Composing with Jazz Loops in Cubase | Will Edwards | Skillshare

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Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (46m)
    • 1. Introduction

    • 2. A Jazz Foundation

    • 3. Rapid Arrangement

    • 4. Creating Your Harmony

    • 5. Customizing the Drums

    • 6. Reinforced Bass

    • 7. Conforming MIDI

    • 8. Finalizing Arrangement

    • 9. Adding Automation

    • 10. Mixing

    • 11. Pre-Mastering and Export

    • 12. Wrap-Up and Project

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About This Class

Are you curious about composing jazz-oriented tracks in your studio?  If you're a Cubase user and you're interested in learning about combining authentic jazz harmony with loops to produce jazz-oriented music then this course will give you a 360 degree view of doing that in Cubase.  Rapidly :)

In this course, you'll learn:

  1. Authentic jazz harmony (chord progression)
  2. Tips for finding jazz loops built into Cubase
  3. Developing a jazz drum beat
  4. Creating your own sample-based instrument in Cubase
  5. Tips for arranger tracks and automation
  6. Mixing and pre-mastering your track

This course offers any Cubase enthusiast an opportunity to expand your skills and practice composing and mixing audio.  For jazz enthusiasts, this course offers a quick reference for using modern software music compositional tools to create a jazz-oriented track quickly and authentically.  Thanks for checking out my course and I wish you great success with your upcoming project :). As always, I'm available to answer questions - just ask!

Meet Your Teacher

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Will Edwards

Artist. Creative Problem Solver. Musician


I am a full-time professional musician who has broad teaching experience with guitar & bass students in rock, blues, jazz and many other genres. I perform live on bass, guitar and keyboards.  In addition, I perform live electronic music improvisation.  I've devoted over 26 years to my own well-rounded musical education, focusing on a mastery of all aspects of modern music - from music theory to ear training; from live performance to composition and practice routines.

I specialize in bridging the gap between music and technology, focusing on using modern tools to demonstrate all aspects of music.  I compose and perform with Ableton and Push 2 and I have experience with Cubase, ProTools and Logic.  I'm extremely comfortable using web-based to... See full profile

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1. Introduction: Hi, my name is Will. Thanks so much for joining me here we are looking at how we can use Cubase to rapidly produce a jazz oriented track. Now we're going to be using samples and Midea loops that come from libraries built into Cubase. And we're going to be putting together something that is basically jazz influence. So we're going to be looking at jazz harmony, how to use the chord track and ultimately conform some of our midi loops to our key and to our CTE track so that we can make sure that more specific quarter arrangements that are unique to the style of jazz being applied and used across multiple midi clips. I have been producing music in the studio for the last 10 or 15 years. I've been an avid home user of Cubase and Q basis on my iPad. And in this course I'm bringing together not just the essentials of how to use different elements within Cubase to create a jazz track. But some of the fundamentals for doing a basic mix, doing a basic premaster, and what kinds of chords and harmonies might work well in a jazz production. So I'm looking forward to getting into all of that in the upcoming lessons. Thanks so much for joining me and let's get started. 2. A Jazz Foundation: So in this section we are trying to build a jazz track pretty rapidly. And there's a few things we're gonna do. So we're going to find some samples. We're going to create an arrangement. We're going to set up a harmony using a card track, customize some drums, create a sampled base, finalize our arrangement, do a quick mixing and mastering job, and all of that should be done in the next handful of lessons. So let's start out by figuring out some good samples that we can use. Now one of my favorite libraries to use for this kind of thing is over here it is the SQL library here. And that's because SQL is basically a software package that Steinberg makes that is kind of designed as with a bunch of construction kits. So they happened to have a kit that's pretty good for a jazz. So what I'm gonna do is I'm going to load that up. And I'm going to switch my all media types to just Midea loops, not midi files, just midi loops. Let's see what we get here. So this little icon that looks like a arrow going around in a circle, but there's the little five pin midi in the middle there. So all of this is kind of, you can see these are a set of construction kits. And I'm looking specifically for this jazz construction kit here. So there's a bunch of sections. So what I'm gonna do is I'm going to grab the chorus, a drums. I'm going to ignore actually the jazz guitar because I'm not so crazy about that at the piano. And I'm going to drag all of these on here to the very beginning as different tracks. All right, so I've got a bass, drums, and piano, and we can hear what that sounds like. And we can see over here as well that this is in the key of D. So we're gonna do is we're going to go up to our project here, and we're going to set our project is the key of D. Now if you don't have that there, you want to go up into the setup toolbar icon up here in the upper right-hand corner. And you wanna make sure that project root key is checked off. So we set our key, that'll, that'll be an important thing to do in general so that we have more flexibility down the road. Now we're also going to bring in our course, be here, the base, the drums and PNO. Once again, just going to drag those on here, two different tracks. So we got a chorus B. And then let's see, we've got verse a here and a grab that and this is really nice, just construction kits, everything is just ready to go. Let's come down and get verse, be like so. And then we're done with that construction kit. Alright, so at this point, we have three instrument tracks. We have a base, a drum, and piano, and we are in the key of D, So everything's working out really well. Sounds really nice. So in the next lesson, what we're going to do is we are going to fabricate an arrangement from this pretty quickly. 3. Rapid Arrangement: Welcome back. Let's go up to the project menu and we want to choose divide, tract list from the project menu. Okay, What this is going to do is give us this little divider here that we can adjust. And that's because I'm going to add an arranger track in here and later on I'll also add in our chord track. But for right now we're just doing this. If you don't know how to use a range of tracks or the media Bay which we used in the last lesson. Make sure you review the lessons that I teach on those topics. But this is just a section focused on rapidly creating jazz track. So first thing we wanna do is I'm just going to adjust this like that. So if I click on these sections up here in the info line, it tells me the length of what I've selected. All of these sections are eight bars long. If you don't have the info line up here in the upper right-hand corner. There is setup window layout and you want to make sure that info line is checked. Okay, then you have that. And I can select this, see that it's eight bars. I want to create essentially in my arrangement track with my pencil tool, which I just hit eight. I'm going to create an eight bar arranger event for each one. And I can click on these and make sure, yep, that's eight bars. I can see in my info line, eight bars, eight bars, eight bars. Now I'm going to create a one-bar intro. So let me go to the very beginning here. And because the arrangement tract allows me to sort of abstract my sections, they don't actually have to be linear from left to right. I'm actually going to create my intro. And altro right here, like this, just one bar each. Well actually I might make the altro. Maybe I'll make them both two parts. Now, I've got a little intro and outro section. And then I've got these four main sections over here. But right now my arrangements sections are called EFA, that sort of thing. I can see a list of them over here. That's not very intuitive, so I want to rename those. I'm going to select one. And then again, this is where the info bar comes in handy up here in the upper left-hand corner. I can rename those. So I'm going to call that intro, going to call this altro. Going to go ahead and call this chorus a. Call this chorus, be going to go ahead and call this reverse a, and then call this first B. So this way it's just much easier for me to know exactly what sections I'm dealing with. So right now I've got my arrangement sections all figured out. I'm basically going to go from the intro inverse a in the course, a into verse B, into chorus B, and into altro. And it doesn't really matter that those things are all out of order here. That's the wondrous thing about the arrangement chain in the arrangement track. So now we are going to head into the next lesson where we're going to create a harmony. We're going to use a chord track and create a chord progression. 4. Creating Your Harmony: All right, So let's start creating our harmony. I'm going to go into the upper division of the divided checklists. And I'm going to add something called a chord track. And this is going to enable us to create a chord progression and feed that through our instruments. So this is going to come in really handy. You just have to add the chord track. And then what you can do is basically with the pencil tool, you can come in here and you can create chords like so. Now these x's are place holders, but if you click on one of them, you can create chords like this. Now if you don't know how the chord track works, then you have missed the lessons that I teach on the cord tracking. You want to definitely review those. But suffice it to say that we can use the chord track to create complex harmonies, which I've done in advance. This is not a harmony course, so I didn't really want to get into that. But I have created this sort of jazz harmony, which you could, you'd probably recognize this sort of framework if you were familiar with jazz. Jazz was something that you are comfortable with. I'm going to just go ahead and move all of these around like that. Now this is a stock chord progression. It is a 6251 in E major, followed by a modified 65 one. And then we switched from E major to its relative minor. And we've got a 25 one in C-sharp minor followed by another 25 one that kind of desert turn around the E major again. Now these chords are all basically an image or a C sharp minor. And we want them to be in D major or B minor, right? So what we're gonna do is we're going to select everything here. And we're going to go up to the root key here and the info line where it says C-sharp, it says type is minor seven. I'm going to change that to be. All right down here. And you'll notice that all the coordinate frames now have been changed. So now basically these have been kind of turned into the right key so that we're staying in sync with our root key for the song. And the info line is really handy for that. Now if we listened to our different sections over here, I'm gonna change the jump mode to beat, just awaken, move through them quickly. All right, so everything is looking good for our harmony track. We don't really have anything for our intro and outro. But what I can do is I can just go ahead and grab my first chord. I'm going to Option or Alt and just copy that over here. And I'm going to do the same thing. So I'm starting on my relative minor. I'm going to end on my major. And so we have a complete chord track where there's some kind of harmonic structure for each of these parts. Now, in the next section, we are going to add some drums using groove agent to just fill in this intro and outro section. 5. Customizing the Drums: All right, so in this lesson we are going to just create a sort of drum part that is going to lead in and out of our main tune, right? So our intro and outro right now, they don't have anything in them and we want there to be some kinda drums. So I'm going to start with going over here to My Media and my VST instruments and grabbing groove agent, I'm going to drag that in to a new track. I'm going to look for this particular drum machine called IN, got the time. And we can see that loading up over here. So loading up and there you go, you have it. And now this is a nice kit. The thing about these acoustic agent kits, which are any of the ones that have this acoustic agent graphic. And that when you are in the instrument view and you have main, you're looking at a drum kit like this rather than something about Midea loops, these acoustic agents are made to include patterns that are sort of manipulatable. So if I go to the pattern page, if I go ahead and play a pad, I can come over here to the style. This is the style editor, and I can choose an intro and outro here, and it's kind of got a bunch of settings. So let's just listen to what an intro is for this pad main two. Alright, so that's one option to begin. All right, That's another option. All right. I kinda like pattern too, so I'm gonna go ahead and grab this button in the upper right corner of my style editor, says drag midi pattern to host sequencer. And I'm going to just drag that onto my groove agent tract like so. And now when I zoom in over here, I guess I've got my cursor over here. Right? We can see that this is following my intro. Now since it's only two bars long, as I can see up here in my info bar. And just make my intro two bars long and be done with it. All right, now I need an altro. So I'm going to change my style editor to altro or ending rather. And I'm going to listen to all of these. So let's listen to this. That's going to be a bit much, I kinda like that. I'm looking for something pretty mellow. So I'm going to leave it on ending for, and I'm going to drag this onto my track. But under the altro, right? And I'm going to see like that. Okay, so let me get rid of groove, agent. And I can have a four bar altro, that would be fine. That's how long this loop is right here, I can see up in the info bar that it's four bars in length. So that'll be kind of a nice altro. If I grab my arranger track, I can give that a sample. That might be a little too long. So let me actually cut this in half, bring these together. And like so let's listen to that again. All right, I'm going to like that. Alright, so I, I like that a lot. I'm going to zoom out at this point. I've got something playing on the beginning and during all four sections, right? So I'm gonna save my project. And at this point, we've got our samples, we've got the arrangement setup, we've got harmony, and we've got some customized drums. The next thing I wanna do is actually augment my base a little bit with a sample that's going to be coming up in the next lesson. 6. Reinforced Bass: Now we're going to create a sampled base using a sampler track. So I'm going to right-click and I am going to select sampler track here, which has its unique icon. Alright? Once I've created the sampler track, it actually is going to ask me for the name, I'm going to call it sampled base. All right, and then I've got my sample-based track there. And I've got this sampler interface which I can disconnect if I want to. Alright, seminal, leave that there and I am going to go looking for a base sample in my media Bay. So I'm going to reset all my filters. If I look over here and my BST sounds there, these two loop mash folders and they're loaded with useful bases, as is the SQL content. But I'm looking for something specifically that's going to sound live like a real acoustic bass. So I'm going to select the attribute content set, which is going to enable me to kinda just look for stuff related to loop mash. And I'm just going to say contains mash, nothing else contains mash. And now I am looking at loop mash loops. But I want to be looking at specifically base. And I also only want audio files. So let's see what we get. I can see up in the upper area here that I'm getting 74 results. So that's promising. Let's go ahead and see what some of these sound like. Aright. So I get this kind of option here. And I'm going to just drag this into my sampler track. I'm going to quickly gather up just a quick, of course, sample, right? I'm going to set my cursor right there and then I'm going to zoom in. I'm going to turn on my snap to 0 crossings up here. That's going to make sure that my sampler doesn't have any cliques in it. You don't want to move that right up there. And that'll be fine like that. And I'll put a little fade on it, like so. All right, now if I close up this sampler track, so now I'm going to take my bass track and I'm just going to option drag it down. And I wanna make sure I think I got a little misaligned there. And go ahead and listen to that. I just want to hear these two bases together. So I'm going to go ahead and play chorus a. Alright, so this is just my sampled base. And if we open up the sampler window on the bottom, we can see it playing the new sampler track. If I added to the ac bass track that I had before, getting a sort of a little bit of a richer sound. And I might bring down the sampled bass fader here. I just wanted to add a little more attack to the original. Alright, so at this point, I've got a nice rich base. In the next lesson, we want to revisit this piano and the base and make sure that everything is correctly following our CTE track. 7. Conforming MIDI: Earlier on in the lessons, we had muted this piano section here, this piano part so that we could hear the court jack just play through. And right now when we listened to that, we're just basically hearing the chords play once, right? Every time the chords change. So we're going to hear an A7, and then we're going to hear a D major 7. And if we unmute this part, they are going to conflict. Because this original piano part was recorded in the wrong key or a different key, right? So one of our questions, often when we are trying to do rapid music production is how do we get this middy to sync up to this chord track? And there's a very simple way to do that. So I'm gonna go ahead and just open this so we can see what's going on in the Midea, right? Going to bring that down a little bit. All right, so we can see this is worth just taking noted of. We've got a B flat here, we've got a D, and we've got an a. Those are the notes that are being played right now. So that is not the chord that we want. What we wanna do is get the piano to start listening to our cortex. So we're gonna come over here to the inspector. And there is a chords option here. If you don't see it, make sure you click on Setup here and make sure chords is checked. So we want to use this follow chord track setting over here and we wanna make sure that it's set to chords. And I want to zoom out. So you can see that as we do this, how the Midea is going to change. So we get this option. Follow chord track, followed directly or synchronized the track data with chord track first. Now since they were in a different key originally, we want these piano chords to be synchronized, so we're going to choose synchronized. And under here I can say analyze chords or apply a known cord. We're going to leave, analyze chords on for now and watch once this occurs, how the Midea it down here in the midi editor changes. Okay, so there were midi notes that were actually shifted. Now when we listen to this, it's all in qi. Now, our base is not exactly in key. So what we wanna do there is exactly the same thing. We're going to go up to chords and we're gonna save file chords. And we're going to say Synchronize and analyze chords. And lo and behold that to listen. And it's really that easy because we have the cord tracks set up in a really nice thing about the quadratic is we could change any of these chords later on and making any changes to our arrangement and the instrumentation is just as easy. Now in the next lesson, we are going to finalize our arrangement and flatten this out to a new project. 8. Finalizing Arrangement: All right, In this lesson we are going to flatten out our arrangement. So I'm gonna come up here in my Arrangement View, or sorry, my arrangement track. And I'm going to click this open arrangement editor. And I'm going to rename my project to jazz stems. All right, now I'm going to double-click intro, so I get 1 intro. Then I'm gonna go to verse a, course a versus B, chorus B, and then altro, that's my arrangement. I could create different arrangements if I have one and try them out. But I'm gonna go ahead and listen to this. So let's start at the top. Now we can see that when we get to the end of verse a, and we won't go all the way through this. But when we get to the end of verse a is gonna go to the chorus. All right, so we've got our arrangement all setup, and we are now ready to platens. So we're going to use this little icon here. We can flatten with options. And one of our options is a new project. And I'm gonna go ahead and just say use chain name. That means it's going to create a project called Jazz stems. I'm going to keep the arranger track. I'm going to make a real events as opposed to share it events. That's going to kind of make this an even more static project. In other words, if I change an event or the midi inside of an event, It's not going to be a shared copy so that it's no problem here because these jazz stems now are pretty much a final. All right, so I get to choose some options. I'm gonna go ahead and hit flatten and it's going to create an entirely new project. Do you want to activate the project? Yes. All right, and now we are going to have a whole fresh project called Jazz stems. And when we look out here, we can see that the chord track has been copied out correctly. We have one of each section. We've got our drums for intro and outro. Let's listen to it by the way, how that ultrasounds. All right, So that's fair enough. Let's see how the intro sounds. And we'll just listen to it through. Now we're coming up with a chorus a, and we get a different drum part, and right now we're headed into a versus B. This is where we switch to the minor key and turn around back to the major key. And here we are. The chorus B. Alright, so I think I want to add at least something in the base there just to handle the D major chord. So I'm gonna come over here. And I can just go ahead and switch to my scissors tool. I'm going to do a split there and back out. I'm going to grab this 12 and I'm going to Option copy these over here. And I'm going to go in here. I don't think I want all those notes, but let's give it a listen. All right. Now I don't want those. So I just want somebody to take this one here and I am going to get rid of all of those nodes and drag this all the way out, like so. So I have something that's more like this. Let me go ahead and move these. Since we are resolving on a D major chord, going to have it resolved on in D. Let's see. All right, So that's a better conclusion. And I am also going to use some automation on this now, but that's coming up in the next lesson. 9. Adding Automation: So we have created more or less an original thing here we've used Midi loops from media bay, but we have transposed them to our own original chord progression. And we have come up with this sampled base to kind of give it a sound that's probably totally unique. But we want to take it a step further. Of course, I want to have this last note on the base actually fade out. So I'm gonna go ahead and add automation for that. By adding like that and it'll fade out. All right, I'll just bring that up a little bit more like that. Alright, I'm gonna go ahead and select my Range Selection Tool. Copy that automation onto my sampled base as well like that, so that both the bases are doing the same thing. All right, Perfect. That's one thing of automation I wanted to do. But the other thing I wanted to do, make, make the base is play off each other a little bit more. But I can actually sort of create some slight panning here. If I go up here to my line tool, I can actually choose some different shapes, one of which is the sine wave. And then that way I can come down here. And I'm actually going to kinda create a very light sine wave through like that, right? And I'm just going to leave my sampled based. That way There's always a slight volume change between the AC base and the sampled base. Just subtle enough to give it a little bit of flavor. Having added that little bit of automation, I feel comfortable that this is now going to sound a bit more original. And it's got a little bit of a natural flow to it as far as moving from section to section. Alright, I am going to bring down the volume of the drums. I'm going to add on a few effects, but that's coming up in the next lesson, which is mixing. 10. Mixing: All right, welcome back. Now we are in the mixing phase, so we are really kinda closing this shop up here. So what are we going to do? We are going to close up our automation lanes. We've basically got four tracks here. We've got bass and drums and piano, but we've actually had to drum tracks to basis. So I'm going to create, create two groups tracks which kinda function like buses. It's going to be stereo. I'm going to create two of them. Alright? And I'm going to call them, Well, I guess the name here, I could just call it base. And it's going to create two of them, but I'm going to call this one drums and bass. Alright, I'll choose my AC based channel. And I can click on the button here, Edit Channel Settings. And then I can come over here to my outputs and I can decide I want to send that to the base group. Okay, so now when I play it, I don't hear that channel unless my groove track is enabled. I'm gonna do the same thing for my sampled base. I'm going to go ahead, open the channel settings, send this to base. Do the same thing for my drums. One to basically group these things together so that I can process them more efficiently together. I keep going up there, but I mean, stay in that area, go to drums. Now I've got my drums going to my drums group and my bass going to my base group system to that. If I mute the bass and drums, wear plaid processing. Now, the group tracks that kinda matter, right? So what I'm gonna do is actually create another folder track here, add track. I'm going to create something called a Folder track. Call it backup to put all these together so that there's somewhere where I know where they are, but I don't really have to work with them. So I'm gonna close that up like that. So now I'm really thinking about these three channels by piano, my base, and my drums. And this is gonna make mixing a little easier. So because all of these instruments have been sampled, the mixing process can be a little easier. I am going to do a couple of things right off the bat to improve this mix. First of all, I am going to add some compression to the drums. So I'm gonna go ahead choose dynamics, and I'm going to choose compressor. Alright? I'm going to solo the drums. I'm going to bring this down a little bit. I'm bringing my ratio actually up to, let's say about six to one. I'm going to bring the attack way down. No hold, auto release. And let's see, I'll leave that about like that. And I'm going to bring down my threshold until I start seeing this gain reduction come in here. Now there's a totally different vibe going on there. So let's actually just make sure we're not over compressing every part of this. I don't want it to be over compressed. Makes you bring that up a little bit. There we go. It's just adding a slight bit of definition to my drums. I also want to add a little bit of reverb. So I'm going to use reverence, which is convolution reverb. Go ahead and turn the mix down on this. I don't want a 100 percent, just want to add a little bit for ambiance like that. Just to wash it up a little bit. Sounds nice. Little less dry. All right. The next thing I wanna do is definitely compress my base a little bit. So I'm just meeting these channels so that as I play them, I can really keep track of what's going on with my ears. And then go ahead and load up a compressor. And I can see I've already got a fair amount of gain reduction. The change my ratio here to four. I'm going to make it more like seven milliseconds. Bring my hold all the way down. Auto release. I actually I'm a changed the release to about 15 milliseconds. Now I'm getting a lot of gain reduction. I'm getting nine dB of gain reduction is S2 much seminary. Reset this number. I want to get maybe for a go, just enough. Okay, so that is going to tighten up my base a little bit. Now, if I listen to my drums and bass together, they're both allow more articulate. And if I open up my mix console, what I wanna do here is just balanced them a little better for it. So I'm actually going to bring the base down a little bit. So when the piano comes in, I like the way that sounds a lot. All right, In the next lesson we're gonna do just a simple premaster and export this and we'll be all done. 11. Pre-Mastering and Export: Let's do a quick premaster here. So we are not really trying to totally maximize this mix. We're just trying to bring it up in level a little bit. We want the mat. We, we generally always want somebody who has professional mastering skills and professional mastering equipment to do our mastering if at all possible. Because good tools and good ears and lots of experience will always get a better result. However, premaster and can be a really, really promising way to just take more control over your final mix. See it through to the end. And there's not much more to a simple premaster. Then maybe doing some multi-band compression and some maximizing. So that's what we're gonna do. I'm gonna go up to my stereo channel here. And from here, I am going to open up the channel window. Go ahead and add in, first of all, a multiband compressor like this. All right, what this allows us to do is compress the bass and the mid-range and the upper mid-range and the highs separately. So we're going to listen to the whole mix. And I'm just going to bring down my threshold a little bit here. Get a little more compression on the base. I'm actually going to expand, well, not expand exactly, but totally release any compression on the high up. And I want to actually bring the volume down a little bit there. So a little area. All right, I'm going to compress this upper mid-range a little bit, but I'm also going to bring its volume down like that. So without That's a little brighter. A little more mellow and bass heavy, which is what I want. So next thing I'll do is I'll add a maximizer. I didn't really want to crush this whole piece. I just want to bring up the volume a little bit more leaves soft clip on. I prefer classic to modern, which is generally sort of more like distortion, saturation versus edgy and clean. We're going to start back here, and I'm going to bring up this optimized value until I start seeing gain reduction right here in the middle. There we go and start to see a little bit. Back it off. Maybe set it to around 60. And I can see here that I'm just getting a little bit of gain reduction. That's actually a little too much. I'm going to maybe bring this down to 50. Then let's see if I reset that number. Alright, so that's enough, That's enough maximization. I might want to add dither here so I could go down to my mastering and put in the UV 22 apogee dither. If I wanted to knock this down to 16 bits, that would be a good idea. And then there we go. I can go ahead and export this. And another alternative, of course, is to output stems. So I like to do this quite often. I'll go ahead and first I'm going to save the file. And then I am going to go to Export Audio mix down. And instead of selecting my group channels here, I'm going to actually choose my individual instrument tracks. Alright? And then I'm going to go ahead here. Filename is jazz stems. It's adding in these different naming values here and giving me serve as simple preview. I am sending this out. I'm going to choose 40 for one wave file. I'll do 24 bit, even though we selected 16 bit and it did there, I guess I better go is 16-bit. And I suppose I am going to need to set and select all of that. Go up here and look up loop and select loops, selection. There we go. And now I'm going to export that. There we go. I've got all of my different parts as individual stems, which I can offer as remixes. In the next lesson, I'm going to wrap things up and provide you with some guidance on a project that you can use to consolidate everything you've learned in this section. 12. Wrap-Up and Project: In this section, we assembled essentially a jazz track from scratch. And one of the things that I would suggest you do now is go back and read, manipulate these loops, maybe add your own loops from media bay. Maybe even add in your own drum loops and see how easy it is to use the features built into Cubase to rapidly build or modify an existing track. Perhaps create different arrangements, switch out the parts, and flatten those out into new projects. The process of building music from scratch. Building foundations for a track is something you'll be doing over and over and over again in Cubase in a variety of genres and all the tools are there. So it's time right now to start making your own track or make modifications to the project that you can download. With this section, if you have any questions, please reach out to me. I'm all ears. I'm happy to have discussions or respond to the questions. You can message me directly. And I wish you the best of luck. I hope to see you in some of my other courses.