How to Make the WORST Happy Hardcore EVER

I make happy hardcore, what joy! The genre where it all got started for my music production shenanigans, kinda. Happy hardcore is very interesting in the sense that it is a really wide subgenre, but in this case we are making the worst version of the internet-inspired hard dance genre. Sure, we talked about a few things I thought to be important in creating a clean and balanced happy hardcore mix, and also touched on topics like phase interference and chords/leads sound design, but it is all in an effort to fuel our power to make the worst song ever. If you found anything I might have gotten wrong in the video, do tell me and I will fix it in a pinned comment! Ultimately, being the antithesis of music production content, I am not here to prove anything; I am just here to entertain 😹 📼 What’s inside: 00:00 - Epic flute solo 00:36 - What is happy hardcore? 00:55 - Brief history of happy hardcore 01:57 - Vocals 02:59 - Phase interference is BAD 03:51 - Drums 04:25 - Lead and synth 04:53 - Synth demo project 06:28 - Do not the leads! 06:51 - Melody 07:12 - Finishing touches 07:57 - Armageddon 09:03 - Welp 🧡🧡🧡YOU ARE READING THE BELOW BECAUSE YOU WANT ME TO ELABORATE ON GUESSING SYNTH LAYERS🧡🧡🧡 I will keep it brief because I am just sharing my workflow I have developed over the years in sound design. THIS IS BY NO MEANS THE UNIVERSALLY CORRECT WAY TO INTERPRET SOUND DESIGN, it's just my opinion. I believe no one knows perfectly what exact input to execute to perfectly create the sound they want when designing a new sound. Instead, it is all from a series of testing hypotheses; the more experience someone has the better they are at making the correct guess faster. There are usually "multiple correct" paths to the same goal at hand. What could really speed up the guessing process of sound design is the idea to guess forward instead of guessing in circles. I have talked to some artists, some having released music on major labels like UKF. When I asked them about how to make powerful leads or supersaws, I got the answer of "just keep layering'. I find this advice lackluster, because say I want more power on a detuned saw I made, I'll just add more layers to it. Worst case scenario the sound completely loses its power, best case scenario I do something differently on a layer and it sounds more powerful. This is unintuitive because after all I won't know what I should aim for, I got the result from blind luck. With that said, when designing supersaws and melodic leads, I like to break it down into 6 components. Main highs, support highs, main mids, support mids, main lows, and support lows. Not all 6 of these components need to exist. The main components will be what defines the melody, and is usually cleaner and less detuned sounding. The support will be the glue that adds power and other characteristics to the clean lead, in the form of maybe detuned synth and noise. If you think any of these components have fulfilled its purpose or achieves the desirable effect, you can move on to the next components. This is because I've found that once you try stacking leads beyond its satisfactory point, it makes the sound weaker, as too many things are fighting for the same component role at once. Breaking leads down in this manner makes the guessing process more streamlined as you won't need to worry or try stacking sounds when it is already satisfactory in it's own space. TLDR: Intentional layering. This could be an interesting concept to cover, but it will be too brain nourishing for this channel... Wdyt? If you read the above, comment: "I did [X] backflips at the waffle house today." Thank you for watching!