10 Orchestration Techniques You Should Use Now! Episode 2

Hello! In episode 2 I'm breaking down 10 more orchestration techniques you can use right now!
Scores and project files available on my Patreon:
/ mattiachiappa
Episode 1:
• 10 Orchestration Techn...
Alex Ball's guide to light music:
• My Utterly Spiffing Gu...
/ mattiachiappa
www.mattiachia...

[@billpeet1976]

11. 0:27 Light, energetic 12. 3:23 Bombastic, martial 13. 7:27 Christmas joy 14. 10:08 Thomas Newman pensive 15. 12:54 Exotic delight 16. 15:36 Woodwind quirky 17. 18:27 Lush Disney fairytale 18. 20:42 Star Wars villain 19. 23:37 Field of Dreams, noble 20. 25:03 1950's domestic utopia

[@MattiaChiappa]

Thanks Bill!

[@WooCashM]

No. 11 (with the Lydian feel) is like intended for the Simpsons.

[@chrismeyers7487]

This is the best orchestration series/tutorials I have ever seen. My goodness, THIS is Pure GOLD! Thank you, thank you, thank you. These 2 episodes have been beyond anything I have come across the last 4 years I have been learning to compose. Thank you!

[@MattiaChiappa]

Thank you Chris. I'm gonna take a short break from this now but the plan is to start a series using this format. It's a lot easier to break down short snippets, rather than a full piece.

[@billpeet1976]

@@MattiaChiappa You are completely right that short snippets are easier to digest and understand (and I'm sure also easier for you to present). I think that is one of the key reasons why these two videos are so helpful to me and others. One possibility, perhaps, is you could organize each video around orchestrating a particular emotion, for example "3 variations of Bright & Happy" or "3 variations of Dark and Moody", etc. Or however you want, really....you clearly have a good handle on what you're doing!

[@MattiaChiappa]

Oh I see, I thought about doing that. It was always running in the back of my mind and as you can on the top of the page I’ve labelled each marker with a brief description. Thanks for the tip, I’ll keep it in mind for next time

[@chrismeyers7487]

​@@MattiaChiappa - This is the PERFECT format. You are really on to something with these. 1 melody, 20 different ways? AMAZING!!!!! Breaking down a full track is great too, throw that in the mix time to time, but this format is absolutely brilliant. Can't wait for more!

[@zaharishtonov]

I agree with Chris Meyers! This format is fantastic! Being able to see how one theme can evolve into 20 different variations is just mind bending lol! Thanks so much for sharing your knowledge!

[@ObroStudio]

These are all incredible, but 18 has to be my favorite!!

[@juanpablolondonogiron5918]

this is a master class .. pure gold not only of how to orchestrate.. bus how to make good tutorials and share this with such humbleness

[@MattiaChiappa]

Thanks Juan, glad you enjoyed it

[@journey624]

I was just going to ask if you had an 'index' - and there it is. What a great series of presentations. Clear and uncluttered narration as well. The best I have seen. Thank you for sharing this.

[@MattiaChiappa]

Thanks!

[@haraldbecker8018]

Hello Matteo, I loved the "principals of orchestration" from Rimsky-Korsakov. But your videos are much more informational and inspiring. I love them. Thanks a lot from germany 😊👍

[@ronvolkman3166]

18 is magnificent, as is 17! The colors are beautiful and the writing is so "clean" and efficient with just enough colors to create the tone. Well done!

[@MattiaChiappa]

Thank you Ron!

[@sfJomusic]

This is absolutely one of the best knowledge sharing videos I have watched on yt Your music is amazing ! Can't wait hearing more music by you and sharing like this one Thank you so much !

[@MattiaChiappa]

Thanks for this nice comment, I really appreciate!

[@MarkC5505]

Your orchestrations are genius! Please keep posting more! 👏👏

[@MattiaChiappa]

Thank you! Will do!

[@DestroyAnimation]

Another terrific video, thank you! I've spent every day this past week studying the techniques you shared in Part 1. Now I'll be studying this video's examples, and trying out some pieces that use principles that you've discussed. You do a great job presenting everything. Thanks again!

[@MattiaChiappa]

Thank you, glad it was helpful!

[@primaputra2451]

It's like attending music class again only this time it's fun and free! I can't thank you enough for this! I'm taking my time to study each episodes of yours! 🙏

[@MattiaChiappa]

Thanks!

[@karinacomposer]

Thank you for such a great job! I went straight from the previous one to this one. Amazing and VERY useful. Thanks, Mattia - keep it up!

[@MattiaChiappa]

Thank you Karina

[@raymondspagnuolo8222]

This is so helpful! Thank you for all your effort!!! If someone needs a film-composer/scorer, I would say - You are the one !!!

[@MattiaChiappa]

Thanks! Yeah this series has been running for quite a while and wanted to celebrate its end together with you guys 😁

[@MarcelloDiLorenzo]

I like your work!

[@ErikOrchestralTutorials]

Thanks for this, Mattia! 7:28, getting some Harry Potter Christmas Vibes from this :D

[@MattiaChiappa]

Well spotted!

[@hongjinghu2673]

This is sososo good. Hope I could have seen it years ago when I just started producing...!

[@MattiaChiappa]

thanks, glad it was helpful!

[@alexl3208]

wonderful explanation and examples

[@charleylhankins]

Fantastic tutorials, both parts I and II. Thanks so much!

[@MattiaChiappa]

Thanks! There’s a 3rd episode too, if you haven’t checked it out already

[@EnricoNichel]

I enjoyed this two-video series a lot. Thank you very much, Mattia! Suscribed.

[@MattiaChiappa]

Enrico Nichelatti Thank you Enrico

[@joshuaday914]

This is fantastic! Your music has a very John Williams sound. Can you do more orchestration tutorials and talk a bit more about instrument doubling and the chords you use? You did that here, but I really would like to learn the principles, what works and why. Your song, The Chase, is amazing by the way.

[@MattiaChiappa]

Thanks Joshua, for sure I can talk about chords a little bit more

[@2047Musicvisions]

You´re the Best Mathias Thank you so much !!!

[@MattiaChiappa]

You’re welcome!

[@L_M_M_Official]

Man, I wish I could compose and orchestrate half as well as this! #20 was a wonderful surprise. Loved the vintage 50s sound and the advanced jazzy chords. I wish I knew where to start in getting my composing to this amazing level!

[@MattiaChiappa]

Hey man, thanks! Hang in there, I don’t think I do anything special but I can assure you that if you try hard enough, one day you’ll feel a lot more confident about your work.

[@L_M_M_Official]

Thanks Mattia! Really appreciate that. I've been writing music since I was 11 but I'm completely 'self-taught' in theory, piano and pretty much everything so I think I hit a wall a long time ago where my technical ability bottomed out a bit. When I first started using Sibelius at about 13 I could write surprisingly detailed stuff considering I'd never had a single lesson in theory (just did it all by ear and experimentation) but my skills have languished a bit over the years and I definitely need to get a good grounding in orchestration! I've used a bunch of DAWs over the years, though I spent about 10 years using Logic Pro X and when I moved back to Windows last year, I got into Cubase as my main DAW. Very interested in practicing some transcription if you have some tips? My theory and notation writing isn't exceptionally high level and I don't really use Sibelius anymore but I'd imagine it might be difficult transcribing without notation? I'm also seriously considering getting BBCSO Core and your demonstration of the BBCSO sound has definitely inspired me to get it ASAP! I don't have any experience of making templates with balancing, routing etc though I think Spitfire and Jack Johnson have created a set of DAW templates for the library which would be a very helpful starting point... Trying to develop my learning and improve my practice as much as possible at the moment but it's working out the best and most effective way of doing so. If I can become as proficient in writing themes and variations as you clearly are from these videos then I'd be very happy indeed! And don't be so modest my friend! You are a fantastically talented and skilled orchestrator :D

[@MattiaChiappa]

I’m primarily a guitarist and I’m self taught too but I know for fact that you don’t need a fancy degree or even teacher to get decent results. Would that help? Maybe, maybe not, who cares really. If you find something that works for you, stick to it until you see the first results. For me that what transcription and that’s what I always advice. Yes I do have tips on both transcribing and template balancing. If you dig through my channel you see a couple of vids on that topic

[@LeandroGardini]

Awesome content. Congratulations!!!

[@MattiaChiappa]

Thanks!

[@widekeys]

Awesome. Thanks for the second part!

[@MattiaChiappa]

Thanks!

[@LordMarr2]

The music was very beautiful! I am starting to learn orchestration on my own and these two videos have been a great insight to the thinking behind it. Very well done! If I had more money, I would give to your patreon.

[@MattiaChiappa]

Thanks!

[@WinItReigns]

Still valuable today😊

[@mustechnology]

It was amazing job! I'd like to take project file but I work in Cubase...

[@MattiaChiappa]

Thanks!

[@sanczykleopoldo]

Excellent Tutorials, thank you very much for helping so much those of us who have just started with this exciting world of Music Production. I wanted to ask a big favor, if there is a possibility to share MIDI tracks, it would be of enormous use to be able to analyze them. From already thank you very much.

[@MattiaChiappa]

Thanks, the files are available on my Patreon

[@RoRo-nf9ib]

I am in love with your orchestration 17. It sounds like Disney. Could you please please explain me the details about the doubling? "Trumpets double the strings and then split at the end", you said. Could you please elaborate? Do trumpets double the top line of the violins? How do they exactly split? Do trumpets then double both lines in a2? And regarding trombone and horn, how do they exactly double? I would appreciate so much your answers. My gf is a fan of Disney. I would love to give her a surprise where I can orchestrate some of my music in a style she will love. Thanks again

[@MattiaChiappa]

Hey, I think you're slightly overthinking this :) Doublings work in such way that has to be logical for the register of a said instrument you want to use, and who you want to have on the focus line. Trombones and tuba for example, I'm not moving octaves or any funny business like that. I'm quite literally using the same open chords, voiced as shown in the piano red. Trumpets and horns are doing exactly what it sounds like they do. Rather than finishing the melody they take a counter line, that's it.

[@paulackerman2800]

Very cool and instructive series/tutorials for orchestration ! THANK YOU

[@MattiaChiappa]

Thanks you Paul

[@jonischwalbach623]

great exercise. well done

[@MattiaChiappa]

Thanks!

[@edmasters4454]

Thanks for part 2 - great to see this! Question -- what's your workflow? Do you start with the score (in your head or at a piano) then play into DAW? Or do you start in the DAW and the score is a by-product?

[@MattiaChiappa]

I never go straight to DAW. I always a have piano sketch to guide me. When I want a more technical piece with interesting individual parts, I orchestrate in Sibelius. For these simple snippets I did the reductions at the very end.

[@edmasters4454]

@@MattiaChiappa Makes sense - thx.

[@MattiaChiappa]

You’re welcome 😉

[@Aedhon]

wow Mattia, grazie per questa serie di video utilissima! Ho capito che devo mettermi a studiare 🤓

[@MattiaChiappa]

Prego, buon anno!

[@Aedhon]

@@MattiaChiappa grazie, anche a te!

[@lkeymusicproduction1170]

Awesome so useful.Thanks so much !!

[@MattiaChiappa]

You’re welcome!

[@kevinthebeagle]

just love this, thanks so much! i have work to do.

[@MattiaChiappa]

You’re welcome!

[@mr_don_key]

So you use basically two libraries? the Sample modeling brass bundle and Spitfire Audio BBCSO?

[@MattiaChiappa]

Yes, that's it. I've had my eyes on the cinematic studio series for quite a while but I cannot't really motivate buying it right now.

[@SilloniusAeldarian]

Thanks for sharing Mattia!

[@MattiaChiappa]

You're welcome

[@noman9528]

The Christmas-Theme sounds a lot like John Williams Harry Potter Christmas Music. Tried this myself this winter but I failed terribly due to a lack of Orchestration skill. Sounds Awesome!

[@MattiaChiappa]

There is no such thing as failing in music. I can assure you it was worth your time regardless you not being satisfied in the end. I’d recommend transcribing the piece and trying again

[@JosePineda-hh6kt]

You are the best! Please make more please!

[@MattiaChiappa]

Thanks, that’s the plan!

[@gianfrancocalvi1605]

Very nice orchestration snippets. You're breakdowns are always very well done and very informative (e perfettamente comprensibili ;-) ). I'm also interested in your composition process/technique. Grazie 1000.

[@MattiaChiappa]

Ciao Gianfranco, grazie! Sono contento che ti sia piaciuto 😀

[@ricgus3]

"... this is so loud..." - I laughed so hard to this after hearing that amazing orchestration XD. Don't know why, maybe since alot these days are bombastic and loud so you kinda poked the elefant in the room :)

[@MattiaChiappa]

Thanks man! There is indeed a lot of epic out there 😂

[@konion]

great material to learn. thx! do you plan to attach MIDI files to lectures? this is very convenient for a detailed understanding of the nuances

[@MattiaChiappa]

Thanks, projects files and scores are available on my Patreon

[@konion]

@@MattiaChiappa it is wonderful. thanks )

[@alexandrelevy3916]

Bravo and thank you for such wonderful detailed demonstrations.It would be great if you could go more in depth concerning the chords/harmony used and timbres and why and how you use them because while your pieces are brilliant it would be tremendous if you could develop a bit more the music theory behind it all....but anyway a big THANK YOU!

[@MattiaChiappa]

Thank you Alexandre

[@TheHarlequinsMusic]

Broken record here. But yea these are amazing. Also very cool to see the same melody broken up into so many variations of styles! Much respect! Quick question. For that Disney one, how did you program the arpegiattor winds/segment? Just in your daw function? I’m not quite so advanced with midi yet. Thanks!

[@MattiaChiappa]

Thanks! I think I played that in at a very slow tempo

[@TheHarlequinsMusic]

Mattia Chiappa thanks for the quick reply! Well done, mate. I guess it’s time to roll up my sleeves and get to work! No short cuts :)

[@producewithjt]

How do you get the harps done? You play them at slower speed ? Because of the differences in length and velocity, I figured they can’t be entered manually..

[@MattiaChiappa]

If you mean the glissandos, I play them in and then edit the notes later

[@RoRo-nf9ib]

Brilliant! Increible. Some additional questions regarding Number 17. Piano and harp are doubled in unison? Tuba and bass are doubled in unison? "Flute, oboe, clarinet are doubled", is flute at the top, oboe and clarinet an octave lower unison? Or do you a flute divisi having each flute in a different octave? Could you describe for me the doubling. Thank you thank you so much. This is amazing

[@vinzsaint]

amazing stuff, really great job!

[@MattiaChiappa]

Thanks!

[@vinzsaint]

@@MattiaChiappa may I ask you a question, do you use metronome to record or quantizing notes?

[@MattiaChiappa]

Yes always. I made a whole video on quantizing

[@amethysttrio]

Same problem at 20:00. Real instruments can’t play those arpeggios that fast - and certainly not that well-delineated.. So, my question is: is this composition meant to be only for a digital product? Would you approach some of the compositions differently if they were meant to be played by a live orchestra? Just curious. Keep up the amazing work!

[@MattiaChiappa]

No it’s not meant to be only played digitally. I don’t think that line is too fast but certainly I would orchestrate differently depending on the musicianship level of the orchestra. You’ll find these orchestrations in a lot of real scores performed by real people and the level of difficult of my music is average to say the least if you compare it to the great works of concert music.. Fast arpeggios here are always background and barely audible, they’re not meant to be well defined. Yes there are probably more practical ways to write something like that are also easier to play and that’s the extra step I would take when I’m making a chart but if had real concerns about a part I would ask the player and make sure all is good before it goes to the stands.

[@nickmuzekari6124]

Thank you for these tutorials. As a complete noob I'm realizing they are a bit out of my league currently, realizing you need to be at a certain level to begin with, i.e. they're not a step by step for new composers but more of an overview of how to generally achieve a certain style and you have to be familiar with some things already to fill in the blanks. All good of course. For number twelve, are the scale-like patterns played by the violins, flutes, and piccolos a second melody of sorts, or would this be a supporting rhythm, or both? Asking because as you went on to break them down with the other accompanying instruments you mentioned 'melody' for them.

[@MattiaChiappa]

I should not have called it a melody that’s a texture!

[@nickmuzekari6124]

@@MattiaChiappa Ah that helps, thank you for clarifying!

[@mmaybrown]

This is so impressive! Your orchestrations are brilliant and expressive! Did you learn orchestration by yourself or through a school.

[@MattiaChiappa]

Thank you! Yes I took a degree course in guitar performance but I’ve studied composition/orchestration on my own using scores I like and internet resources.

[@TheBellTolls1992]

Really nice orchestrations! May I ask what libraries you are using? I spotted the BBC SO by Spitfire already but it looks like you have some other stuff on the percussion as well.

[@MattiaChiappa]

Hey thanks, it’s mostly BBC, SM for brass and a few instances of BHCT

[@MarcoLongoMusic]

Very nice series! Although I doubt that you'd be able to hear the bass clarinet so clearly in a real setting

[@MattiaChiappa]

Thanks! Yes it is a little loud in the mix. I keep forgetting to pull it down, thanks for the heads up

[@rubenmolino1480]

EXCELLENT ----- IS ALL THIS WRITTEN IN SIBELIUS? and then transported to the DAW? or how do you harmonically remember each fragment? ... or is it a reduction to the piano of the orchestral score or vice versa .. in what way do you suggest I work? ... I am not an epic film composer ... Thank you and a hug!

[@MattiaChiappa]

Hey, no I orchestrated in Logic and made the scores later. I suggest that you try making a piano sketch to guide you. It definitely helps

[@rubenmolino1480]

@@MattiaChiappa THANK YOU VERY MUCH MATTIA ¡¡... EXCELLENT YOUR MUSIC

[@BazzTriton]

Grande

[@MattiaChiappa]

Grazie!

[@KevinSmutsMusic]

Love your orchestration! I'm intrigued to know... when you're working on a project, do you work in your notation software first and develop a score (John Williams style), and then produce it in your DAW with samples, etc? Or do you just build up your tracks straight in your DAW by playing things in, laying them, etc? This series has shown how you would orchestrate a melody, but would you work like this when composing something from scratch? Thanks!

[@MattiaChiappa]

Thanks! It’s neither of the 2. I always start from a piano version of the full piece that already contains most of the information I’ll need, like voicings and registers. I don’t consider comp and orchestration as 2 separate things, it’s a very old school way of thinking. I then either orchestrate in Sibelius or Logic (most likely these days) but by then most of the work to has already been done, in a way. I don’t stick to the piano sketch religiously and I do often go back to the piano and figure out a few changes or work out different parts but usually by the time the sketch is done I already have a very clear vision of the orchestration will be in the end.

[@KevinSmutsMusic]

@@MattiaChiappa Thank you for the detailed reply!! Much appreciated :) Interesting to hear about your workflow and process. I'm loving your channel!! Very interesting and informative stuff :) I think I'll join your Patreon :D Keep up the great work!

[@lasimagenesqueyoveo]

It is the best orchestration tutorial I have ever seen. Thank you for sharing your wisdom. I am putting your teachings into practice but I have a question. Could you clarify what the symbol of three small horizontal stripes between 2 eighth notes means? Thanks a lot

[@MattiaChiappa]

Hey thanks! I think you mean trills but could you be a little bit more specific. Where did you see this marking?

[@lasimagenesqueyoveo]

@@MattiaChiappa Hi Mattia, thank you for responding. For example, in number 3, in first score of Flutes and Clarinets, between four notes in all bars.

[@MattiaChiappa]

Yes those are trills 😀

[@lasimagenesqueyoveo]

@@MattiaChiappa Ok, Thank you

[@viktorerdody5368]

Thank you so much for these videos. My question: you mentioned in one of your videos how important it is to make a piano sketch. Would you write a little about this: How many tracks do you play the piano sketch on? How much do you stick to it when you do the actual instrumentation?

[@MattiaChiappa]

Just one track that it’s basically like a piano version of the piece. I stick to it about 90%, the remaining 10% is usually the stuff that I can’t physically play and polishing a few details here and there

[@viktorerdody5368]

Thank you very much for your reply. How much do you use a metronome for either a piano sketch or an orchestral instrumentation?

[@MattiaChiappa]

I actually use it a lot. I’m not very good at piano and often times I have to slow the tempo down to be able to record some of the parts. At the end I try to imagine how the piece would be conducted and make al sorts of tiny edits as well as big rall, or acc

[@maxssoundtracks3867]

Are you using the BBC orchestra plug in during this video?

[@maxssoundtracks3867]

Never mind! I just looked through the comments and found the answer 😆

[@userziocaro]

Sei molto bravo! Di che zona dell'Italia sei? Hai studiato composizione?

[@MattiaChiappa]

Ciao, sono di Brescia! Ho studiato guitar performance alla UWL, composizione da autodidatta. Hi, I'm from Brescia! I studied guitar performance at UWL, composition on my own.

[@steviesmith4039]

Fantastic content as usual! I’m here for the orchestration/programming tips primarily but wondered (in a nerdy way) what brass library you are using? I have most of the spitfire and Chris hein brass libraries and they are excellent in most areas but there is something missing. Your brass library has an extra element that I like. Keep up the fantastic work. It is very inspirational :-)

[@MattiaChiappa]

Hi Stevie, thanks! For Brass I’m using Sample Modeling. It’s a bit of a headache to make it sit in it’s right place because it was recorded in an anechoic chamber but the playability is absolutely unbeatable. It can sound a little thin sometimes but when it does I like to layer it with BBCSO

[@steviesmith4039]

Thank you! If you were to pick only one of the brass libraries that they produce (trumpet, trombone or horn/tuba), which one would make the difference? I have BBCSO, Symphonic Brass and Chris Hein but as a self employed musician can’t stretch or justify buying all of the SM brass components. I’m thinking horn/tuba. Thanks in advance :-)

[@MattiaChiappa]

@@steviesmith4039 If you're considering buying it bear in mind they don't have ensemble patches for examples for f horns you get 4 different solo horns. Also copy and paste doesn't work, you start getting lots of phasing issues. Interesting question though.. I think it really depends on the kind of music you do, I personally can't live without the trombones. Nothing to do with sound but just the way they blend I simply cannot achieve without anything else I have.

[@steviesmith4039]

Thank you. I will hold fire for now.

[@MattiaChiappa]

Wise decision, I get why it’s not for everybody

[@pongsakornbunmee663]

what sound plugin you use in logic pro

[@MattiaChiappa]

I believe the first episodes were done pretty much only with spitifire bbc and sample modeling for brass

[@charleylhankins]

what library are you using?

[@MattiaChiappa]

Spitfire BBCSO and Sample Modeling brass

[@claudiochiappa6533]

BRAVO AMORE MIO

[@MattiaChiappa]

Claudio Chiappa Grazie 😍

[@amethysttrio]

Hi Mattia, i have one comment about the doubling of harp and piano at around 7:00 in. Unlike the piano, Harps cannot play really fast and cleanly. The harp strings ring out with a lot of reverb, so the harpist needs to constantly dampen notes. Plus, each plucking of a note requires a release - whereas a pianist or a violinist just lets the fingers fall down in a row. It is just not physically possible for a (typical) harpist to play a scale passage as fast as a pianist or violinist. Harpist can play fast arpeggios, but they are full of echo. So while this passage is possible electronically, it would not really work for a human harpist in a live orchestra. This is my problem with most of the electronic harp sounds. All the glisses sound kind of phony digitally because real harps have crazy echo. Digitally, they are way too crisp and clean, so writers assume a harpist can play as fast and clean as other instruments. Writing too many fast notes for the digital harp samples gives sort of the effect of a harpsichord, not a real harp. Anyway, my two cents as a pianist and harpist (and flutist). Thanks for your great videos! I really appreciate you taking the time to do these. I am learning a lot from you.

[@golbzrtmontzgn7927]

The third one was sooo much copied from Jown Williams tho xD

[@MattiaChiappa]

Well yeah, not just the third :)

[@golbzrtmontzgn7927]

@@MattiaChiappa Haha I would have guessed it x) But really nice orchestrations

[@jofamusic]

Complimenti, ma qualcosa in lingua Italiana!!!!! Vogliamo tenere alto il livello della nostra tradizione musicale?

[@gkgyver]

This isn't teaching at all. It's not explaining anything about techniques to use to achieve effects, or combining instruments for colours, which orchestration indeed is about. This is you showing off your orchestration skills without explaining anything and being like "here's a flute, here is a bassoon, here's some Percussion".

[@MattiaChiappa]

Sorry to waste your time and despite your unpleasant tone thanks for your feedback. This was the 3rd video I ever made and I like to think I got better at this with time. It’s not as easy as it seems to condense so much information in less than half hours. I do briefly touch on what the instruments roles are and how they contribute to each other’s sound though. If I were to provide in depth information about each single example these videos would be hours long and nobody would watch them (other than you maybe). Between showing condensed scores, playing groupings of instruments, me briefly describing what I did and sharing all the files for patrons, I thought it would be more than enough information but hey can’t please everybody! Thanks though, feel free to check out the rest of my channel.