Beginning Mixing with Stock Logic Pro X Plugins | Matt Ernst | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Beginning Mixing with Stock Logic Pro X Plugins

teacher avatar Matt Ernst, Follow me for more Logic Pro X content!

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 3m)
    • 1. Introduction

    • 2. Routing and Preparing your Song to Mix

    • 3. Mixing the Bass

    • 4. Mixing the Drums and Bass

    • 5. Mixing the Keys

    • 6. Mixing the Guitars

    • 7. Final Mixing & Tips and Tricks

    • 8. Closing Thoughts

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

This course is designed to better your mixing over one hour using only stock Logic Pro X plug-ins. You don't need expensive plug-ins to get a good sounding mix. Your DAW comes pre-equipped with all the tools you need to craft professional sounding songs! I'll show you what I'm talking about in this video.


FOLLOW ALONG with the tutorial by downloading the Logic files in the class project section! All of the sounds and instruments come from the Logic stock library. If you are running Logic 10.5, the latest version (as of this recording), you will be able to hear all of the sounds of the project and follow along with me.


During the recording of this song, I exported the final mix into mono. There are a few times where I mention referencing the mix in stereo and I've included the bounced stereo track specifically from this project. The link can be found in the media section below.


I'm attaching the links to the class below, but if they don't work, you can find them available for a free download from my website here. You can also download the free Logic template to get you making music quickly!


Meet Your Teacher

Teacher Profile Image

Matt Ernst

Follow me for more Logic Pro X content!


Hey there! I'm here to help you with all your music production endeavors. I've been producing music for the last six years and have a lot of knowledge to share! I've also been teaching music professionally for the last two years. 


If you want to see/hear some of my work, check out my social media. 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Hey, guys, things were turning into my course. My name is Maddy, and I'm a professional music teacher. I'm here today to help you mix using logic stock plug ins. This will be a basic overview of mixing and how I use mixing and what my workflow looks like, and I'll give you some tips and tricks along the way to help your mixes sound even better. The reason I'm using stock Plunkett's is because I think a lot of people get caught up on the fact that there plug ins are expensive enough or they don't have the newest toy, the shiniest new car, and you don't need expensive plug ins to make good sounding music. And this tutorial I'm gonna show you why. The song that will be mixing today is called Chunky Rump, and it's actually a personal release of mind you want to hear with the final sounding song with all the vocals, all of the instruments, all the extra added effects and automation. Sounds like you can check the link below for my Soundcloud, where you can find that song. We're gonna be working with this song. Chunky rump. Well, it's a comedy song. Give me some slack, but we're just going to be doing the mixing of it. We're not gonna be talking about producing the song and all. We're not gonna be talking about sound design for the song. We're not gonna be talking about arranging this. Some all we're gonna be doing is talking about mixing and specifically mixing with stock plug ins. In the future, I'll be releasing some courses that will follow up to this course that will be going over some of the other aspects of that, such as the production such as the sound design and such as the mastering. Before starting this course, I would recommend using headphones or studio monitors to listen to the mix. It's gonna be in your best interest to have the best available sound devices to play back the sounds that I'm mixing. If you are just using a phone or laptop or tablet speakers, you are gonna be able to hear the Lohan. That's where a lot of the profession ality the modern sounding music comes from, is the low end. So if you want to get that, if you want to hear what it sounds like an hear what I'm doing to get the low end, correct you some headphones or you some studio monitors. Mixing is a skill like any other skill. It requires practice. It requires repetition, and it requires effort and time put into you're not going to be one of the best mixer straight out of the box. Nobody is. But with practice with listening to some of these tips and tricks L share with you in the rest of this course, you could be a better mixer. I've included in the course description below a file that you can download completely for free from my website that you can follow along with this stock plug in mixing Siri's. If you're using logic and have it updated to 10.5, you should be able to hear all of the sounds and see everything that I'm seeing on the screen. So if you're serious about mixing, I would really recommend going down there, grabbing that template and following along as I mix. It will really help your mixing skills out. That about does it for the intro. Thank you so much for listening. Okay, let's dive into the song and let's mix it 2. Routing and Preparing your Song to Mix: Okay. Hello, guys. Welcome to the course. So here's the song we have pulled up that we're gonna mix today with Onley using stock logic plug ins. I have gone ahead and deleted all of the plug ins that were on this previous track. I was using some instruments to that weren't a part of logic stock library. And I changed those through their logic stock library equivalent so that you could good idea off. What song could sound like Onley using stock logic default plug ins. Okay, before we get started into mixing individual sets of instruments, what we want to do first is we want to make sure that we understand what the song is going to sound like by listening to it. Then we'll organize this song so that we have a better idea of by color coding, making sure our routing is in order. And then we can very easily and quickly make changes to whole groups of instruments, and that's gonna really cut back on our mixing time. So let's dive right. And let's take a listen to some of the part with a little bit more energy, we won't listen to this verse one a but its abolition to this part right here, Verse one Be. So let's take a listen to hear what we're working with. Okay? So about halfway through realized that I had this in mono, So I change it around this point right here, so maybe sounded a little wider. If you're listening on headphones. And for this tutorial, I would recommend listening on headphones. You're listening through a phone. If you're listening through a laptop or if you're listening to a tablet, you are not going to be able to hear the low end of this song. And that is probably the most important part of mixing is getting the low end correct. So please switch to headphones now, if you can, if not, not a big deal. But you're not gonna be able to get the most that you possibly can from this tutorial. Now that we have that set, um, notice how I change it from mono in order to change it from mono. I'll bring up my mixer right here. Um, I have all of my tracks laid out on the mixer here. I can scroll through four routing purposes. I route every single thing into what I call a sub mix. I'm putting some limiters on there so that you can hear the actual song and that the volume comes out a little bit louder, too, so that you can actually hear what's happening in the mix. But in logic and order to make something mono you go to all day after the limiters actually go to utility, go to gain stereo and here you can see mano off or on. I would recommend doing about 75 to 85% of your mixed in mono. Most of the time when listeners are gonna be listening to your song, it will be in a mono type setting. Not everyone has hi fi stereo speakers that they're gonna be able to hear the width of your song. Most of the time it will be through a phone speaker. It will be through a you know, some sort of blue to speaker, but you want to make sure that your mix is compatible with mono, that you don't have any phasing issues, and then it sounds good. Another cool thing about mono is so your guitars air panned out hard left hard right, and when you listen in stereo. Your piano sits fine in the mix, however, when you put it in mono, those guitars and a piano are taking of the same frequency range, and you can have some problems with ought ability. You can have some problems listening to those frequencies that would be mask that you otherwise wouldn't here. So I would suggest turning on mono and then occasionally checking the stereo with occasionally checking the stereo compatibility by turning off money. But for this mixed purpose, I'm going to turn on mono, and I'm gonna leave it on for almost the rest of the time, and we'll do a few comparisons throughout. But it's going to really help us get a clear, nice, cohesive sounding mix. I'll bring this back down. We said it tamano. Now we have all of our instruments, and this is quite a behemoth of a song. There's quite a lot of percussion. All this colorful stuff up here is percussion or all this orange stuff is based. All of the green is keys, and since and all of the blue right here is guitars, I will say for this mixed. In particular, we will not be mixing in vocals. Usually, what I do when I'm mixing and producing is I will produce the beat of the track. First, I will export the final bounce of that beat to a way file, and then I will. Then I will start a completely different track for vocals. That was only after I have all of this mixed all of this automated, and it makes it a lot easier on my processing for my computer and many times the type of music I deal with. There's a lot of vocal tracks that I add in, and I don't want my computer getting too bogged down. So it makes it a lot easier to separate the process into two distinct parts in an upcoming video. Siri's. I'll show you exactly how I deal with those vocals and exactly what I mean. When I'm saying that I deal in two distinct work flows or to district part for now we're going to start with our mix. This part of the video is called routing. What we want to do is we want to make sure all of our instruments are routed correctly. What do I mean by routing? I mean that when we're listening to any particular instrument. Even in solo, there's a certain sequence of places that it goes in logic that will allow us for quicker and easier mixing. For example, if I play this guitar pad right here, it's pretty low in the mix. I'll actually turn it up so you can hear it. But in order for us to hear this, a lot of things has to happen. I'll pull up my mixer once again. Right now we have a guitar pad. If you look here, we have the input. One. This is for recording, but what we're worried about now is Bus 19. That means this is telling logic that this guitar, once it plays, will go toe. Bus 19 Bus 19 happens to be right next to it right here and say, Patty guitar. You could see the input right here. This one is input Bus 19. That means this guitar is getting routed to go into this bus. That means this bus I can add any plug in that I want say example on E Q. And I can change the guitar sound from this bus because this is what is being rabid. Teoh, turn that off. For now, these two guitar are panned hard, right and hard left. If I throw it in them both into a bus, I can process both of them at the same time and save time and processing power from the computer. It's a win win, really? So let's look at where this is routed. Bus 23 we'll go to Dunton. Ah is my guitars and strings. But if you're not sure about what busted something is you can always click on it and I have all of my bus is labeled right here. If you're interested in getting the template that I use to start songs off quickly, and I don't have to go through all of these routing options every time, I will leave that in the description below. You can go to my website and you can download that totally for free. This is how I route my buses. I usually separate my buses into instrument types right here FX place drums, guitar, etcetera, etcetera. Then I have all of these routed into what I call a sub mix. Right here the sub mixes my overall mix bus. Um, I will put my limiters. I will put my any sort of mastering type things that I want to try out before the mastering process actually begins. I will put on my sub mix by sub mix. He's actually right here. You see, It's bus 30 my drum bus, my based bus keys bus are all going into bus 30 or my sub mix, and then my son makes is going to my stereo out. So that's what my routing looks like. Once again, if you want a template with all of these color coded with all of these up pre routed for you, please check the link below for a free download from my website. That's the basics of routing. I'm gonna go through, and I'm just gonna make sure all of my routing is correct. I want all of my base is going to the base bus. I want all of Mikey's going to the keys bus. If there are multiple key sounds making one synth, I want them all in a bus so that I can mix them accordingly. I'm gonna go through. I'm going to do that and then I'll come right back. Okay, Perfect. So all of my sounds are now routed. There are a few things like in the key sections. For example, these pads. There's actually two pads making the sound, so I put it into a bus called pads. Then that bus is routed into my keys bus that will allow me quicker, easier mixing of. I can do totally cute changes on the whole sound, total mixing and volume changes on the whole sound without having to go into each individual sound and do it like that. Okay, the next thing I want to talk about before we actually jump into mixing is just organizing your tracks up here. I have already organized this track by using what are called markers, and I've color coded them. This will allow me to see where exactly in the song I am and make it easier when we get into automation, which will be the last final step in the process. We actually won't be getting into that in this video, but it is a really important step for having a professional sounding, and having these markers will allow us to know exactly where we are in the song. Another thing that I'll quickly mention is if you're working with this many tracks, I would really highly recommend color coding the tracks so that it's easy at a glance to see what type of sound that you're working with. In this case, I have color coded Mikey's green. I've color coded my guitars blue, I've color coded my base orange, and my drums, for the most part, are red. There are some drum machine designer MIDI files that I have up here that have automatically color coded themselves to just random colors. I would say blue thes high hats, oranges of the snare Purple is some percussion. So I know that, but I'm not gonna change these into red because I know that they're all in the drum bus. Not a big deals, long as you know. But it does help to know from a glance what you're working with, just to recap what we've done in this routing video, we have changed the track that we're working with in de mano so that we're ready to mix. We have routed all of our instruments into the same bus, for example, the keys bus so that we can work with them quickly and efficiently. We have routed all of similar sounds. If there's one sound for a sense that is made up of multiple on multiple sense, we have routed those into buses for quicker and easier mixing. We've also color coded all of the instruments so that we could easily tell we have marked the sections. And now that we've done all of this, I promise we are ready to mix. This is gonna make mixing way faster. I know it's gonna take some time for you to set all this up, but I promise it's gonna make things way faster in the long run, and I would really highly recommend doing it. If you want to follow along with the tutorial, you can download that for my from a website for free as well so you can work along with me . If you're on the newest logic 10.5, you'll be able to fall along and do all the exact same things I'm doing. All of the since and plug ins that I'm using are going be stock. So you want to worry about any third party plug ins? Okay, with that out of the way, let's get into mixing the first element of the song I want to do, which is the base 3. Mixing the Bass: we've routed. We have gotten our track in order and organized and tackle. We've heard it. We've listened to what it sounds like. We know what needs to happen now. I want to go into the first part of the song that I like working with, which is the base. Usually I'll start with the base that I'll start. Then I'll add in the drums to make sure the Lewin is mixed. Right then, I like to build a foundation on that Lohan. I like to think of it like building house, right. You start with a solid foundation in this case, the base of the song, and then you build up from there, making sure everything is sort of mixed around that The biggest problems I hear an amateur sounding mixes is the low end and the base. So let's start here. Let's make this a focal point so that we can get a good sounding mix. In this case, I have two different types of bases. One I've labeled cell base, and one I've labeled Scar be base, and I'll actually change that to tone base so that you get a better idea of what I'm talking about. so my tone base is actually going to take up a little bit higher in the frequency spectrum . It's going to be responsible for the tone of the base or what cuts through the mix. The sub base is going to be more of a feeling it's important that the sub base is gonna be there. But I like to separate these two because if I'm having a really little muddy sub frequency low end, I can always a justice separately than the tone base. I would really highly recommend dividing these two parts of the base into two sections because they are so important. What's going to happen with these bases is I'm gonna take up to accuse, and I'm going to work with them in tandem. So I myself based on the left and my tone based on the right, I'm going to car valet space for my sub base that starts at around. I don't know, 100. I like around 150 hertz as a general rule of thumb, and I make a pretty steep slope. A steep is you can, um, then I'll do the opposite. On the low end, most subsystems will not be able to play this low of hurts 35 below. There it will be some 35 data 35 hertz and below data and this song from our kick. And if there is a system that can play it, you will be able to feel that. But for this sub base, it will actually make it more clear if we can cut off some of those low frequencies. So we're going to make a slope at 36 decibels productive around 36 hurts. This is just a general rule of thumb. I haven't even listened to anything yet, but I know that that is our sweet spot for our sub and anything out of that. We don't want to touch with our sub base for a tone base. We're gonna do the opposite. This is going to be what the listener hears and distinguishes as, Oh, this is a particular sounding base, whether it's distorted, whether it's super clean, whether it's plucky, whether it's played with the thumb or a pick. This is how listener will distinguish what is being played there. I'm gonna go at 1 56 once again, and this will be sort of the tone base. Okay, I'm gonna solo this so you can hear it and then I'm gonna play them, and I'm gonna a be both of them to make sure that they are doing what I want them to. I'll turn it up in the mix so that you can hear. I'll move this over here too, so you can see any volume changes that I make over here. A big part of a good mix is how well you can use e que and compression for sure. But the bigger part of mixing is volume. If I had to put a percentage on it, I would say mixing is 80% volume. All you're doing with the Q is changing the volume. All you're doing with compression is automating changing the volume. It's funny because we can get so worked up about all of these third party plug ins. Well, really, if we can just get the volume right between parts, we're doing really well. So let's get the volume right between these two tones and subs. By the way, I'm losing the Liverpool base for my tone base using the sub d base for my sub days. Let's see what it sound like. What? The sub That's really what this self doing giving that sub frequencies. And I couldn't like that sound, actually, of course we're gonna have to play it in the mix to make sure that we're not getting too crazy. She gonna take this down a little bit more. 1 36 Take this same one down. Make this a little bit higher so I can get those Now that I have the basics of my base bus filled, What I'm gonna have to do is I'm gonna have to heavily compress my bass part in modern sounding songs. The base is always heavily compressed. If you're not sure what compression is, I can quickly explain it. But that's not really the scope of this video, so I'm not gonna get too much into it. If we look at a way form like this. We have high peaks and we have low pigs. This is actually a pretty consistent looking way form. This is actually a guitar part that I recorded here. These are my limiters that I'm using, and I'm gonna use them to illustrate what's happening when I change the compressor. were taking the bottom part. Imagine this is the threshold and the top part. Imagine this bottom line is the threshold and we're squeezing them together. The more the threshold changes, the more the squeeze happens and the Mawr decibel reduction we're getting. So we're actually losing our loudest parts and are quite as parts are actually coming up more. You could see why, because the more the threshold coast, the louder these will be perceived. We're cutting off the tops of these wave forms, which will make thes quieter parts seem louder. This will make it a lot more consistent to mix because the volume of the track won't fluctuate as much. That's an important note toe have. We will be using compression. A lot are two main tools for mixing our compression and e Q. And that's actually the same with mastering to you just used them in a little bit different of away in order to have a consistent low end. We need a lot of compression, so let's open up a compressor from logic. This is being put on my base bus, so I don't have to put this on my tone and sub base, which will make it easier in the long term. First things first, turn off auto game. When you're using logic, it is not necessary. In any capacity, you can always adjust it yourself. And I find auto gain does not do a good job of accurately gaining the signal back to where it should be from the compressions of db reduction that you've had if you're not sure where to start with a compressor, if you're new to compression. If you go to factory default up here, click the arrow down. You have a lot of presets that you can use. That logic provides. They can give a good starting point. Let's use E base for now and then adjust the parameters accordingly. I'm looking at this. Auto gain is off Good four dbs of We're actually getting about 40 bees on the scale right here. I'm gonna actually increase this a little bit. Perfect, actually, like what I'm hearing with this, let's a be it A B means to turn on and off the plug in and hear what it sounds like before and after. I've looped this section so that we don't have to continually go back and press play. That's a very helpful tip with mixing to before. After you can hear. That's given it some punch. And that's exactly what I want from this low end. I also want I also want a little bit more sustained. So I'm gonna play around with the attack and release valves the attack of at least knobs until I get a little bit more sustained. Generally want more Wanting. More sustained will be fast attack and release times. If you look here at the mix knob, you'll see the 81% of this is being played. If we go to 0% none of the compressor will be engaged. If we go to 100% you'll only hear the compressor. And 80% will be an 80% mix of this compressor in a 20% mix of the dry signal. Did that make sense? But that is actually called parallel compression, and that is super important as well. For this base part, in order to get even more compressed sound, I'm going to just duplicate the same compressor we made using holding down the old key and dragging and then you can do a duplication all erased that compressor, but we're gonna go into our second compressor now. We're still at 80% which I like, actually like, including a little bit of the dry signal. OK, but if we a b both of these before you can hear some more sustain in the base, which is exactly what we want. We want those empty parts where the bases and being played or plucked where the basis of being plucked to have sustained so that we can still have a low in. Okay, perfect. I'm going to eat you this later, But first we're gonna hop into the drums, and that will do it for this section of mixing the base. Now we're gonna move on to the drums, and we're going to work the base into the drums. Were gonna be building our song one layer at a time, like working in solo with the low end elements like the base in the kick adding in the rest of the drum kit than adding in the rest of the song. One element at a time making sure each one is mixed. That'll do it for this video. The next video will be about mixing the drums and bass together 4. Mixing the Drums and Bass: OK, we are back. And as I said before, we're gonna be mixing the drums and bass together. Kayla, top over to our drum bus will own solo. This I'll go like this. This is sort of the what we're dealing with for the drums. Okay, before we even mix it with the base, remember, mixing is 80% volume. I wanted to make sure that we're doing okay, level, lies and that our volume is about where it needs to be. I'll even add in the base to make sure that our low frequencies and kick are mixed. Well, faces to loathe volumes, actually, right about where it should be. Um, let me show you what it sounds like. It wasn't I'm just gonna fiddle around with some of these settings. Let's hear what it sounds like if it wasn't in the ballpark and we got to make changes, listen to that. Are high. Had its way to out e can't hardly hear the kick. So let's bring the kick up E. I think our snares to a lot of, um that Tom Phil like that's addicted to that. I think it's a little too loud. Teoh we go I think that's better. Way can actually go in here. I know for a fact that this is a rim cause I've made the song. We can also see by what's lighting up green from this drum machine designer. I'm gonna go in here. I'm gonna just turn down the rim because I know the rest of this track is actually being used by Tom Fills, So that sounds a little better to me. Basically a couple of it. Okay, Perfect. So that's a general volume. And now we can get into e que in compression. This is gonna be a really quick and dirty mix. I'm not going to spend a lot of time on things. This is more for informational purposes. And for me to explain my thought process behind making mixing moves so that you can better learn how to make hopefully apply to some of your own practices. I will say a lot of learning how to mix is just doing this over and over and over again. The more you understand mixing and e que and compression, the more it makes sense. And the better your mixes, they're gonna sound. I've been doing this for years, so don't get discouraged if you're mixed. Doesn't sound like this. Or if you can't recreate a mix like me, I'm not trying to say that I'm a really good mixer, because I'm definitely not I I will say that it does take a lot of practice, Just like any skill. You can get better with repetition and time. So what I will do first before anything is I'm gonna use this kick solo this kick and celo this drum. This is my Lohan. This is probably the most important part of the song to get a professional sounding mix. Let's see what it sounds like together. Okay, I'm going, Teoh gently compress my kick. It sounds pretty compressed already. I used some samples that I believe were previously compressed Most of time. When you use samples, they will have at least some compression on them. Just ah, general rule of thumb. Okay, those are the settings I used for my kick. I put in some soft distortion to get some higher frequencies in there. That's what's cool about logic is you can always add in some distortion from the compressor without having to add in another plug in I took it down to 75% of the compressor being activated, so I'm parallel compressing. I'm getting about five dbs of gain reduction, which isn't a lot for compression. However, Like I said, these kick samples sound pretty compressed already. Okay, Now, what I'd like to do is I'd like to open up the EQ use of both of these eq you for the kick and e que for the base bus. This is why we routed them so we can use them together. And I want to carve out space for each one I want them to, you know, handshake almost. I want them to get to know each other and I want them to be friends. I want them to be friends. And the way that they could be friends is by playing the song, seeing what frequency? Part of the spectrum they take up and then using e que to make subtracted and additive curve According Toa where there according toe wear their best parts of the sound arm. To me, it looks like the kick is taking up mawr of the low frequencies. We have our sub base here, but I think I want my kick to be in charge of those low frequencies to go around. Teoh seeing where it's peaking around 60 70 Hertz. That's perfect. I'm gonna make this a little bit less like that, and I'll do the opposite on this one, so I'll go to that same around 75 Hertz. I'll take out about three dbs e. I can also gently slope off the very low end just because I said before, unless you're planning on clubs because you're not gonna hear this is gonna muddy up the mix, actually. Okay, so it looks like my basis peeking around. So even though it's peaking around 1 50 I think it's gonna sound better if I peek it by picking a little higher. 5. Mixing the Keys: Okay, We're back in action. Heck, yes. Let's get into our keys. What I was going to do is I'm gonna play the whole key section together. I'm going to just have the guitars muted, and you're gonna hear what it sounds like so far. First things first, I'm gonna go into my keys. I don't think it sounds particularly good. I want you to keep in mind that it is in mono. It will sound better once we added to stereo. But we'll we'll check what it sounds like in stereo. Once we have all of these elements and we mix them. If we they sound good in mono, they're going to sound fantastic in stereo and vice versa. Isn't always the case. If you mix in stereo old sounds fantastic. Sometimes there's phasing issues and there's problems with masking that you can get when you put it into mono. So we're gonna, of course, work the other way around from mono to stereo. It is a better way to work. You're gonna mix quicker. You're gonna have less problems with frequency masking. So let's go to our keys bus. We're gonna click e que And guess what? We're gonna do? We're gonna high pass this. Remember our base and our kids are already sitting in this low in frequency spectrum. OK, let's just analyze what we're doing way slowly. Slow down about 175 to me, we're not taking too much. I might even increase the deficit was productive, make a little bit perfect. So now what I would do is I would work with each of these elements one at a time. I'll just start down to Pat's and we'll go from there. Um, let me zoom out just a little bit. So I could. So I had the drum bus, the pads in the base bus that all I'm working with right now, I think the basis. But it's also dangerous to mix something when you don't have the full mix going. You never listen to a song with Onley certain elements so load at a time. So I would recommend making mix and volume changes. When you have everything together you can use so low to make to make sure that your compression is doing something will make sure your delay sounds OK or make sure that you're not completely botching or whatever instrument you're working on with plug ins, that's fine. But it's different to make. Huge volume changes are huge changes without listening to the whole mix. Okay, this one, my pad Sound like right away I'm going to create a compressor. I created a dual mano. I want stereo. Even though we're working in mono right now, just gonna leave it on auto action. So these pads, I want them sustained throughout the whole song. You can hear that there's a little bit of a blip or stop in the sound. What we could do to remedy that is we can either go into our MIDI files and extend them. Or but in this case, what I'm going to do toe add a sense of space is have some river. So I'm gonna go back into my bus, Blondie Shorter River going to crank it up. And actually, that space in between those notes are what gives the reverb its sound. If it was just fully connected, full force llegado is what that's called. Then it would have no opportunity for the reverb to shine through, and you wouldn't be able to hear. So what that little blip does is going to give us some room to have some reverb to distance it from the sense when mixing, I would say the more reverb you have on something the further back in the mix, it goes there multiple levels of having a good mix. You can have it on the left and right spectrums you haven't left. You could have a pen left. You could have a pan right, or you could have it. A really dry signal will be really up in front of your face, and then a really wet signal will be really far behind. I like to think of it as using all of those to help create a full sounding mix. I want some elements right in my face, some elements back a little bit, some elements wide. Some elements, right? Dead center came and open up the eq you after we've compressed it and I'm going to once again high pass it. This will just really help get those based shining okay. Given the base Blythe, that sounded pretty good to me, adding some glue to the mix. Many times in my productions, I'll add a pad that may go throughout the entire song. It's not really to add anything more than just some cohesion and some glue to the whole mix . Teoh kind of bring it out for now. That's fine. I'm sure that I might have to make changes later with the e que. But until we added, more elements were not gonna know. Okay, what's going on? My, You can get out of compressor first, though. I'm gonna parallel compresses. I'm gonna start with about 70. Gonna crank up the ratio all the way to, like, 89 Crank down makeup gain off. Of course. Added some soft distortion. I'll go auto just too much for me. Hey, be on. Okay, Hopefully you can hear that's giving it a little bit more punch. A little bit more of much needed of sustained, which is good. I'm gonna add a second compressor fully mixed this one in, and I'm going to bring down the makeup game. This one just gonna be subtly very subtly. Bringing those compressing even distortion is adding a lot of gain and I don't really need that. Okay, that's perfect. Now that we've compressed, we have something to better e que with once again, First step in the process most of the instruments will be high. Okay, Now, for this piano sound, you have to keep in mind the genre, your work. Because mine is sort of a modern sounding like Pop. It's a very happy type song. I'm going to add a lot of high end to my piano. 24 DVDs, maybe to e. But I do like around four DV at around 1500 hertz to make that right or what I can do is also is I could cut some of the lower end. I cut out a lot. Here, It sounds a little like have about two db 2 34 40 bees at 600. Okay, add it into sort of blend. I'm gonna get a little bit. I want this pretty up front in the mix so I don't have too much too much. Not too good. That's like a Okay, let's continue to add in our elements. We have a reverse piano here. Going list. Let's go to a part where it plays. Just make sure it's not too loud or anything. You hear it actually better. My had to bring it up more. Okay, That seems about right. If you have here is a quick tip for you. If you ever have fully max out your gain here, you can go to utility gain stereo and just ADM or gain. So I add about five db So I want to take a little bit off, but a little too loud. Now, revert to that a little out of that game and I didn't really like it. That's fine. You can always go back and change your think. So this this is very low in the mix. I'm gonna actually add. I'm gonna keep this a very dry signal. I don't know if you can hear this, but this is just adding some rhythm chops to the chorus. So we have our four elements so far. I'll stay on the chorus for now. I'll go to the drop. Actually, that's probably one of the most exciting part way. Pretty good. Those pads. Maybe a little bit quiet in the mix. But that's exactly how I want em. They're just used as glue. Let's move on to the little ISO type sent. This is a massive sent, and actually, I'm just gonna delete it. It's not doing a lot for the mixtures adding some extra fluid. Bring that back up. Perfect. Actually sounding pretty good without me having to do anything. All of the sense are combined into this sound. I will just so low it by itself. Guitar here. Bump, bump, bump, bump. It's actually just a dry signal. Guitar high pass that, um we're actually gonna high pass this whole since. Hey, I know you're thinking with all these high passes that we're doing, like, what's the point of high passing this if we already high pass it on the bus? We just really want to make sure that we don't have any leakage in that Lohan mawr that we can control that the better Our mix is going to sound with that base, which is the most important part of the mix in order to hear what sounds are are louder than the others. Just so low. Add them one at a time. It sounds like this is the loudest. Yeah, I'm actually gonna add in logics and designer make it this not a dry signal. Um, I've used the Silver face amp combo, if you go to model, got a silver face combo. This is a combo. I find myself using frequently with logic that had a lot of river sounds a little bit better. Still not quite a fan. That, like high end. I'm gonna cut out, make it more many mid range. Okay, let's check it with the total mix. Um, we'll turn on the pads. Giant piano. Everything that we have worked on so far based bus and holy appeared to the drum booth. I can think of it. Okay. To make this more of a cohesive sound, we're going Teoh compress the whole sound together as the whole ISO since thing slightly about 341 at some soft distortion. My favorite. Make a game and a be it. Give me a little more sustained distortion. Bring AL Official gets more. Any time you make a compression or e que change, it's always important to a B or turn off and turn on the signal to make sure that's actually doing something. And this actually sounds good. That's a really good rule of thumb. If you can get into that habit, your mixes, they're gonna sound a little bit better. All of these little changes and little things that you could do of tips I'm telling you can work together to bring your mix from really amateur to sounding really professional, mess around with wear like right in his mid range like 500 to care. Remember our pianos taking up a little bit higher frequencies around way, way I think that's Ah, pretty. It's subtle, but I think it's a good change. Okay, let's move on to our melody. Let's see what that sounds like. So load with the rest of the way. I think this is our melody. So this is gonna be the main sort of element that we're going to hear. I do want to add a little bit of reverb. Teoh once again added into the mix. Same with that little since I think a little bit of reverb could do it some good first thing I'm gonna do to bring these sounds together is just give a slight compression, just like with the way no one about 5 to 10 DVDs. Slight distortion going on here, mix it down a little bit. Thank you. High pass. I want this particular sent to take up the very, very highest frequencies and it's gonna have that bright town tone that way. Okay, Perfect. This is sort of Ah, sounds of the e que curve that I came up with. I want about 60 beats up 5000 to get some really high end. I've cut out a little bit of the mid range, which is where our pads are sitting a little bit, but more importantly, our piano, um, I have added a little bit of low end, Um, just to give it that full sound and complete spa spectrum inducing melody, I think that will be cool. I'm also gonna add a stereo delay to this to actually put it back a little bit farther. Even though it's a main element, I think the little bit of delay will help it sit better in the mix. I'll open up a stereo delay. I'll go about 20% each start from their default settings. I'm gonna use the low cut to get rid of any of those really low frequencies on the high cut to get rid of those high frequencies. So we'll do be very mid range with our delay. That said it back a little to bring a little bit too much of this bottom. Okay, let's turn our selloff. Let's just listen to what the delay is doing. Thier back. Want to get to class cluttered? It seems like some of these arcs you already have a delay on him. Oh, they just have a long release time on the sets. That's one thing, Theo. Adjusting the sounds to get the frequencies. I want more. Okay, Cool. That's doing pretty well, for our keys were still mixing and model. Let me show you what it sounds like in stereo and show you the difference. It's gonna sound way better, and it's going to be like, OK, good, we're doing something right here, baby game. If you're on a computer or a tablet or laptop, you will not be able to hear these changes. You will also won't be able to hear the base, which is the most important part of mixing. So either listen on some studio monitors that you using or use. Listen on the headphones headphones are completely fine, and they'll give you that lower end response that is indicative of a professional sounding mix. Okay, let's move away from the keys now, and let's head into the last part of our serious guitars and then we'll wrap it up after the guitars will do. Ah, comparison of a B between what started as the mix and what we finished with. And I think you'll be pretty surprised to hear the difference of what a good mix could do for the song. Thank you for watching this part. Let's get into mixing the guitars. 6. Mixing the Guitars: Okay, we're back. We're working with that same exact heart again. But this time we have our blue guitars. So because I deleted every single plug in. So because I deleted every single Blufgan from these guitars, I'm gonna have to go back into Antas honor to try to get a sound so that we're not working with a dry signal. Um, let me do that really quickly. And then, um, I'll walk you through the steps that I made and show you the final product so that you can add them to gear mix if you're following along. Okay, cool. So I'm very quickly put on an amp designer plug in and just change the parameters around a little bit for the first part where it says some 31 This is my rhythm guitar lessons and what to sell their 10-K And I've used a British combo. If you go to model British combo here you have the settings I've used, have took away some of the base, added some trouble at a tiny bit of reverb and added a lot of presence and a little bit of game. I'm using the ribbon for 1 21 which is based off the Royer 1 21 at dead center of the Okay , From my patty guitar, I'm using the British blues combo. And here are the settings that I've used to hear. You can pause the video to see the settings and, um, look at them yourself. Once again, the Royal 1 21 this time backed away a little bit from the Cabinet to get a less base frequency response. So now that we have sort of our basic sounds, they don't sound like dry guitars anymore. Thank goodness we are going to mix them in. We're gonna mute this patty guitar. At first, we're gonna have the rest of the mix going so that we can mix in our. So I wouldn't recommend working in solo. But with such a busy mix like this, I would bring up the DVDs. Maybe 45 Okay, I'm going to also because these are two separate our parts. I'm going to guess you guessed it compress I. I'm compressing almost every element. I'll start some soft store being to make sure doing something subtle, but it is bring up the volume a little bit and making a little bit more cohesive. I think I think I forgot to do right away is high past the guitar bus. So I'll do that real quick. But the e que curve that I decided on for this one, Um, just after listening to is very mid range e um, 300 to 2 k ish took away some of those really harsh to case because it was very, um I guess it was just a little too harsh for me. I know you might not be able to hear this too. Well, which is kind of the point. Actually, this is just more for feel and the rhythm to add a little bit of extra element. I'm also gonna have a stereo delay. Once again, we will live it temple sink with an eighth and 1/4 we will cut off the low end, and we will cut off much. This is going to be very mid range, E um, delay. But that's exactly what our guitars a sit. So we won't be taking up any excess. Um, space. 16%. I think that should be about good. We're not going to get a lot of feedback or repeating of the delay theme. Just put a little farther back. It's a subtle change, but perfect. So now let's add in our patty slash guitar are patty guitar just single chords played over so that to give it some or atmosphere to give it some more. Okay, right away. I'm hearing very harsh frequencies. I don't want that. This is gonna probably another mid range es guitar. Once again, I'm not gonna e que in solo. But what I am going to dio I'm gonna move this after the amp so the amp comes first in my chain compress first and then I'll take you. There is a big debate on whether you want to compress or make you first in the chain. Um, I would say Just mess around that. See what? One sounds better. Generally, I compressed before you queue, but sometimes I do the opposite. I does no rhyme or reason to it. There's no real rules. Just do it Sounds good. And that's mixing for you. Okay, so I've compresses that I get more sustained. I'm using the auto and a pretty quick attack. But I can tell you just from looking at the bar that the release is going down very slow. I took off auto and just put on a 33 130 millisecond release. Can hear it's doing something similar. So it's compressing those last part so that they come out a little bit more than all I know . I kind of do the same thing. Okay, um, so now let's add in everything and we owe Take some of this subtle effect Harley over here at once again a year. Delay to it. Put it back further in the mix, although 30 25 low cut, of course. Way and sell. It is what it sounds like. Not good, actually, insula. But that's OK because it sounds fun in the mix. Okay, I'm actually to take this guitar bus and bring it down a couple notches. What happens when you're mixing a lot of times is the most recent element that you've mixed tends to be a little bit louder than the rest by a couple of DBS, at least for me. Um, that's usually why I will mix the vocals last to make sure that they, if anything, the vocals are a little bit too loud. If they need to be so I'm gonna take the guitar bus. Make sure that they're really just about about a db. Not a ton. And just go from there. That does it for the guitars. I have one more part of this video before we call it. I'm just gonna give you some last tips and tricks before mixing your song to make it sound a little bit more cohesive. And yeah, so I'll see you in the next video. 7. Final Mixing & Tips and Tricks: here we are back with the last part of this video, Siri's. And I just want to give you some tips and tricks that are gonna make your mix stand out a little bit more. I know I mentioned this with the base. If you have been watching this whole series, but we have a side chain compressor on the base that is being triggered by the kick. What I'm gonna do is actually gonna put a slight side chain on all of the elements in our mix so that our kick stands out quite a bit. I can do that by just going to our buses. Going to compressor, right? This is my keys bus. So this is all my keys? Audio kick sample is in the side chain section and just doing it very slightly. 2 to 1, maybe even 1.5 to 1. I want very little toe happen. Turn off auto gain. That's less than five. Just give it some feel. Um, we're still working in mono, by the way, Just in case you're wondering, make a tackle release a little later, take some mix out too big, unless even more. I want to be able to hear this is more feeling, to be honest with you. Okay, that sounds good to me. And we'll move down to the guitars. Will do the same thing. The guitars bus Just really slight side compression and side *** oppression. And we're going to get a nice feeling sound from this. Take a little bit off. Okay, then I'm gonna listen to the full mix a couple times, make sure everything sitting where I wanted to going. Really hear that kick now, Because way. Okay, perfect. So what I'm doing in my head? As I'm just going through each individual element one at a time. I'm using selective listening and hearing to single out the base single at the kick. Make sure that sits on the Met mix and just make sure that it's thing that open. Give it a face. Cool. I'm actually gonna add some slight reverb to the keys bus just a little bit and some slight reverb to the guitar bus Just a little bit. Not here. Okay. Perfect. No, not of side chain, though, is another tip like that I can give you is working and mono is super important. So if you haven't minority and mono and you have finished your mix. I would really suggest turning on mono going through seeing what frequencies are being masked by other frequencies and just working those out in mono because when you put it in, stereo is gonna sound so much better. Okay, Um, anything else? I would say Just from a mixing standpoint, this video is based solely on mixing. There are some production tips that I can give you, but I'm gonna say that for a different video, all I want you to do is notice the different sections, notice what I've done with compression and EQ you and you can definitely follow along with me. I'm actually gonna include a file at the end of this video are both. So that pretty much doesn't for the tips and tricks. That was the one trick that I do like to do. Um, the next trick that I can give you has to do with automation, but I'm actually gonna say that first separate video Siri's because it can get pretty in depth in this video. Siri's, I think, is getting plenty long for you to enjoy and for you to gain something out of it. Those are my tips and tricks. Let's listen to this drop. I'm gonna a be the stereo. So with between mono and stereo and you're gonna hear what we've done to finish this song What the final mix quote unquote will sound like Like this is a pretty quick and dirty mix . I would usually spend about three hours, four hours on a mix to make sure that sounds as best as I can make it. Um, never perfect, because that's kind of ah, slippery slope to go down trying to get a perfect mix. But you can see just our progress in about an hour How far we've come way. Okay, um hopefully concede the difference is that working in mono? Because we did all of our e queuing and compression in mono. We are good to go for frequency masking wise. And when we put it to stereo, we can really hear all of the elements at once. And it sounds nice and full and great theme. Okay, Perfect. Thank you so much for watching this. I'm going to give you an outro again If you want to follow along or if you want to listen to the final product. The final product is a little bit different. I have a link to the Soundcloud file of it with the vocals and everything already mixed in . So you can hear what that sounds like, actually kind of a comedy song. So I want you to know that before listening to it's called chunking Trump. If you won't listen to that ticket out, I will also say that if you want to follow along, um, once again you can go to my website at the link in the course description download All of these resource is that I have available for free and yeah, hopefully you learn something from this, I will close this out with an outro. Next time we will be going over using automation to add more interest and elements and excitement to different parts of the song to keep listeners interested gave. Thank you so much for watching 8. Closing Thoughts: Okay, Thank you guys, for watching a quick note. If you were wondering where the stereo was in this recording, I totally messed up I in recording my voice in that voice over in logic, I exported the sound as a model file, so it all stayed in mono because of the nature of the project. We're actually working in mono quite a bit of the time, so I didn't feel that it was completely necessary to go back and re record it. However, I do apologize for not having that stereo functionality. If you want to hear what the stereos track sounded like completed, you can go to my Soundcloud and check out the final product below. Other than that, that will do it for the video. Siri's I'm glad you stuck around. Hopefully you learn something new about mixing. Hopefully, you took some of the practices I use and can apply it to your own genre to your own mixes. If you enjoy the course, be sure to follow me on skill share to be notified when I released the next type. Of course, the next course I know I mentioned it in the previous videos, but the next course that I'll be releasing will be about automation. We're gonna be working with the same track, but we're gonna be automating it to create excitement and create a more modern sounding sound to keep the listener involved and engaged throughout the whole song. Also be working with this same song and producing a whole video Siris on how to make vocals , using stock plug ins, how to master using stock plug ins. And if the interest is there, I might do a few other courses. K. If you are interested in that, please let me know in the comments below that would really help me out. And that would let me know that you're interested in that. I could put the time in to make these courses. All right. Thank you for watching. If you want to follow me Ever Seymour of me on social media, You can find me at music by Maddy on tic tac. Anyways, thanks again for watching. I'll see in the next one