.
So you literally loop the hi-hat to the same plugin as the kick drum.
And then what's really cool is that you _ invert it, meaning the volume goes to zero when the
kick happens on the hi-hats.
And then you accept that, and then you can hear it.
You can even look at the mixer, like, super simple.
And then, you know, with the snare, _ _ _ kind of give it a little bounce.
_ And I love putting my hi-hats to the right on the grid, meaning they're not perfectly
_ quantized on beat.
Because sometimes when the hi-hat is too on beat, it sounds too, you know, robotic.
So, you know, I got a little space on it, a little breath, like you can even see if
I open it up.
You know, got a little room on there at the end.
That kind of makes it sit on the kick a little harder, too.
Sometimes I notice if the hi-hat is too on point, it makes the kick sound kind of whack.
So slide to the right a little bit, it'll sit nice on the kick. _ _
And then open hi-hat.
_ Oh, I actually pitched this down _ for 400 cents, which is 400 semitones.
I can play it, like, normally.
It's kind of higher up, and it's longer.
_ _ But what I did is shortened it _ and [B] pitched it down. _
_ _ _ _ _ _ _ _
_ _ _ _ And then, so the next day, I had these, went to the studio with my man Bobby Campbell.
Shout out to Bobby.
He helped me co-produce this record, Take It Back.
We were just going through [Gm] sounds, and then he had this one _ crazy loop, _ _ _ _ _ _ _ _
_ _ _ _ and it fades out.
And that's kind of what we had.
And I was like, man, I made these drums yesterday.
So I chopped it up, I pitched it down, kind of went to like_
_ [Dm] _ Slow it down a little bit.
And I pitched it down, I think, like a semitone.
It kind of gave it more of a raw feel, as opposed to the higher one, kind of faster. _ _
So I had these, right?
And then with these drums, _ _ _ _ I was like, okay, this kind of [Gm] has a nice little bounce to it,
you know?
Still pretty [Dm] simple. _
I'll be at this.
_ _ Because I think, I'll play that.
That vocal kind of sets it [Gm] off, the way Logic was rapping on it.
It kind of answered what he was saying. _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G] This is my favorite part when I did the 808s, man.
Super simple.
But I like distorting my 808s too.
Just to kind of make it sound a little different, you know? _ _ _ _ _ _
Super saw-y. _ _ _ _ _
_ _ And then what's cool about this too, in FL, man, you can put this thing called portamento,
or glide.
It can make it sound like it's gliding almost. _ _ _ _
Just at the very end, you know?
_ And then once I added [Dm] that_
_ _ _ _ _ _ _ [Gm]
And honestly, man, this beat took me like 15 minutes, 20 minutes, man.
You know, there's brilliance in simplicity.
You can always add a lot of stuff to a beat.
But I think if you make every sound [F#] super important to the beat, you don't need to add
a lot of stuff.
If you take out one of these sounds, the beat isn't the same.
So I think that's kind of where I like [Gm] to_
Everything is important to this, you know what I'm saying?
Man, I get so excited when I get to go see a show because I love, first of all, seeing
the crowd _ _ [F#] love and react and appreciate something that I just made by myself in my room, hoping
people would like.
And going to the shows and when they hear it, they're singing every word.
It's amazing, man.
I feel so blessed and grateful I get to experience that.
But it's also, that is [Gm] amazing.
_ And then second of all, it's a learning experience for me too because I'll be in _ the front of
house trying to enjoy myself, but in my head I'm like, man, this snare isn't popping.
I gotta pan these hi-hats better, you know?
_ So it always keeps me pushing too.
Because I'll hear other people's beats on the same system and I'm like, damn, these
beats go harder than my shit.
So I'm going back to the lab.
So it's inspiring too.
Super inspiring.
I love it. _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _